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Un musée pour tous les publics. Fédérer l’inclusion par une approche internationale
Abstract
La notion d’inclusion s’est progressivement imposée dans le domaine muséal depuis ces dernières décennies. Les actions se revendiquant inclusives se multiplient, notamment celles portées par les services en charge des publics qui périodiquement réinterrogent le sens de leurs missions. Que signifie pour un musée être inclusif ? Les activités dites inclusives sont-elles devenues une nécessité pour réduire l’écart et le sentiment d’exclusion que les musées peuvent encore susciter auprès de certains publics ? L’inclusion contribue-t-elle à la construction d’une société durable où la participation citoyenne et la résilience sont au cœur de son développement ? Depuis quatre ans, le Groupe d’Intérêt Spécial (GIS) « Accessibilité universelle, le musée inclusif » d’ICOM CECA participe à une dynamique de questionnement international. Il crée un espace de sensibilisation, de discussion, et même d’action, pour les équipes de musée. Cet article présente son travail et le cheminement de ce groupe, ainsi que les défis et opportunités qui émergent du dialogue avec des acteurs de divers contextes muséaux à l’échelle mondiale.
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Over the past decade, the issue of sustainable development has initiated a new “revolution”, challenging the management and internal operations of all institutions and professions, even the most traditional ones, such as museums. This change is not only a response to external circumstances but also a reflection of the aspirations of internal actors. What are the new emerging trends desired by museum professionals? This preliminary study explores evolving trends in museum professionalism based on insights gathered during the 26th ICOM (International Council of Museums) General Conference in Prague (2022). It analyses 20 non-directive interviews conducted as part of participant observation. Focusing on the five heritage expertise areas identified by CHARTER Alliance – “planning and management”, “outreach and communication”, “preservation and safeguarding”, “crafts and traditional knowledge”, and “general knowledge” – the findings suggest a transformative shift towards greater audience connection, community involvement, and experimental approaches. Moreover, professionals also express an interest for sustainable museum practices. The study underscores a broader ambition to equip museum professionals with adaptive skills, emphasizing the significance of long-term viability, ethical practices, and community engagement. Thus, the recent new museum definition (2022) by ICOM in Prague and its latest actions reinforces these transformative features, emphasizing the sector’s pivotal role in shaping the future of heritage and museums towards more sustainable practices.
The aim of this paper is to explore how the concept of inclusion is tackled in the field of museum education. Forty-one empirical articles written in four languages are examined, and the conceptual bases of different types of inclusive museum programs in those articles are identified and analysed. Results show that available research about inclusion in museum education can be classified in four categories: learning, community engagement, training/internship, and health/therapy. The category of learning refers to museum programs in which visitors learn different skills. Community engagement includes programs in which the objective is to invite and engage diverse specific groups of visitors in museum spaces and activities. Training/internship focuses on university training, internships, and museum personnel training. Health/therapy includes articles analysing programs directed to people with dementia or Alzheimer's disease.
Very diverse cultural practices develop within sufficiently large polities, in response to, and contributing to, a matrix of social relationships. Museums play a formative role in defining and reproducing those relationships through their policies and narrative practices. As importantly, how museums are construed, who uses them, and how they use them, are also defined within this web of relationships. Discussions of audience inclusion and exclusion should thus be grounded in an analysis of the complex sociocultural roles that museums play, and specifically in regard to the user’s search for shared narrative.
Calls for greater inclusion in US museums have recently become hard to ignore. The intersection of inclusion and museums, however, has longer roots and has primarily been understood as a means for museums to ensure and increase public access to their activities and services. Despite the field’s long-standing attention to inclusion, visitor and employee demographic studies do not indicate that US museums’ publicness significantly extends beyond a privileged subset of the population. In this paper, I argue that inclusion in museums is a matter of social justice. Using Nancy Fraser’s two-dimensional theory of social justice, I argue that inclusion efforts in museums have thus far been unsuccessful because there has been (1) insufficient attention to demands of recognition and (2) insufficient coordination of redistribution and recognition endeavours. Developing a proper appreciation of the justice-structured aspect of inclusion is more likely to produce the results to which many museum professionals aspire.
The new UK policy framework for museums aims to reconfigure their social role and organizational identity. Central to this process are the Government's generic concepts of social exclusion/inclusion incorporated into museum policies to make museums more socially responsible and responsive through their contribution to tackling social exclusion. Based on accounts, views and experiences of a cross-section of staff from two science museums and two science centres in the UK, this article examines the ways in which the concepts of social exclusion/inclusion are mediated and configured in museum professionals' perceptions, interpretations and practices. I argue that the concepts of social inclusion/exclusion do not map onto organizational actors' interpretations and experiences in the way envisaged and demanded by the policies. I also highlight some of the unintended consequences and tensions that can arise in the course of museums' and museum professionals' attempts to balance the social inclusion role with other demands and pressures.
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