WALK LIKE AN EGYPTIAN

 Special Edition | Keelan Cashmore 

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Over the holidays I had the pleasure of travelling to Egypt. Egypt is a country with a rich and vibrant history. Its mythologies have been the subjects of numerous adventure stories, and it has become a country that entices countless visitors.

It is easy to see why! 

The Pyramids of Giza. Photo courtesy of Keelan Cashmore.

Though I was excited to uncover the history of Egypt while being in the country, I was equally excited to see how the Egyptian Museum, and various historic sites throughout the country, differ from those in Canada.

I found six key differences in Egyptian museums and sites that I want to discuss.

1) The first difference was organization. If you visit the ROM, the curation and selection of specific artifacts and displays is evident. There is a method to the madness, and the pieces are presented in such a way that visitors know what they are seeing and why. At the Egyptian Museum, objects have also been carefully selected. However, they are of such a high volume that it can be overwhelming. Each room is packed to the brim with these objects, and because of this, it can be difficult to understand what you’re seeing. Labels do exist, but apart from the featured exhibitions they can be few and far between. 

Egyptian sandals at the Egyptian Museum. Note that there is no label or description.
Photo courtesy of Keelan Cashmore.

2) The second difference was docents. In both the Egyptian Museum and the historic sites such as temples and the pyramids, tour guides do not exist. At historic sites there are also no interpretive signs or labels. You either know what you’re seeing, or you have hired a tour guide in advance to show you around. In some temples, there were men who would point out various “areas of interest”, or who would offer to take your photo. Unlike Canadian museums, these men did this to earn money. If advice or photos were taken, many of the men expected monetary compensation. This is quite common throughout Egypt.

3) The third difference was preservation. I was shocked to see how many of the artifacts in the Egyptian Museum could be touched. This was the same with temples. It was so easy to reach out and touch hieroglyphs or statues that were thousands of years old. We were also allowed to climb on the pyramids. I would bet that if these monuments were in Canada, we would barely be allowed to breathe on them, let alone climb them. The one area where touching was restricted was the Valley of the Kings, inside the tombs of pharaohs such as Ramses II and Tutankhamun. From a tourist perspective, I loved being able to touch artifacts and hieroglyphs. The fact that I was touching real history was an indescribable experience. But from the perspective of a museum professional, it left me with a sour taste in my mouth. Wear and tear were evident in some places, and it made me sad to think it would only get worse. 

Tourists on the Pyramid of Khufu. Photo courtesy of Keelan Cashmore.

4) The fourth, and maybe most surprising difference to me, was gift shops. Museums and temples in Egypt do not have what we would consider “gift shops”. Instead, they have what we would consider markets. Essentially, on the way out of the temple or museum, the street is lined with vendors who attempt to sell you their wares. The vendors can be intimidating but are harmless. If you ignore them, they usually go away, but as a woman it can be unsettling. There was one instance where the two people I was walking with went in different directions and I was standing alone. I had four vendors surround me and promote their wares. That was one heck of an experience! 

Vendors promoting their wares at the Aswan Dam. Photo courtesy of Keelan Cashmore. 

5) The fifth difference was access to washrooms. In Egypt, public washrooms have a fee. They cost 5 Egyptian pounds per use, which is less than an American dollar. It’s not expensive, but it can be difficult to get small bills. Many of us in my tour group discussed how we did not care about the money, but how it bothered us, nonetheless. I think it’s because we are so used to public washrooms being available that we view it as a “right”. It comes along with culture shock and realizing that something as simple as access to public washrooms can vary greatly depending on your location in the world.

6) The sixth main difference I want to mention is camera tickets. In Western museums it can be common to charge a separate admission for special exhibitions. This is also true for Egypt. However, the Egyptian Museum, as well as historic sites such as the Valley of the Kings also charges extra for camera tickets. Camera tickets are what allow visitors to take photos. Of course, you can try to take sneaky photos without the tickets but doing so may result in you getting removed from the museum, or your phone being confiscated, and the photos deleted. 

Entry ticket and camera ticket for the Egyptian Museum. Photo courtesy of Keelan Cashmore.

None of the differences between Egyptian and Canadian museum practices were major, but they were prominent enough for those of us in my tour group to notice and question them. Egyptian culture in general is quite different from North American culture. It takes some getting used to, but after being there for a couple of days you adjust quickly, and these customs become the norm.

It was amazing to me how accustomed I became to these practices. For example, I went to the ROM last week and was surprised at the number of artifacts that could not be touched! I also had to remind myself that I could take photos, and someone was not going to yell at me asking if I had a camera ticket. 

Hieroglyphs in the Valley of the Kings. Photo courtesy of Keelan Cashmore.

Overall, I had a lot of fun exploring Egypt and seeing how it differs from Canada! It is certainly a place I would recommend going if you have the chance. Pictures and descriptions can only go so far – nothing beats experiencing it yourself!

MUSEUMS AS SITES OF INTERNATIONAL RELATIONS

MUSINGS ABROAD

BY: KRISTEN MCLAUGHLIN

Over the last six months or so of me writing the Musings Abroad column, I often think about how the museums I write about work together on an international level. In an increasingly globalized world, what do museums do, both actively and passively, to change, develop, enhance or decrease relationships between different countries, their governments, and their heritage/art institutions?

A Japanese McDonald's sign from 1975 from the National Museum of American History. Source.

What do I mean by international relations between museums? 

Museums are not the neutral and objective spaces many people have liked to believe over the past half a century; museums are political and contribute to social change on a local and wider scale. Museums have the ability to become symbols of cities or nations. Museums contribute to international relations by exhibiting collections from different nations and loaning objects across borders. Museum professionals are working more and more abroad, training in one country and working in another, bringing different policies and methods to different countries. Some museums work directly with different governments to ensure artifacts or remains are repatriated or exhibited, such as museums around the globe working with the Haida in repatriating their ancestral remains with communities and the Canadian/BC government.

Should Museums Care About International Relations?

So far I have made it sound as if international relations are secondary to a museum's purpose as a heritage preservation institution. Rather, I believe international relations are integral to those museums that have international collections. In a world that is becoming more and more globalized, our museums can no longer isolate themselves from their sister institutions across the world. By being proactive in building relationships abroad, museums can be at the forefront of active engagement and participation in issues wider than themselves.

Examples

International Entities - ICOM and UNESCO

ICOM, or the International Council of Museums, is a network of over 37,000 members who are a part of the global museum community. They are a leading entity in museum ethics. There is a specific ICOM Canada website for Canadian entities or individuals interested.

UNESCO or United Nations Educational, Scientific, and Cultural Organization, is perhaps one of the more well-known global heritage entities, focused on heritage protection on both a tangible and intangible scale and on world heritage sites. Recently they've been working with museums in war-torn areas to attempt to provide protection and planning for collections.

Individual Museums - The Art Gallery of Ontario

Last month I attended the Ontario Museum Association (OMA) conference, where I sat in on the talk "Ontario Museums and Cultural Diplomacy". An interesting case study was the exhibition Small Wonders, on the Boxwood Miniatures exhibited at the Art Gallery of Ontario. I had seen the exhibit myself and was completely blown away by some of the work they had done in breaking down the layers of these objects and comparing them to worldwide collections. At the conference, Dr. Alexandra Suda from the AGO talked about how it was truly an international collaboration between different museums, not only in researching different collections for their exhibition but in sending the exhibition to two other museums: The Met Cloisters in the USA and The Rijksmuseum in the Netherlands. This demonstrated all the work that goes on behind-the-scenes of an exhibition.

Sample object from the exhibit Small Wonders at the AGO. Source.

Individual Museums - The British Museum

One example stands out as to how cultural exchange can greatly affect political relationships, both negatively and positively. The exhibit in 2005-2006 Forgotten Empire: The World of Ancient Persia, was a global exhibition put on by the British Museum that was planned to travel worldwide as well. Some of the objects in the exhibit were loaned by two Iranian museums, the National Museum in Tehran and the Persepolis Museum. This exhibition occurred during a time of strained political relations with Iran because of its increased nuclear armament. The British Museum had agreed to loan the Cyrus Cylinder in return for their loans; however, with increased political tensions the British Museum released statements declaring they would wait to make sure they were loaning the object into a safe environment. This caused great strife with the Iranian government, which threatened to sever all cultural relations and accusing the Director of wasting time and making excuses.

When the cylinder was finally loaned in 2010, it provided a chance for other discussions to slowly start up again. This entire situation is demonstrative of the fact that museums and other cultural institution do in fact have great political power.

The Cyrus Cylinder. Source.

The Future

I am interested in seeing what the future of international relationships are through museums. We are well aware of presidents and prime ministers traveling the globe on trade missions, discussing topics such as job creation, trade deals, and resources. These talks frequently take place in a cultural context; being shown different dances, cultural practices, important locations, and more. Despite this, the topics of cultural exchange do not seem to make the headlines.

Prime Minister Justin Trudeau and his wife Sophie Gregoire-Trudeau write messages on traditional Ema wooden plaques at Tokyo's Meiji Jingsu Shrine, one example of many that incorporates a country's cultural values into political visits. Source.

Perhaps this is because the work is being done in the background by different cultural institutions within these nations: partnerships are made, exchanges happen, and citizens from different countries learn about others around the globe by visiting. Is it up to our individual museums and art galleries to create those transnational relationships? Are museums meant to be global or local? Can they be both? These are the questions I want to leave you with as you visit your next museum. Think about the exhibits. Who have they worked in partnership with? Are objects from the local area or from abroad? Where do their staff, visiting interns, and visitors come from? Should museums be doing more or less to contribute to international relations?

FINDING DIRECTION IN INDIA'S MUSEUMS

MUSINGS ABROAD

BY: KRISTEN MCLAUGHLIN

India is a nation bursting with rich history, archaeology, monuments, and intangible heritage like dance, song, costumes, and more. It is a country bustling with life and vibrancy and fast-paced change. However, many of India's museums do not match the quality of sites and collections. On the cusp of an economic shift, attention has turned to just how India is displaying this heritage and history and the possible benefits of creating more popular, engaging, and organized museums.

There is a need to identify opportunity through museum planning and management in India's museums. Currently there is much lamentation within the country regarding a lack of audience, disorganization, government control, and skilled labour. This article will look at some past discussions about India's museums and possible directions for the future. Despite current obstacles, there is growing movement within India, particularly with youth, to increase the strength and message of India's museums. It is an exciting time!

Brief History

Indian museology dates back to the late 18th and 19th centuries, when the Asiatic Society was formed in Kolkata (Calcutta) in 1784 by British colonizers creating documentation records on the cultural heritage that existed in India. Their first museum, the Imperial Museum, is now the Indian Museum and one of the largest in the country.

The Indian Museum in Kolkata. Source.

Even before this, though, the rulers of India and lesser nobles often collected stone and bronze sculpture, textiles, paintings, and other artifacts, similar to neighboring countries and ancient Southeast Asia.

Because of this history, one may expect India to have some of the most advanced museums in the world. This is not the case. There are many contributing factors to the lack of strong museum presences in the country, but it frequently comes down to a lack of physical and economic resources; museums are not the priority of most countries, particularly when there are larger, more life and death issues to deal with. There is also a perception among citizens that museums are mainly for tourists, so improving museums has not been on the social and economic development calendar. According to Barry Lord of Lord Cultural Resources, most museums in India lack basic requirements for professional operation.

The Numbers

India's government-run museums recorded less than 100,000 visitors for tickets priced at 30 cents, as compared to the Louvre's 8.6 million visitors with full-priced tickets. However, this is not a new occurrence. In 2009 India's Ministry of Culture released an impressive 14-point agenda promising reform for museums, such as more interactive displays, outreach and educational programs, and more. In 2011 however, a UNESCO report revealed that the country's major museums still suffered from a lack of maintenance and sometimes basic lighting and signage. 

"But at the core are deep-rooted issues of archaic policies, lack of autonomy, and no skilled manpower. Our excellent collections are proof of a rich socio-cultural history, but when museums act as mere closed-door guardians of treasures instead of disseminating them, attractively and intelligently, to a wide audience, they lose their purpose."  -- Madhumitha Srinivasan, The Hindu

Much of this is the result of art and culture being consistently marginalized in the country's budgeting, as all museums rely on the government for staffing, day-to-day operations, and basic supplies. However, the government is not willing to pay the fees necessary for training, staff, and preservation that would entice the experienced people needed. In India's 2017-2018 budget, less than 1% (about 0.13%) has been given to the Ministry of Culture, which manages libraries, cultural institutions, archives, as well as museums.

The Big Concerns

According to Vinod Daniel from the Australian conservation network AusHeritage, there are six major problems facing Indian museums today.

1. Director: appointing a permanent director to allow for time to transform a vision into reality.
2. Autonomy: All museums in India report to the government, which can be challenging. Implementing a system such as a board would allow for more freedom.
3. Staffing: Most staff in museums in India do not have any form of training, whether that be collections, curation, interpretation, programming, etc. A proper selection process should become the norm. Organization is a serious problem.
4. Audience Engagement: Currently, citizens of India are not particularly attached to their museums. Last year, a fire burned up 70% of the collection in a national museum in New Delhi, and most people did not know it had happened. A problem is a way to make audiences want to come and to make them feel connected, citizens as well as tourists.
5. Collections: Museums need to rethink how they manage their collections. There are no collection development strategies in Indian museums, which would help with organization, streamlining accessioning processes, and more.
6. Intangible Heritage: India is particularly unique because of its strong intangible culture in song, dance, art, textiles, etc. A way to bring these aspects into the museum fold may help with development strategies, tourism, and more.

Source.

Solutions?

• -Allow for more museum autonomy; implementing boards, trusts, and other operating structures rather than government
• Create a museum that is important and topical to gain attention from civilians: as suggested by Indian MP Shashi Tharoor, a museum on British colonialism in India and the detrimential aftershocks would be a strong starting point in gaining the attention of citizens and the importance of museums in preserving relevant history
• -Consult with museums around the world and create global ties: for example, this year the ICOM (International Council of Museums) International Committee on Museum Management conference is taking place in the Vishakhapatnam and Araku Valley in Andhra Pradesh!
• -Bring in employees and interns from across the globe for different perspectives and experiences
• -Look for unique strategies that use little money and resources (such as looking to small museums in other countries)
• -Pick the strategies that work best for your specific institution. Start small, such as writing policies.
• -Fight to get the community interested and invested in your museum in order to create social capital.

India is a country with a large and diverse history and endless possibilities for the future when it comes to promoting these aspects. When it comes to museums, though, it seems the country is stuck in a rut. India may have to break away from the traditional government-run only museum model and find the policies, practices, and goals that work for their museum's specific needs. However, at present there seems to be no positive shift in museum management in the country. With a growing interest from India's youth in working in museums and the importance of audience engagement, perhaps they will be the ones to create new solutions to old problems.