From Representation to Participation: The Voice of the Immigrants in Italian Migration Museums

VOLUME 6 ISSUE 3 The International Journal of the Inclusive Museum __________________________________________________________________________ From Representation to Participation The Voice of the Immigrants in Italian Migration Museums ANNA CHIARA CIMOLI ONMUSEUMS.COM THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM http://onmuseums.com/ First published in 2014 in Champaign, Illinois, USA by Common Ground Publishing University of Illinois Research Park 2001 South First St, Suite 202 Champaign, IL 61820 USA www.CommonGroundPublishing.com ISSN: 1835-2014 © 2014 (individual papers), the author(s) © 2014 (selection and editorial matter) Common Ground All rights reserved. Apart from fair dealing for the purposes of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please contact <cg-support@commongroundpublishing.com>. The International Journal of the Inclusive Museum is a peer-reviewed scholarly journal. From Representation to Participation: The Voice of the Immigrants in Italian Migration Museums Anna Chiara Cimoli, Politecnico of Milan, Italy Abstract: A survey of the current situation in Italy demonstrates a conflict between the well-rooted presence of migrants and the resistance of museums on issues related to immigration. The paper analyzes recent examples of Italian migration museums, describing the negotiation fields and the underlying participatory practices in three particular examples: the Galata-Museo del Mare e delle Migrazioni in Genoa, the Museo Narrante Nave della Sila in Calabria and the Migration Museum in Lampedusa. What is the role of the migrants in these museums? How do they take part in the narration? Which museums have listened to the plight of the migrants, and how? The thesis is that migration museums are still rather immature for what concerns participation and community involvement, but they may learn a great deal, notably from both anthropology and contemporary art museums. Keywords: Diversity, Multilingualism, Migrations, Representation, Participation, Heritage, Education Dynamizing the Heritage T he focus of this article is primarily on the pioneering role of anthropology and art museums in Italy in the production of participative practices directed towards the inclusion of migrants. The second part consists of a reflection on how these practices are 1 expressed, or may be expressed, in museums dedicated to migration. By ‘inclusion of migrants’ I refer to the development of tools designed to invite, consult and collaborate with the so-called ‘new citizens’, regardless of any curatorial outcome from this collaboration. These tools can include interpretation of the collections, negotiation of their meanings, and actualization of the museum heritage through comparison, narration, and evaluation conducted in partnership with the migrants. In a broad sense, I refer to a debate zone where educators, curators, museum mediators, and migrants - individuals or groups - can meet and share thoughts, memories and interpretations, therefore enriching the complexity of the knowledge built through the museum experience. This very open and flexible definition of ‘migrant inclusion’ becomes useful and meaningful practice only when it stems from clear determination and conviction on the part of the museum, when it goes hand in hand with rigorous evaluation methods and when it translates into a new cultural attitude towards the migrant audiences. From a methodological point of view, both as a museum educator and as a scholar, I follow the lead of Simona Bodo and Silvia Mascheroni (2012), who define heritage as a set of goods to be "put back into circulation" (in terms of a procedural, dialogical and circular vision). They consider the museum as "a place of encounters and relationships" which should welcome, and indeed encourage, multiple viewpoints and interpretations, and heritage education in an intercultural context as a transformative practice. In this regard, "what makes a museum's educational process inter-cultural [...] is the development in the public, in all kinds of public, of those skills and competences that are increasingly necessary in a world of growing contact and exchange between different cultural practices, such as cognitive mobility, cultural decentralization, the problematization of one's own point of view, and the recognition of the multiple identities which 1 This article ensued from the Research Project MeLa* - European Museums in an age of migrations, funded within the European Union's Seventh Framework Programme (SSH-2010-5.2.2) under Grant Agreement n° 266757. The International Journal of the Inclusive Museum Volume 6, 2014, www.onmuseums.com, ISSN: 1835-2014 © Common Ground, Anna Chiara Cimoli, All Rights Reserved Permissions: cg-support@commongroundpublishing.com THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM each of us carries within" (Bodo and Mascheroni, 2012: 16. Other relevant references regarding ‘cultural decentralization’ include Sandell 2002; Sandell 2007; Basso Peressut and Pozzi 2012; Sandell and Nightingale 2012; Golding and Modest 2013). The Inclusion of Immigrants: Some Examples from Italian Anthropology and Art Museums Reflection on the inclusion of immigrants in museums began, in Italy as in most European museums, in ethnographic and anthropology museums, particularly from the late 1980s. Only more recently this endeavor has affected art museums. Without attempting to present an overview of all the numerous practices and case studies in the field,2 I will briefly present some recent and, I believe, effective examples, chosen in virtue of their exemplary nature under the methodological point of view. These include the exhibition Soggetti migranti. People behind the things, designed within the framework of READ-ME2, Reseau Européen des Associations de Diaspora et des Musées d’Ethnographie, at the Museo Luigi Pigorini in Rome (2012-13). The project has been shared by the curators of the museum and representatives of some diaspora associations from a variety of countries (Associna, Buudu Africa, Kel’Lam non-profit organization, Mexican Catholic Community in Rome, Peruvian Community in Rome). The working team initially has identified a group of objects from the museum’s collections, chosen because of their cultural significance. Secondly, the team has reflected on the layout of the exhibit display in which the associations involved could choose to ‘adopt’ objects. The adoption method was also chosen in the case of TAMTAM, an intercultural collaborative practice which took place in the PIME Museum in Milan in 2011-12, in collaboration with the ISMU Foundation. The PIME Museum displays objects brought by missionaries from all over the world. Here the migrants - both experienced museum mediators and ‘simple’ individuals mainly from Latin America, Africa, the Philippines and Eastern Europe - were involved by the project staff in a storytelling experience which started from their own personal history and converged on an object adopted not only because of its aesthetic quality, but also because of its meaning and the resonance it had with the individual’s memory. Among the many other intercultural projects aimed at involving the migrants developed in recent years, I would like to cite The Art of Making Difference (Museum of Anthropology and Ethnography of the University of Turin with Associazione Arteco); Tongue to Tongue. A collaborative exhibition (University Museum of Anthropology and Ethnography with the Centre for African Studies in Turin); Choose the Piece (City of Modena Museum of Archaeology and Ethnology); Plural Stories (Ettore Guatelli Museum Foundation, Ozzano Taro di Collecchio), as well as the professional courses for museum mediators developed in Turin, Milan, Bergamo and other cities.3 In the last decade, the input and stimuli nurtured in museums of ethnography and anthropology were developed by art museums, and the dialogue between the two types of institutions became more and more fruitful. In Milan, an interesting case is that of Brera: tutta un’altra storia (Brera: another story), developed in the neoclassical galleries of the State Pinacotheque. Here, museum mediators with a foreign background tell a somewhat ‘new story’ of the history of art, leading the visitors through a path they have designed themselves, starting from an autobiographical reflection, and the ability of creating connections between different eras and artistic movements through personal associations. 2 In this context, it is worth highlighting the importance of Italian participation in research programmes funded by the European Union, such as "Museums Tell Man Stories" (2006-07), "Map for Id" (2007-09) and the LEM-Learning Museum (2010-13), which have represented a significant driving force for Italian museums. 3 Up-to-date information regarding all these projects can be found at http://fondazione.ismu.org/patrimonioeintercultura/index.php?lang=2 (last accessed 23rd May 2013). 112 CIMOLI: FROM REPRESENTATION TO PARTICIPATION Some Italian museums of contemporary art, in particular those of Turin, Bergamo, Milan, have been able to take a step further, shifting the focus from collections to practices of producing meanings, not wishing to transform anyone into an artist, but rather working with various tools of contemporary art - such as new technologies - in a collaborative way. In some cases, the work with immigrant audiences has not entered the museum at all. On the contrary, it has been the museum which has ventured out into the local area, with its own methodology and specificities, and learned a great deal. Turin has been a pioneering city from this point of view. The Castello di Rivoli and the Fondazione Sandretto Re Rebaudengo - the first a city museum, the second a private one together with many other institutions, have set the standard for an open dialogue with the local community, the schools, the educators and the university. (Bodo et al. 2009; Pecci 2009; Pironti and Zanini 2010). For many years, the Castello di Rivoli, among its many other activities, has operated a permanent project known as Flying Carpet, set up in the San Salvario neighborhood, one of the largest immigration areas of the city (mainly from northern Africa) and which has, over time, become a powerful vehicle for transformation. The Fondazione Sandretto Re Rebaudengo has developed several projects of an inter-cultural nature with adolescents and young adults, in partnership with other organizations in the area, which have had very positive effects in terms of approach to the museum, a growing sense of citizenship, and the acquisition of skills. The GAMeC-Gallery of Modern and Contemporary Art in Bergamo is also very active in this field and has been playing a pioneering role. Figure 1: Windwörthen, an intercultural workshop organized by the Fondazione Sandretto Re Rebaudengo, Turin. Courtesy of the Fondazione Sandretto Re Rebaudengo, photo Andrea Guermani Up to this time, to simplify slightly, we have encountered the following methodological approaches: the adoption of the object (very common in museums of anthropology); venturing out into the local area (often used by museums of contemporary art), and autobiography (transversal). Another case is that of the Museo del Novecento in Milan. The subject here is translation from the native language into Italian, and from visual to verbal language. The Museo del Novecento, dedicated to the art of the twentieth century, opened in 2010 in Piazza Duomo, in the historic center of the city. Along with a group of freelance colleagues of the ABCittà cooperative4, we proposed several inter-cultural educational projects, which are now routinely offered to the public. The workshops share a common methodology. First and foremost, 4 www.abcitta.org; http://museodelnovecento.org/didattica/edu900-scuola, last accessed 21st May 2013. 113 THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM there is no ‘making of art’: no coloring, cutting, or assembling. Rather there is group debate, as per the methodology of peer education (consequently, having identified this methodology as the most appropriate for working with migrants, we cater only to adolescent and adult visitors, not children). Secondly, all the workshops take place in the museum's galleries, in the presence of the exhibits. Lastly, since we refer to an inter-cultural methodology, we do not exclusively address an audience of migrants, but rather a mixed, inter-ethnic audience consisting of high school classes and adults.5 Among the workshops offered to the public, the one called The Words to Say It, a language teaching workshop in the museum, in my opinion displays the most innovative features, and has attracted people to the museum who, otherwise, by their own admission, would never have visited. I refer to students of Italian language schools for migrants, among them refugees and asylum seekers, specifically those in Italy as a result of the Libyan crisis. Figure 2: A workshop with migrant audience in the Museo del Novecento, Milan. Anna Chiara Cimoli, 2013 The route through the museum starts in the room dedicated to Lucio Fontana. Here, without too much preamble, participants are invited to lie down and look at a work from 1951 on the ceiling, and to encourage the evocation of images drawn from their own memories, or via free association. This first task, which is a kind of ‘ice-breaker’, often provides the opportunity to say something about oneself, and for the guide to ‘weigh up’ the linguistic level of the group. In the next room, dedicated to the works of the 1950s and 1960s, the focus is on the use of materials such as glue, sand, lint, graphite dust, iron, cement and pumice. The comparison with the works of art allows associations with one’s experience of those materials (cement is used by construction workers, glue is used by children in their homework, and some materials are often used in local handicrafts…). The final activity is dedicated to a map by Alighiero Boetti, 1989, which is part of a series dedicated to the geopolitical representation of the world over the years. Here the activity can be manifold. It goes from identifying one’s country of origin and reflecting on the symbol 5 In Lombardy, the percentage of non-Italian students in compulsory education is 13.2%, amounting to about 70,000 students. In high school, this decreases to 9.5% - a total of 35,000. Source: Dossier Statistico Immigrazione Caritas Migrantes 2012. 114 CIMOLI: FROM REPRESENTATION TO PARTICIPATION representing each nation (in this case it is the national flag but, according to the group, it may be the colors of the football team, the food, the most representative monument, etc.), to an observation on the technique used. For advanced level groups, a reflection on the concept of ‘authorship’ is also possible, often crossing over into a consideration of the role of new media. Finally, the group takes a few minutes to discuss what was most interesting and what the participant will take away from the experience. This is always very useful in designing and organizing subsequent meetings. We also ask group leaders to send feedback to help us further improve future meetings. Other museums, such as the British Museum, the V&A, the Smithsonian and the Getty, offer language courses for adults. However, the emergency surrounding the landings in Sicily and the arrival of many asylum seekers of all nationalities without, among other things, a common language, presents us with the need to communicate with people (who are sometimes illiterate) as soon as they arrive. It would appear that, in this case, the museum has been able to seize the urgency in real time, showing itself to be a true antenna at the service of society. 6 It would be important, in the future, to collect the output of these workshops (all participants are given little notebooks, where they can write or draw following some written suggestions) and to ‘return’ them to the audiences. The richness of the interpretations, the coming-and-going of memories between a ‘here’ and a ‘there’, and the openness towards the works of art constitute a precious gift to the museum and the city. The Migrants’ Voice in Migration Museums I would like to focus now on the practices of inclusion of migrants in Italian migration museums. How do these museums deal with the migrants living in their local area? What tools do they use to take into account their experiences, opinions and challenges? Can we apply the ‘nothing about us without us’ rule here? I would think not. In Italy, there are about thirty migration museums, for the most part rather small and local, usually focused on emigration from the country. Only recently have some institutions decided to switch from a static, historical narrative of the past to a more dynamic, multifaceted and contemporary approach (Tirabassi 2007a, Tirabassi 2007b). The paradox is that, in a land so affected in the past by emigration to the ‘new world’, the museology of migration is still very immature, and struggles to see the phenomenon of migration as a permanent condition, innate to humanity itself (Livi Bacci 2010; Steiner et al. 2012). There are thus many museums dedicated to emigration, but there is still no wide-ranging treatment which balances both emigration and immigration, and which has the power to express both in an inclusive way and effectively address the tasks of inter-cultural training, education towards dialogue, and the prevention of prejudice. However, leaving aside the many missed opportunities, I would like to cite three cases which I consider to be examples of a more dynamic and a more inclusive process. The first is that of the Galata-Museo del Mare e delle Migrazioni in Genoa, a maritime museum which in 2010 decided to dedicate a permanent section to the theme of migration (Cimoli and Buonasorte 2012, Cimoli 2013). 6 Simona Bodo includes the practice of teaching in the museum in inter-cultural actions to "integrate new citizens into the dominant culture," and is aware of its limitations; this practice would tend to strengthen "a static, substantialist notion of heritage, which is seen primarily as a bequeathed inheritance to be safeguarded and transmitted" (in Pecci 2009: 78). This would be true if we limited ourselves to teaching the language simply by naming the objects, without creating any kind of dynamic or interchange within the group, or elicit any feedback from the students and their group leaders. The premise, however, is that the canvas on which a painting is produced can become, metaphorically, a round table - a place for discussion, expression and therefore of learning. I agree with Bodo, however, when she says that if these practices are conceived as an end rather than a means, they are doomed to failure or, at best, become merely isolated episodes. 115 THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM The museum design is highly immersive, multimedia-oriented, and based on environmental reconstructions, somewhat reminiscent of the examples of Bremerhaven German Emigration Center and Hamburg BallinStadt. The section dedicated to immigration differs from that dealing with emigration, but is adjacent to it. The link between the two is very clearly explained. It starts in the year 1973, when the migration balance became positive, and is arranged by topic: travel, school, food and work, with a section dedicated to the landings in Lampedusa. At the end of the exhibition, the ‘niches of reflection’ offer the possibility to consolidate the information gathered by responding to a series of quizzes, with an ironic nod to the reality shows. Notwithstanding the occasional invitations to speak at the museum, no form of ‘live’ mediation in the museum has been activated by the migrants thus far. This is planned for the future, depending on the economic resources available. The migrants were interviewed, however, during the process of creating the collection. The museum has established a privileged relationship with an Italian language school run by a non-profit organization, often asking for assistance from students in the form of borrowing materials, or even asking them to play the role of narrator/actor. Two students, for example, have become protagonists in the interactive exhibit ‘Travel postcards’, while the young people who appear in the reconstruction of a high school were chosen from those schools where a voluntary association carries out projects on the theme of multiculturalism. As for the display case where objects related to faith and cultural belonging is concerned, the museum curators have asked friends and acquaintances of various communities to identify which ones were essential to them, what they brought with them on their journey, etc. In some cases they have requested objects on loan and, in other cases, they have purchased replicas. An important issue, therefore, is that of the relationship with active associations and the tertiary sector, and the ability to work in partnership with them. The aim of the current project is to create an archive of oral histories. Figure 3: A boat from Lampedusa with video shots in the Galata-Museo del Mare e delle Migrazioni, Genoa. Courtesy of CostaEdutainment, ph. Merlofotografia The Museo Narrante Nave della Sila (Sila Ship Narrative Museum), in Calabria, is another interesting case study. Located in the inner part of the region, it is situated within a literary park dedicated to Norman Douglas and travelers on the Grand Tour. Open only in summer, and in winter by appointment for school visits, the museum tells a story of Italian emigration in an area which, over the last decade, has been marked by intense immigration, by continual arrivals and the presence of temporary accommodation centers. In addition, the violent riots in Rosarno in 2010, motivated by exploited and underpaid migrant agricultural workers, convinced the 116 CIMOLI: FROM REPRESENTATION TO PARTICIPATION association which manages the museum to devote more attention to the theme of immigration. For this reason, a new wing was designed and inaugurated in July 2013. While the section on emigration was curated by a journalist, Gian Antonio Stella, retracing the steps of his book The Horde, the new wing refers to the world of film and new media, in order to create an immersive environment devoted to the theme of travel. After passing through a black curtain, designed to represent detachment from all previous experience, the visitor enters the spyglass of the container. Here, images of the sea are projected onto the floor, taken from a bird's eye view, in both calm and stormy conditions. The projection is amplified by the presence of mirrors along the lower parts of the walls. Above the mirrors a row of monitors shows images of travel recounted in both subjective and objective mode. These are provided by the Coast Guard, the Archivio Memorie Migranti and the ZaLab film production company. A carpet of amplified surround sound accompanies the images, intensifying the illusion of being on water. To quote from the project: "The idea is to propose a reading of the journey of hope which gathers together all the stories of immigration from an unusual point of view which, at times, leads to a kind of reversal of perspective. Via the projection, the floor will be transformed into an expanse of continually shifting sea (alternating between calm and stormy) through which the visitors will have to make their way" (project by Ernani Paterra, WPS). Figure 4: A rendering of the new wing in the Museo Narrante Nave della Sila, Camigliatello Silano. Courtesy of the Museo Narrante Nave della Sila, Camigliatello Silano. Rendering by Ernani Paterra, WPS. Moving further south and reaching the foothills of Italy, we arrive at the project for the Migration Museum on the island of Lampedusa. Despite the continual ‘stops-and-starts’ and problems related to political upheavals and even (more or less explicit) outright sabotage, through Herculean effort the museum received final administrative approval in February 2013, with the signing of an agreement between the municipality and the promoters, for the creation of a subsidiary foundation. The collection consists of sacred texts, cards, personal items and photographs which have, in part, been re-read and reinterpreted by Giacomo Sferlazzo, a musician and visual artist who is the principal mover behind the Askavusa association. Also participating in the project are the Fondazione Migrantes, Legambiente, the Archivio Memorie Migranti and the Associazione Isole, non-profit organizations which are very active in safeguarding migrant heritage. The plan is for the objects, which are being catalogued, to be housed in the Town Hall. The Port Authority has also offered an area to the museum, while the Porta d'Europa by artist Mimmo Paladino will be another branch of the museum. Other important locations on the island will be identified by the organizers in partnership with the migrants. In this peculiar case, working with the migrants is a necessity rather than a choice, and the flavor of the initiative is not only cultural but also highly political. It represents a manifestation 117 THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM of human and civil resistance which sees some Lampedusa locals working with, and for, the migrants on a daily basis. It is encouraging to notice that this work, which arose from an antiinstitutional and strongly oppositional attitude, has resulted in a form of collaboration with the municipality, in the hope of giving life to this important place of civilization. The opening of the museum is a few years away, but this collaboration is already expressed in its links with the LampedusaInFestival, which includes the active participation of the immigrant community.7 According to Sferlazzo, the festival represents a "technical rehearsal" for everything the museum could be (interview of 12 April 2013). The starting point is self-narrative. The report that the migrant gives of him/herself is placed at the center, whether in the form of visual art, fiction, music and more. Only in this way, according to the organizers, can we build a new culture, a new language, and open new fields of study to read our present time according to categories which are less ‘worn out’ than the current ones. The project also invites migrants who have passed through the island to return to tell their story. A call to contemporary artists to interpret the heritage of the museum is also on the drawing board. Learning from the Others: Suggestions for More Dynamic and Inclusive Migration Museums Some of the practices mentioned earlier in relation to the museums of anthropology and contemporary art, such as storytelling, translation and interpretation based on personal experiences, as well as in-the-field workshops, may assist the migration museums in overcoming the risk of growing old too quickly, of being a one-off visit, or of having an overly local dimension. The only way to continue to speak a contemporary language is to communicate equally to ‘old’ and ‘new’ citizens, which is to consider everybody as an in-progress citizen, seeing ourselves as both players and spectators within the universal migratory experience and, whether directly or indirectly, touched by it. Echoing the methods mentioned before, I would summarize by suggesting several lines of action which may be borrowed from other types of museum, and which could also be adopted by migration museums in order to develop an attitude of dialogue with the migrant public and promote inter-cultural education for all types of audiences. Adoption: Migration heritage evolves with the passage of time, but some elements remain unchanged and common to different generations of migrants, as well as present in the experience of all. I refer, for example, to objects of affection, letters (physical or digital), pictures, presents, the entire vast field of self-representation through time. Updating this heritage, telling its story and evolution over time, therefore ‘adopting’ it in a very personal way, implies reflecting on the history of migration, the concept of hospitality, citizenship, identity, etc. Visitors, whether or not they are immigrant, may help update the heritage by developing narrations (in written, filmed or digital form, also in real time during their visit) regarding their own luggage, their own way of keeping in touch with family through new media or their own objects of affection which help maintain a relationship with what we call home. Venturing out into the local area: As several contemporary art museums have shown, the opportunity to work in the field is of great importance both for the museum and for its local community. Collecting stories, building archives, reflecting on shared modes of representation form the basis of a relationship of trust between the museum and its local area. Migration museums should be able to build a constant dialogue with the immigrants living in their territory, based on real, first-hand knowledge of life conditions, mutual trust and a genuine will to interact. 7 Dagmawi Yimer, a Somali citizen, who arrived in Italy via Lampedusa, later to become a filmmaker and star of the film ‘Like a Man on Earth,’ is working on the organization of the 2013 edition of the festival. The archive of materials collected in recent years constitutes a significant part of the heritage belonging to the museum. 118 CIMOLI: FROM REPRESENTATION TO PARTICIPATION Autobiography and storytelling: These are tools which, although simple, are by no means trivial: on the contrary, they are always highly effective, precisely for their ability to excite and stir profound emotions. In this way one can construct a much more realistic story of migration within the museums, revealing both the dark side of disillusion and the brighter side of achievement, satisfaction and results. Translation: This is translating from one language to another, but also from one culture to another or from one form of representation to another. Reflecting on this translation is in itself a huge exercise in meeting and listening. It is not only about offering language courses in the museum, but rather about a more subtle reflection on the translation from one language to another (for example, photography, music, theatre, dance ...), from one’s culture to another’s. It is about designing tools for sharing experiences with or without words, in a material or immaterial way. All of these routes seem to represent stimulating and yet-to-be-explored avenues of work. 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[“Real and Virtual Migration Museums”] Tirabassi, Maddalena. 2007. ”I luoghi della memoria delle migrazioni.” In Storia d’Italia. Annali 24. Migrazioni, edited by Paola Corti and Matteo Sanfilippo, 709-23. Turin: Einaudi. [“The Sites of Migration Memory”] ABOUT THE AUTHOR Anna Chiara Cimoli: Anna Chiara Cimoli has a degree in Art History from Università Statale, Milan, and a Ph.D. in the History of Architecture from Politecnico di Torino. In 1997 she received a diploma in Museum Studies at the Ecole du Louvre in Paris. She has worked as an archivist (CASVA, Comune di Milano) and taught in various universities (Università Cattolica, Milan and Politecnico di Milano). She is currently working as a researcher within the framework of the MeLa* Project - European Museums in an age of migrations, doing research on migration museums in Europe and their inclusion practices. She also works as a museum educator for the Museo del Novecento, Milan, developing inter-cultural programs. 121 The International Journal of the Inclusive Museum addresses a key issue: In this time of fundamental social change, what is the role of the museum, both as a creature of that change, and perhaps also as an agent of change? The journal brings together academics, curators, museum and public administrators, cultural policy makers, and research students to engage in discussions about the historic character and future shape of the museum. The fundamental question of the journal is: How can the institution of the museum become more inclusive? In addition to traditional scholarly papers, this journal invites case studies that take the form of presentations of museum practice—including documentation of organizational curatorial and community outreach practices and exegeses analyzing the effects of those practices. The International Journal of the Inclusive Museum is a peer-reviewed scholarly journal. ISSN 1835-2014