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Cultural Heritage Management Program, l'Université Française d'Egypte

& Musée royal de Mariemont

EduMUST-Education and Capacity Building in Museum Studies

WP5-Training for Egyptian Staff

Museum Exhibition, Display and Interpretation-

How Egyptian Heritage is Exhibited and Interpreted

January 19 to January 24, 2019

Marie-Cécile BRUWIER & Fekri HASSAN

Contents

Page

General Summary 2-6

Syllabus 7-12

Suggested readings and references 13-29

List of Participants 30-31

Evaluation of Display and Interpretation of Museum Exhibitions 32-39 Certificate 40-40

Evaluation 41-43

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3

General Summary

The cultural Heritage Management

Program at the French University in Egypt

(UFE) organized from 19 to 23rd January

together with the Marimont Royal

Museum, Belgium, a training course on

Museum Exhibition Display and

Interpretation. Forty three participants included a select group from

museum curators from the Ministry of

Antiquities as well as staff members from

the Helwan, Alexandria, Damanhour, Ain

Shams, Fayum and Damietta Universities.

The training course was organized in the

context of the Ed-MUST project, funded

by the European Union, with the aim of

enhancing capacity building in the field of

Museum Studies in Egyptian Universities. The French University in Egypt

has been offering courses in Museum Management and Operation,

Museum Collection Management, Care and Conservation of Museum

Collections and Heritage Marking in museums and archaeological sites in

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the context of the Master degree in Cultural Heritage Management

offered in partnership with Paris 1 Sorbonne-Panthéon since 2011.

The Museum Exhibition, Display and Interpretation presented the

most up-to-date trends in Museum Studies, an overview of the history

of Museums in Egypt, a survey of contemporary Egyptian museums, as

well as the current policies of museums in Egypt and the exhibition plans

of the Grand Egyptian Museum. Lectures covered the design theory of

Museum Exhibitions, Museums exhibition project processes, exhibition

planning and interpretive strategies and Learning and educational

strategies of museum displays. Special lectures were devoted to modern

applications of digital technologies in museums including e-museums,

virtual reality and ICT-enabled guided tours. Tours to the Egyptian

Museum , the Coptic Museum and the Islamic Art Museum provided an

opportunity to examine first-hand and evaluate current approaches to

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displays and interpretations of Egyptian heritage. The course was

opened with a key-note lecture by H.E. Prof. Mamdouh el-Damaty. Ex-

Minister of Antiquities. Lectures were given by a distinguished

constellation of Museum experts including Prof. Fekri Hassan (training

course coordinator, UFE, Egypt) Ms. Elham Salah, Dr. Marie-Cécile

Bruwier (Training course coordinator , MRM, Belgium), Dr. Khaled Azab,

Dr. Tark Tawfik, Ms. Shereen Amin, Dr. Mohamed Gamal, Dr. Osama

Abdel Warith, Prof. Mahmoud

Mabrouk, Prof. Nikolaos Lianos,

Ms. Gehane Nabil, Mr. Walaa Eldin

Badawy, Eng. Sherif El-Nabarawi.

Certificates were handed in a

celebration attended by Prof. Taha

Abdallah, President of UFE

(acting).

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.

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8

Syllabus

Cultural Heritage Management Program, l'Université Française d'Egypte

& Musée royal de Mariemont

EduMUST-Education and Capacity Building in Museum Studies

Museum Exhibition, Display and Interpretation-

How Egyptian Heritage is Exhibited and Interpreted

January 19 to January 24, 2019

Marie-Cécile BRUWIER & Fekri HASSAN

This course provides a critical approach to how Egyptian heritage from different cultural periods is

displayed and interpreted in museums with morning visits to selected number of different types of

museums in Cairo including the iconic Egyptian Museum, the Coptic Museum and the Islamic

Museum. For the modern period, the Abdeen Palace Museums and the Ethnographic Museum as

well as the Museum of Saad Zaghloul -Beit A;-Umma will be visited. Other museums will be

discussed in the series of lectures that will be held in the afternoon. The lectures in addition will

cover the processes and stages of mounting an exhibition with special attention to interpretation-

its goals and strategies. Special topics of interest include the function of museums in providing an

understanding of the social dynamics of the continuity and transformations of Egyptian societies

from prehistoric times to the present, and how museums can address current social issues in

contemporary Egyptian societies as they struggle with a new era of globalization and a changing

world order. As a manifestation of the new era is the use of digital technologies and the necessity

of engaging local communities and different stakeholders. Both topics will be addressed in special

lectures.

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Venue: Afternoon classes will be held at UFE Center 9 Abul Mahaseen El-Shazli in

Muhandeseen (the link for the location: https://goo.gl/maps/eNhGc9TVjuS2

Logistics: Trainees will arrange for their own transportation to museums and UFE Center.

Everyone has to plan to be on time, which means in Cairo, planning to arrive 30 minutes before

the scheduled time. Adherence to all sessions is a pre-requisite unless otherwise arranged in

advance of the start of the course with the course coordinator. Trainees are also responsible for

their meals and accommodations. Entrance to the Egyptian, Coptic and Islamic Museums is gratis

courtesy of the Ministry of Antiquities. Entrance to the Ethnographic Museum, Abdeen Palace and

Beit el Umma are subject to a modest fee for Egyptians.

Day 1 Saturday 19 January 2019

Session Lecturer(s) Topic

9:30 AM Registration,

10:00-10:30 Welcome and Introduction by Prof. Taha Abdallah, President (Acting), UFE and Dr.

Tamer elNady, Coordinator of EduMUST project

Edu-MUST and Capacity Building in Museum Studies

10:30-11:30 H.E. Prof. Mamdouh El-

Damaty

Keynote

Egyptian Museums in light of current approaches

in Museology

11:30-12:30 Dr. Elham Salah Museums in Egypt- vision and strategic policies

12:30-2:00 PM Lunch Break

2:00-3:00

PM

Prof. Fekri Hassan Re-Interpreting the Museums for a better future

3:00-4:00 Dr, Marie -Cecile Bruweir Museums of Egypt- Diversity and design strategies

4:00-4:15 Break

4:15-5:15 Dr, Tarek Tawfik

Grand Egyptian Museum- Design and

interpretive strategy.

5:15-5:45 Dr. Khaled Azab ICOM in Egypt

Day 2 Sunday 20 January 2019

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9:30-11:30

AM

Dr. Elham Salah

Dr. Sabah Abdel Razek

Director of Egyptian Museum

Visit Egyptian Museum, Tahrir

Egyptian Museum exhibition and interpretation

Guided tour of Museum and completion of survey

forms

Issues: Traditional displays, displaying for whom?

The hidden museum (storage), museum public

space, re-designing the museum

2:00-3:00 Dr. Mohamed Gamal

Exhibition Planning

Modes of Display.

3:00-4:00 Dr, Mohamed Gamal Exhibition Project Process and Management

(Development, Design and Implementation

phases).

4:00-5::00 Dr. Mohamed Gamal Exhibition Ideas and Briefs

5:00-5:45 Nikos Lianos E-Museums

Day 3 Monday 21 Jan 2015 Readings and Assignments

Afternoon

1:00-2:00

Gehane Nabil Role of museum in sociopolitical history

education. Storytelling exhibition strategies.

How to exhibit national history and what are the

messages and for whom- Case Study Beit El-Umma

2:00-2:30

Ms. Shereen Amin and Fekri

Hassan

Displaying and interpreting Egypt-Perspectives

from a BM Colloquium Perspective

2:30-3:30 Prof. M. Mabrouk

Designing Egyptian Museums: The Egyptian

National Museum of Civilization, Imhotep, Suez,

and others

3:30-5:30 Fekri Hassan & Team Egypt at the Origins-How it all began

Toward a museum display and interpretation of

the Origins of Egyptian civilization

Day 4 Tuesday 22 Jan 2019

9:30 to

12:30

Dr. Elham Salah

Director Coptic Museum

Mrs. Gehane Atef

Coptic Museum

Introduction by Director on Museum Exhibitions

followed by a tour of Museum and local

community

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Issues: role of museum in promoting social

solidarity

Museum interpretations and social history

2:00-3:00 Dr, Ossama Abdel Warith Learning Theory & Some Principles for Museum

Display

Learning theories, thinking about constructivist

learning in museums, .basics in exhibiting, routing,

pacing and visitor’s comfort.

3:00-4:15 Dr. Osama Abdel Warith- Design theory and strategy, themes, goals, target

audience and visitors, involvement of local

communities, social inclusion, cultural diversity,

consultation with experts and other stakeholders.

4:15-5:30 Dr. Osama Abdel Warith Exhibiting and interpretive principles for museum

display (lecture and discussion)

Exhibiting and interpreting collections in practice

Video and discussion on Learning in the Museum

Asking the right questions. How to Develop

Educational Materials and Activities

5:30-6:00 Discussion

Day 5 Wednesday 23 January 2019

9:30-

12:00

Dr. Elham Salah

Dr. Mamdouh Osman

Director of Islamic Museum

Islamic Museum Visit

Introduction by Director on Museum Exhibitions

followed by a tour of Museum and local

community

Guided tour of Museum and completion of survey

forms

Issues: Showcases of art or Social history

Social history? Role of museums in revealing the

social transformations of society and the

confluence of civilizations

12:30-1:30 Mr. Maged Abdel Razek

Visit Abdeen Palace Museums

Issues: Critical Museology-Museums and nation

making, representation, socialization,

misinformation, disinformation.

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Nostalgia, art appreciation, how to interpret and

display social history

Cancelled

3:00- 3:30 Mr. Walaa Eldin Badawy

Manial Palace Museum and social history of Egypt

from 1905 to 1952.

Issues: How to use museums to reflect upon the

messages encoded in a palace museum and its

significance in interpreting how the setting,

architecture and contents of a museum may

contribute to how contemporary society is related

to its past in the context of political discontinuities

and social continuities and transformations.

3: 30-4:30 Discussion

4:30-5:00 Shreen Amin Impact of museums on local communities

5:00-5:15 Break

5:15-5:45 Eng. Sherif elNabrawy Virtual Museum displays-The Suez Museum

http://cairoscene.com/Buzz/rosetta-stone-return

5:45-6:00 Fekri Hassan Integrated, Interpretive, Interactive, Integrated

Digital Technologies in Guided Museum Tours

6:00-7:00 Overview of course, discussion of evaluation and Graduation ceremony. Certificates

handed to students by Prof. Taha Aballa, Prof. Fekri Hassan and Prof. Marie-Cecile

Bruwier

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Cultural Heritage Management Program, UFE & EduMUST

Museum Exhibition, Display and Interpretation-

How Egyptian Heritage is Exhibited and Interpreted

January 19 to January 24, 2019

Marie-Cécile BRUWIER & Fekri HASSAN

Suggested Readings and References1

Museums-A General Introduction

Alivizatou, M., 2016. Intangible heritage and the museum: New perspectives on cultural

preservation. Routledge.

In this comparative, international study Marilena Alivizatou investigates the relationship between

museums and the new concept of “intangible heritage.” She charts the rise of intangible heritage

within the global sphere of UN cultural policy and explores its implications both in terms of

international politics and with regard to museological practice and critical theory. Using a

grounded ethnographic methodology, Alivizatou examines intangible heritage in the local

complexities of museum and heritage work in Oceania, the Americas and Europe. This multi-

sited, cross-cultural approach highlights key challenges currently faced by cultural institutions

worldwide in understanding and presenting this form of heritage.

Bedno, J. and Bedno, E., 1999. Museum exhibitions: past imperfect, future

tense. Museum News, 78(5), pp.38-43. pdf

When museums were "cabinets of curiosities," primarily aimed at acquiring and maintaining

collections, any new, unfamiliar object was a source of wonder. The museums' mission then, as

1 Compiled by Fekri Hassan with contributions from Marie-Cecile Bruwier, M.G. Gamal, Osama A.A. Meguid, M. Haggag.

Annotations are excerpts from briefs by publishers or excerpts from abstracts or content of papers. Open access Books and papers available available online are indicated.

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they saw it, was to "show us the world." Now, with instant communication and unlimited access

to images and information, the mission has changed to "telling us what it means." It is not

enough to know; now we need to understand the processes and consequences.

Bibliography for UCLQG321: Museums Policies and Practice

http://readinglists.ucl.ac.uk/lists/87D242C5-0F84-99A9-48E1-0454956786AC/bibliography.html

Brown, K. and Mairesse, F., 2018. The definition of the museum through its social

role. Curator: The Museum Journal, pp.1-15. Open access.

For the seventh time in its history the ICOM1 Definition of a Museum is under discussion, with a

view to possible revision to be agreed at the General Conference in Kyoto in September 2019.

As part of this process, ICOFOM initiated an academic debate on the Definition, welcoming

museologists, museum professionals and policy makers to a suite of symposia held around the

world in 2017. In this article, we consider the results of symposia held in France, Argentina, Brazil,

and Scotland in the light of the changing social role of museums, and reveal how the museum

has come to perceive itself differently in relation to museum values, participation and social

inclusion in Europe and Latin America.

Desvallées, A. and Mairesse, F. eds., 2010. Key Concepts of Museology. Armand

Colin.Diamond,

Diamond, J., Horn, M. and Uttal, D.H., 2016. Practical evaluation guide: Tools for

museums and other informal educational settings. Rowman & Littlefield.

Visitor evaluations provide clues to the effectiveness of exhibits and programs, and provide

insights into how people learn in informal educational settings. In Practical Evaluation Guide, Judy

Diamond presents the basic principles and techniques needed to design, implement and present

an evaluation project. Diamond's clearly and simply written guide gives you the tools needed for

studying the behavior and learning of people in informal educational settings, including how to

plan an evaluation, evaluate evaluators, perform visitor observations, conduct interviews, design

questionnaires, sample audiences, analyze qualitative and quantitative data, write reports, and

much more. An extremely useful tool for anyone seeking guidance on how to set up competent,

reliable evaluations in informal educational settings.

Falk, J.H. and Dierking, L.D., 2016. The museum experience revisited. Routledge.

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The first book to take a "visitor's eye view" of the museum visit when it was first published in 1992,

The Museum Experience revolutionized the way museum professionals understand their

constituents. Falk and Dierking have updated this essential reference, incorporating advances in

research, theory, and practice in the museum field over the last twenty years. Written in clear,

non-technical style, The Museum Experience Revisited paints a thorough picture of why people

go to museums, what they do there, how they learn, and what museum practitioners can do to

enhance these experiences.

Falk, J.H. and Dierking, L.D., 2018. Learning from museums. Rowman & Littlefield.

This is the second edition of John H. Falk and Lynn D. Dierking’s ground-breaking book, Learning

from Museums. While the book still focuses on why, how, what, when, and with whom, people

learn from their museum experiences, the authors further investigate the extension of museums

beyond their walls and the changing perceptions of the roles that museums increasingly play in

the 21st century with respect to the publics they serve (and those they would like to serve). This

new edition offers an updated and synthesized version of the Contextual Model of Learning, as

well as the latest advances in free-choice learning research, theory and practice, in order to

provide readers a highly readable and informative understanding of the personal, sociocultural

and physical dimensions of the museum experience.

Falk and Dierking also fill in gaps in the 1st edition. Falk’s research focuses increasingly on the

self-related needs that museums meet, and these findings enhance the personal context chapter.

Dierking’s work delves deeply into the macro-sociocultural dimensions of learning, a topic not

discussed in the sociocultural chapter in the first edition. Emphasizing the importance of time (and

space), the second edition adds an entirely new chapter to describe the important dimension of

time. They also insert findings from the burgeoning field of neuroscience. Latter chapters of the

book discuss the evolving role of museums in the rapidly changing Information /Learning Society

of the 21st century. New examples and suggestions highlight the ways that the new

understandings of learning can help museum practitioners reinvent how museums can and should

support the public’s lifelong, life-wide and life-deep learning.

Hassan, F.A., 2007. Liberating power of archaeology: Changing aims and directions in archaeology. A

future for the past: Petrie’s Palestinian collection, pp.37-46. Open access Pdf

Emancipation or Liberation Archaeology will entail a whole new research programme involving:

1. Establishing guidelines for mobilising archaeological resources to improve the conditions of

local communities and poor states without compromising the integrity of archaeological sites,

artefacts, landscapes and ecosystems. 2. Refocusing archaeology on pressing issues of grave

consequences for human welfare and survival, 3. Training and support of native archaeologists,

4. Shifting research strategies from narrative culture history toward models for understanding the

social, psychological and cognitive dynamics by which cultures are transmuted, shaped and

developed. 5. Highlighting the role of flexibility malleability and creativity of individuals who

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ultimately shape and make history. 6. Re-evaluating the relationship between textual evidence

and archaeological proxies and forging integrated methodologies joining philologists and

archaeologists. 7. Re-examining the separation of tangible (archaeological) heritage from living

traditions and intangible heritage, 8. Preventing the looting and wanton destruction of sites by

individuals, communities, corporations or states,9. Revitalising archaeology departments and

university curricula to reflect the current demands for an archaeology for the future. 10. Engaging

the public everywhere in the ongoing shifts in archaeological perspectives and objectives through

exhibits and the media.

Hein, G.E., 2002. Learning in the Museum. Routledge.

What do people learn from visiting museums and how do they learn it? The editors approach this

question by focusing on conversations as both the process and the outcome of museum learning.

People do not come to museums to talk, but they often do talk. This talk can drift from discussions

of managing the visit, to remembrances of family members and friends not present, to close

analyses of particular objects or displays. This volume explores how these conversations reflect

and change a visitor's identity, discipline-specific knowledge, and engagement with an informal

learning environment that has been purposefully constructed by an almost invisible community of

designers, planners, and educators.

Hooper-Greenhill, E., 1999. Education, communication and interpretation: towards a critical pedagogy

in museums. The educational role of the museum, 2, pp.3-27.

Covers broad themes relevant to providing for all museum visitors, and also focusing specifically on

educational groups, the book is set in four sections which sequentially:

chart the development of museum communication relate constructivist learning theory to specific audiences with different learning needs apply this learning theory to the development of museum exhibitions pose questions about the way museums conceptualize audiences.

Hooper-Greenhill, E., 2013. Museums and their visitors. Routledge.

Museums are at a critical moment in their history. In order to ensure survival into the next century,

museums and galleries must demonstrate their social relevance and use. This means developing

their public service functions through becoming more knowledgeable about the needs of their

visitors and more adept at providing enjoyable and worthwhile experiences.

Museums and Their Visitors aims to help museums and galleries in this crucial task. It examines

the ways in which museums need to develop their communicative functions and, with examples

of case-studies, explains how to achieve best practice. The special needs of a number of target

audiences including schools, families and people with disabilities are outlined and illustrated by

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examples of exhibition, education and marketing policies. The book looks in detail at the power

of objects to inspire and stimulate and analyses the use of language in museums and galleries.

This is the first book to be written to guide museum and gallery staff in the development of

provision for their visitors. It will be of interest to students of museum, heritage and leisure and

tourism studies, as well as to international museum professionals.

Jandl, S.S. and Gold, M.S., 2012. A handbook for academic museums: exhibitions and education.

MuseumsEtc.

Academic museums share a unique mandate: they are partners in education. As such, they have

evolved in tandem--and not always easily--with their parent organizations. They can often pursue

their missions in innovative ways, address controversial topics, produce unorthodox exhibitions,

and have the freedom to experiment. But they operate within a challenging administrative

structure--a two-tier environment in which operations, planning, governance, administration,

financial support, and fundraising can all become more complex. And in recent years, some

colleges and universities have questioned the very need to maintain a museum, while others have

attempted to monetize art collections to raise capital. This pioneering 750-page book brings

together in one place as much good, current thinking as possible about the opportunities and

issues unique to academic museums. Wide-ranging and committed, this is a collection of essays

written about, by, and for the community of academic museums. Above all, they are intended as

a practical resource for that community. The authors were charged with sharing useful

information: strategies, best practices, mistakes made, lessons learned, what worked, what didn't,

and why.

Kotler, N.G., Kotler, P. and Kotler, W.I., 2008. Museum marketing and strategy: designing missions,

building audiences, generating revenue and resources. John Wiley & Sons.

This newly revised and updated edition of the classic resource on museum marketing and strategy

provides a proven framework for examining marketing and strategic goals in relation to a museum's

mission, resources, opportunities, and challenges. Museum Marketing and Strategy examines the full

range of marketing techniques and includes the most current information on positioning, branding, and

e-marketing. The book addresses the issues of most importance to the museum community and shows

how to

Define the exchange process between a museum's offerings and consumer value

Differentiate a museum and communicate its unique value in a competitive marketplace

Find, create, and retain consumers and convert visitors to members and members to volunteers

and donors

Plan strategically and maximize marketing's value

Achieve financial stability

Develop a consumer-centered museum.

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Kurin, R., 2004. Museums and intangible heritage: Culture dead or alive. Icom News, 57(4), pp.7-9.

“The charge of safeguarding intangible cultural heritage is a much larger one than the effective,

even inspired exercise of the techniques of display and presentation. It goes to the heart of the

moral purpose of the activity itself.”

Lewis, G., 2015. Museums and their precursors: a brief world survey. In Manual of

curatorship (pp. 23-39). Routledge.

The term museum, like most words, has changed in meaning with time. Today it conveys concepts

not only of preserving the material evidence of the human and natural world but of a major force

in interpreting these things. The idea is perceived positively and the availability of museums as a

public facility is considered desirable in developed and developing countries alike. For countries

with a significant past museums may be seen to have a vital cultural and even economic role to

play. Museums today are, to quote part of the the International Council of Museums (1989)

definition of a museum, `in the service of society and of its development'.

Macdonald, S. ed., 2006. A Companion to Museum Studies. Blackwell. Open access pdf.

A Companion to Museum Studies captures the multidisciplinary approach to the study of the

development, roles, and significance of museums in contemporary society.

Collects first-rate original interdisciplinary essays by leading figures from a range of

disciplines and theoretical stances, including anthropology, art history, history, literature,

sociology, cultural studies, and museum studies

Examines the complexity of the museum from cultural, political, curatorial, historical and

representational perspectives

Covers traditional subjects, such as space, display, buildings, objects and collecting, and

more contemporary challenges such as visiting, commerce, community and experimental

exhibition forms

Monti, F. and Keene, S., 2016. Museums and silent objects: Designing effective

exhibitions. Routledge.

In a society where split-second decisions about the value of things are grounded on how they

look, museum visitors are often drawn to visually striking or iconic objects. This book investigates

the question of the treatment of items on display in museums which are less conspicuous but

potentially just as important as the striking objects, arguing that it is important to show that all

objects illustrate potentially interesting cultural contexts and content. The authors explore the

disciplines of architecture, design, cognitive science and museology and offer a methodology by

which the quality of museum exhibitions can be judged from a visitor-centred perspective. They

provide new insights into the visitor-object encounter and the relationship between visitors,

objects and museums. In addition the book offers a set of useful practical tools for museum

professionals - for audience research, evaluating museum displays, and for designing new

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galleries and striking exhibitions. Richly illustrated with photos and diagrams, and based on

studies of famous galleries in world-renowned museums, the book will be essential reading for all

those concerned with creating effective exhibitions in museum.

Gonseth, Marc-Olivier, 2014. One or two things i’ve come to know about

museums. THEMA. La revue des Musées de la civilisation, 1(1), pp.33-48. Pdf

What is truly important is the need to reinvent a new kind of museum space, untainted by the

scourge of institutional and administrative madness, unaffected by political and right-thinking

pressures, unconstrained by the exigencies of marketing or immediate profitability: a forum where

the awkward questions can be asked and efforts made to examine them in greater depth and

answer them through a free and open exchange of ideas. Such a forum would constitute a

meeting point at the confluence of the various dimensions of museology: the material and the

immaterial, science and the arts, research and pleasure, criticism and poetry – fertile ground for

comprehensive analysis and the search for meaning.

Lynch, B., 2014. Generally Dissatisfied’: Hidden Pedagogy in the Postcolonial Museum. THEMA. La

revue des Musées de la civilisation, 1(1), pp.79-92.

This paper argues that residues of the colonial past continue to haunt the realities of the

postcolonial present deep inside even the most progressive curatorial and public engagement

practices in museums. We carry legacies of resistance to change and prejudice towards others

from diverse communities (including originating and diaspora) that are embedded in the bricks

and mortar of the museum. Examining case studies of committed and socially engaged museum

practice, the paper argues that the continuing evidence of dissatisfaction by both those on the

delivery and receiving end of museum engagement and participation practices has its roots in the

museum’s identity as an educational institution. The paper will show that a central weakness of

postcolonial museum practice lies in the centre/periphery role of museum pedagogy. Examining

the lack of understanding of the “critical”, in the critical pedagogy of the museum that undermines

well-meaning partnerships and participation with communities near and far, the paper also argues

for a thorough review of engagement practices that may fundamentally challenge the “learning”

role of the museum and lead to a liberatory rather than conciliatory postcolonialism in museum

practice.

Nielsen, J.K., 2015. The relevant museum: Defining relevance in museological

practices. Museum Management and Curatorship, 30(5), pp.364-378.

This article takes a look at the concept of relevance as it is discussed in connection with

museological development and participation. Museums throughout the world seek to create

relevant experiences in many ways and to varied audiences. Yet, the concept of relevance has

rarely been defined in connection with museology. To become relevant organisations, it is

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essential that museums form new contemporary articulations to match new participatory

practices. This paper will look at a few theoretical concepts of relevance in order to define the

term in a museological context. Three different examples that each has attempted to implement

relevance in the museum sector will be described as well: one on political level, a nationwide

programme of contemporary collecting and finally a direct participatory exhibition approach. Each

initiative has been created from a wish to develop, innovate and experiment with collections,

visitor interaction, cooperation and political influences on cultural heritage.

Panas, N., 2016. Development paradigms of modern museums. In Litteris et Artibus. Lviv

Polytechnic Publishing House.

The article outlines the current paradigms of museum’s development as the main presentator of

historical and cultural heritage, considers the leading trends among European museums, the main

problems of concerning the interpretation of funds of museums in the XXI century. Great attention

is paid to the analysis of negative tendencies in the development of cultural industry, dictated by

the imperatives of market relations.

Simpson, M.G., 2012. Making representations: Museums in the post-colonial era.

Routledge. Pdf

…. despite the history of colonialism in which museums are inextricably enmeshed, museums are

now undergoing a radical change in the way that they function and in their relationships with the

cultures represented in the collections; a change which reflects shifts in the relationship between

dominant western cultures and those of indigenous, minority, and suppressed cultures

everywhere. There is recognition amongst museum professionals throughout the world that

museums have not been providing adequately for the needs of culturally diverse communities,

and that they must create profound changes in their philosophies and activities if they are to

address these needs.

… displays are not about collections in glass cases, but about relationships - between individuals,

between museums and communities, and between peoples of different cultures - relationships

which need to be built upon respect, tolerance, understanding, and appreciation of difference and

similarity.

Smith, Charles S. The future of the Museum. In A companion to museum studies (open

access book), pp.543-554. Pdf

The first principle is that museums need to represent the cult of the real. There is no point

pretending that museums can operate except as what they were founded to be – places that can

act as repositories of objects from the past, things that people have wanted to preserve from the

past into the future.

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The original impulse of a museum is contained in the idea that it represents the cargo of the past

on consignment into the future and that we in the present are expected to be witnesses to these

things which are in some way precious or special or beautiful or illuminating.

The most obvious version of the future which has been established as an orthodoxy in current

government thinking and in the wider cultural arena is the set of changes associated with new

developments in information technology and the introduction of the worldwide web.

At present, shops are becoming more like museums – places for visual and aesthetic display –

while museums are becoming more like shops.

We are all also expected to be market-oriented, rather than content-driven. And there is often a

view that academic specialization is in some sense anti-democratic because it necessarily

confines some areas of knowledge to those who have the time and the energy and the good

fortune as well as the ability and the determination to be able to devote their lives to it.

There is also the tendency for museums to reduce the amount of space given over to displays of

threedimensional objects and artifacts and to expand proportionately the space devoted to

temporary exhibitions, shops, and cafés

Another principle is the importance of diversity.

Tzortzi, K., 2015. Spatial Concepts in Museum Theory and Practice”. In Proceedings of the

10th International Space Syntax Symposium.

Since the beginning of space syntax, the field of museums has been a recurrent focus of inquiry

in the syntactic literature. Over the years a body of studies of museums has been accumulated

which use space syntax and its concepts to bring consistency and rigour to the analysis of spatial

layout, and through this to relate museum space to different aspects of how they work. Amongst

other themes, the studies have explored the relation between the layout of space and the

communication of knowledge, museum space as a symbolic system, and the link between spatial

layout and movement. Over the same period, there has been an increasing awareness of the

spatial dimension in the museum studies literature, so much so that the problem of space is now

one of its key themes. This literature addresses such problems as how we can conceptualize

museum space through the idea of exhibitions as ‘texts’ and as ‘maps’, or the role of space in the

‘interactive experience model’ and in the learning experience of the visitor, as well as in the

capability of the museum to embody theories, construct knowledge and produce meaning.

By relating and comparing it with the space syntax literature, the paper brings to the

surface common preoccupations and identifies many parallels between the space syntax

concepts applied in the studies of museums and museological ideas of space, including the role

of space in the collective nature of museum experience, the problem of intelligibility, and the part

space can play in different modes of acquiring information.

22

But beyond these two areas of rich spatial ideas about museums, it will be argued that

there is a third: current museum practice. With the freeing of museum architecture from

stereotypes, and the greater emphasis on ‘the visitor’s encounter with the museum and its

collections’, the later part of the twentieth century and the early twenty-first century has seen

radical experimentation and innovation in the design of museum space. A number of recent

museum projects are analyzed and discussed in the paper, selected to illuminate different ways

in which spatial design becomes part of the individuality of each museum and the distinctive

experience it offers the visitor. It shows, for example, how some cases lead visitors to see intricate

linkages between times, places and objects, reflecting the curatorial idea that cultures interact

with and influence one another, while in others, it gives them an embodied experience of places

and monuments by adding the sense of topography to that of chronology. This examination

suggests that these real museum projects embody concepts of space which are in some senses

more advanced and complex than found in either of the literatures, and so might be said to be

pointing in new directions theoretically. Finding a way to bring together the spatial concepts in all

these three areas will be, it is argued, an important next step in the field of museum research.

Ucko, P. 2016 (orig.1996). Foreword. In McManus, P.M., 2016. Archaeological displays

and the public: museology and interpretation, pp. ix-xi Routledge.

A final problem confronting those responsible for the future of the presentation of the past

concerns the need for a fundamental revolution, whereby the use of the archaeological past is

wrested away from those who control it from their positions of authority. Archaeology currently is

often perceived by the public as representing a conservative and anti-development stance, the

epitome of those forces which they consider to be against 'progress'. Gone are the days when it

could simply be claimed that objects 'on display' will speak for themselves, unaided by contextual

or other educative information easily accessible to the visitor; today's world is more aware of the

deficiencies of past attempts to display archaeology to public audiences. Nowadays the world

should demand the right to know that museum and site presentation practice is embedded in

reliable research about its audience, both in terms of the public's expectations and how best to

communicate with the public in the context of such expectations, and in terms of the most up-to-

date baggage-free interpretations of the evidence from the past. The 21st century aim must be to

encourage intelligent discrimination, by the onlooker, between alternative 'explanations' of the

past. For the archaeologist to afford the evidence to enable such public discrimination demands

the highest level of archaeological skills.

ICOM

https://icom.museum/en/

ICOM Egypt

http://network.icom.museum/icom-egypt/https://icom.museum/en/

23

ICOM Egypt

http://network.icom.museum/icom-egypt/

Perspectives on Egyptian Museums

Amin, Shreen 2016. The Impact of Local Museums in Egypt on their Community and Tourists,

unpublished MA Thesis, French University in Cairo, Egypt.

British Museum, 2018. Displaying Egypt-The annual Egyptological Colloquium, 19-20, 2018.

Open Access

Doyon, W. 2008. ‘The Poetics of the Egyptian Museum Practice’, British Museum Studies in

Ancient Egypt and Sudan 10, 3

El Daly, O., 2016. Egyptology: the Missing Millennium: Ancient Egypt in Medieval Arabic

writings. Routledge.

Hassan, F.A., 1998. Memorabilia: archaeological materiality and national identity in

Egypt. Archaeology under Fire: Nationalism, Politics and Heritage in the Eastern Mediterranean

and Middle East, pp.200-16.

file:///C:/Users/UFE/Downloads/9781134643905_googlepreview.pdf

Hassan, F., de Trafford, A. and Youssef, M., 2008. Cultural heritage and development in the

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Hassan, F.A., 2017. The future of cultural heritage management: Ethics and development.

In Collision or collaboration (pp. 15-27). Springer, Cham.

Hubschmann, C., 2018. The curation of ancient Egypt in the twenty-first century: How should

the present engage with the past?. Australasian Journal of Popular Culture, 7(1), pp.75-91.

Open access pdf

24

Jeffreys, D., 2012. Views of Ancient Egypt since Napoleon Bonaparte: Imperialism Colonialism

and Modern Appropriations. UCL Press.

MacDonald, S. and Rice, M., 2012. Consuming Ancient Egypt. UCL Press.

Macdonald, S. Introduction to Histories, Heritage , Identities. In Macdonald, S. ed., A companion

to museum studies. pp.112-114. Blackwell.

Meguid, O.A.A., 2005. The Nubia Museum's Role in the Community. Museum

International, 57(1‐2), pp.67-72.

Moser, S., 2015. Reconstructing ancient worlds: Reception studies, archaeological

representation and the interpretation of Ancient Egypt. Journal of Archaeological Method and

Theory, 22(4), pp.1263-1308.

Rashed, M.G., 2015. The Museums of Egypt after the 2011 Revolution. Museum

International, 67(1-4), pp.125-131.

Rashed, M.G., 2015. Cairo and its Museums_From Multiculturalism to Leadership in

Sustainable Development. Cities, Museums and Soft Power, pp.165-172.

Rasheed, M. G. 2016. The museums of Egypt speak for whom? CIPEG, No.1., 1-11.

Reid, D.M., 2003. Whose Pharaohs?: Archaeology, Museums, and Egyptian National Identity

from Napoleon to World War I. Univ of California Press.

Reid, D.M., 2015. Contesting Antiquity in Egypt: Archaeologies, Museums, and the Struggle for

Identities from World War I to Nasser. The American University in Cairo Press.

Sheikholeslami, C., and M. Saleh, M. 2000. A Short History of the Egyptian Museum, in the

Egyptian Museum at the Millennium:, A Special Exhibition in honor of the VIIIth International

Congress of Egyptologists, 28 March - 3 April 2000, Cairo, (Cairo, 2000), 85-97.

25

Stevenson, A.E., 2015. Egyptian archaeology and the museum. Oxford University Press. Open

access

Tully, G., 2017. Re-imagining Egypt: Artefacts, Contemporary Art and Community Engagement

in the Museum. Engaging Heritage, Engaging Communities, 20, p.91.Open access

Winegar, J., 2016. A civilized revolution: Aesthetics and political action in Egypt. American

Ethnologist, 43(4), pp.609-622.

Egyptian Museums

مدخل الي فن المتاحف المصرية للنشر .2002رفعت موسي محمد

. مواقع ومتاحف ا}ثار المصرية القاهرة د.ن.1998عبد الحليم نور الدين

سمية إبراهيم و محمد عبد القادر فن المتاحف . داراالمعارف

Alexandria Museums

http://network.icom.museum/fileadmin/user_upload/minisites/icom-

egypt/pdf/Alexandria_Museum_Booklet__.pdf

Grand Egyptian Museums

https://www.besix.com/en/projects/grand-egyptian-museum

https://www.youtube.com/watch?v=nQcRWy3pPYA

Opening of the GEM

https://www.youtube.com/watch?v=GYGWX3GWkxo

Major restoration projects

https://www.youtube.com/watch?v=SiOEZ6yV4q4

On Besix website: Grand Egyptian Museum 21st century resting place for King Tut

https://www.bbc.com/news/topics/c302m85q5xzt/egypt

Egyptian Museum

Part 1 (9'46") - http://www.youtube.com/watch?v=OvmUF3-E7Yk video_1

26

Part 2 (8'42") - http://www.youtube.com/watch?v=XQzCT1_kwOQ video_2

Part 3 (10'10") - http://www.youtube.com/watch?v=bSAB4fnhQfo video_3

Salah

The Revival of the Egyptian Museum. The Egyptian Museum, an Official Document, (Cairo,

2013), 7.

http://www.kairo.diplo.de/contentblob/3926336/Daten/3348650/ku_aegyptisches_museum_01.p

df

Coptic Museum

http://www.egyptianmuseums.net/html/coptic_museum.html

http://cairo.universitypressscholarship.com/view/10.5743/cairo/9789774167775.001.0001/upso-

9789774167775-chapter-26

About preservation efforts undertaken by the American Research Center in Egypt on the murals

which were excavated in Apa Jeremiah’s Saqqara Monastery and Appa Appolo’s Bawit

Monastery.

https://www.arce.org/conserving-and-documenting-egypts-coptic-icons

ARCE’s efforts to record and preserve Egypt’s remaining Coptic icons

Levitt, P. and Parrs, A., 2017. Hiding in plain sight: the Coptic Museum in the Egyptian cultural

landscape-draft. International Journal of Cultural Policy, pp.1-14.

Alexandria University Museum

Haggag, M.The Educational Museum of the Faculty of Arts », in K. Savvopoulos (éd.),

Proceedings of the First Hellenistic Studies Workshop, Alexandria, 12-18 july 2009, Alexandrie,

2010, p. 110-123.

Museum of Islamic Art, Cairo

Museum of Islamic Art https://www.youtube.com/watch?v=A3zyxbCpZwo

https://www.youtube.com/watch?v=FN1YvZhLpUo&list=PL9BB201ABFAB4C28B&index=86

Museum of Islamic Art – Ministry of Antiquities staff (2016)

قضايا . دور متحف الفّن اإلسالمي بالقاهرة في التعريف بالتراث العلمي اإلسالمي ـ دراسة ميدانية ـ.2017نصيرة عزرودي,

.pp.47-66تاريخية, 5)6(,

27

Abdeen Palace Museum

عاما 150بانوراما لتاريخ مصر عبر متاحف قصر عابدين...

، متحف هدايا الرئيس، متحف الفضيات. عاطف غنيم . المجلس األعلى لآلثار المتحف الحربي

Hasian, M. and Wood, R., 2010. Critical museology,(post) colonial communication, and the

gradual mastering of traumatic pasts at the Royal Museum for Central Africa (RMCA). Western

Journal of Communication, 74(2), pp.128-149.

Wintle, C., 2017. Visiting the empire at the provincial museum, 1900–50. In Curating empire.

Manchester University Press.

Manial Palace Museum

Lord, B., 2006. Foucault’s museum: difference, representation, and genealogy. Museum and

society, 4(1), pp.1-14.

https://ar-ar.facebook.com/mohamedalipalace/

https://www.youtube.com/watch?v=U7E2XTMe6eY

Beit al-Umma, Saad Zaghloul Museum

http://sis.gov.eg/Story/70157?lang=ar

ثورة الهالل والصليب«.. متحف بيت األمة

https://www.mobtada.com/details/499288

Danks, Michael, Marc Goodchild, Karina Rodriguez-Echavarria, David B. Arnold, and Richard

Griffiths. "Interactive storytelling and gaming environments for museums: The interactive

storytelling exhibition project." In International Conference on Technologies for E-Learning and

Digital Entertainment, pp. 104-115. Springer, Berlin, Heidelberg, 2007

28

Macdonald, S.J., 2012. Museums, national, postnational and transcultural identities. Museum

studies: An anthology of contexts, pp.273-86.

Ethnographic Museum, Cairo

. دليل المتحف اإلثنوغرافي. الجمعية الجغرافية المصرية1976محمودالنحاس

E. Perrin, « Le Musée d’Ethnographie de la Société de Géographie d’Égypte », in Gradhiva, 2

(2005), p. 5-29.

Shelton, A.A., 2006. Museums and anthropologies: practices and narratives. A companion to

museum studies, pp.64-80.

Vermeulen, H.F., 2013. Origins and Institutionalization of Ethnography and Ethnology in Europe

and the USA, 1771–1845. In Fieldwork and footnotes (pp. 53-73). Routledge.

Design Theory and Strategy

Macdonald, S. ed., 2006. Introduction to Visitors, learning, Interacting In A companion to

museum studies . pp. 320 -322. Blackwell.

Hein, G.E., 2006. Museum education. In Macdonald, S. ed.,. A companion to museum

studies(Vol. 39). Blackwell., pp.340-352. Pdf

Hooper-Greenhill, E., 2006. Studying visitors. A companion to museum studies, pp.362-376.

Scott, C.A. ed., 2016. Museums and public value: creating sustainable futures. Routledge.

Exhibition Project process

Lord, B. and Piacente, M. eds., 2014. Manual of museum exhibitions. Rowman & Littlefield. Pdf

Bedford, L., 2015. The art of museum exhibitions. Dimensions, 37. Pdf

Museum Planning

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Lord, B. and Piacente, M. eds., 2014. Manual of museum exhibitions. Rowman & Littlefield. pdf

Bogle, E. Museum Exhibition Planning and Design, Altamira Press, 2013

Interpretive Strategies

Hein, G.E., 2006. Museum education. A companion to museum studies, pp.340-352. Pdf

Casey, V., 2003. The museum effect: gazing from object to performance in the contemporary

cultural-history museum. Archives & Museum Informatics, 2, pp.1-21.

Lord, B., 2006. Foucault’s museum: difference, representation, and genealogy. museum and

society, 4(1), pp.11-14.

The Virtual Museum

Aurindo, M.J. and Machado, C., 2016. MUVITUR®(virtual museum of tourism): a new approach

to tourism history. Journal of Tourism History, 8(3), pp.300-309.

Carrozzino, M. and Bergamasco, M., 2010. Beyond virtual museums: Experiencing immersive

virtual reality in real museums. Journal of Cultural Heritage, 11(4), pp.452-458. Pdf

Selvam, A., Yap, T.T.V., Ng, H., Tong, H.L. and Ho, C.C., 2016. Augmented Reality for

Information Retrieval Aimed at Museum Exhibitions using Smartphones. Journal of Engineering

and Applied Sciences, 100(3), pp.635-639. Pdf

M.Henning 2006. New Media in Macdonald, S. ed. A companion to museum studies, p. 302-

318. Blackwell

Hassan, F. 2018. From Virtual Tours to Integrated, Interpretive, Interactive, Integrated Digital

Technologies (IIIDT) in Guided Museum Tours . Manuscript, UFE. Availabale upon request from

author

30

List of Participants

for the EduMust Museum Training Course (UFE-Mariemont) 19-24 January 2019

I. Alexandria University

1 Mona Abd El Ghany Aly Haggag Staff AU Fac. of Arts

2 Fathia gaber ebrahim esa Staff AU Fac. of Arts

3 Nermin Noshy Botros Gebraail Mankarios Staff AU Fac. of Arts

4 Mona Ashour Abdalfatah Hassan Soukar Junior Staff Fac. of Arts

5 Dina Atta Mohamed Mahmoud Atta Junior Staff Fac. of Arts

6 Heba Mahmoud Saad Staff AU Fac. of Tourism

7 Dina Mohamed Ezzeldin Tawfik Ahmed Staff AU Fac. of Tourism

8 Heba Magdy Khalil Mohamed Staff AU Fac. of Tourism

9 Reham Ahmed Khairy Mostafa Elshewy Staff AU Fac. of Tourism

10 Sara Mostafa Ragab Elsayed Junior Staff Fac. of Tourism

II. Helwan University:

1. Prof Rania Ali Maher Abdelfattah Hegazy

2. Dr. Noha Shalaby

III. MOA

1. AbeerabdElaziz Ahmed Egyptian Museum

2. Heba Abdel Latif Mohamed Egyptian museum

3. Zeinab Fares Mohamed Ibrahim Egyptian museum

4. Gehan Azmy Salip Coptic Museum

5. Marline Farag Naguib Coptic Museum

6. Abdulhamid Abdulsalam Muhammad Islamic Museum

7. Alaa El din Mahmoud Islamic Museum

8. Ebtsam Mahmoud Gayer Anderson museum,

9. Safaa Hanafy Ahmed Gayer Anderson museum,

10. Yasmeen Ebrahim Abed alkhalk Textile Museum

IV. Damanhur University 1- Abir kassem 2- Hanan Elshafei 3- Samah Elsawi

31

V.Ain Shams University Islam Mustafa Alwakeel VI. Faiyum University Mohamed Nour Mohamed Ali Elbarbary VII. Damietta University Marwa Hassan VIII.UFE Mohamed Ismael Noran El-Sherif Gehane Zaki Heba Saad Amira Lachin Maram Zakaria Ashraf el Sherif Wessam Fekry Dina Abu Zeid Hadeer Sa;id IX. South Hampton Heba Mahmoud Saad Abdelnaby Ziad Morsy X. DUTH Antonios Koutrourmpass Eirini Chara Tsetine Effimia Lianou George Angelis *Total Number of participants : 44

32

Evaluation of

Display and Interpretation of Museum Exhibitions

Name:

Age:

Gender:

Occupation

Residence:

Educational Level:

Interests:

Museums visited over the last 2 years:

Name of Museum:

Duration of visit in minutes:

Have you visited this exhibition before? When?

What do you know about the collection of this museum?

Why should you or anyone else visit this museum?

What do you expect to get from your visit (knowledge (please explain), information (on what?),

art appreciation, inspiration (for what?), recreation and entertainment, other:

33

Which exhibition did you visit?

How long did you expect to spend viewing this exhibition?

How long did you spend viewing this exhibition?

Was it easy to find your way to this exhibition?

Were any of the following materials available to you:

Museum plan Exhibition brochure Exhibition guidebook

Is the exhibition permanent or temporary ?

How is the exhibition organized:

By theme: Chronology Materials Utility region societal Other

Does the exhibition tell a story? Yes No . If does, please specify:

What information did you gain from this exhibition?

What was the purpose/mission of this exhibition?

What is intended target audience for this exhibition? General public specialists school

children , university students tourists , Others , please specify

What did you expect to learn from this exhibition?

Were you satisfied with the information you gained? Evaluate on a scale of 1 (poor) to 5 (high)

1 2 3 4 5

Did the exhibition have an emotional impact on you? Yes No . How do you describe your

emotional reaction?

Does the exhibition have an introductory space with maps, chronology, mission and objectives

of exhibition?

Describes the signs and icons used in the exhibition:

34

How do you describe the layout of the exhibition (make a sketch drawing)

Is the layout structured in a boring manner? Or does it invite exploration and stimulate

interest?

Show cases and objects of different sizes, materials, and textures are organized in a pleasing

arrangement. Yes No .

Was there a clear flow/direction of the visit? Yes No .

Is the space (rooms, galleries, etc) allocated to the exhibition adequate? Yes No . If not,

why?

Was it easy to find your way through the exhibition? Yes No .

Was there other visitors in the Exhibition (adult Egyptians, school children, tourists), was it

crowded?

In general, the Exhibition was attractive: impressive ordinary poor inspiring

The overall setting of the exhibition was inviting dis-inviting pleasant

How did you find the color scheme of the exhibition?

How did you find the lighting? What are the sources of lighting? How is lighting organized.

Make a sketch.

What is your evaluation of the walls, floors, temperature and humidity, etc.

How did you find the show cases? Make a sketch. What the type of showcases and show

devices used (stand alone, wall cases, cabinets, niches, on shelves, etc).

35

Was the space crowded with show cases and objects? Yes No .

Were the show cases crowded with objects? Yes No .

How did you find the organization of the objects in the showcases?

Satisfactory confusing disorderly

What is your commentary on the quality of the show cases, their dressing, lighting and security.

What changes to lighting would you suggest?

Were there objects that should have been given more space? Please specify:

The lighting and installation of the objects is satisfactory? Yes No .

Were the objects appropriately labelled? Yes No .

Were the labels legible? Yes No . Comment on size and style of fonts, size of label,

background, material

Were the labels informative? Yes No .

From your point of view, what information was missing from the labels?

Were the text panels and graphics satisfactory? Yes No .

Were panels, photographs or illustrative materials placed close to the collection to be viewed?

Yes No .

Were the objects displayed in a manner that makes them easy to see (distance from viewer,

height relative to viewing level, inclination of pedestals) : Yes No .

Draw a sketch of one of the showcases.

36

Was there any audiovisual guides available?

What use is made of films, videos, and other audiovisual materials?

Information on the history of the collections is provided? Yes No .

Information on the archaeological and cultural context of the collection is provided?

Yes No .

Which objects attracted you? Attach a sketch or a photography

Did you read the labels? Yes No Occasionally .

In your judgement the display succeeds as:

an educational display with helpful information on the theme of the exhibition.

an aesthetic experience

an inspirational experience that motivates you to engage in a creative activity.

None of the above, a collection of objects with very little interpretation, lacks aesthetic

appeal and poor educational content.

Does the exhibition reveal how the objects related to the society that produced them? Explain:

Does the exhibition refer to the social, intellectual, artistic, religious, symbolic significance of

the objects?

Did the exhibition provide alternate explanations, different views or multi-vocal perspectives?

Was there any interactive activities?

37

Was there any attempt to relate the objects or theme to contemporary topics or objects.

Did the exhibit discuss how an object relate to a scientific or social breakthrough with an impact

on society and humanity? For example, the relationship between serekhs and the institution of

kingship, labels and tokens on writing, palettes and spirituality?

Does the exhibition reveal a promotion of a political idea? How (examine, for example, the

significance of hunting, weapons and medals in Abdeen museum). Does the exhibition fail to

shed light on the political events associated with the museum, the exhibition or the collections).

Does the exhibition refer to significant historical events as may be revealed by the objects

displayed?

Does the exhibition answer questions you may have on the period or culture to which the

exhibition refers?

Does the exhibition provide panoramas, panels, artwork, audiovisual materials, replicas,

models, or other devices to relate objects to their living context (houses, tombs, storage caches,

factories, commemorative events, natural environment?

In your opinion, why was this exhibition mounted? Does it reflect a passion of collecting exotic

or art objects? Does it send a message about the curators and their professional orientations? Is

it contemporary (addressing issues of concern to the public today?)

Is there a “big” idea behind the exhibition?

What does it tell you about how the past relates to the present? To identity? Diversity?

Origins?, change? Collecting culture? Function of museums?

In general what did you like most about this exhibition?

38

What did you like least?

In general, what did you gain from this exhibition?

From your own academic background, was the content of the exhibit accurate, up-to-date,

obsolete?

What thoughts, associations or emotions were triggered by this exhibition?

What are your suggestions for improving the exhibition?

39

Museum Exhibition, Display and Interpretation

Certificate

This is to certify that Fathia Gaber Ibrahim Esa has attended the Training

course in Museum Exhibition, Display and Interpretation organized jointly by

Cultural Heritage Management Program, French University in Egypt and the

Royal Museum of Mariemont, in the context of the Edu-MUST Project, held

at the Center for Continued Education, the French University of Egypt,

from January 19 to January 24, 2019.

Prof. Taha Abdallah Prof. Fekri Hassan Dr. Marie-Cécile Bruwier

Presidet (Acting), Course C0-Director Course Ci-Director

French University of Egypt French University of Egypt Royal Museum of Mariemont

40

Course Evaluation

We had 23 Evaluation sheets the following points

were the main points in the evaluation forum

Overall Evaluation

Excellent 26%

Very Good 48%

Good 17%

No answer 7%

Comments:

The participants appreciated the structure of the

program which included lectures by eminent

experts in the afternoon and museum visits in the

morning. They expressed their appreciation for

having lecturers who are very knowledgeable and

experts in different museum specializations.

Others commented on the admission process

which led to a good selection of participants from

Egyptian museums and universities allowing for

sharing of ideas and experiences of this

community for the first time in Egypt.on the

presentation by

The participants commented positively on the

lectures by Prof. Nikos on digitial technologies in

museums, Dr. Mahmoud Mabrouk on use of

computer visualization and 3D modelling in

museum design, Sheren , Fatma on Children

Museum, Prof. Hassan on how to develop the

concept of am Exhibition of the rise of Egyptian

civilization, and Dr. M. Gamal on planning

exhibitions..

The organization of the traing workshop was

Rated as:

Excellent 22%, very good 22%, Good 39%.

The main concerns were that some museums could not be visited because of time limitations and that

some lectures had to be re-arranged on account of unexpected changes in the last minute by lecturers.

Some lecturers also exceeded their allowed time. In general discussions were encouraged within the

available time allocated to the sessions.

26%

27%

47%

Evaluation of UFE-MRM Training Course

Excellen Very Good Good

26%

27%

47%

Organization of UFE-MRM Training Course

Excellen Very Good Good

Evaluation of Scientific Content

Excellent Very good 4 good

41

The scientific content of the course was regarded as

Excellent 33%, Very good 19%, Good 38%, useful 9.5%.

It was regarded as Very good and very varied and opened areas the participants knw nothing about, that

it was "very useful we were not to receive it in another place and the experiences of many scientific

experts”,” Good and documented photos and sources” that “The scientific content is rich and fulfills the

purpose of the subject of training”, and that it was “A wonderful scientific content with all the different

views “.

Lecturers

The Lecturers were rated as:

Excellent 28%, Very god 22% and good (50%)

Other than that the lecturers were among the best in their

field, it was reported that “ Everyone is able to express his

idea and welcomed receiving questions and responses”.

Educational materials and methods

The participants commented that the material was varied,

diverse and valuable, that it was “interesting and distinctive”, and that the list of readings was

“powerful”. They participants found the use of graphics and power point presentations effective, that

the program was “targeted and specialized”, and “useful for all disciplines”.

Recommendations:

The participants made the following recommendations:

Develop as training courses on education, E-museums and digital technology and museum

design.

Develop a contact list for more networking and brainstorming of better outputs

Follow up and answering inquires

The course should be held at a specific time each year with a new scientific subject and with

different field trips

Increasing the number of joint workshops such as (updating the exhibition in a museum)

Complete the interest in the exhibition - searching for a way to activate it with specialists from

the Ministry of Antiquities as well as correct the negatives found in some museums that we

visited

Making the idea of a temporary exhibition with the same participants in the program

I hope that such courses will be held annually and be permanent - and to be called a code and its

own like HB program in the British Museum

Add how to link between museums interpretation and the formulation of the museum's

educational strategy

Need to increase the workshops in the programs

Create a communication group and visits the museums for a period of time so that we can visit

most museums

Evaluation of Lecturers

Excellent Very good 4 good

42

Give the opportunity to volunteer in any work special exhibition museum to the weight of what

we learned with real experience

Dissemination of experience in universities and others to teach the Egyptian society that there is

a specialized field called museum science