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Engaging the d/Deaf Audience in Museums: A Case Study at the Calouste Gulbenkian Museum
Abstract
This article addresses ways that museums can strengthen programming for d/Deaf audiences. Through the development and study of a tour for a d/Deaf audience conducted through signing and oral translation at the Calouste Gulbenkian Museum in Lisbon (Portugal), the author examines issues of language, identity and inclusion. She argues that the use of sign language is critical, and that Deaf visitors’ engagement is enhanced when tours are given by Deaf tour guides. This article highlights common pathways for museums to better relate to d/Deaf and hard of hearing audiences.
... Heritage organisations must adapt their discourse to the different communication channelsboth new and traditionaland especially to the online world (Baraybar Fernández and Ibáñez Cuenca 2012; Tao 2017). This involves making content accessible and understandable, thus improving their educational work (Coca 2009), and adapting their discourse to different social groups, such as people with some kind of disability (Roque 2016). In order to be able to communicate effectively and engage in dialogue with the audience, professionals need to have a number of skills that allow them to disseminate contents in a more effective way (Alpert 2016;Oleniczak 2016). ...
... To carry out this socio-educational work, cultural institutions must reach out to their community (Ferrer, Vives-Fernández, and Bonet 2010) and work together with new audiences, such as people with disabilities (Cho and Jolley 2016;Roque 2016), scholars (Coca 2009;Cupertino De Miranda 2009;Leftwich and Haywood 2016), adult participants in lifelong learning programmes (De Backer et al. 2015;Smiraglia 2016) and broader communities (Martin and Jennings 2015). The presence of digital technologies is here to stay and presents its own challenges and opportunities. ...
... Measuring and controlling engagement increases the probability of success and audience participation in the designed activities (Caerols-Mateo, Viñarás-Abad, and Gonzálvez-Valles 2017; Coffee 2007; Sterner 2016).The articles selected included numerous studies based on the link between activities organised by cultural institutions and different social agents. Some of these social agents were: school-age children(Cupertino De Miranda 2009;Fomichova and Fomichov 2003;Franzen 2013;Leftwich and Haywood 2016;Terreni 2016); young people and emerging artists(Linzer 2014;Mavrin and Glavas 2014); families(Wu, Holmes, and Tribe 2010); older people(Benitez 2013;Newman, Goulding, and Whitehead 2014;Smiraglia 2016); groups of people with some kind of disability(Cho and Jolley 2016;Roque 2016); and entire communities ...
... Some of them focus their postulates on learning in museums (Candlin, 2003;Vidal et al., 2019), and others on training and/or internships for university students or secondary schools (Kreuzer and Dreesmann, 2017;Muzi, 2019;Taylor, 2017). However, most publications focus on engaging and/or strengthening the museum visitor community (Anila, 2017;Martins, 2016;Vaz et al., 2021;Wright, 2020). Other studies, on the other hand, analyse the effects and benefits of special programmes implemented in groups of people with dementia or Alzheimer's disease (Belver and Hernández, 2019;Belver et al., 2018;Monzó et al., 2019), whose findings indicate that art-related activities can improve the cognitive and mental state of visitors (Belver et al., 2018). ...
... While the integration of different points of view should be more prominent in museum projects, it is also necessary to use different languages to provide information, as it helps to engage visitors and non-native speakers, as well as broaden participation in programmes and make museum content more easily received by nonnative audiences (Harden et al., 2015). The museum, therefore, must recognise, value and embrace visitor diversity and consider it as a natural part of the human condition (Bradford et al., 2021(Bradford et al., ), 2021, and to achieve this, De la Iglesia-Mayol and Rosselló-Ramón (2014) suggest implementing the so-called universal design and adapting it to the museum, because the groups that attend museums are not a homogeneous group, as museum staff sometimes think, but are plural and come from different realities (Candlin, 2003;Martins, 2016;Moorkens et al., 2022). ...
... Andrea puts it this way: "I think that the profile of the educator, of the mediator nowadays, especially in national museums, has no limits, because one has to take care of many other things". Martins (2016) states that the inclusion of people with disabilities in the staff team raises awareness and fosters the museum staff's understanding of their conditions The author's findings are confirmed by the views of the educator, Isabel: ...
Inclusion understood as a process and purpose must receive special attention from museums and their educational practices in order to attract and support more diverse audiences. The aim of this study is to unveil and describe how social inclusion is conceived and implemented in nine art museums in Chile, through interviews with their education, curatorial and management professionals, and to generate a reflection based on the data collected. The research employs a qualitative approach based on Grounded Theory and the paradigm of Interpretivism. The instruments used to gather information were semi-structured interviews and the study participants are 14 educators, five curators, three directors and one curator-director. Through coding and data comparison, eight categories were identified in relation to the concept of inclusion: accessibility, diversity, safety relevance, communication awareness, political awareness, relevant skills, non-traditional educational practices and museum work structure. The results show the adaptation of the categories to the practices and functioning of museums with regard to the effective achievement of social inclusion. Abstract Social inclusion in the context of art museums is often understood as the process whereby an art institution provides individuals with special attention from the staff and with adapted educational practices to attract and support a more diverse public. With this definition in mind, the present study aims to shed light onto how social inclusion is conceived and implemented in nine art museums in Chile, generating critical reflection through the analysis of data gathered from interviews with their educators, curators, and directors. To do so, this research applies a qualitative approach based on Grounded Theory and the paradigm of Interpretivism. The instruments used to collect information were semi-structured interviews conducted with the study's participants-fourteen educators, five curators, three directors, and a curator-director. Through coding and data comparison, eight categories have been identified in relation to the concept of inclusion: accessibility, diversity, relevance of security, communication awareness, political awareness, relevant skills, non-traditional educational practices, and work structure in the museum. Results show the adaptation of the categories to the required practices and discuss the museums' operational strategies for the effective achievement of social inclusion.
... Algunos artículos se acercan desde la perspectiva del aprendizaje global en los museos (Candlin, 2003;Falchetti, 2020;Ismaeel y Al-Abdullatif, 2016;Marín-Cepeda et al., 2017;Sayers, 2014;Vidal et al., 2019), otros lo enfocan a la formación y/o estancia de estudiantes universitarios o de escuelas secundarias en los museos y/o para el personal ya integrado (Kreuzer y Dreesmann, 2017;Muzi, 2019;Taylor, 2017). Sin embargo, la mayoría de los autores reportan estudios sobre la participación y/o el fortalecimiento de la comunidad a partir de la participación en museos, estudios de caso o evaluación de programas (Anila, 2017;Martins, 2016;Mithlo y Sherman, 2020;Pablos y Fontal, 2020;Rivero et al., 2018;Wright, 2020). Finalmente, algunas publicaciones analizan actividades relacionadas con el arte que pueden ayudar a mantener o mejorar el estado cognitivo y mental de algunos colectivos visitantes (Belver et al., 2018), de este modo encontramos estudios como Belver y Hernández (2019), González-García (2017) o Monzó et al. (2019) quienes investigan los efectos y ventajas de programas especiales en colectivos concretos como personas con demencia o Alzheimer. ...
... Según de Oliveira Heidrich et al. (2020) el uso de los recursos multisensoriales tiene la capacidad de proveer la accesibilidad y la participación en actividades para todas las personas, no solo debe atenderse la facilitación física, sino también la identidad de estos visitantes que es igualmente relevante. Las personas que incluimos en un mismo colectivo por su diversidad no suponen un grupo homogéneo, sino que son en sí mismas plurales, diferentes clases socioeconómicas, diversos orígenes étnicos, culturales, creencias religiosas o variables educativas, una multitud de factores que las diferencian y caracterizan individualmente como ya señalan algunos autores (Candlin, 2003;Martins, 2016). Por lo que todos estos aspectos son importantes en la programación y gestión inclusiva de las instituciones. ...
... En línea con los hallazgos de Candlin (2003) y Martins (2016), para involucrar y fidelizar a los visitantes con discapacidades físicas o psíquicas, los museos implementaron el diseño universal, senderos podotáctiles, exposiciones, talleres, visitas guiadas/mediadas, podcasts, fichas y láminas pedagógicas descargables para personas ciegas o con baja visión, para personas sordas y personas con discapacidad psíquica y/o física entre otras actividades. Sin embargo, a pesar de los distintos programas ofrecidos, los documentos analizados no establecieron o describieron la posible diferencia social entre los grupos con la misma discapacidad, sino que los refirieron como grupos homogéneos. ...
La inclusión social debe ser un eje rector en los museos desde todas sus aristas de accesibilidad, diversidad y equidad que aún no han alcanzado un nivel de desarrollo e implementación adecuado. El objetivo de este estudio es analizar en qué aspectos se manifiesta la noción de inclusión social en los museos de arte chilenos para determinar el papel que este concepto posee en su misión institucional y sus prácticas educativas, así como conocer qué entienden por inclusión social. Para ello, se trabaja desde un enfoque de análisis cualitativo deductivo que nos permite identificar los factores de inclusión más presentes a través del análisis de sus documentos institucionales organizativos y educativos. Para el análisis se utilizó una pauta con cinco categorías preestablecidas: (1) orientación de museo al público, (2) tipo de público, (3) accesibilidad del museo, (4) equidad y diversidad del equipo y (5) enfoque educativo. Los resultados revelaron que los museos entienden y abordan el concepto de inclusión desde un enfoque reduccionista, principalmente referido a la atención de públicos. Estos resultados subrayan la necesidad de continuar definiendo y formando a las instituciones y sus equipos respecto a la polivocalidad, la educación activa, y a la equidad y diversidad.
... np. Derycke, 1994;Eikelenboom, Wattel i de Vet, 2019;Goss, Kollmann, Reich i Iacovelli, 2015;Kieruzalska, 2019;Martins, 2016). Martins (2016) podkreśla, że aby Głucha publiczność była włączona w estetyczny dialog, językiem komunikacji musi być język migowy danego kraju. ...
... Derycke, 1994;Eikelenboom, Wattel i de Vet, 2019;Goss, Kollmann, Reich i Iacovelli, 2015;Kieruzalska, 2019;Martins, 2016). Martins (2016) podkreśla, że aby Głucha publiczność była włączona w estetyczny dialog, językiem komunikacji musi być język migowy danego kraju. Język migowy jest bowiem dla osób Głuchych pierwszym językiem, a język mówiony (pisany) danego kraju jest językiem drugim, który nie jest nabywany spontanicznie i trudno się go Głuchym nauczyć. ...
... Baldo i in., 2015; Edwards i in., 2011; Rosenstein, 1961). Przypomnijmy, że w niniejszym badaniu widzom nie były dostępne żadne informacje kontekstowe o eksponowanych instalacjach (ani w polskim języku mówionym, pisanym, ani w PJM), więc nie otrzymywali oni żadnych wskazówek, które mogłyby pomóc im w interpretacji dzieł, a w efekcie -w rozwiązaniu problemów poznawczych w postaci nadania sensu sztuce współczesnej (Derycke, 1994;Eikelenboom i in., 2019;Goss i in., 2015;Kieruzalska, 2019;Martins, 2016;Leder i in., 2004;Russel, 2003;Swami, 2013). Kwestią wartą rozważenia w kolejnych badaniach jest ustalenie, w jakim stopniu poczucie rozumienia sztuki współczesnej wyjaśnia zdolność myślenia abstrakcyjnego, a w jakimrozumienie teorii umysłu. ...
The purpose of this quasi-experimental research was to study if deafness reduces understanding and liking of interactive installations. The research involved participants who were deaf from birth and participants who were hearing. Both groups of participants viewed the installations in a contemporary art gallery and then assessed to what extent they understood and how much they liked these artworks. The involvement of the audience in physical inter-action with works of art was also assessed (based on the declarations of the participants). As predicted in the hypothesis 1, Deaf viewers understood the installations worse than the hearing viewers. Contrary to the prediction (the hypothesis 2), Deaf participants liked the installations more than the hearing participants. Both yielded effects can be explained by the reduced ability to abstract thinking in Deaf individuals. Importantly, we consider the present study as a pilot. Due to its narrow scope (the research material consisted mainly of works of art whose essential element was sound) and preliminary nature, the results obtained should not be generalised to the reception of contemporary art as such by Deaf people.
... Heritage organisations must adapt their discourse to the different communication channelsboth new and traditionaland especially to the online world (Baraybar Fernández and Ibáñez Cuenca 2012; Tao 2017). This involves making content accessible and understandable, thus improving their educational work (Coca 2009), and adapting their discourse to different social groups, such as people with some kind of disability (Roque 2016). In order to be able to communicate effectively and engage in dialogue with the audience, professionals need to have a number of skills that allow them to disseminate contents in a more effective way (Alpert 2016;Oleniczak 2016). ...
... To carry out this socio-educational work, cultural institutions must reach out to their community (Ferrer, Vives-Fernández, and Bonet 2010) and work together with new audiences, such as people with disabilities (Cho and Jolley 2016;Roque 2016), scholars (Coca 2009;Cupertino De Miranda 2009;Leftwich and Haywood 2016), adult participants in lifelong learning programmes (De Backer et al. 2015;Smiraglia 2016) and broader communities (Martin and Jennings 2015). The presence of digital technologies is here to stay and presents its own challenges and opportunities. ...
... Measuring and controlling engagement increases the probability of success and audience participation in the designed activities (Caerols-Mateo, Viñarás-Abad, and Gonzálvez-Valles 2017; Coffee 2007; Sterner 2016).The articles selected included numerous studies based on the link between activities organised by cultural institutions and different social agents. Some of these social agents were: school-age children(Cupertino De Miranda 2009;Fomichova and Fomichov 2003;Franzen 2013;Leftwich and Haywood 2016;Terreni 2016); young people and emerging artists(Linzer 2014;Mavrin and Glavas 2014); families(Wu, Holmes, and Tribe 2010); older people(Benitez 2013;Newman, Goulding, and Whitehead 2014;Smiraglia 2016); groups of people with some kind of disability(Cho and Jolley 2016;Roque 2016); and entire communities ...
A series of transformations in the social and political roles as well as in the economic contexts of cultural heritage organisations over the past decades have brought into focus the need for them to work on their relationship with audiences. The purpose of this paper is to explore the current academic debate on the audience development in museums and other cultural heritage organisations, with the aim of identifying the main thematic areas within this field of knowledge. A Systematic Literature Review has been conducted by using the Web of Science, Scopus and Dialnet databases. The following nine categories emerged from the analysis: Management Strategies, Community Engagement, Participation, Knowing the Audience, Communication, Marketing, Education, Skills and Abilities, and Digital and Technological Environments. Future research lines could further the existing knowledge of each of the identified categories, include additional languages and databases, and explore the sources and documents produced by cultural practitioners.
... Algunas de ellas enfocan sus postulados desde el aprendizaje en los museos (Candlin, 2003;Vidal et al., 2019), y otras desde la capacitación y/o pasantías de estudiantado universitario o escuelas secundarias (Kreuzer y Dreesmann, 2017;Muzi, 2019;Taylor, 2017). No obstante, la mayoría de las publicaciones giran en torno a la participación y/o el fortalecimiento de la comunidad de visitantes de museos (Anila, 2017;Martins, 2016;Vaz et al., 2021;Wright, 2020). Otros estudios, en cambio, analizan los efectos y ventajas de programas especiales implementados en grupos de personas con demencia o Alzheimer (Belver y Hernández, 2019;Belver et al., 2018;Monzó et al., 2019), en cuyas conclusiones se señala que las actividades relacionadas con el arte pueden mejorar el estado cognitivo y mental de los visitantes (Belver et al., 2018). ...
... Si bien la integración de diferentes puntos de vista debería tener mayor relevancia en los proyectos museales, también es necesario utilizar diferentes idiomas para ofrecer la información, ya que ayuda a involucrar a visitantes y hablantes no-nativos, así como ampliar la participación en los programas y recibir los contenidos de museo con más facilidad por parte de público foráneo (Harden et al., 2015). El museo, por lo tanto, debe reconocer, valorar y aceptar la diversidad de los visitantes y considerarla como parte natural de la condición humana (Bradford et al., 2021), y para lograr esto, De la Iglesia-Mayol y Rosselló-Ramón (2014) sugieren implementar el llamado diseño universal y adaptarlo al museo, debido a que los grupos que asisten a los museos no suponen un grupo homogéneo, como suele pensar en ocasiones el personal de los museos, sino que son plurales y provienen de diferentes realidades (Candlin, 2003;Martins, 2016;Moorkens et al., 2022). ...
Resumen La inclusión entendida como proceso y finalidad debe recibir una atención especial por parte de los museos y sus prácticas educativas, para poder atraer y apoyar a públicos más diversos. El objetivo de este estudio es develar y describir cómo se concibe e implementa la inclusión social en nueve museos de arte en Chile, por medio de entrevistas a sus profesionales de la educación, curaduría y dirección y generar una reflexión a partir de los datos levantados. La investiga-ción emplea un enfoque cualitativo con base en la Teoría Fundamentada y el paradigma del Interpretativismo. Los instrumentos utilizados para levantar información fueron entrevistas semiestructuradas y los/as participantes de estudio son 14 educadores/as, cinco curadores/as, tres directores/as y una curadora-directora. Por medio de codificación y comparación de datos se identificaron ocho categorías en relación con el concepto de inclusión: accesibilidad, diversidad, relevancia de la seguridad, conciencia en la comunicación, conciencia política, habilidades rele-vantes, prácticas educativas no tradicionales y estructura de trabajo en el museo. Los resultados evidencian la adaptación de las categorías a las prácticas y el funcionamiento de los museos respecto al logro efectivo de la inclusión social. Palabras clave: Educación no formal; inclusión social; museos de arte; Teoría Fun-damentada.
... Nesta categoria foram encontrados dois artigos sobre acessibilidade em museus por parte de pessoas surdas ou com deficiência auditiva (MARTINS, 2016;GOSS et al., 2015) e, outro, acerca da acessibilidade a eventos culturais para pessoas com diferentes deficiências (MILLIGAN et al., 2014). Martins (2016) -Os museus têm o potencial de promover a educação dos surdos quanto ao conteúdo da exposição, conhecimento sobre arte, e na expansão do vocabulário de LS e termos relacionados à arte no sistema de comunicação dos surdos. ...
... Nesta categoria foram encontrados dois artigos sobre acessibilidade em museus por parte de pessoas surdas ou com deficiência auditiva (MARTINS, 2016;GOSS et al., 2015) e, outro, acerca da acessibilidade a eventos culturais para pessoas com diferentes deficiências (MILLIGAN et al., 2014). Martins (2016) -Os museus têm o potencial de promover a educação dos surdos quanto ao conteúdo da exposição, conhecimento sobre arte, e na expansão do vocabulário de LS e termos relacionados à arte no sistema de comunicação dos surdos. ...
A acessibilidade é um direito de todo o cidadão. Para muitas pessoas surdas, o acesso às atividades existentes na sociedade é garantido quando há a possibilidade de comunicação em LS. O objetivo deste estudo foi identificar os problemas de acessibilidade enfrentados pelas pessoas surdas no setor de serviços. Para tanto, foi realizada uma revisão integrativa da literatura, a partir dos termos: deaf;"hard of hearing”; “hearing impaired”; access; inclusion; communication. Os serviços encontrados foram organizados em quatro categorias: saúde; emergência; sistema de justiça; e cultura. Constatou-se que, independentemente da situação econômica do país, todos os estudos apontaram a existência de barreiras atitudinais ou comunicacionais, tais como: a falta de conscientização das organizações a respeito das necessidades e singularidades do público surdo, a rara presença de intérpretes de LS, ou profissionais capacitados, bem como a ausência de informações sobre os serviços em LS. Com a ausência de recursos de comunicação, os surdos se deparam com três situações: (1) precisam do auxílio de um familiar ou conhecido e assim perdem sua autonomia; (2) utilizam a escrita, ou a leitura orofacial (linguagens estas que nem todos os surdos tem domínio, ou facilidade) e correm o risco de não compreenderem as informações corretamente; e (3) evitam ou desistem de acessar o serviço.
... O acesso mais importante para a comunidade surda é a língua de sinais, e por meio dela a promoção da sua cultura, principalmente à "cultura visual", (Martins, 2016), pois é a partir dela que há a identificação e pertencimento à sociedade em que se vive. Por isso, a importância de fornecer meios para tal pertencimento, não somente com o auxílio do intérprete de língua de sinais, mas também com a utilização de diferentes recursos, tecnologias e as diferentes possibilidades de comunicação nos mais distintos espaços. ...
This work emerged from discussions in the «Libras VII» course, part of the Letters in Libras and Portuguese as a Second Language for the Deaf (L2) program at the Federal University of Pará (UFPA). The problem addressed in this study is the barriers to accessibility that deaf individuals face in cultural events in Belém, the capital of the state of Pará. Thus, this research aimed to produce a theatrical exposition in Brazilian Sign Language (Libras) about the Paraense legend «A Moça do Táxi», intending to provide accessibility for deaf individuals, as it will be presented to a predominantly deaf audience. The methodology comprised eight stages: 1) Beginning of the course; 2) Reading of bibliographies; 3) Preparation for the play and team division; 4) Discussions and choice of theme; 5) Creation of the synopsis; 6) Scriptwriting; 7) Testing; 8) Event promotion on social media; 9) Presentation of the play at the Juridical Sciences auditorium (ICJ), on the Professional Campus of the Federal University of Pará.. The results indicate that the theatrical development process has allowed for real inclusion, as the creation, adaptation, contextualization, and representation of artistic works have delighted the deaf community and promoted knowledge of Amazonian legends, such as «A Moça do Táxi». Keywords: Amazonian legends; deaf community; The Taxi Girl.
... The welcoming approach: Research has shown that deaf visitors, particularly those who use sign language, prefer to take tours with deaf docents, where the primary language of the tour is sign language (Roque Martins, 2016;Feyne, 2018). This allows visitors to experience the tour or programme at a suitable pace, where pauses are given to look between the docent and the object. ...
... Σχετικές μελέτες έδειξαν ότι οι γονείς παιδιών με διαταραχή αυτιστικού φάσματος χρειάζονται πρότερη πληροφόρηση, κατάλληλο υλικό προετοιμασίας της επίσκεψης αλλά και να γνωρίζουν ότι το μουσείο είναι ένα ασφαλές και διαχειρίσιμο περιβάλλον, ότι το προσωπικό του μουσείου γνωρίζει πώς να αντιμετωπίσει παιδιά με διαταραχή αυτιστικού φάσματος και ότι το παιδί τους ή και οι ίδιοι δεν θα δεχθούν επικρίσεις από το προσωπικό του μουσείου ή άλλους επισκέπτες για πιθανές αντιδράσεις του παιδιού τους (Kulik & Fletcher, 2016;Woodruff, 2019). Σημαντικός είναι και ο τρόπος και ο βαθμός που οι επαγγελματίες μουσείων λαμβάνουν υπόψη ζητήματα που συνδέονται με κοινωνικά και πολιτισμικά χαρακτηριστικά επισκεπτών, όπως στην περίπτωση των Κωφών επισκεπτών (Martins, 2016), αλλά και άλλων επισκεπτών. Ανάλογα, σε επίπεδο εκπαιδευτικών προγραμμάτων ο βαθμός στον οποίο οι επαγγελματίες μουσείων υιοθετούν μουσειοπαιδαγωγικές μεθόδους και στρατηγικές που επιτρέπουν όχι μόνο την πρόσβαση αλλά και την επικοινωνία, την αλληλεπίδραση και την προσωπική έκφραση των συμμετεχόντων σε σχέση και με την κουλτούρα τους, τα χαρακτηριστικά και τις ανάγκες τους είναι πολύ σημαντικός (Kanari & Souliotou, 2023). ...
Περίληψη
Η παρούσα θεωρητική εργασία εστιάζει στα άτομα με αναπηρία και τα μουσεία και επιχειρεί μια συνθετική προσέγγιση της αλληλεξάρτησης και της αλληλεπιδραστικής δυναμικής των φραγμών πρόσβασης που αντιμετωπίζουν διαφορετικοί άνθρωποι με διαφορετικές αναπηρίες στα μουσεία και της επίδρασης των φραγμών αυτών στην, επίσης, αλληλεπιδραστική φύση της μουσειακής εμπειρίας και μάθησης. Επιπλέον, παρουσιάζονται τα βασικά θεωρητικά μοντέλα του Καθολικού Σχεδιασμού και του Καθολικού Σχεδιασμού για τη Μάθηση και η εφαρμογή τους στον μουσειακό χώρο υπό το πρίσμα των χαρακτηριστικών και των «ποιοτήτων» της μουσειακής εμπειρίας και μάθησης. Μέσα από την προσέγγιση αυτή αναδεικνύεται η σημασία μιας ολιστικής θεώρησης ζητημάτων προσβασιμότητας και συμμετοχής αλλά και η σπουδαιότητα ανάπτυξης μιας οργανωσιακής κουλτούρας που θα προωθεί βιώσιμες, συμμετοχικές, προσβάσιμες και συμπεριληπτικές εκπαιδευτικές και επικοινωνιακές πρακτικές και διαδικασίες.
Abstract
The present paper focuses on persons with disabilities and issues of accessibility and equal participation in museums. It presents a synthetic approach based on the interdependence and interactive dynamics of access barriers that persons with disabilities face in the museums and the impact of these barriers on the, also, interactive nature of the museum experience and learning. Furthermore, it presents the theoretical models of the “Universal Design” and the “Universal Design for Learning” and their implementation in the museum space in light of the characteristics and "qualities" of the museum experience and learning. This dynamic process reveals the importance of a holistic approach to issues of accessibility and participation of persons with disabilities in museums. It also stresses the importance and the need for the development of an organizational culture towards accessibility and inclusion that will promote sustainable, participatory, accessible and inclusive educational and communication practices and processes within museums.
... Recently, museums have tried to improve information accessibility for DHH visitors by providing sign language content on digital devices [12,20,32,34,35,42], where there exist some issues in exploiting sign language alone. First, cognitive load may occur due to simultaneity [36]. ...
Text descriptions in museums provide detailed and rich information about artifacts that broadens museum visitors’ knowledge and enriches their experience. However, since deaf and hard-of-hearing (DHH) individuals have low literacy compared to hearing people and communicate through sign language, museum descriptions are considerably limited in delivering a stimulating and informative environment for understanding and enjoying exhibits. To improve DHH individuals’ museum experience, we investigated the potential of three interactive description prototypes: active-linked, graph-based, and chatbot-based. A comparative study with 20 DHH participants confirmed that our interaction-based prototypes improve information accessibility and provide an enhanced experience compared to conventional museum descriptions. Most participants preferred the graph-based prototype, while post-interviews suggested that each prototype has potential benefits and limitations according to DHH individuals’ particular literacy skills and preferences. Text descriptions can be enlivened for DHH visitors by adding a simple interaction functionality, e.g., clicking, which can lead to a better museum experience.
... Σχετικές μελέτες έδειξαν ότι οι γονείς παιδιών με διαταραχή αυτιστικού φάσματος χρειάζονται πρότερη πληροφόρηση, κατάλληλο υλικό προετοιμασίας της επίσκεψης αλλά και να γνωρίζουν ότι το μουσείο είναι ένα ασφαλές και διαχειρίσιμο περιβάλλον, ότι το προσωπικό του μουσείου γνωρίζει πώς να αντιμετωπίσει παιδιά με διαταραχή αυτιστικού φάσματος και ότι το παιδί τους ή και οι ίδιοι δεν θα δεχθούν επικρίσεις από το προσωπικό του μουσείου ή άλλους επισκέπτες για πιθανές αντιδράσεις του παιδιού τους (Kulik & Fletcher, 2016;Woodruff, 2019). Σημαντικός είναι και ο τρόπος και ο βαθμός που οι επαγγελματίες μουσείων λαμβάνουν υπόψη ζητήματα που συνδέονται με κοινωνικά και πολιτισμικά χαρακτηριστικά επισκεπτών, όπως στην περίπτωση των Κωφών επισκεπτών (Martins, 2016), αλλά και άλλων επισκεπτών. Ανάλογα, σε επίπεδο εκπαιδευτικών προγραμμάτων ο βαθμός στον οποίο οι επαγγελματίες μουσείων υιοθετούν μουσειοπαιδαγωγικές μεθόδους και στρατηγικές που επιτρέπουν όχι μόνο την πρόσβαση αλλά και την επικοινωνία, την αλληλεπίδραση και την προσωπική έκφραση των συμμετεχόντων σε σχέση και με την κουλτούρα τους, τα χαρακτηριστικά και τις ανάγκες τους είναι πολύ σημαντικός (Kanari & Souliotou, 2023). ...
Στο χώρο των μουσείων η έννοια της προσβασιμότητας αποτελεί κεντρικό σημείο συζήτησης με πολλαπλές διαστάσεις για την παροχή ευκαιριών ποιοτικής μουσειακής εμπειρίας και μάθησης σε όλους. Απώτερος σκοπός είναι η προάσπιση του δικαιώματος όλων - συμπεριλαμβανομένων και των ατόμων με αναπηρία - για ισότιμη συμμετοχή στον πολιτισμό και στην κοινωνική ζωή. Οι διεθνείς συμβάσεις, οι κοινωνικές αλλαγές, οι εξελίξεις και οι σύγχρονες απαιτήσεις καθιστούν πλέον προφανές ότι η προσβασιμότητα αποτελεί βασική προτεραιότητα και δεν είναι μια έννοια στατική αλλά μία πολυδιάστατη και εξελισσόμενη έννοια και διαδικασία. Παράλληλα, είναι αναγκαία η ανάπτυξη μιας βιώσιμης και αποτελεσματικής στρατηγικής προσβασιμότητας που θα διαπερνά όλες τις λειτουργίες του μουσείου και θα ενθαρρύνει τη συνεργασία τόσο εντός του μουσείου (μεταξύ των μελών του προσωπικού) όσο και τη συνεργασία με φορείς της ευρύτερης κοινότητας. Βασικά θεωρητικά μοντέλα για την ανάπτυξη μιας τέτοιας στρατηγικής είναι αυτά του Καθολικού Σχεδιασμού και του Καθολικού Σχεδιασμού στη Μάθηση, τα οποία αποτελούν βασικά πλαίσια για την ανταπόκριση στη διαφορετικότητα, την άμβλυνση φραγμών πρόσβασης και τον σχεδιασμό δράσεων που θα δίνουν τη δυνατότητα ουσιαστικής συμμετοχής και απόκτησης εμπειριών με νόημα για τους ίδιους τους επισκέπτες. Η εφαρμογή των αρχών των προαναφερθέντων μοντέλων στο χώρο του μουσείου θα πρέπει να λαμβάνει υπόψη ζητήματα αναπηρίας - για την περίπτωση των επισκεπτών με αναπηρία - σε συνδυασμό με τη φύση της διαδραστικής εμπειρίας στο μουσείο και τα πλαίσια (προσωπικό, φυσικό, κοινωνικό) που αλληλεπιδρούν και διαμορφώνουν την εμπειρία και τη μάθηση στο μουσείο. Η παρούσα ομιλία αποτελεί μια σύζευξη ζητημάτων που αφορούν τη Μουσειακή Εκπαίδευση, τη μουσειακή εμπειρία και μάθηση και ζητήματα αναπηρίας, προσβασιμότητας και συμπερίληψης με στόχο την ενδυνάμωση και τη διεύρυνση των γνώσεων και των δεξιοτήτων των επαγγελματιών μουσείων. Με αφετηρία τις διαστάσεις της πρόσβασης, τα θεωρητικά μοντέλα του Καθολικού Σχεδιασμού και της αλληλεπιδραστικής φύσης της μουσειακής εμπειρίας παρουσιάζονται άξονες και πρακτικές προσβασιμότητας που ενισχύουν τη συμμετοχή, συμβάλλουν στη δημιουργία ενός συμπεριληπτικού μουσείου και εν τέλει εμπλουτίζουν τη μουσειακή εμπειρία και μάθηση για όλους τους επισκέπτες με και χωρίς αναπηρία και στο πλαίσιο μικτών ομάδων.
... Entre las transformaciones acometidas por los museos en su giro hacia los visitantes cabe destacar, en primer lugar, el impacto de los museos en su entorno social (Carnwath y Brown, 2014). Después, el acercamiento a nuevos colectivos desfavorecidos (Rey-García et al, 2017;Sterner, 2016), familias (Wu, Holmes y Tribe, 2010) o personas con necesidades especiales (Cho y Jolley, 2016;Roque, 2016). En tercer lugar, la consideración de la opinión de la audiencia sobre aspectos concretos relevantes para el proyecto de investigación como la frivolización (Sauret Guerrero y Rodríguez Ortega, 2014), la masificación o el grado de estrés que puede haber en los museos (Caldwell y Davidson, 2017), así como las necesidades de los visitantes a lo largo de la visita (Ayala, Cuenca-Amigo y Cuenca, 2019; Strachan y Mackay, 2013). ...
A lo largo de los últimos años, diferentes enfoques y disciplinas han profundizado en
la labor social de los museos y en cómo estos se han transformado para acercarse a sus públicos.
Sin embargo, ¿Podemos afirmar que los museos españoles han cambiado para orientarse más a sus
visitantes? ¿Cuál es la percepción de los propios visitantes y quiénes perciben los cambios en mayor
medida? El artículo da respuesta a estas preguntas a partir del análisis de resultados de las respuestas
a un cuestionario administrado a 685 visitantes de 16 museos españoles entre octubre y diciembre de
2019. La explotación de los datos revela que, en términos generales, el público sí percibe el giro social
que han experimentado los museos en los últimos años y, en concreto, quienes perciben los cambios con
mayor intensidad son las mujeres, las personas mayores y aquellos visitantes que otorgan a la práctica
de visitar museos una mayor importancia que a otras prácticas culturales.
... In the context of the social shift in focus on museum audiences and on visitors' perceptions of the changes that should be made, it is worth noting the role of museums as leisure spaces (Amigo 2014), capable of generating enriching experiences (Cuenca 2014; Monteagudo and San Salvador del Valle 2017), even though the audience does not always perceive them in this way (Hanquinet and Savage 2012). Moreover, theories such as Cultural Democracy (Bonet and Négrier 2019;Hadley and Belfiore 2018;Pinochet and Güell 2018) and New Museology (Hernández 2006;Vergo 1989) claim the need for museums to embrace cultural diversity, the social inclusion of different groups (Cho and Jolley 2016;Roque 2016), and the gender perspective (Bergsdóttir 2016;Izquierdo, López, and Prados 2012). All of this should be incorporated while also keeping the balance between preserving heritage and defending traditional heritage values (Mavrin and Glavas 2014;Strachan and Mackay 2013;Velázquez 2017). ...
The social role of museums has long been part of the academic debate: different disciplines and fields of knowledge have explored the social shift of museums and have re-envisioned their future. However, little attention has been paid to the views of visitors on the future of museums. This article addresses this issue by adopting an audience development approach. It analyses a questionnaire administered to 685 visitors to 16 Spanish museums between October and December 2019. The findings revealed that the audience believed that museums should offer a vision that respects cultural diversity, and provide enriching and memorable experiences, while at the same time defending the classic values of cultural heritage, among others. Women and visitors that gave more importance to the practice of visiting museums than to other cultural practices were found to be the most demanding visitor segments.
... by Jones, 2018). Additionally, some museums have installed ASL expository texts adjacent to each exhibit that offer ASL users access to self-guided tours (Martins, 2016). A more popular, generally less edited, example of an ASL text is the vlog, a short video message of one or two signers expressing an opinion or short narrative that is often shared through social media. ...
Being able to comprehend a language entails not only mastery of its syntax, lexicon, or phonology, but also the ability to use language to construct meaning, draw inferences, and make connections to world knowledge. However, most available assessments of American Sign Language (ASL) focus on mastery of lower level skills, and as a result little is known about development of higher-order ASL comprehension skills. In this paper, we introduce the American Sign Language Text Comprehension Task (ASL-CMP), a new assessment tool to measure ASL text comprehension ability in deaf children. We first administered the task to a group of deaf children with deaf parents (n = 105, ages 8–18 years) in order to evaluate the reliability and validity of the task, and to develop norms. We found that the ASL-CMP has acceptable levels of internal consistency, difficulty, and discriminability. Next, we administered the task to an additional group of deaf children with hearing parents (n = 251, ages 8–18 years), and found that the ASL-CMP is sensitive to expected patterns: older children have better ASL text comprehension skills, literal questions are generally easier to answer than inferential questions, and children with early exposure to ASL generally outperform those with delayed exposure. We conclude that the ASL-CMP task is reliable and valid and can be used to characterize ASL text comprehension skills in deaf children.
... MARTINS, 2016; TOUCHDOWN, 2016;TELFER et al., 2011; FLIEGER & SCHÖNWIESE, 2007; DEUTSCHES HIS- TORISCHES MUSEUM, 2017 ...
The chapter reflects on the issue of representation of disability in museums, drawing from the topics discussed at the international meeting "Representing Disability in Museums, Imaginary and Identities" (2017). Future issues about the representation of disability in museums are also discussed.
... Kawashima [51] argues that the concept of outreach refers to the process of taking CH resources away from their usual location to areas where the audience has limited access. Reaching out to different social groups with the works of art helps to reduce social exclusion and increase accessibility for vulnerable groups in society [52]. Museums are important agents of cultural outreach because they are able to reach out to various social groups such as deaf people through learning programs, exhibitions, and experiences. ...
Current technological advancements offer many ways of enhancing disabled peoples’ access to cultural heritage environments. A new generation of social computing technologies and systems is changing the way in which we access cultural heritage, facilitating the inclusion of socially isolated groups of people. Under this perspective, this paper aims to explore the potential impact of social computing systems to enhance peoples’ access to cultural heritage, particularly focusing on deaf and disabled users. By reviewing the current literature on social computing and cultural heritage, the paper first summarizes the related applications and appropriate key technologies; second, it provides examples of innovative approaches to the enhancement of user engagement and interaction through social computing. Moreover, the paper highlights arising issues of privacy, as well as ethical considerations, and presents design principles for ensuring privacy. The study concludes by discussing challenges for inclusive social computing applications in the context of cultural heritage and pointing out areas where future research is needed.
In this paper, we imagine how future technologies could support people who have severe hearing and visual impairment or a deafblind condition. Much effort has gone into assistive technologies to improve access for people with visual or hearing impairments, and while some of these systems will work for people with dual sensory loss, this is not always the case. Fewer systems have been developed specifically for this group. To this end, we imagine what technologies might look like in the future if they were designed specifically for people with dual sensory impairment, based on the experiences of two of the authors in accessing various displays and events related to space and astronomy. Dual sensory loss can cover a very wide range of situations, and the precise history of each individual will have a strong effect on how they use residual senses and technologies. We therefore start by reviewing literature on deafblindness, looking at current efforts to make museums accessible to people with vision and hearing impairments and social-haptic communication, a method of augmenting vision and hearing with touch signals that has developed from the deafblind community. We move on to consider three case studies, each representing a different situation: the Rocket Garden at Kennedy Space Centre; visits to observatories to view constellations and planets and engagement with the livestreamed launch of the Mars 2020 mission. For each case study, we consider the challenges faced, and the way existing technologies have been adapted or new strategies improvised to provide access to these situations. We finish by considering where these technologies might usefully go in the future—we set out some desired characteristics for future technologies, imagine some technologies for the future and how these might have been applied to the three case studies.
Abstract
This paper presents an educational program for children with disabilities implemented in conjunction with a temporary exhibition of visual artists with disabilities in a museum in Greece. Through the description of the exhibition, the design and implementation of the educational program, and the creative activities offered, the authors identify benefits for the children and stress the importance of developing more collaborations between museums, artists with disabilities, and schools to move towards a more inclusive society.
Key Words: Visual Arts, Artists with disabiliities, Museum educational programs, Children with disabilities, Non-formal learning
This article presents an affective-based sensemaking system for grouping and suggesting stories created by the users about the cultural artefacts in a museum. By relying on the TCL commonsense reasoning framework, the system exploits the spatial structure of the Plutchik’s “wheel of emotions” to organize the stories according to their extracted emotions. The process of emotion extraction, reasoning, and suggestion is triggered by an app, called GAMGame, and integrated with the sensemaking engine. Following the framework of Citizen Curation, the system allows classifying and suggesting stories encompassing cultural items able to evoke not only the very same emotions of already experienced or preferred museum objects but also novel items sharing different emotional stances and, therefore, able to break the filter bubble effect and open the users’ view toward more inclusive and empathy-based interpretations of cultural content. The system has been designed tested, in the context of the H2020EU SPICE project (Social cohesion, Participation, and Inclusion through Cultural Engagement), in cooperation with the community of the d/Deaf and on the collection of the Gallery of Modern Art (GAM) in Turin. We describe the user-centered design process of the web app and of its components and we report the results concerning the effectiveness of the diversity-seeking, affective-driven, recommendations of stories.
This article presents an affective based sensemaking system for grouping and suggesting stories created by the users about the items of a museum. By relying on the TCL commonsense reasoning framework1, the system exploits the spatial structure of the Plutchik's wheel of emotions to organize the stories according to their extracted emotions. The process of emotion extraction, reasoning and suggestion is triggered by an app, called GAMGame, and integrated with the sensemaking engine. Following the framework of Citizen Curation, the system allows classifying and suggesting stories encompassing cultural items able to evoke not only the very same emotions of already experienced or preferred museum objects, but also novel items sharing different emotional stances and, therefore, able to break the filter bubble effect and open the users' view towards more inclusive and empathy-based interpretations of cultural content. The system has been designed tested, in the context of the H2020EU SPICE project (Social cohesion, Participation, and Inclusion through Cultural Engagement), in cooperation the community of the d/Deaf and on the collection of the Gallery of Modern Art (GAM) in Turin. We describe the user centered design process of the web app and of its components and we report the results concerning the effectiveness of the of the diversity seeking, affective driven, recommendations of stories.
The Responsive Museum interrogates the thinking, policies and practices that underpin the educational role of the museum. It unravels the complex relationship of museums with their publics, and discusses today's challenges and the debates that have resulted
Nas últimas décadas, a Federação Mundial de Surdos e a União Europeia de Surdos têm lutado por uma nova perspetiva da surdez e por uma educação bilingue para os alunos surdos. No seio do Conselho da Europa, tais reivindicações têm-se traduzido em diversas orientações do Parlamento Europeu para os seus Estados membros. Apesar das reivindicações terem por base uma perspetiva cultural, o que se constata é que as políticas para a surdez e para a educação de surdos continuam a surgir enquadradas dentro de planos de ação para as pessoas com deficiência. Em Portugal, a situação é semelhante. A educação de surdos continua enquadrada dentro do âmbito da Educação Especial. Dentro deste contexto, a legislação recente tem vindo a reconhecer a importância de uma educação bilingue, tendo sido publicado em 2008 o Programa Curricular de Língua Gestual Portuguesa. Torna-se necessário, no entanto, garantir que a criação desta nova área curricular se traduza num reconhecimento desta língua como marcador cultural da comunidade surda e não apenas como um meio facilitador de comunicação entre os seus membros.
The current conversation of multilingual engagement in museums often focuses on people who use spoken languages. Deafness, and visitors who use signed communication, such as American Sign Language (ASL), is instead placed in the realm of disability engagement. Drawing on relevant literature and contextualized by data gathered through recent visitor research at the Museum of Science, Boston, this article defines how people who are d/Deaf or hard of hearing are a diverse audience with a range of language and communication needs, argues that museums currently support only a subset of this audience, and lays out potential methods for better supporting the needs of all visitors who are d/Deaf or hard of hearing. Three categories of d/Deaf or hard of hearing visitor groups are described, including "Spoken- Focused," "Simultaneous Language," and "ASL-Focused." Whereas written resources support "Spoken-Focused" groups and sign language resources support "ASL-Focused" groups, multilingual groups in which visitors use both ASL and English require further support. In order for museums to better prepare for and engage visitors who are d/Deaf or hard of hearing, museums should not conflate hearing loss with ASL use and understand that there is a wide range of multilingual and communication needs within this diverse audience.
In accordance with the Rehabilitation Act of 1973 and with the Americans with Disabilities Act of 1990, museums serve their deaf visitors by offering assistance through accessibility programs designed specifically to provide access to the museum, its collections, and/or information in an exhibition or program that would otherwise be unattainable by a person with a disability. Accessibility provisions such as signed tours, TTYs, and subtitled audio information have helped deaf people experience and enjoy museums. While these programs and provisions are necessary museum services, they do not acknowledge the view of many Deaf people—that they are not disabled but rather members of a community that does not hear. Nor do accessibility programs generally include programs on the shared traditions, values, and language that make up the culture of the Deaf community.
This paper seeks to introduce museum professionals to the Deaf cultural community and Deaf cultural exhibitions that celebrate the history, achievements, and tradition of Deaf people; it offers steps to follow in planning such exhibitions and provides some examples.
This article is based on questionnaire surveys relating to responses to disability in museums in the United Kingdom and the United States, undertaken as part of a broader research enquiry. Within the context of anti-discrimination legislation, the issue of attitude is a key factor affecting response. However, underlying attitudes are difficult to identify, particularly within the imperatives of a dominant paradigm of inclusion. The approach taken was to employ a factor analysis which allows for clusters of responses to emerge from data, which in turn can be interpreted as models or approaches based on sets of attitudes. The factor analysis revealed five clusters. Interpreting these clusters shows that it is possible to identify relationships between some attitudes and beliefs that underpin response to disability within museums. The findings show that despite anti-discrimination legislation and efforts by museums to improve access, the issue of attitude remains a key barrier to genuine inclusion for deaf and disabled people.
How, if it all, do museums shape the ways in which society understands difference? In recent decades there has been growing international interest amongst practitioners, academics and policy makers in the role that museums might play in confronting prejudice and promoting human rights and cross-cultural understanding. Museums in many parts of the world are increasingly concerned to construct exhibitions which represent, in more equitable ways, the culturally pluralist societies within which they operate, accommodating and engaging with differences on the basis of gender, race, ethnicity, class, religion, disability, sexuality and so on. Despite the ubiquity of these trends, there is nevertheless limited understanding of the social effects, and attendant political consequences, of these purposive representational strategies. Richard Sandell combines interdisciplinary theoretical perspectives with in-depth empirical investigation to address a number of timely questions. How do audiences engage with and respond to exhibitions designed to contest, subvert and reconfigure prejudiced conceptions of social groups? To what extent can museums be understood to shape, not simply reflect, normative understandings of difference, acceptability and tolerance? What are the challenges for museums which attempt to engage audiences in debating morally charged and contested contemporary social issues and how might these be addressed? Sandell argues that museums frame, inform and enable the conversations which audiences and society more broadly have about difference and highlights the moral and political challenges, opportunities and responsibilities which accompany these constitutive qualities.
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