INCLUSION IN MUSEUMS: A COLLECTION OF BEST PRACTICES

1 1 1 2 INCLUSION IN MUSEUMS: A COLLECTION OF BEST PRACTICES Sarajevo, 2024 1 3 Publisher: Balkan Museum Network www.bmuseums.net For the publisher: Aida Vežić Editors: Anida Manko and Milena Milošević Micić Reviewer: Tatjana Cvjetićanin Proofreader: Lejla Turalić Design: Adrian Memaj Sarajevo, 2024 Circulation: 100 copies Printed by: Sonic Studio, Sarajevo This publication is an open access under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. The entire content of the publication is freely available. Users may read, download, copy, distribute, print, search, or link to the material, and modify, reformat, and adapt the material or use it in other lawful ways, as long as they properly cite the original source. Author retains copyright. The author may publish the same manuscript in another publication or journal. When republishing an article, the article must contain information about where the article was first published. This publication was made within the project SHIFT (MetamorphoSis of cultural Heritage Into augmented hypermedia assets For enhanced accessibiliTy and inclusion) funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No. 101060660. Views and opinions expressed in this publication are those of the author(s) only and is his/her sole responsibility. The European Research Executive Agency (REA) and the European Commission are not responsible for any use that may be made of the information it contains. 1 4 Anida Manko Preface ................................................................................................................................................................ 5 Milena Milošević Micić Introduction ...................................................................................................................................................... 6 Irena Ružin, Milena Milošević Micić Are Balkan Museums Accessible? Self-Determination of Persons with Disability or Just Another Declaration? ..................................................................................................................................... 8 Nermina Suljević, Derviš Hadžimuhamedović Inclusivity and Visibility Actions for Sustainable Cultural Development – IVA ........................ 15 Senka Ristivojević, Katarina Krstić Contemporary Visual Art through Multisensory Experience ......................................................... 21 Milica Orlović Čobanov The Pavle Beljanski Memorial Collection: A Museum for All ........................................................ 33 Ivana Rastović, Jelena Bobić A Museum for All: Experiences of the Gallery of Matica Srpska in Implementation of the “Uroš Predić for Everyone” Project ........................................................................................................ 41 Marko Karaman, Natalija Čađenović „Nature to Touch“ – Exhibition Adapted for Persons with Disabilities ....................................... 51 Amar Karpuš, Elma Hodžić Adapting Museums in Times of Crisis: Inclusion Lessons from the History Museum of Bosnia and Herzegovina ........................................................................................................................... 56 Aida Šarac Berbić Fostering Remote Inclusion at the National Gallery of Bosnia and Herzegovina During and After the Pandemic ..................................................................................................................................... 65 Ioana Cornelia Cristina Crihană Public Libraries as Key Factors for the Inclusion of Vulnerable Groups ...................................... 76 Branka Dragičević Work of the Pedagogical Service at the Museum of Old Herzegovina: ‘A Touch of the Past – Inclusion in the Museum’ .......................................................................................................................... 83 Ivana Gruden Milentijević Educational Forms of Niš National Museum Intended for Persons with Disabilities ............ 91 Irena Ruzin, Jove Pargovski Designing Inclusive Museum Exhibitions: A Cost-Effective Approach to Sensory Accessibility .......................................... ......................................................................................................... 98 Klaudia Klára Tvergyák, Liliána Benyó-Vattay Inclusivity, Accessibility and Usability in the Making – Shaping the Museum with the Help of Stakeholder Visitor Groups ...................................................................................................... 107 Author’s Biographies ................................................................................................................................ 117 Aida Vežić About the Balkan Museum Network ................................................................................................... 123 TABLE OF CONTENT 1 5 Museums play an important role in preserving cultural heritage and educating the public. Accessibility in museums involves more than just physical access or ensuring access for people with disabilities; it encompasses broader aspects that contribute to enhancing visitor experience and promoting greater social inclusion. To achieve accessibility, museums are increasingly ensuring it by removing architectural barriers, using technology, creating accessible exhibitions, and collaborating with local communities and other museums to understand diverse visitor needs. Thanks to these efforts, museums become true centres of education, cultural interest and social inclusion. We are proud to present to you a publication showcasing examples of inclusive practices implemented in museums across the Balkans. Museum experts have presented specific examples, describing the process of implementing inclusive strategies, identifying successes achieved, and presenting the obstacles encountered as well as those to overcome in the future. Examples of pedagogical work in museums highlight the diversity of educational opportunities museums provide, particularly in adapting exhibitions to meet the needs of all visitors. Museum professionals, making the best use of their experiences and projects, focus on creating multisensory environments using a wide range of tools and digital platforms to ensure accessibility for all visitors. Examples from Bosnia and Herzegovina, Montenegro, Serbia, North Macedonia and Hungary as well as a library example from Romania, have set standards in inclusivity. These museums, galleries, and libraries provide inspiration and examples of how to implement accessible practices that can serve as models for others. In the context of the pandemic, the publication illustrates how museum practices have adapted to new challenges and how those changes have spurred the development of new technologies and adaptations, enhancing accessibility even further. This publication is designed as a source of inspiration and information for museum professionals, decision-makers, researchers, and visitors to better understand how museums can become more accessible and inclusive. The examples highlighted in the publication underscore the importance of inclusivity with the aim of encouraging other museums to implement similar strategies and approaches in order to enhance their services and contribute to social inclusion. We hope that our publication will stimulate further international cooperation among museums, galleries, and libraries in the region to share best practices and support ongoing inclusive practices. We believe that this publication will encourage your museum to become more inclusive, providing enriched and high quality experiences for all its visitors. Anida Manko PREFACE 1 6 INTRODUCTION Building on previous results highlighting the evolving landscape of museum accessibility and inclusion in the Balkans, this publication is an attempt to showcase some of the transformative efforts within galleries, libraries, archives, museums (GLAM) and other cultural institutions with a mission to provide access to knowledge. Despite a legal framework, that only partially guides change, and limited financial support, numerous institutions have demonstrated commendable progress. These improvements, mostly spearheaded by dedicated individuals and teams, reflect a commitment to enhancing equal opportunities and fostering an inclusive environment. The initiatives undertaken by museums across the Balkans and Europe are notable for their diverse approaches to accessibility. From tactile exhibitions and audio descriptions to digital innovations like QR codes, NFC and VR experiences, these efforts cater not only to visitors with disabilities but also enrich the cultural experience for all audience members. Collaborative projects between GLAM professionals and persons with disability and their organizations have been instrumental in ensuring that programs are inclusive and participatory, reflecting the principle of “Nothing About Us Without Us”. Institutions that represent the willingness to develop this aspect of their work as a value they promote in society should receive due praise: they include prominent national or “large” museums which have implemented comprehensive sensory and inclusive programs. Local community museums in cities and towns in the Balkan region, however, have also made significant strides, demonstrating that impactful change can occur at various scales. Central to these efforts is the support provided by the Balkan Museum Network through the small-grant scheme funded by the Foundation Cultural Heritage without Borders (CHwB) BiH and CHwB Albania, Stavros Niarchos Foundation, the Swedish and the U.S. embassies, and others, but also Headley Trust UK and the recent Headley South East Europe Cultural Heritage Fund program. On the other hand, one should mention the existing support of the respective national ministries based on international and national conventions and laws. Various programs and educational events organized by the Balkan Museum Network and the Balkan Museum Access Group promote international cooperation, knowledge exchange, and community involvement, underscoring the broader goals of human rights, tolerance, and equality. Its outcomes highlight the collective achievements of institutions dedicated to broadening access to cultural heritage and capacity building. The three-year project titled SHIFT «Metamorphosis of Cultural Heritage into Augmented Hypermedia Assets for Enhanced Accessibility and Inclusion” led by the Software Imagination & Vision SRL (SIMAVI) from Romania and funded 1 7 through the Horizon EU program represents the new platform for the Balkan Museum Network to continue the process of building upon previous results. SHIFT is strategically conceived to deliver a set of loosely coupled, technological tools, that offer cultural heritage institutions the necessary impetus to stimulate growth, and embrace the latest innovations in artificial intelligence, machine learning, multi-modal data processing, digital content transformation methodologies, semantic representation, linguistic analysis of historical records, and the use of haptics interfaces to effectively and efficiently communicate new experiences to all citizens (including people with disabilities). The development of SHIFT tools will be carried out in close consultation with the stakeholder communities represented in the project. The two cultural heritage networks (BMN, ANBPR - The National Association of Public Librarians and Libraries) will launch an open consultation procedure to aggregate views from their members, while working together with the cultural heritage institutions (Hungarian National Museum and National Museums in Berlin) and heritage professionals (Heritage Management Organisation), they will provide requirements based on the cultural assets being maintained within each organization. The diversity of digital media transformation and the semantic formalization of the cultural assets will be individually demonstrated across all museums and libraries. Additionally, the inclusion of design principles adopted within the project will be evaluated by cultural heritage networks and vulnerable group partners (DBSV - The German Federation of the Blind and Partially Sighted), who will engage with the various tools developed in the project. In addition to the stakeholders and end-users, the SHIFT project also brings together leading industrial (SIMAVI) and academic institutions (FORTH – Foundation for Research and Technology, Technical University of Munich, QMUL – Queen Mary University London). The consortium is complemented by SMEs (MDS – Massive Dynamic Sweden, AUD – Audeering) with high-tech product development teams and ethical expertise (ERC – Ethics Research Center). Collectively, the project will release twelve technology solutions clustered into five thematic areas (computer vision, audio, text-to-speech, haptic, semantics, and linguistics) that support accessibility and inclusion by design to overcome the shortcomings and limitations of the Cultural and Creative Industries (CCI) sector in order to enable growth and stimulation. In summary, while challenges persist, the ongoing initiatives of Balkan museums exemplify profound SHIFTS towards accessibility and inclusivity. These endeavours not only improve visitor experiences but also affirm the role of museums as socially responsible entities committed to meeting the diverse needs of their communities. Join us in joining hands, now! Milena Milošević Micić 1 8 ARE BALKAN MUSEUMS ACCESSIBLE? SELF-DETERMINATION OF PERSONS WITH DISABILITY OR JUST ANOTHER DECLARATION? ABSTRACT This article examines the concept of self-determination, exploring its significance, challenges, and implications in various contexts. It discusses how legal frameworks, social norms, and other factors can enable or hinder individuals from fully exercising their self-determination rights. Additionally, it emphasizes the importance of balancing individual freedoms with social responsibilities, highlighting the need for inclusive environments that respect the rights of all. Focusing on the Balkans, particularly within the cultural sector, the article discusses efforts to promote accessibility and inclusion in museums and cultural institutions. It analyses the impact of legal reforms, social awareness campaigns, and community initiatives in fostering a more inclusive environment for individuals with disabilities. Furthermore, it presents some of the results of international cooperation projects aimed at enhancing accessibility and involving local communities in cultural programs. While recognizing ongoing challenges, such as financial constraints and limited awareness, the article underscores the progress made and the potential for further improvements through collaboration and innovation. Keywords: self-determination, accessibility, inclusion, cultural heritage, human rights, museums, the Balkans, disability rights INTRODUCTION Self-determination is a fundamental principle that refers to the right of individuals or groups to make choices and decisions about their own lives without external pressure or interference. This valuable, widely recognized and appreciated concept, also has its limits and can face challenges in various contexts. Limitations usually come from the legal framework that can be directly or indirectly determined by (inter)national conventions, regulations, and other legal instruments. It can also be influenced by social boundaries, geographical characteristics, economic conditions, religious beliefs, moral claims, and many different elements Irena Ružin, Milena Milošević Micić Balkan Museum Access Group 1 9 that could prevent a person from living a completely self-determined life. We should ask ourselves if we are truly able to follow this principle and fulfil our human needs. One should also remember that “a person’s freedom stops where the other’s freedom begins”. In other words, our freedom is limited by the freedom of those around us, and we should always be mindful of how our actions may impact others. That, in turn, provides an opportunity for individuals, as well as the society, to take actions which do not infringe, but support the rights of others and to provide them with space to live their lives freely, participating fully in all aspects of life. Statistics show that around 1.3 billion people globally live with some form of disability, which is 16% of the world’s population (World Health Organization, Disability, 2023). t Unfortunately, “differences” are still commonly perceived with misunderstanding and prejudice. These facts raise a set of important questions. Are we, as humans living in the 21st century, creating an environment equal for all, accessible for all and with equal possibilities for the inclusion of all? Are we as countries, societies, and institutions creating a space that is a truly barrier-free, open, inclusive, and an empowering environment, or rather creating boundaries and limitations? Are we living in a “disabling” world or are our societies with “disabilities”? This brings us to the Universal Declaration of Human Rights (1948), which expresses the basic principles of life, namely the equality of all, the rights of all, as well as the prohibition of all forms of discrimination, regardless of any background, for everyone to be able to enjoy the benefits of life. The most significant step forward, as the crowning achievement of almost 80 years of UN activity regarding equality and human rights, is the adoption of the UN Convention on the Rights of Persons with Disabilities in 2006. Coming from the cultural sector in the Balkans, specifically from museums and institutions working in the field of the preservation and presentation of cultural heritage, we very often face two sides of a medal when dealing with accessibility and inclusion in cultural institutions. Quite often, we face many internal obstacles, restrictions, and barriers. “Do not touch!!!” is the most used phrase in our everyday work. Addressing these challenges often requires a combination of legal reforms, social awareness campaigns, economic support, and community initiatives to create an inclusive and empowering environment for individuals with disabilities to fully participate and enjoy culture. TOWARD ACCESSIBILITY – THE BALKANS CASE 1 16 INTRODUCTION Museums, as keepers of cultural heritage, have the objective to serve as inclusive spaces that are adapted to the needs and interests of diverse audiences. Museums in Bosnia and Herzegovina and Montenegro, however, face significant challenges in achieving this vision due to numerous obstacles, including limited resources, outdated equipment, and inadequate training. Supported by UNESCO, the British Council and the Italian Agency for Development Cooperation (AICS) through the Culture and Creativity for the Western Balkans” (CC4WBs) project, and funded by the European Union, this 12-month long project (implemented in 2023-24) seeks to help overcome these obstacles and create a culture of inclusivity within museum spaces. At its core, IVA is a project designed with an understanding of the significance of inclusivity in cultural institutions. Based on principles of social justice, human rights, and cultural diversity, the project aims to transform museums into welcoming environments where individuals of all backgrounds feel valued and represented, achieving international standards and learning from best practices in inclusive museum management. The City of Sarajevo and the City of Podgorica joined hands with the City Museums Sarajevo, the Museum of Literature and Performing arts of Bosnia and Herzegovina, the History Museum of Bosnia and Herzegovina, and the Museums and Galleries of Podgorica, to create a working group consisting of museum professionals, public officials, and special educators. A wide range of potential project beneficiaries has been identified, and the core focus was set on people with disabilities, both those living in the region and those visiting as tourists. The project’s complex approach focuses on several overall goals: fostering general cooperation between cultural institutions, creating an institutional network for inclusivity, enhancing institutional capacities through education and equipment acquirement, and introducing a range of new inclusivity services. To achieve these objectives, a series of targeted activities has been initiated, including the establishment of collaborative networks, development of education modules, and the creation of innovative and inclusive museum souvenirs. Through strategic partnerships between institutions, and through participatory approaches, the project seeks to give museum professionals the capacity to accept inclusivity as a core value and integrate it into their daily professional practices. Based on the future success of the project, there is potential to develop a model, which can then be replicated in similar institutions in the region, further widening and strengthening the network for inclusivity. 1 17 GOALS AND METHODS The implementation of the project activities is well underway, and concrete outcomes are expected to bring more than simple accessibility improvements. Increased visitor engagement, cultural heritage preservation, and heightened social cohesion will be achieved by fostering a culture of inclusivity, through which museums stand to become more vibrant and engaging spaces, welcoming diverse target groups. The cornerstone of the project is the development of a General Museum Inclusivity Plan, a significant effort undertaken in close collaboration with the Association of Special Educators and Rehabilitators “STOL” Sarajevo. This collaborative effort with partner institutions ensures that the inclusivity plan offers a range of different perspectives and expertise, allowing for a meaningful change within cultural institutions. The Plan outlines specific steps that the institutions need to follow in order to fulfil the goal of creating an inclusive and welcoming environment for all people. Such a strategic approach is ingrained in the core idea of IVA, which aims to set up foundations for continuous work and improvement of spaces, skills, and approaches, rather than focusing on short term actions. In parallel with the plan development, the project includes a series of educational sessions designed to empower museum employees with essential skills and knowledge. Leveraging the expertise of “STOL” Sarajevo, the project plans to conduct a series of hybrid training sessions designed to allow museum professionals to gain necessary skills needed to adapt everyday professional practices into becoming more sensitive and inclusive for all groups of people. One of the project meeting coinciding with Autism Awareness Day serves as a testament to the project’s commitment to public engagement and awareness-raising, fostering a culture of inclusivity within museum spaces.2 Three-day training was conducted by educators from “STOL” in early June, 2024. The Olympic Museum in Sarajevo hosted professionals from the institutions included in the project, which was an opportunity to develop skills, exchange experiences and best practices, and join hands to draft the General Museum Inclusivity Plan.3 The training was focused on introducing participants to the diverse range of challenges they will face once they open their spaces to people with disabilities, how to prepare and be able to overcome them. Special attention was given to developing an understanding of the need to use sensitive language and establishing appropriate communication with all museum visitors. 2 Project IVA: Celebrating World Autism Awareness Day, (April 2, 2024), City of Sarajevo 3 Successfully implemented education for museum staff: “Inclusiveness and visibility for sustainable cultural development”, (June 7, 2024), Museum of Literature and Performing Arts of Bosnia and Herzegovina 1 18 Local and national legislation in Bosnia and Herzegovina and Montenegro has been identified as a potential significant hurdle to achieving success in this project. Thus, sturdy legal framework and strategic directions have been defined, with a strong commitment of those in charge of decision making to make improvement towards inclusive development of their respective communities. The overall goals of increasing inclusivity in museums will additionally be achieved by introducing modern technologies into already existing museum exhibitions, and by designing new exhibitions based on principles of inclusivity. Together with adaptation of museum spaces, new equipment, such as VR headsets and the software necessary to integrate them into exhibitions, will allow professionals to apply the skills gained during the training sessions in order to improve and adapt their professional approach to museum spaces and visitors. The procurement of the necessary equipment for the museums participating in the project was completed in July, 2024. The IVA initiative will symbolically culminate with the creation of a series of innovative museum souvenirs, designed to respect differing needs of various museum visitors. Set in specifically furnished souvenir shop spaces, these souvenirs will aim to combine modern and traditional elements, further expanding their value as a contribution to preservation of heritage. The design of these museum shop spaces is currently underway. The symbolic souvenirs will be presented at the Museum Inclusiveness Day in December 2024, which will be held simultaneously in both Bosnia and Herzegovina and Montenegro, signifying the determination of project partners to work together on achieving better inclusivity in all public institutions. An attractive souvenir, which will spark interest of wider groups of visitors, will add value to museum spaces, and contribute to the sustainability of these cultural institutions. Disseminating the results of these actions to a wide audience is a precondition to Figure 1. Training session at the Olympic Museum in Sarajevo, June 2024 Figure 2: Training session on working with visitors who are blind or visually impaired, June 2024 1 19 creating an environment in which such a project could be further replicated. All partners have agreed to use a diverse selection of communication methods and channels to promote the project and inform the wider public on the process and the results. Printed and digital media, and social networks, will all be utilized to raise awareness of IVA and the importance of focusing on inclusivity in cultural institutions. All of the planned actions have been designed to be dependent on full inclusion of all project partners, joined in a Project Consortium. Formed with seven establishing members and supported by strong professional networks, such as the Network of European Museum Organizations (NEMO), the Balkan Museum Network (BMN), and the Sarajevo Economic Region Development Agency SERDA, the Project Consortium will ensure that the implementation of the project goals continues being a priority even after the proposed 12-month period ends. Such a strong commitment will ensure multiplication and wide dissemination of the effects long into the future. As administrative and cultural capitals of Bosnia and Herzegovina and Montenegro, the cities of Sarajevo and Podgorica have committed to institutionally support all of the project outputs and their further advancement as a part of wide culture development strategies. They will learn from the positive practices of IVA, and actively work on applying similar actions in other museums under their jurisdiction, helping them to become more sustainable and inclusive to all citizens, as one of their important strategic goals. CONCLUSION In conclusion, it is crucial to underline the important role that inclusivity has in shaping the future trajectory of museums in Bosnia and Herzegovina and Montenegro. IVA is a project that in its essence advocates for continuous efforts to make inclusive approaches within cultural institutions an everyday practice, and calls for continued collaboration and knowledge-sharing among stakeholders. This project has the potential to be the snowball that can start an avalanche, spreading the understanding of the importance of inclusive practices to different museums and other cultural institutions across the region. The project activities concluded so far testify to this potential, as museum professionals from the partner institutions have already started utilizing the skills and knowledge gained during training sessions in their everyday work. Even more than that, IVA offers a basis and an established model for future policy initiatives aimed at advancing the inclusivity agenda in the cultural sector. By focusing on inclusivity as a fundamental principle, museums can unlock their full potential as public spaces of cultural exchange and mutual understanding. Together, partners in IVA are sending a strong message – museums belong to all of us, and we will join forces to make them accessible to everyone. 1 20 REFERENCES Project IVA: Celebrating World Autism Awareness Day, (April 2, 2024), City of Sarajevo, https://www.sarajevo.ba/bs/article/14354/projekat-iva-obiljezavanje-svjetskog-dana-svjesnosti-oautism (accessed on May 15, 2024) Successfully implemented education for museum staff: “Inclusiveness and visibility for sustainable cultural development”, (June 7, 2024), Museum of Literature and Performing Arts of Bosnia and Herzegovina, https://mkpubih.com/2024/06/17/uspjesno-provedena-edukacija -for-museum-staff-inclusivity-and-visibility-for-sustainable-cultural-development/ (accessed on May 15, 2024) 1 21 CONTEMPORARY VISUAL ART THROUGH MULTISENSORY EXPERIENCE ABSTRACT For the first time, the Museum of Contemporary Art Belgrade organised an exhibition for people who are blind and people with low vision in 2019 called “In Touch With”. The project’s second edition, the “Blue Exhibition,” was on display in 2023. Intended to bring persons with vision impairment closer to artistic heritage by providing them with hands-on art experience, both project iterations were supported by the Faculty of Fine Arts and the Association of the Blind of Serbia. Students from the Sculpture department at the Faculty of Fine Arts in Belgrade were asked to consider how to communicate visual art to persons who are blind and people with low vision. They created interpretations of artworks from the collection of the Museum. Developed during the first exhibition, the methodology was expanded in the second iteration with a focus on the phenomena of colour. The artworks from the Museum’s collection were translated into another medium and given a new interpretive framework through a multi-sensory experience (tactile, auditory, olfactory, and spatial). During the “Blue Exhibition”, the special programme entitled “An Unseen Tour” was conducted by Boris Dončić, the associate with low vision who guided the blindfolded audience. This programme was designed to be inclusive and accessible to everyone, demonstrating that visual art should be enjoyed with the complete body. If we let our bodies feel fully, ignoring visual limits and surrendering to multisensory participation, we may allow ourselves to build a sense of equality, tolerance, and empathy. Keywords: inclusivity, contemporary art, interpretation, experience, person with visual impairment, person who is blind, and accessibility. Senka Ristivojević, Katarina Krstić Museum of Contemporary Art, Belgrade 1 22 INTRODUCTION In the effort to make the museum collection more accessible for persons with vision impairment, persons who are blind or have low vision, the Museum of Contemporary Art first implemented the idea of a multisensory museum experience with the “In Touch with” exhibition in 2019 and again with the “Blue Exhibition” in 2023. A form of interpretation was created with the intention of providing persons who are blind or have low vision with access to artistic works and visual heritage; this approach has also been proven beneficial to sighted viewers. The main focus was activating the visitor’s sensory body and physically engaging them. Previously, in the museum accessibility practice, artworks presented to persons with vision impairment and persons who are blind were usually tactile diagrams or replicas – reliefs and objects meant for touching that are produced mechanically, through 3D printing or with a CNC machine. Due to the precision of linear mechanical production, the reliefs and objects produced usually represent artworks by abstract artists. The exhibitions at the Museum of Contemporary Art break through this established model by highlighting the experience and the interpretation. The artworks are observed, felt and interpreted through subjective experience. Every viewer has the freedom to interpret and experience the artwork in their own way. The projects of the Museum of Contemporary Art present different models of art interpretation. Reducing information and theoretical presentation to a bare minimum, this new methodology creates space for the freedom of personal experience and interpretation of heritage, engaging the visitor’s physical body. The principle of multisensory museum experience relies on previous theories of museum education and art interpretation. In the effort to make artworks and visual Figure 1. In Touch With exhibition, MoCAB, 2019 (photo: Bojana Janjić, MoCAB) 1 23 artistic heritage accessible to persons who are blind or have vision impairment, the newly developed methodology proved valuable for the sighted audience as well, emphasising the development of sensibility, empathy and the acceptance of diversity as a principle of inclusiveness. The methodology resulted from intense interdisciplinary research that was conducted by the students of the Sculpture Department at the Faculty of Fine Arts in Belgrade, their professors Mrđan Bajić and Radoš Antonijević, MoCAB curators Katarina Krstić and Senka Ristivojević, and the librarian and studio editor of the Library of the Union of the Blind of Serbia “Dr. Milan Budimir”, Boris Dončić, together with the help of the colleagues at the Union of the Blind in Serbia. Their primary inquiry was: How can one interpret and present a visual creation to a person with vision impairment? This raised other related questions: How can the collection of the Museum of Contemporary Art, which comprises over 8,500 artworks – paintings, drawings, graphics, sculptures, objects, installations, photographs, video works and many educational resources – become accessible to persons who are blind or have low vision? The museum experience is a multi-layered journey that is intellectual, aesthetic, sociological, but also proprioceptive, sensory and emotional. By fostering these experiences, museums become places of learning, wonder, reflection and relaxation, new social connections and the creation of lasting historical memories (Levent and Alvaro (ed.), 2014: xiii). The inclusion of multisensory approaches in creating the museum experiences provides new ways of understanding heritage, enables the creation of an immersive environment, encourages and makes learning more in alignment with the audience than exclusively and dominantly visual and academic approaches (Levent and Alvaro, 2014: 351). Art has the unique power to evoke compassion and imagination for the lives of others. Therefore, art museums are places where the principles of recognition and inclusion are easily adopted. Art, with its performativity, abolishes the difference between the sign and the signified; it is an experience in living presence. Returning to the body and senses in interpreting art helps us return to ourselves and respond in an authentic way to the current challenges we face in our daily experience. The benefits of a multisensory approach in museums should not be limited to the communication needs of visitors who have some form of sensory impairment but can help curators and educators improve the experiences of all visitors. Our everyday experiences are multisensory; during the day, we receive different information through our senses. Then, our brain combines these visual, olfactory, and auditory stimuli, and when we touch a surface, all this information meets in multisensory perception, based on which we draw conclusions, find out, react and decide. Sensory connection plays a key role in creating an immersive experience that encourages emotion, reminiscence and education. Engaging multiple senses can increase the attractiveness of the exhibition, prolong the visit to a certain extent, 1 24 and even encourage the visitor to return to the exhibition since such exhibitions and experiences require time. In addition to easing the process of acquiring cognitive knowledge and facts, an intuitive sensory experience fosters visitors’ emotional connection and empathy (Levent and Alvaro, 2014: 353). THEORETICAL ELABORATION We believe that we see with our eyes, but it is actually the brain that perceives. We see with our mind, and the eye is only one of the channels through which sensory information reaches our mind, where we process it (Berdžer, 2019: 7). Perception and understanding of the external world are formed by the interpretation of information processed by our sensory systems – sight, hearing, touch, taste, smell, our physical body. The experience and the way in which we will adopt knowledge are predominantly shaped by our previous knowledge, experience, prejudices and expectations, as well as cultural and historical, social background (Panić, 1998: 249). Understanding is an individual but also a social process. In order for the effects of the interpretation to be as effective as possible, it is necessary to enable a more spontaneous and intimate relationship with the artwork being interpreted. One of the frequent mistakes of museum interpretation is excessive reliance on intellect and theory, precisely because of the need to explain in more detail the various circumstances (historical, social, political, philosophical) in which the artwork was created. Relying on intellectual explanations of the content of works of art, we neglect our sensory body, which is vital in building new experiences, spaces for knowledge, learning and experiencing art (Sontag, 1964: 99). Sensory experience and the audience’s perception of the artistic heritage served as the starting point for both exhibitions. The students from the Sculpture department at the Faculty of Fine Arts in Belgrade were invited to propose their own works that would interpret artworks from the museum’s collection and bring them closer to individuals with vision impairment. Figure 2. The Blue Exhibition, MoCAB, 2023 (photo: Bojana Janjić, MoCAB) 1 25 The students worked in a variety of artistic forms and media (from tactile and audio works to performances and spatial, ambient installations) with the intent to convey faithfully the stories, meanings and experiences of the artworks from the Museum collection. In this way, the Museum, in accordance with contemporary museological standards, aims to make its collection accessible to people who are blind or have low vision and to anyone who is willing to explore the artistic heritage of the 20th and the 21st century in an innovative and interactive way. Also, the work featured in the exhibitions provided the students with a better insight into the collection itself as well as the work and procedures of the museum institution. The theme of the exhibition is the phenomenon of colour in a world without light, and the main question was how to explain this phenomenon and bring it closer to people with vision impairment. Pastoureau (2012:27) states that colours are “primarily concepts, ideas and intellectual categories.” Having that in mind, the “Blue Exhibition” explains the colour through symbolism and universal meanings built and adopted over the centuries, through history, religion, beliefs, and traditions. Blueness is associated with the transparency of the sky, the depth of the ocean, mountain and heights; from where the meanings attached to the color blue are seen as – infinity, depth, sublimity. We associate a clear sky with optimism, freedom and cheerfulness, while the colour of the night sky and sea depths is darker, more uncertain. Distance, restraint, but also harmony, striving for heights, and sensitivity are associated with the color blue. In psychological interpretations, blue summarises opposites: tenderness and cheerfulness with sadness, sorrow and melancholy. In a sociological context, blue is the colour of rebellion and resistance. During the French Revolution in 1789, navy blue was the favourite colour. In America, the “blue resistance” was brought about by the appearance of jeans on the market in 1920, when the worker’s uniform became a symbol of resistance and youth rebellion (Pasturo, 2011). Therefore, the exhibition focuses on two aspects of blue – “Blue as Sky” and “Blue as Rebellion”. The interpretations produced by the students show a variety of media, materials and approaches. In addition to tactile works and sound elements, artworks from the museum collections were also interpreted through spatial and participatory installations. Looking for an answer to the question of all questions — how to interpret and bring to mind a work of visual art to a person who cannot see — the students kept in mind that communicating the meaning and value of a work of art involves two aspects. The first one is a physical presence such as form, composition and materiality. The second aspect represents the intellectual, semantical, narrative, emotional and spiritual quality of the work. The meeting point of these two components converges in one’s own experience. The change that experiences bring to the visitor’s life after encountering a work of art is very important when it comes to learning. Interpretation should include information about the subject, GOALS AND METHODS 1 32 REFERENCES Berdžer, Dž. (2019). Način gledanja. Beograd: Fabrika knjiga. Levent, N. and Alvaro P. (ed.) (2014). The Multisensory Museum, Cross-Disciplinary Perspectives on Touch, Sound, Smell, Memory, and Space. Lanham: Rowman & Littlefield. Montagu, A. (1986) Touching: The Human Significance of the Skin. New York: William Morrow Paperbacks. Panić, V. (1998). Rečnik psihologije umetničkog stvaralaštva, Beograd: Zavod za udžbenike i nastavna sredstva. Pasturo, M. (2011) Plava – Istorija jedne boje, Beograd: Službeni glasnik. Pasturo, M. (2012) Boje naših sećanja, Loznica: Karpos. Sontag, S. (1964). Against Interpretation and Other Essays, New York: Picador. Vlaški, V. (2023). Audiodeskripcija. Accessed on 1 June 2024 1 33 THE PAVLE BELJANSKI MEMORIAL COLLECTION: A MUSEUM FOR ALL ABSTRACT The principles and standards of accessibility have their application in all areas of life, which is also the case with art for people with disabilities. Their participation in the presentation of cultural heritage, whose most important form is inclusion, is a part of the cultural approach of every museum. Since 2011, The Pavle Beljanski Memorial Collection has been directing educational work towards specific target groups with an emphasis on the persons who are blind, visually impaired, deaf or hard of hearing, intending to bring its programmes as close as possible to the most diverse audiences. During the pandemic in 2020, the Memorial Collection continued to enrich and enhance the educational online content in order to improve digital interaction with the audience. Some of the museum’s projects, such as the mobile apps development and curatorial tours with interpretation in sign language, have been posted on the institution’s website to ensure inclusion in everyday life and address their aesthetic and cultural needs. The rich tactile segment of the Touch and Feel permanent exhibition, and the Museum for All project by interpreting works of art in sign language, bring this unique collection closer to people with sensory disabilities. Keywords: accessibility, sensibilization, inclusion, tactile gallery, mobile application, sign language, theatre In recent decades, cultural institutions have been making significant efforts to create inclusive environments for their visitors, who have been underrepresented or marginalized. As a respectable social group, persons with disabilities possess the creative potential to contribute to society and serve as valuable contributors that can not only enhance public engagement but also, through their involvement and abilities, become valuable sources of inspiration for all people engaged CREATING INCLUSIVE PROGRAMS FOR THE PAVLE BELJANSKI MEMORIAL COLLECTION Milica Orlović Čobanov The Pavle Beljanski Memorial Collection 1 34 in creating a cultural offer (Masliković, 2015). Government bodies in Serbia, including the Ministry of Culture, have adopted the social model, as evidenced by legislation and the “Guidelines for Implementing Activities to Ensure Unhindered Access to Content and Programmes of Cultural Institutions for Persons with Disabilities”, which the Ministry adopted in 2007. It is evident that people with disabilities have the right to participate in the cultural life of their communities, visit cultural institutions, and experience art just like everyone else. This is why there has recently been a growing number of inclusive programmes in museums. The reason for their growth lies in understanding the audience’s needs and collaborating with the users for whom these programs are intended. Their implementation fosters the development of professional skills and encourages the adoption of new methods for working with the public. In the long term, this opens up the possibility for the institution to increase the number of visitors and associates, ensuring sustainability in the future. In museums, inclusion plays a crucial role in social activities and opens up various perspectives, among which understanding the audience is paramount, as each category presents specific challenges. To implement such programmes, inter-institutional cooperation is essential for building on knowledge and experience, given that inclusion is a relatively new field in Serbian culture. Although data indicate that museum institutions are not doing enough regarding accessibility and inclusion, it should be noted that there have been positive developments. Among the 20% of museums that meet accessibility criteria, there are examples of excellent innovative practices. The National Museum of Leskovac and The Knjaževac Heritage Museum are institutions that have systematically addressed accessibility for many years and have met multiple criteria, from removing physical barriers to providing accessible online presentations, communication, and inclusive programs. Among other good examples, Dunja Karanović highlights in 2023 The Pavle Beljanski Memorial Collection, The Gallery of Matica Srpska, The Gallery of Fine Arts Gift Collection of Rajko Mamuzić in Novi Sad, The City Museum of Sombor, The Museum of Yugoslavia, The Museum of Contemporary Art, and The National Museum in Belgrade. These institutions are recognized for continuously creating programmes and content for people with disabilities, children, and the elderly. Her research shows that venues that follow the principles of universal design are more popular among visitors, and the removal of barriers facilitates access for wider population, such as children, pregnant women, and the senior citizens. The means that we can apply and that definitely yield longterm results involve continuous education about diversity from the youngest age, through the practice of universal design in all segments of life. Sensitization and education should start from the age when discussions about diversity occur directly, subtly, and daily because these are the moments when the personality is formed; professional development should involve the inclusion of universal design in programmes of humanities and engineering studies; diversity should be visible in everyday life and the media; the application of universal design principles should take place in all segments of life (Nikolić, Isakov and Kekić 2021). 1 35 For this reason, The Pavle Beljanski Memorial Collection collaborates with a variety of associations, schools, other museum institutions, both in the country and abroad, as well as with advisors for universal design. Inclusive design is a broad term describing the extent to which a product, service, or system can be used by a large number of people without requiring modifications. As stated in the guide of the British Standard Institute (2005), the role of the inclusive design system in societal accessibility is significant, encompassing all segments, layers, and the entire population. In an effort to allow people with disabilities to experience The Pavle Beljanski Collection, several projects have been implemented in collaboration with the “Milan Petrović” School for Primary and Secondary Education in Novi Sad (Prof. Snežana Nikolić, a typhlologist) and the Association of Sign Language Interpreters and Translators from Novi Sad (Nina Baranovski, a sign language interpreter). These projects, initiated in 2019, are tailored to visitors with visual and hearing impairments and have been unified under the name “Museum for All”. Among the projects that stand out is the Touch and Feel tactile exhibition designed for persons that are blind or visually impaired, along with the Museum for All application tailored to people who are deaf and hard of hearing, as well as anyone who wishes to experience art in an extraordinary way. Integrating applications on tablets, audio guides (with descriptions), graphic (tactile) reliefs, and tactile route guides enables all museum visitors to equally experience art in a new and more comprehensive way. In 2011, the pilot steps were made for the inclusion of blind and visually impaired people, with elements for them as a part of larger exhibitions. Based on these experiences the project and exhibition were made for that group in 2014. The project titled Touch and Feel Ten Artworks from the Pavle Beljanski Collection (2014), designed for people who are blind and visually impaired, transforms the artworks into unique educational tools, aiming to provide different experiences both psychologically and contextually. This approach introduces ten works by seven artists from the Pavle Beljanski Collection, connecting their creators and visitors through the sense of touch: using diagrams for paintings and replicas for sculptures, which helps raise social awareness about the importance of adapting museum spaces and programmes for visitors with disabilities. The tactile path and diagrams, Braille legends, plaster sculptures casts, and audio guides on DAISY flash players, as essential parts of this exhibition, allow paintings to be appreciated and experienced, and sculpture to be touched and perceived. The sculptures for the tactile collection were selected based on the suggestions of Snežana Nikolić, a person with visual impairment and a specialist in typhlology at the “Milan Petrović” School for Primary and Secondary Education in Novi Sad. The chosen items depict people and women of different ages, as well as animals. TACTILE EXHIBITION 1 36 Today, the works from the tactile collection appear regularly in the permanent exhibition, ensuring that the accessible medium of the Pavle Beljanski Collection is always present in the museum. This section is consistently enhanced with new tactile exhibits, leading to improved accessibility by offering a substantial portion of the Pavle Beljanski Collection in the future. This simultaneously and continuously reaffirms the need and potential for presenting works of visual art in an accessible format within museums that preserve and exhibit art collections based on specific concepts, such is the legacy of Pavle Beljanski.2 This project and its concept have highlighted various opportunities of inclusive programmes in the institutions of culture, thus also creating ambience that fulfils the cultural and aesthetic needs of persons with disabilities. Such display of sculptures and graphic diagrams helps people with visual impairments to interact physically with museum exhibits for the first time and develop a tactile-kinaesthetic perception, significantly easing their navigation in everyday life. The tactile exhibition has sparked interest even among the population without these disabilities, who typically experience art through more than one senses (sight, touch, hearing), especially among the youth, enabling them to perceive artworks in a different, more comprehensive manner. This is a result of the fact that the true and comprehensive experience occurs when the artwork can be perceived with as many senses as possible, not just through the sense of sight. Examining artwork in this way enables complete sensory integration. Satisfying basic human needs, along with access to healthcare and educational institutions, is not sufficient. The life of individuals with disabilities also requires a meaningful existence, which includes cultural care. In order for persons with disabilities to be visible and recognizable in society, it is necessary to provide them with an accessible environment, rather than just visibility in certain segments of social life. 2. This tactile exhibition includes 19 pieces from the Memorial Collection (7 replicas and 12 diagrams). Since 2015, the tactile exhibition has presented selected works at the National Library of Serbia in Belgrade, the National Museum in Kikinda, the National Library in Užice, and the libraries “Dimitrije Tucović” in Lazarevac and “Ljubomir Nenadović” in Valjevo. Figure 1. Touch and Feel poster (left); Tactile setting - plaster casts (center and right); 1 37 The project titled A Museum for All was launched in 2019 with the goal of raising awareness of cultural institutions and the local community. This elaborate project was conceived to address the cultural and aesthetic needs of visitors with hearing impairments. The “Novi Sad – European Capital of Culture” Foundation, in the year of the city’s cultural reign, supported a unique creative cluster to enable museum institutions in Novi Sad to prepare their exhibition venues for welcoming visitors with hearing impairments. The primary goal was to support the people who are deaf on their journey towards social affirmation. Making cultural content accessible to individuals for whom sign language is the primary means of communication has enabled the participants of this project to enjoy one of the fundamental human rights – the right to freedom of thought and expression, including the right to receive and spread information. At the initiative of The Memorial Collection, an application in sign language has been developed for the purpose of this project, facilitating the presentation of selected artworks from four Novi Sad museums: The Pavle Beljanski Memorial Collection (27 pieces), The Gallery of Matica Srpska (18 pieces), while The Museum of Vojvodina and The Museum of Vojvodina’s Annexation to the Kingdom of Serbia (47 pieces). An application with integrated textual and video guides created for 92 exhibits from four museums has made the artworks more accessible to the people who are deaf. Examples of good practice and experiences from the surrounding institutions, particularly those of colleagues from the National Museum in Zrenjanin, served as a guideline for devising the platform. The project promotion, fully supported by the “Novi Sad - European Capital of Culture” Foundation took place on December 4, 2019, on the eve of the impending world health crisis. In addition to the interactive application for visual presentation of the museum in sign language, other activities were also included in this project, accessible to the general population as well. Simultaneous expert tours, children’s workshops, a brochure featuring sign language motifs, equality training, and training for museum staff were among the other activities encompassed within this project. The fundamental question for the majority of employees, both personally and professionally, is how to appropriately treat people with disabilities. It is only natural for this question to evoke fear when engaging persons with disabilities for the first time, prompting the query of whether contact should be established in a special manner. However, persons with disabilities, like everyone else, prefer to be treated in a friendly manner and with respect. A MUSEUM FOR ALL 1 38 In the coming years, this project will continue its journey by expanding activities that it covers: hiring sign language interpreters for museum programmes, providing simultaneous expert tours in sign language, uploading new tailored video clips with interpretations of artworks to the Memorial Collection’s YouTube channel, and sharing links with information on the Facebook pages of the Sign Language Interpreters and Translators Society and the museum. In 2020, the existing platform with the sign language application was complemented by stories about artworks from the Pavle Beljanski Collection, published in the “Art as a Sign” brochure, aiming to acquaint young persons with hearing impairments with basic concepts from the world of art through sign language. Expanding the multimedia application with interpretations for children is yet another of the countless possible upgrades to a system that has proven to be a sustainable foundation for supporting a wide range of future ideas. Figure 2. Flyer of the A Museum for All project Figure 3. Application of the Pavle Beljanski Memorial Collection and logo signs of the projects 1 39 Another Memorial Collection publication aimed at children – The First Visit to a Museum, published in 2015, has also been utilized for these purposes. This is the first children’s guide on museum etiquette and its purpose was to help every user of this booklet to overcome the fear of their first museum visit and to emphasize the importance of following museum rules and being cautious around museum exhibits. Based on this edition, a video clip in sign language was recorded in 2021, in collaboration with the Sign Language Interpreters and Translators Society from Novi Sad. The video features young associate, Alisija Hamza, who interprets the basic rules of conduct at a museum exhibition. In 2023, continuing the collaboration with the Sign Language Interpreters Society resulted in producing eight short video clips on the theme of the children’s programme titled “The Museum Detective”, held in 2015.3 A Museum for All is a project conceived with the idea of popularizing museums among people with disabilities, as well as raising awareness within museums about the need to adapt venues and programmes to divergent museum audiences. Each year, this project evolves with new forms of communication, thanks to the involvement of numerous citizens’ associations. The Pavle Beljanski Memorial Collection’s theatre play, The Bohemians of Montparnasse, was recorded in sign language. This was done in cooperation with the Association of Interpreters and Translators for Sign Language, the “Mišolovka” Youth Theatre and with the support of the City Office for Culture of the City of Novi Sad. A special performance of this play for persons with hearing impairments was uploaded to the YouTube channel of the Sign Language Interpreters and Translators Society on December 3, 2022, to mark the International Day of Persons with Disabilities. In addition, another play titled Six Portraits of Pavle Beljanski was interpreted in sign language and performed as a part of the Museum Theatre Festival in 2023.4 3. https://rukegovore.org.rs/muzejski-detektiv-na-znakovnom-jeziku/ 4. In 2022, The Memorial Collection was equipped with a wheelchair ramp at the entrance of the building, designed and constructed according to current regulations and standards (Regulations on Technical Standards for Planning, Designing, and Construction of Objects, ensuring unhindered movement and access for people with disabilities, children, and the elderly, 2019). The project was implemented using the funds obtained from Call of the Ministry of Culture and Information in the field of cultural activities for persons with disabilities, as well as donors from General Insurance Serbia. Figure 4. Performance of Six Portraits of Pavle Beljanski in sign language (left); Alicia Hamza’s interpretation of the First Time at the Museum handbook (right) 1 40 COMMITMENT TO INCLUSION The Pavle Beljanski Memorial Collection has been recognized as a leading institution in implementing principles of accessibility in its exhibition policies and educational programmes. Inclusive programmes trigger key mechanisms that establish the foundation for implementing inclusiveness and integrating individuals with disabilities into the cultural life of the community. The rich tactile content of the Touch and Feel permanent exhibition and the project titled A Museum for All, with interpretations of artworks in sign language, bring this unique collection closer to individuals with sensory disabilities. Since 2011, when the Memorial Collection started developing inclusion programs, step by step, they became regular parts of museum yearly programs and the funding became more stable. Successful projects and programs within The Memorial Collection developed the understanding of the needs of vulnerable communities in our society, and connected museum with them and their organizations. The future plans include the improvement of the current inclusion programs through an interdisciplinary and creative approach, following the most recent trends in the field. The future presentations and promotions of the museum’s inclusive programs through cooperation will make them more visible to the wider audience. REFERENCES Masliković, D. (2015), “Elementi za implementaciju inkluzivnosti” Kultura 147: pp. 226– 241. Nikolić, С., Isakov, М., Kekić. (2021), “Kultura za sve u lokalnoj zajednici“, Zbornik radova Međunarodna konferencije: Kultura različitosti: Podzastupljene i ranjive skupine u muzejskom okruženju, Zagreb: Tiflološki muzej, p. 215–222. Online sources: https://www.paragraf.rs/propisi/pravilnik_o_tehnickim_standardima_planiranja_projektovanja_i_izgradnje_objekata_kojima_se_osigurava_nesmetano_kretanje_i_pristup_osobama_sa_invaliditetom_deci_i_starim_osobama.html (“Sl. glasnik RS”, br. 22/2015) Dunja Karanović: Muzeji su za sve (liceulice.org), 10 April 2023, https://liceulice.org/ muzeji-su-za-sve/https://www.minrzs.gov.rs/sites/default/files/2021 02/Vodic%20 kroz%20prava%20osoba%20sa%20invaliditetom.pdf British Standards Institute (2005) British Standard 7000-6:2005, Design management systems – Managing Inclusive design – Guide ttps://rukegovore.org.rs/muzejski-detektiv-na-znakovnom-jeziku/ 1 41 A MUSEUM FOR ALL: EXPERIENCES OF THE GALLERY OF MATICA SRPSKA IN IMPLEMENTATION OF THE “UROŠ PREDIĆ FOR EVERYONE” PROJECT ABSTRACT In the Republic of Serbia, all legal regulations which prevent any cultural discrimination have been ratified. However, due to various circumstances, cultural contents, programs and activities are still not available to all visitors, especially to people with disabilities. This fact was pointed out in a comprehensive research undertaken by the Institute for the Study of Cultural Development. According to the results of this study, only 20% of museums in Serbia are accessible in terms of their strategic and organizational framework of accessibility, architectural and urban planning accessibility, or their inclusive programs and communication and informational framework of accessibility. Recognizing this as a crucial problem, The Gallery of Matica Srpska, as a museum with a clear idea to take a step forward and show that it is opened to all visitors, implemented the”Uroš Predić for Everyone” project during 2022. The project was designed with the aim of showing how different obstacles (architectural and physical, informational, technological and communicational) can be overcome, as well as to raise the awareness and improve the position of people with disabilities in all fields of cultural life. Through the realisation of this project, the oeuvre and life of Uroš Predić were brought closer to a wider audience - children, youth, the elderly and people with disabilities (sensory, physical, and intellectual), in accordance with the highest museum standards . Keywords: museum for all, accessibility, inclusion, multisensory communication. Ivana Rastović, Jelena Bobić The Gallery of Matica Srpska 1 48 In order to introduce young people to the work of Uroš Predić, Mileta Poštić, a famous Novi Sad artist, presented him as a comic book hero. By reading the ”Wisdom and Folly Go Hand in Hand. Uros Predić in a Comic Book” comic book, young people had the opportunity to enter Predić’s artistic world in a unique way and to discover interesting stories from his seemingly peaceful life. In addition to this comic book, workshops were also organized in the Gallery, led by the Gallery’s curators and museum educators together with Mr Poštić. On the other hand, students of the “Bogdan Šuput” Design School from Novi Sad were invited to paint their works in the exhibition space, inspired by the works of Uroš Predić. Therefore, they gave a unique contribution to the promotion of creativity among young people through the experience of the work of this important artist. Students’ works were presented at the “Uroš Predić as an Inspiration” exhibition held in the Gallery of Matica Srpska, exhibiting 20 students’ works that were created by observing and reflecting on Predić’s artistic oeuvre. As a part of the project, curators and the museum created the “Predić in the Suitcase“ program for the users of homes for the elderly with mobility impairments who are therefore deprived of engagement in cultural and artistic contents. Museum educators visited nursing homes in Novi Sad and through a virtual tour and the reproduction of artworks and catalogues brought the entire exhibition closer to the users. Before the exhibition closed, the team of authors from the Gallery of Matica Srpska, in cooperation with partners and representatives of the Institute for the Study of Cultural Development, held a one-day conference titled “Museums and Inclusion”. The conference was intended for museums, galleries and other institutions of culture, as well as organizations and associations dealing with inclusion and inclusive programs, in order to asses and improve the position of people with disabilities in the cultural life from different aspects. Figure 6. Educational comic book workshops with artist Mileta Poštić 1 49 By realising this project, the importance of inclusion of people who are marginalised in the society and who cannot participate in the cultural life of their community because of the communicational and physical barriers has been brought up to attention to the public. However, it is very important to maintain the continuity and keep developing similar projects and programs so that the participation in the cultural life in the community becomes a part of everyday life of people with different kinds of disabilities. Having this in mind, our idea is to make the new permanent exhibition of the Gallery of Matica Srpska accessible to people with disabilities and to create the strategy of developing accessibility in the Gallery. The “Uroš Predić for All” project and the complexity of its implementation showed us how important it is to have a strategic approach in the implementation of accessibility programmes because, so far, it has been done only in accordance with the current possibilities and therefore the work has been incomplete. The biggest challenge in our work so far has been the process of making artworks accessible to the visitors who are blind or partially sighted. Even though there are many theoretical accessibility guidelines, there are different opinions on choosing the ones that appropriate to different situations in practice, which forces the persons in charge of making the exhibition or the venue accessible to make some decisions on their own. With our current experience, we think that we should provide encouragement to people in this field, thus making accessibility much more approachable to different institutions. CONCLUSION 1 50 REFERENCES American council of the blind’s. (2009) Audio description standards. The Braille Authority of North America. (2010). Guidelines and Standards for Tactile Graphics, 2010 Web Version - February 2012. Developed as a Joint Project of the Braille Authority of North America and the Canadian Braille Authority L’Autorité Canadienne du Braille Published by ©2011 by The Braille Authority of North America. Gibbs, K., Sani, M. & Thompson, J. (ed.) (2007). Lifelong Learning in Museums. Ferrara: EDISAI Isakov, M. et al (2019). Vodič za unapređenje pristupačnosti ustanova kulture. Novi Sad: Papir unija. Milanović M. (2022). Kulturna diskriminacija: Kulturni sadržaji nedostupni za osobe sa invaliditetom. https://www.danas.rs/vesti/drustvo/kulturna-diskriminacija-kulturni-sadrzaji-nedostupni-za-osobe-sa-invaliditetom/ Мilankov, M, Opačić, B, Subašić, B. (2022). Kultura pristupačnosti: Istraživanje o pristupačnosti muzeja i galerija u Republici Srbiji, [Accessibility Culture. Research on accessibility of museums and galleries in the Republic of Serbia]. Belgrade: Institute for Research of Cultural Development. Ognjanović, J. (2023). Twenty years of growing up with art. Programs for children and youth in the Gallery of Matica srpska. Novi Sad. Palkovljević Bugarski, T. (2021). Uloga i poslanje muzeja u suvremenom društvu na primeru Galerije Matice srpske. U: Zbornik radova povodom Međunarodne konferencije Kultura različitosti: podzastupljene i ranjive skupine u muzejskom okruženju. Zagreb: Tiflološki muzej. 1 51 „NATURE TO TOUCH“ – EXHIBITION ADAPTED FOR PERSONS WITH DISABILITIES ABSTRACT With the changing role of museums in society, they become centers of education, social events and entertainment. At the same time, the inclusiveness and availability of content for all types of visitors is often overlooked. One of the ways in which people with disabilities can experience the exhibition is the display of copies of the original exhibits, which can be touched freely, the creation of audio and video content, and the creation of guides in Braille. The Natural History Museum of Montenegro has incorporated all these into the exhibition called “Nature to Touch”, which, due to great interest, has been touring the region for months. Keywords: 3D models of living world, tactile exhibits, audio and video content. INTRODUCTION Today’s museums are not just places to display museum exhibits that are kept behind glass for future generations. The role of museums is changing (ICOM, 2022). They become centers of education, social interaction, entertainment, multidisciplinary scientific investigation and cultural events. For some visitors, they are places where they find inner peace. Simultaneously, museums must be available for all kinds of visitors, meaning not only people of different ages or educational levels, but they need to cater to people with mobility issues or sensory difficulties. Setting up a wheelchair ramp is the most common first step; unfortunately, that is the only step that many museums have taken. It must be followed by ways of presenting museum exhibits so that they are accessible to both people who are visually impaired and people who are hearing impaired. Museums in Montenegro dedicate very little attention to the accessibility issues. Visitors could not touch the objects on display, there was no other way to access information about the exhibition other than written texts or being guided through Marko Karaman, Natalija Čađenović Natural History Museum of Montenegro 1 52 the exhibition by a museum guide. However, museum guides are not educated on how to interact with people with disabilities. We have only witnessed one exhibition that has been adapted to people with disabilities. It was the “The Beauties of Montenegro on the Palm of your Hand” exhibition by the Library for the Blind which opened in November 2019. There were 23 exhibits, printed 3D objects, that represent examples of cultural heritage of Montenegro. An audio guide for each item was recorded, with short text printed on black press and in Braille alphabet. Museum visitors thought those touchable 3D printed replicas enhanced their museum experience and agreed strongly that they should be present in more museums (Wilson et al. 2017). This prompted us to think about presenting the natural history material in an exhibition that would be fully adapted to people with disabilities. Experiences in museums must be multi-layered, they must not be reduced to just looking at exhibits from a certain distance and reading information. Museum settings should excite our senses, our intellect, and produce lasting memories. Museums need to combine complex interactions between visual, auditory, olfactory, spatial, and other aspects of the visitors’ experience (Levent and Pascual, 2014; Bjerregaard, 2015). Exhibition of museum artefacts is the main form of museum communication. The „Do not touch!“ warning is a usual component of museum exhibitions in Montenegro, regardless of the type of museum. It is also understandable considering that they present original historical facts and objects that must be preserved. Touching as a form of interaction with the object is a way to change and improve the visitor’s experience. This led us to the idea of using touch to enable visitors who are visually impaired to feel the object, and to receive information about it using from an audio recording. People who are hearing impaired access information about the objects by watching video recordings and by reading texts provided on the panels. The easiest way to activate the audio and video tracks is to scan the QR code that is placed on each item. In addition, the audio track can be activated using a separate audio device with headphones, also for each model. GOALS AND METHODS 1 53 RESULTS Communication between a visitor and museum item depends on the exposure technique. The success of the exhibition depends on whether the exhibition technique is appropriate to successfully convey the messages to the visitor. Our initial idea was to show enlarged models of smaller living creatures - insects and other invertebrates, with details that the vast majority of museum visitors do not see in nature. We began by creating models of the scorpion, spider, praying mantis, greater stag beetle and mole cricket. Following the successful creation of initial models, they were presented to the public as a part of a larger exhibition. Developing the models as faithful enlarged copies of the original, we came to the conclusion that this is the best way for people who are visually impaired to experience the shape and texture of a living being. We continued to make models and added the following species: common bottlenose dolphin, European eel, sparrow hawk, Dalmatian pelican, six species of fungi, mosses, loggerhead sea turtle, alligator, alpine salamander, fire salamander and northern pike. In addition to their shape, the models are also identical in color to the natural appearance of the species, so that other visitors can have a complete experience (Figs. 1 and 2). Interesting information about the ecology of each species was prepared by the curators, and an announcer read and recorded it to be used as an audio file. The audio file was also used as the basis for a video composed of photographs and video sequences about the species in question. In addition, the same text was printed on large posters. In this way, in addition to each individual being able to feel the object, people who are visually impaired could hear the audio and people who are hearing impaired could watch the video and read the printed text. The text is also printed in Braille. Figures. 1 and 2: Detailes from „Nature to Touch“ exhibition, Natural History Museum of Montenegro 1 54 The „Nature on Touch“ exhibition of the living world models officially opened in December 2021 in the Gallery of the Natural History Museum of Montenegro (Figs. 3 and 4). Authors are Dr Natalija Čađenović and Dr Marko Karaman. After a very successful premiere, various institutions from the region have shown interest in hosting this exhibition. Redesigned, the exhibition has been on tour in the region since June 2023. The most recent host is the National Museum in Sarajevo (figs. 5 and 6), and previously it was hosted by the Museum of Herzegovina in Trebinje, the City Museum of Vršac, the Museum of Vojvodina in Novi Sad and the “Parobrod” cultural institution in Belgrade. Guest appearances in Dubrovnik and Zagreb have been arranged. The attendance has exceeded our expectations. Apart from the organized visits of pre-school and school children and families, organized visits of groups of people with different degrees and types of disabilities are particularly significant. Figures. 3 and 4: Detailes from „Nature to Touch“ exhibition, Natural History Museum of Montenegro Figures. 5 and 6: „Nature to touch“ exhibition in the National Museum in Sarajevo. 1 55 The exceptional attendance and positive reactions of visitors show us that the possibility of touching exhibited objects enriches the experience of all visitors. Some persons with disabilities, in particular, have visited a museum for the first time, and they were also provided with a museum experience intensified by the possibilities of touching models, accessing the content by sound, as well as by video recordings. The extent of interest museums have shown in hosting this exhibition indicates that there is little of such content in the region. Exhibitions, if any, are only partially adapted for people with certain disabilities. Mainly it all comes down to providing wheelchair access. That is why it is necessary to prepare future exhibitions in such a way that they are accessible to people with disabilities to the greatest extent possible. Of course, not all objects can be touched, but there are 3D printing options, as well as new digital technologies available to replicate objects at exhibitions. However, it should be taken into account that media (i.e. digital applications and new technologies) with unimaginable possibilities for challenging our senses cannot completely replace the function and role of museums. CONCLUSIONS REFERENCES Bjerregaard, P. (2015): Dissolving objects: Museums, atmosphere and the creation of presence. – Emotion, Space and Society, 15, May 2015: 74-81. http://dx.doi.org/10.1016/j. emospa.2014.05.002 Levent, N. and Pascual-Leone, A. (Eds.) (2014): Multisensory museum: cross-disciplinary perspectives on touch, sound, smell, memory, and space - Rowman & Littlefield, 383 pp. ICOM, 2022: Museum definition. Available at: https://icom.museum/en/resources/standards-guidelines/museum-definition/. Last access: 5. June 2024. Wilson, P.F., Stott, J., Warnett, J.M., Attridge,A., Smith, M.P. and Williams M.A. (2017): Evaluation of touchable 3D-printed replicas in museums. – Curator The Museum Journal, 60(4): 445-465. 1 56 ADAPTING MUSEUMS IN TIMES OF CRISIS: INCLUSION LESSONS FROM THE HISTORY MUSEUM OF BOSNIA AND HERZEGOVINA ABSTRACT What happens when a museum space, otherwise open and accessible to the public, suddenly closes? This article analyzes the strategies of inclusivity and openness of the History Museum of Bosnia and Herzegovina during the time of the pandemic. By pointing out the specificities of museum work in post-war Bosnian society, this article provides an overview of the problems and practical attempts to overcome them. This article delves into the shifting landscape of museums during times of crisis, achieving alignment with the updated definition of museums by the International Council of Museums (ICOM) which emphasizes the dynamic nature of museums as inclusive, polyphonic spaces that engage with contemporary social issues. The innovative strategies employed by the History Museum of Bosnia and Herzegovina underscore the importance of adapting to changing circumstances while upholding the core values of openness and accessibility in line with the new definition of museums. By exploring the intersection of digital technology and traditional museum practices, this article aims to inspire dialogue and action among museum professionals in advancing the transformative potential of museums. During the pandemic, the existing museum contents were transferred to the virtual world, allowing museum activities and stories to be accessible to the audience beyond the physical museum space. The article will present inclusive workshops conducted by the History Museum of Bosnia and Herzegovina and offer an analysis of the museum’s potential. Special attention will be given to the development of museum digital platforms during the pandemic. Digital formats, born out of the pandemic with the idea of opening the museum to the public, are now an important tool for the museum to engage with a diverse audience. During the pandemic, a tactile mural, an animated film about the museum, and various other formats were created, allowing the museum to be open, inclusive, and a place of healing. Keywords: crisis, adaptation, inclusion, polyphony, ICOM, social issues, innovation, digital technology, transformative potential. Amar Karpuš, Elma Hodžić History Museum of Bosnia and Herzegovina 1 57 THE REAL MUSEUM SPACE To explain the importance of transforming the History Museum of Bosnia and Herzegovina during the pandemic, it is necessary to start from the beginning: by describing the museum’s role in society and reflecting on its previous transformations. The History Museum of Bosnia and Herzegovina collects, preserves, researches, presents, and promotes the cultural and historical heritage of Bosnia and Herzegovina. Over time, the museum has undergone transformations, which have also been reflected in its name. The foundation of inclusion at the History Museum of Bosnia and Herzegovina is based on the accessibility of the museum building and its programming activities. After the Dayton Agreement in 1995, the museum lost its legal framework and state support. Since 2012, it has focused on integrating into contemporary society, addressing sensitive topics, and using museum objects and stories to connect with the community. From 2012 onward, driven by the desire to become integrated into the contemporary Bosnian-Herzegovinian society and play a crucial role in coming to terms with the past, the museum team has been developing activities and programs. Changes in the museum’s policy and strategy have altered the public perception of museum institutions, while the museum itself has found a new place in the city’s cultural life. Keeping museum doors open and the museum accessible to all has become one of its most important goals. The loss of physical space has been a loss of a tool without which the museum has never functioned, prompting it to transfer its exhibitions to the virtual world. 1 64 The History Museum of Bosnia and Herzegovina’s adaptation during the pandemic enhanced engagement and accessibility, making its collections more visible locally and globally. This shift aligns with the International Council of Museums’ (ICOM) definition of museums as non-profit, permanent institutions dedicated to heritage and community involvement, emphasizing ethical and inclusive operations. The museum’s response to the pandemic, including digitizing exhibitions and engaging the community through inclusive projects, underscores its resilience and commitment to accessibility. The museum’s digital transformation has maintained accessibility and engagement beyond physical space, including audio adaptations for individuals who are visually impaired. Its community-centered approach ensures that the cultural heritage is accessible to all, promoting inclusivity by inviting diverse voices to engage with its collections and stories. Moving forward, the museum’s commitment to accessibility and ethical engagement will shape its narrative, ensuring that past stories resonate with and inspire people globally. These efforts highlight the evolving role of museums as inclusive spaces for dialogue, reflection, and societal transformation, serving as catalysts for unity and understanding in an interconnected world. INSTEAD OF A CONCLUSION - POST-PANDEMIC AWAKENING REFERENCES Belevski, J. (2021). Virtualne izložbe kao način predstavljanja muzejske dokumentacije: COVID ciklus virtualnih izložaba “Iz dokumentacijskih fondova MAS-a”, Zadar: Muzej antičkog stakla u Zadru. Kalfatovic, R.M. (2002). Creating a Winning Online Exhibition: A Guide for Libraries, Archives, and Museums, , Chicago and London: American Library Association. 1 65 FOSTERING REMOTE INCLUSION AT THE NATIONAL GALLERY OF BOSNIA AND HERZEGOVINA DURING AND AFTER THE PANDEMIC ABSTRACT The paper examines social responsibility of museums in the context of the global COVID-19 pandemic with an emphasis on the use of digital technologies and creating content for people with intellectual disabilities. In the introductory part, through the framework process of adopting the new definition of the museum, increasing importance of the museum’s role in society is elaborated in the conditions of the global pandemic. The pandemic has caused a global health, economic, educational, social, and psychological and mental crisis, to which museums have responded with various forms of digital transformation of collections, work, and practice in the virtual environment. The pandemic had particularly negative consequences for people with disabilities; this part of the population, neglected even before the global emergency, found itself in an even greater state of social isolation. Through the case study of “ARTsee” - digital assistive technology, which was developed and tested in the National Gallery of Bosnia and Herzegovina in the period from 2019 to 2021, the paper will consider the possibility of increasing accessibility to the contents and significance of the collection for people with intellectual disabilities during and after the pandemic. Keywords: digital assistive technologies, social responsibility of the museum, digital accessibility, people with intellectual disabilities, art museum. SOCIAL RESPONSIBILITY OF THE MUSEUM DURING THE PANDEMIC In the modern age, we are witnessing the progressive development of technology that follows constant changes in the global socio-economic sphere. The museum as a public and social institution should monitor closely the needs of the society and respond promptly by increasing its collection to remain relevant to the currents of the contemporary life. For many years, a circle of museum experts led by the International Council of Museums (ICOM) emphasized the need for Aida Šarac Berbić National Gallery of Bosnia and Herzegovina 1 66 museum democratization, demanding the redefinition of this type of institution for the benefit of the society. The museum as an institution with practices that are dominantly focused on collecting, was problematized at the 24th ICOM General Meeting in Milan in 2016. In this meeting, the need for the museum’s ability to perceive deep inequalities within the community, i.e. to respond to current global problems, socio-political unrest, economic problems, population migration, deep social and other inequalities, the climate change, etc. was presented (ICOM, 2016). The three-year revision period (during which the ICOM collected 250 proposals for a new definition of a museum from museum experts from all over the world) resulted in a proposal for a new definition, which was presented to the professional museum public at the 25th ICOM General Meeting in Kyoto in 2019. However, the international circle of museum experts was not ready to change the existing definition. More than 70% of the representatives of the ICOM National Committees in Kyoto in 2019 decided to postpone the vote on the new proposed definition of the museum because they considered it a vague collection of ‘political correctness’ and ‘modern posturing’. Some expressed concern that the proposed definition did not include terms such as ‘education’ and ‘collection’ which they consider crucial to the museum’s mission. (Noce, 2020) The definition adopted by ICOM in 1974 (Copenhagen) describes a museum as a non-profit, permanent institution in the service of society and its development, open to the public, which collects, preserves, researches, communicates and exhibits the heritage of mankind and its environment for education, study, and enjoyment. This definition was slightly modified in 1989 (The Hague), 1995 (Stavanger, Norway), and 2001 (Barcelona, Spain). The change, which includes the intangible character of the cultural heritage that the museum inherits, was added in 2007 at the ICOM General Meeting in Vienna. Just a few months later, the world was shaken by the global pandemic of Coronavirus disease (COVID-19) pandemic, which complicated the issue of the social responsibility of museums. To protect the population’s health, authorities of many worldwide countries ordered staying in homes (lockdown) on several occasions during 2020, followed by prohibitions on gatherings in closed public spaces. These preventive measures also affected the work of the museum. As public institutions, museums had the responsibility to close their doors to the public during the periods of rapid spread of the virus. The absence of public gatherings in the museum and the impossibility of working directly with the public caused the institution to come up with new ways of working that accelerated the process of digitizing the collection and changed the ways of its presentation and interpretation in the virtual space. The museum’s response to the emerging crisis is reflected in interdisciplinary forms of cooperation with creative industries, the information technology sector, and the educational sector to offer to the public collection based digital content and participatory activities in a safer virtual environment. Frequent and often prolonged periods of isolation have caused people to experience anxiety, depression, and alienation from the rest of the society. Museums that provided digital access to their contents managed to compensate for the loss of visitors in the physical 1 67 environment. Museum contents accessible in a virtual environment have helped people maintain their mental well-being during the pandemic. Motivated by the changes that were rapidly taking place on the global health and socio-economic level, but also by the proven willingness of the museum to adapt to the emerging needs of society, museum experts gathered around the ICOM again at the end of 2022 to vote on a new definition of the museum. At the 26th ICOM General Meeting, held on August 24, 2022, as a part of the triennial conference in Prague, 127 national committees agreed on a new definition: “A museum is a not-for-profit, permanent institution in the service of society that researches, collects, conserves, interprets, and exhibits tangible and intangible heritage. Open to the public, accessible, and inclusive, museums foster diversity and sustainability. They operate and communicate ethically, professionally and with the participation of communities, offering varied experiences for education, enjoyment, reflection and knowledge sharing” (ICOM, 2022). The new definition has yet to take root in museum practice. Experts and practitioners in the field of museum education and accessibility, such as Šarac (2021), believe that with the new definition, basic museum functions such as collecting, preserving, research, interpretation, and display should be carried out to meet the needs of the society. A museum institution that uses its basic functions to meet the needs of the society will demonstrate its willingness to open to the diversities that exist in the society by cooperating and enabling equity, access and accessibility to its collections. This definition obliges museums to act and communicate ethically with the participation of social communities in the processes of preparation, creation, and interpretation of the collection based content. The museum’s new responsibilities refer to the overall social community with different groups whose cultural, educational, sensory, physical, economic, information, emotional, and other needs differ. One of the social groups that least visit the museum and utilise its programs or services of its staff are people with disabilities, says Šarac (2021). In order to include this and other social groups in their activities and work, at the end of the 20th century the museums initiated democratization processes, adopting policies on access and accessibility, organizing various additional programs and activities, etc. (American Association of Museums, 1992) The state of the pandemic, which caught the world by surprise in 2020, stalled these processes in the museum. During the pandemic, people with disabilities experienced even greater isolation, reflected in the lack of psycho-social support, timely medical care, loss of employment and sources of financial income, interruption of the continuity of education caused by digital barriers, etc. (International Disability Alliance, 2021). 1 68 The spread of the global pandemic was yet another reason to speed up the museum collection digitization process. In order to provide the public with digital access to its collection during the pandemic, museums initiated interdisciplinary forms of cooperation between the information technology and educational sectors, as well as creative industries, which resulted in digital exhibitions co-created by the public, forms of augmented and virtual reality, virtual educational activities and new ways of communication between the museum and the public. When creating digital technologies and content intended for the public, museums are guided by the principles of universal design. The term ‘universal design’ was coined by Ronald Mace, an American architect (Rose and Strangman, 2007), to describe a set of good architectural and design solutions that will not only be useful to people with disabilities but to all other people. As we learn from Johnstone (2014), over the last 20 years, the Center for Applied Special Technology (CAST) has conducted research on technological possibilities and flexible design to improve the education of people with disabilities, their peers, children, and adults. From this research emerges an innovative approach called ‘universal design for learning’ used to design rich and more flexible teaching curricula that will provide students with a range of opportunities to meet their diverse learning needs (Johnstone, 2014). The Smithsonian Institute’s Human Centered Design and MuseWeb report (2020) contains recommendations for creating digital content for people with disabilities which are based on the universal learning design. According to Jones (2020), a creative designer from New York whose chapter is included in the report, inclusive design does not imply that one solution fits everyone, but that created digital interactivity intended for a wide audience has alternatives for accessing the same content differently. In his opinion, the most important feature of inclusive interactivity is the story. The story about the museum object or exhibition is created by the museum visitor, who is offered the opportunity to take the storyteller position with the help of various digital methods and options. To create successful inclusive digital interactive content for people with disabilities in the museum, Jones (2020) recommends: simple and easy-to-read language, creating a hierarchy of information about the exhibit, using commonly known concepts, and universal symbols, and creating a repetitive structure of activities. When a museum wants to interpret an object with digital technologies, it is necessary to make the contents more accessible in terms of information and its sensory qualities to a wider range of users. According to the recommendations of the Council for Museums Archives and Libraries (2001) and a practical guide of the Trustees of the National Museums of Scotland (2002), digital content should be interpreted with different media: video, augmented and virtual reality, audio, textual interpretation, animation, hologram, etc. The aforementioned forms of DESIGNING DIGITAL TECHNOLOGIES AND MUSEUMS CONTENTS FOR PEOPLE WITH DISABILITIES 1 69 digital media imply a revision of the usual interpretation strategies that we are accustomed to in the museum space. The Council for Museums Archives and Libraries (2001) and the National Museums of Scotland (2002) also recommend that, when museums offer textual content related to digitally presented exhibits, they must be created according to the principles of easy-to-read language and in the appropriate font, font size, and in clear contrast. By using easy-to-read language, the museum will not only increase accessibility for the group of people with intellectual disabilities but will also contribute to the general comprehensibility of the collection meaning for a wider audience. Šarac (2021) suggests that authors of textual interpretations can also be representatives of the target group, for example, people with intellectual disabilities, which will enable their neglected voices to be heard in public. For people with intellectual disabilities museums can develop different forms of digital assistive technologies, that will enable this group to navigate the museum space easily, help meet their basic needs, or interpret selected exhibits in alternative ways according to the established needs of the target group. By developing digital technology for a group of people with intellectual disabilities, the museum will enable greater accessibility of the content and meaning of the collection, and in situations such as the COVID-19 pandemic, offer this group customized digital content that they can use from the safety of their home. In the Bosnian society, even before the global pandemic, people with disabilities had limited opportunities for (social) inclusion, which became even more evident in 2020 and 2021. Museums in Bosnia and Herzegovina as public and social institutions whose contents should be universally accessible, offered people with disabilities little accessible digital content and additional activities in a virtual context during the pandemic. A positive example is the National Gallery of Bosnia and Herzegovina, which entered the pandemic in the initial stages of developing a digital assistive technology process intended for children with intellectual disabilities. During the global pandemic, the “ARTsee” application offered the target group digital contents of an informal educational character based on the collection, and has provided additional reasons to visit the museum in the post-pandemic period. During the global COVID-19 pandemic in Bosnia and Herzegovina children with intellectual disabilities were in a disadvantageous position, in terms of their social status and educational resources. Children with intellectual disabilities, who are part of the education system, encountered numerous digital barriers due to ARTsee: DIGITAL ASSISTIVE TECHNOLOGY FOR CHILDREN WITH INTELLECTUAL DISABILITIES AT THE NATIONAL GALLERY OF BOSNIA AND HERZEGOVINA 1 70 remote schooling. According to Mujkanović and Mujkanović (2018), each of the lifelong conditions of people with intellectual disabilities is characterized by specific forms of educational, sensory, physical, information, language-communication, social, and other needs, which differ from person to person. Full involvement of this population in everyday life, while respecting their mutual differences, can be achieved through the process of inclusion. Opportunities for working in person with museums visitors in Bosnia and Herzegovina were reduced to a minimum during the COVID pandemic. Even before the virus outbreak, a certain number of museums in the country had initiated the process of digitizing their collections for the purpose of research conducted by the curators. These museums, however, have yet to provide public access to the contents of their collections in a digital format. Museums in Bosnia and Herzegovina, following the example set by major museums in the West, maintained their communication with the public through social networks during the COVID. The social media content provided by these museums was intended for the general audience, with no visible efforts to make it more accessible to marginalized social groups with different sensory and information needs. The National Gallery of Bosnia and Herzegovina was established by the Legal Act of the People’s Government of Bosnia and Herzegovina in 1946. Today, this institution preserves, researches, and exhibits 6,000 art objects categorized into the following collections: the Bosnia and Herzegovina Art Collection, the Yugoslav Art Collection, the Icon Collection, the Ferdinand Hodler Collection, the International Donation Collection, the Photography Collection, and the New Media and Art Archives of the “Nada” magazine (National Gallery of Bosnia and Herzegovina, 1986). In the past 10 years, the institution has developed education programs adapted to the needs of different social groups in the museum’s local community. The Gallery offers the following programs for the general public: the “Our Story” education program for families with preschool-age children, the “Alternative Classroom” education program for children of primary and secondary school age, and the „Youth Museum Theatre“ for adolescents. Since 2018, the Gallery has offered the underrepresented groups of children with intellectual disabilities the “Blue Artism” education program and the “CogniART” program intended for elderly people. In mid-2019, empowered by the results achieved in the attempts to provide inclusion for children with intellectual disabilities, the Gallery’s museum experts who work with the public decided to create a form of digital technology to make the collection more information accessible. The “ARTsee” Android application is a digital form of assistive technology that alternatively interprets selected exhibits from the Gallery’s collection for the target group. According to the UNICEF glossary (2017), assistive technology is any device designed, made, or adapted to help a person with disability perform a task. Products can be purpose-built for people with disabilities or be in wide use. We distinguish between mechanical and digital assistive technologies. An assistive 1 71 technology in a museum can be in the form of a tactile map of the museum, illustrated cards for expressing the basic needs of non-verbal museum visitors, or a social story. The Gallery opted for a digital form of assistive technology to keep up with the progressive technological development of modern society, not having the global pandemic in mind at the time. The idea for the development arose after research on the understanding and interpretation of visual art in children with Autism Spectrum Disorder, conducted during the implementation of the “Blue Artism”9 pilot project in 2018/2019. The results of the research showed that participants perceive works of art through commonly known symbols and associations. These findings led the museum experts to develop a digital assistive technology based on the principles of universal learning design that can interpret parts of the collection through animation, sound, and easy-to-read text. The development of the “ARTsee” from the code required the interdisciplinary cooperation of the Gallery with the information technology, rehabilitation and pedagogy sector, and creative industries. A team of IT programmers, a graphic designer, a special education teacher, and a museum pedagogue from the Gallery participated in the development process. The back-end interface of “ARTsee” is a feature that makes this application specific. It is an interface intended for museum experts who can add new content or changes the existing one. This feature makes “ARTsee” a global virtual platform where it is possible to join the contents of museum collections of different types to make them more accessible for people with intellectual disabilities in terms of information and sensory approach. The graphic designer, guided by the principles of universal design, created a simple, intuitive, and easy-to-use design. In cooperation with the special education teacher from the “Mjedenica” Institute for Special Education and Upbringing of Children, the museum pedagogue from the Gallery determined the criteria for the selection of works of art. These criteria include the narrative, formal and emotional quality of the artwork, and the possibility to present the artwork through animation, sound, and text. The visual interpretation of an artwork by animation implies manipulation of its reproduction by the graphic designer. The museum pedagogue and special education teacher determine the narrative flow of the animation, which the graphic designer implements using image manipulation software programs. The audio segment of the application includes sounds we imagine when we look at a painting in the exhibition space. The textual content of the application is offered at three different information levels to reach the widest possible range of users. Each content ‘package’ includes seven works of art/museum exhibits so that the end user’s concentration and focus level do not drop due to an excessive amount of content. 10. Read more about the methodology of the “Blue Artism”: Šarac, Aida “Social responsibility of the Art Museum: working with children with intellectual disabilities at the National Gallery of Bosnia and Herzegovina”, unpublished master’s thesis, Faculty of Philosophy, University of Sarajevo, Sarajevo, 2021. Available at: https:// www.ff.unsa.ba/files/zavDipl/20_21/hum/Aida-Sarac.pdf 1 72 In the process of developing the technology and its contents, the Gallery also cooperated with representatives of the target group from the “Oaza” Association for Supporting People with Intellectual Disabilities in the Sarajevo Canton. The consultative process was carried out in the phases of application development and textual content creation, which was verified by the representatives of the target group as easy-to-read content. The main goal of the originally conceived digital technology was to Figure 1. Symbols of ‘eye’, ‘ear’, and ‘ABC’ that lead to multimedia contents of the app (Photo by Mahmutović Amra) Figure. 2. Prototype application testing with control groups of children with intellectual impairments at the National Gallery of Bosnia and Herzegovina (photo by Mahmutović Amra) offer a group of children with intellectual disabilities additional reasons to visit the Gallery. In the first attempt, we developed a closed system application which enabled scanning the QR code located next to the artwork in the Gallery’s exhibition venue. After scanning, users can select a visual, audio, or textual interpretation of the exhibit using the universal symbols for ‘eye’, ‘ear’, or ‘ABC’ on the tablet/smartphone display. In mid-March 2020, the Gallery, in cooperation with pedagogy, psychology, sociology and special education students organized application prototype testing with control groups of young people from the “Oaza” association and participants of the “Blue Artism” program. For research purposes, the aforementioned interdisciplinary team created forms through which they observed the application usage by the participants. The results of the observation were aimed to determine how the participants use the technical features, how they use fine motor skills when selecting options in the application, whether there is sensory overload by the application effects, whether the application captures their attention to a 1 73 Figure. 3. Proto-testing of the app with control groups of children with intellectual impairments (photo by Mahmutović Amra) greater extent than the stimuli of the environment, whether there is any social interaction among the respondents in the testing area and how the respondents react to individual original works of art as well as their digital animations. Considering that the testing period at the Gallery had to be suspended due to the rapid spread of the COVID-19 virus, we do not yet have the complete research results. The newly emerged situation led to changes in the app development: in the second attempt, IT developers created an open source app, which made it available to end users for free download via the Google Play Store platform. In this way, the Gallery offered the public an integrated application package that includes: the first version intended for use in the museum exhibition context, and the second for safe use from home in the conditions of a global pandemic. The second version of the app has been available to the public since February 5, 2021. through the Google Play Store. Along with this version, the Gallery also provided instructions for the use of the digital technology at home for the parents/guardians of users with intellectual disabilities. The instructions require asked users questions about the visual content, linking the visual and audio content and reading the textual content together with the user or to the user. By developing the “ARTsee” application, the Gallery provided children with intellectual disabilities with informational and sensory-accessible digital content based on the museum’s collection during the pandemic. After the number of people infected with the coronavirus disease decreased globally, the Gallery organized group activities for children and young people with intellectual disabilities using the “ARTsee” application. The digital technology has proven to be very successful in working with typical children of a younger school age. In late 2020, the “ARTsee” android application was nominated by SALTOYOUTH for the prestigious annual “SALTO Awards” in the category of digital transformation. 1 80 The participants watched the videos, asked questions, formulated personalized requirements from the perspective of their own disabilities and expressed their personal impressions regarding the possible improvements that can be made to the project. During the group consultation session, participants provided valuable feedback and personal insights, which significantly contributed to the development of the project. These detailed observations, documented in the form of questionnaires, structured thematic interviews and in-depth interviews, will guide the SHIFT team in refining and improving the technical and conceptual aspects of the project. During the SHIFT TO INCLUSION Workshop, ANBPR surveyed the interest of people with disability in SHIFT technological solutions and collected essential comments from participants with various impairments, including visual and hearing impairments, people with locomotor problems and people belonging to the autistic spectrum. This feedback provided improved insight into the needs of direct beneficiaries, enhancing the future utility of SHIFT’s technology solutions designed to make cultural heritage more accessible and attractive. For example, participants with visual impairments emphasized the need for detailed audio descriptions and tactile technologies, while participants with hearing impairments emphasized the importance of clear subtitles and sign language interpretations. Participants with locomotive disability emphasized the need for physically accessible spaces and digital solutions that reduce the need for physical movement. People on the autistic spectrum suggested the importance of intuitive interfaces to minimize anxiety and facilitate easier navigation and understanding of information. Moreover, the participants of the SHIFT TO INCLUSION Workshop were particularly interested in the availability of SHIFT technological solutions in libraries and museums free of charge, the accessibility of SHIFT solutions for users with various disabilities, including functionalities in the Romanian language, the need for prior training in order to use different devices, synchronization of visual with auditory and tactile elements to ensure a comprehensive reception of the cultural heritage content by different vulnerable groups. Participants with visual impairments found the synthetic voice acceptable as long as it provided basic access to the content without emotionally influencing the perception of the message. In addition, they showed interest in the functionality of generating Image-to-Speech descriptions in different styles. Regarding the Image-to-Sound technique, persons with visual impairments present at the event expressed certain doubts regarding the use of metaphorical and abstract approaches, which can become quite confusing for people with visual impairments, as well as for people belonging to the autistic spectrum. COLLECTING FEEDBACK AND INTERPRETING RESULTS 1 81 By providing accessible resources and technologies, BNaR contributes to the educational and cultural inclusion of people with visual impairments, ensuring that they can fully participate in society. This demonstrates that BNaR plays a key role in the inclusion of people with visual impairments through the integration of advanced technologies, remote access to digitized documents and methodological support for other libraries and institutions. By continuously expanding its accessible digital collections and promoting a more inclusive environment, BNaR ensures that visually impaired people have a fair access to the educational and cultural resources that they require. The sustainability of BSNA recording studio within the BMB is ensured thanks to the long-term partnerships with ANR, educational units for people with visual impairments from Bucharest and ANBPR Romania member libraries. According to the BMB’s audio materials development plan, audio books are to be made available to ANR through ftp platforms in all branches in the country. This initiative transforms the BMB into a specialized library service dedicated to visually impaired people at the national level, constantly promoted through the ANBPR library network, especially with the support of county libraries. The SHIFT TO INCLUSION Workshop provided a valuable opportunity for the presentation and evaluation of technological solutions developed within the SHIFT project. The participants, representing various categories of people with disabilities, had the opportunity to watch illustrative videos about the latest technological solutions developed and receive detailed explanations about them. The participants reacted favourably, asking questions and formulating personalized requirements, reflecting on the specific needs of people with each type of disability. Their personal impressions and suggestions for improvement were particularly valuable for the further development of the project. The feedback provided included requirements for specific adjustments based on specific disability, but also suggestions for improving overall accessibility and user experience. The SHIFT TO INCLUSION workshop once again highlighted the importance of continuing the dialogue with end-users to ensure the relevance and efficiency of the proposed solutions, in order to create an accessible and inclusive cultural environment for all categories of users, regardless of their disabilities. CONCLUSIONS & RECOMMENDATIONS 1 82 REFERENCES Crihană, I. (2014). Brokering Long-Term Partnerships – a Cross-Border Approach Based on a Romanian Experience. Published online at: http://partnershipbrokers.org/ w/journal/ brokering-long-termpartnerships-a-cross-borderapproach-based-on-a-romanianexperience/ Crihană, I. (2018). Public Libraries - Learning and Cultural Transfer Ecosystems. Published online at: https://www.rrbsi.ro/index.php/rrbsi/article/view/52 Georges Badr, N., Drăgoicea M., Crihană I. (2020). What Do We Know About Renewable Knowledge and Sustainable Societal Growth? A Scoping Review. Published online at: https://www.itais.org/ITAIS2020_proceedings/pdf/02.pdf (accessed at 10 Sep 2024) 1 83 WORK OF THE PEDAGOGICAL SERVICE AT THE MUSEUM OF OLD HERZEGOVINA: 'A TOUCH OF THE PAST – INCLUSION IN THE MUSEUM' INTRODUCTION ABSTRACT With the help of audio guides and written guides and Braille leaflets, we provided an opportunity for children and young persons with disabilities from the “Glimpse of Hope” day center and members of the Intermunicipal Organization of the Blind and Visually Impaired from Foča to familiarize themselves with the museum’s collections. In this way, the museum has enriched its offer and readily welcomes persons with disabilities as an audience. Previously, persons with disabilities did not have the opportunity to get acquainted with the cultural and historical heritage of Foča and its surroundings in this way. As a continuation of the cooperation, an exhibition of typhlotechnical aids for persons with visual impairments and persons who are blind opened in our museum. Specially made or adapted typhotechnical aids were presented together with devices that make it easier for persons with visual impairments and persons who are blind to perform various activities in their everyday lives. Our goal is to promote positive social values in our communityt. Keywords: inclusion in the museum, audio guides, Braille leaflets, workshops One of the tasks of a museum educator is to design and implement educational activities in the form of artistic, creative, and educational workshops for audiences ranging from kindergarten to senior age, with a special focus on working with persons with disabilities. A museum is a “not-for-profit, permanent institution in the service of society that researches, collects, conserves, interprets, and exhibits tangible and intangible heritage. Open to the public, accessible and inclusive, museums foster diversity and sustainability. They operate and communicate ethically, professionally, and with the participation of communities, offering varied exBranka Dragičević Museum of Old Herzegovina Foča 1 84 periences for education, enjoyment, reflection, and knowledge sharing” (ICOM, 2022). Taking into account the interests and expectations of visitors, museums become a place for communication, education, research, learning, and identity development, fostering talent, as well as valuing historical and cultural heritage within sociocultural frameworks (Gajić and Milutinović, 2011). Inclusion enables adaptation of educational structures, systems and methodologies to the needs of all children. It promotes acceptance and respect of differences among children, regardless of age, gender, ethnicity, language, class, or any physical disability. Inclusive education implies that education primarily occurs at home and in the community, and then in both formal and informal settings (Šušnjara 2017). Sustainable inclusive informal education in cultural institutions is not possible without the continuous education of museum staff, primarily museum educators and curators, as well as the implementation of new educational and pedagogical programs. Recently, the museum has held numerous workshops for children and elementary school students. We introduced elementary school students to the history of this region, traditions and customs, important figures, and events within the subjects of My Environment, Nature and Society, History, and Geography. We collaborated with the Ecology Club and the History Club of the ‘Sveti Sava’ Elementary School, as well as the Geography Club of the ‘Veselin Masleša’ Elementary School. One of the priorities of our Pedagogical Service is working with individuals with developmental disabilities. We strive to make our institution accessible to individuals with developmental disabilities as a place where they are always welcome. The project ‘A Touch of the Past - Inclusion in the Museum’ is an example of our successful collaboration. At the project’s promotion, audio guides and Braille leaflets describing the museum’s permanent exhibitions were presented. These exhibitions include ‘Foča in the Past,’ ‘Dr. Risto Jeremić,’ ‘Ethnographic Exhibition,’ ‘Foča Period of the National Liberation Struggle,’ and ‘The Memorial Room.’ The new panels featured cultural-educational societies in Foča, complementing the exhibition about Dr. Risto Jeremić and the Sokol Society. The members of the Intermunicipal Organization of the Blind and Visually Impaired and the “Glimpse of Hope” Service Center expressed their satisfaction with the opportunity to familiarize themselves with the museum in their town. The museum in Foča exists since 1956 and this was the first adaption of the permanent exhibitions of the Museum of Old Herzegovina for persons with disabilities. The first step was to adapt our exhibitions for persons who are blind and persons with visual impairments who were associated with this project. ‘A TOUCH OF THE PAST’ 1 85 We aimed to make museum exhibits accessible to persons who are blind and persons with visual impairments through audio guides, leaflets, and new exhibition panels in Braille. Until then, they had not had the opportunity to acquaint themselves with the cultural and historical heritage of Foča and its surroundings in this way. Our partners were the Association of Blind and Visually Impaired Persons Foča and the “Glimpse of Hope” Service Center for children and young people with disabilities. Members of Figure 1. Presented by the “A Touch of the past - Inclusion in the Museum” project these two associations shared their experiences, activities from everyday life, problems and obstacles they face. It was an initial step to understand the needs of this population and start solving some of the problems. After the project’s implementation, the number of visits by persons who are blind and persons with visual impairments to our museum increased. Our partner, the Association of Blind and Visually Impaired Persons Foča, has an inter-municipal character and brings together persons who are blind and persons with visual impairments from Foča, Kalinovik, Rudo, Višegrad, Novo Goražde, and Čajniče. Additionally, the “Glimpse of Hope” Service Center provides services to children and young people with disabilities from this area. Following their visit, the Museum extended services to other persons who are blind and persons with visual impairments. In this way, we enriched the museum’s offer and made it accessible to persons with disabilities. The leaflets contain a brief description of all our permanent exhibitions. The Museum of Old Herzegovina in Foča realized the ‘A Touch of the Past - Inclusion in the Museum’ project. Children and young persons who are blind from the “Glimpse of Hope” Service Center and members of the Intermunicipal Organization of the Blind and Visually Impaired from Foča visited the museum. The project is very significant because museum exhibits were previously inaccessible to persons who are blind and persons with visual impairments. For the first time, they have the opportunity to get to know the exhibits, and they are very grateful for that. With the help of audio guides and Braille leaflets, visitors can now familiarize themselves with the museum’s permanent exhibition, and we also created new exhibition panels in Braille. At the exhibition panels, we showcased the development of educational societies in Foča. The “Pobratimstvo” temperance society was founded in 1893 in Foča. After a long procedure, it was approved by the Provincial Government on June 23, 1899. “Pobratimstvo” is the first anti-alcohol association founded in Bosnia and Herzegovina, which fought for abstinence from alcohol with educational lectures and advocated for the preservation of public health. 1 86 Figure 2. Getting to know the contents of the exhibition through a Braille brochure The establishment of the “Prosvjeta“ subcommittee on 13 May 1904 was of special importance for the cultural and educational work of the Serb population in Foča and its surroundings. Similar activities were carried out among Muslims by the “Gajret” cultural society. “Gajret” was a Muslim society founded in Sarajevo in 1903, which inspired cultural and educational activities among Muslim communities at the beginning of the 20th century. Through new exhibition panels, we planned to present interesting information on the activities of numerous cultural, artistic, and sports associations that marked the past of the Foča region and to supplement knowledge about the past of our community. In this way, the museum enriched its offer and is ready to welcome persons with disabilities. The “A Touch of the Past - Inclusion in the Museum” project was funded by the Headley Trust UK through the BMN Small Grants program. This project was only the beginning of activities related to the inclusion of persons with developmental disabilities in the museum’s work. As a continuation of our good cooperation, the Museum of Old Herzegovina in Foča opened an exhibition of assistive devices for persons who are blind and persons with visual impairments, organized in collaboration with the Intermunicipal Organization of the Blind and Visually Impaired from Foča and the Association of the Blind and Visually Impaired from Goražde. This is one of the first exhibitions of this kind in the Republic of Srpska. Assistive devices are specially designed or adapted tools to help persons with visual impairments perform everyday activities. Members of the Association of the Blind and Visually Impaired from Goražde demonstrated the use of various devices, including a Braille typewriter, a slate and stylus, a talking clock, a talking phone, a blood pressure monitor, and others. The exhibition attracted many visitors. On the International Day of Persons with Disabilities, our guests were members of the Intermunicipal Organization of the Blind and Visually Impaired from Foča and members of the Student Council of “Sveti Sava” Elementary School. We provided students with audio guides and brochures in Braille, allowing persons who are blind and persons with visual impairments to explore the museum’s exhibits. Dara Đajić, president of the 1 87 Figure 3. Magnifying glass – a typhlotechnical aid Figures 4. and 5. Elementary school students are introduced to typhlotechnical aids and brochures in Braille Intermunicipal Organization of the Blind and Visually Impaired in Foča, demonstrated daily-use aids for persons who are blind and persons with visual impairments. We discussed the conditions and challenges faced by this population. The students were encouraged be persistent and understand that there should be no obstacles in life to discourage them, and always be ready to help those in need. Each year, we share the joy of the New Year and Christmas holidays with the members of the “Glimpse of Hope” Service Center. We continued this tradition this year by decorating our Christmas tree with ornaments they made themselves. 1 88 Figure 6. New Year’s ornaments made by users of the “Glimpse of Hope” Service Center Experts in this field, employed in the Library for Blind and Visually Impaired Persons of the Republika Srpska and the Faculty of Medicine in Foča, contributed with their knowledge to better preparation and implementation of the project. Students from the Faculty of Medicine in Foča, specializing in special education, helped us create leaflets and exhibition panels in Braille. Ivana Zečević, Master of Special Education and Rehabilitation, was our consultant. The leaflets provide a brief description of all our permanent exhibitions. We created the audio guides in collaboration with the Library for the Blind and Visually Impaired of the Republic of Srpska. They recorded the text in audio form to present the exhibitions to our visitors in an appropriate and comprehensible manner. Detailed descriptions include items from the Ethnographic Room (spindle and loom), and educational societies in Foča: “Prosvjeta”, “Gajret” and “Sokolsko društvo”, which complement the exhibition about Dr. Rista Jeremić. This is another way to promote and preserve the cultural and historical heritage of the town of Foča and its surroundings. COOPERATION AND SUPPORT 1 89 The second part of the project involved a visit to Trebinje. The project’s results were presented at the Museum of Herzegovina, where we exchanged experiences with colleagues about including persons with disabilities in museum work. Colleagues from the Museum of Herzegovina in Trebinje shared valuable experiences with us, which the Museum of Old Herzegovina in Foča has applied in its further work. During this time, members of the Intermunicipal Organization of the Blind and Visually Impaired and the “Glimpse of Hope” Service Center explored the rich cultural and historical heritage of Trebinje presented at the Museum of Herzegovina and visited some of the town’s tourist attractions. We visited the Herzegovina Gračanica monastery, where one of the most famous Herzegovinians, the renowned poet and diplomat Jovan Dučić, is burried. Dučić was one of the founders of the museum in Trebinje. We enjoyed this visit and the time spent toghether, which further strengthened our relationships and provided a good foundation for a continuous cooperation and friendship. The “Glimpse of Hope” Service Center members particularly enjoyed this visit. EXCHANGE AND LEARNING Figure 7. Visit to the Museum of Herzegovina and the city of Trebinje 1 96 INCLUSION IN MUSEUMS IN SERBIA For the purposes of this paper, we conducted a short survey of the state of inclusive programs in museums in Serbia. This April, museum educators and pedagogues from 13 museums and galleries responded to an online questionnaire containing 5 questions10. The fact that all listed museums have inclusive programs, with minor differences, speaks of the development of museum education in Serbia. Most museums adapt current educational content to persons with disabilities, while a smaller number of museums purposefully create a program for persons with disabilities. Regarding the theoretical knowledge acquired during formal training and its contribution to working with people with disabilities, answers varied. Eight out of thirteen respondents answered that their previous education did not contribute to facilitating working with persons with disabilities, while five of them answered that the knowledge from their studies helped them in working with the mentioned category of visitors. The difference in answers probably comes from the fact that museum education is not exclusively carried out by pedagogues, since educators come from various professions. There is also a number of smaller museums in Serbia that do not have museum educators and pedagogues; instead, curators of various collections perform these tasks as a part of their regular activities. It is a devastating fact that all inclusive educational programs in museums in Serbia are carried out thanks to the enthusiasm of their employees, who have not received any kind of training for working with persons with disabilities. This results in the unequivocal answer to what the last question of the survey aimed to investigate, namely that the training of museum pedagogues and educators for working with the mentioned category should be improved. This step would have a positive impact on the content and diversity of inclusive educational programs, while museum employees, in the communication department, would have more freedom and confidence when working with audiences composed of people with disabilities. 10. The following museums and galleries participated in the survey: Belgrade City Museum, African Art Museum, Zrenjanin National Museum, Knjaževac National Museum, Pavle Beljanski Memorial Collection, Subotica Contemporary Gallery, Natural History Museum in Belgrade, Kragujevac National Museum, Leskovac National Museum, Bečej City Museum, Kikinda National Museum, Sava Šumanović Gallery and Niš National Museum. 1 97 In museums in Serbia, inclusive workshops are an inseparable part of regular educational activities. Coming to the museum represents a new experience for persons with disabilities and a change in their everyday environment. In the beginning stages of implementing inclusive programs, we encountered numerous obstacles. We had to adapt expert guidance to the abilities of the participants and connect it to everyday life skills. In the interactive part, we did not always receive the feedback we expected, especially when working with participants with autism spectrum disorders. In attempting to assist them in the creative aspect of the workshop, we sometimes faced resistance. Over time, the “Mara” institution’s group of users became familiar with the museum environment, often spending time there and participating in various workshops. Museum educators became increasingly involved in their activities, and participants eagerly communicated with them, expressing their interests. This is why we plan to actively involve center’s users in regular museum activities in the future, according to their interests, as well as to establish stronger connections with the “Carica Jelena” School for Students with Disabilities and the Association for the Blind and Visually Impaired from Niš. Literary evenings, activities within museum exhibitions and guided tours through our facilities are just some of the programs in which users will be involved. Due to insufficient training for working with persons with disabilities, the workers in the communication department of the museum relied on the suggestions of educators who work with persons with disabilities on daily basis. Seminars, conferences and educations in the field of working with persons with disabilities, specifically intended for museum workers, would significantly contribute to the diversity of educational programs adapted to the persons with disabilities, while museum educators and pedagogues would become more independent in creating programs and more confident in performing activities. CONCLUSIONS REFERENCES Brstilo, I., Jelavić, Ž. (2010) Culture as a field of Possibilities: Museum as a means of Social Integration, Ethnological research,1(15), 145-160. Fehratović M., Dautbegović A., Tiosavljević M. (2021). Protective Factors of Mental Health of Parents of Children with Developmental Disabilities, Social and Humanistic Studies, Faculty of Philosophy in Tuzla, 6(3), 523-542. Knežević Florić O., Ninković S., Tančić N. (2018). Inclusive education from the perspective of teachers - roles, competences and barriers. Teaching and education, 67(1), 7-22. Kostović S. and others, (2011). Development of Inclusive Educational Practice in the School Context, Inclusive Education from Pedagogical Concept to Practice, Faculty of Philosophy in Novi Sad Muškinja O. (2011). The Illusion between Desire and Possibility, Provincial Ombudsman of the Autonomous Province of Vojvodina Radivojević, Z., Raičević, N. (2007). Protection of Persons with Disabilities in International Law, Annals of the Faculty of Law in Belgrade, 55(2), 98-115. 1 98 DESIGNING INCLUSIVE MUSEUM EXHIBITIONS: A COST-EFFECTIVE APPROACH TO SENSORY ACCESSIBILITY ABSTRACT Access to cultural institutions is essential for all individuals. People with disabilities, however, often face significant barriers. This paper details the efforts to enhance museum accessibility for individuals with sensory disabilities in the NI Institute and Museum Bitola. Initially, we discuss the creation of tactile exhibitions, highlighting the challenges encountered and the solutions implemented. Furthermore, we explore the measures taken to improve accessibility for people with hearing and speech impairments. By leveraging QR codes and NFC tags, all visitors can use their own mobile phones as personal guides, thereby enhancing museum accessibility for everyone. The participation of the Balkan Museum Network in the SHIFT project represents the next phase. Through the use of AI and modern technologies, this initiative aims to significantly improve museum accessibility, setting a new standard for inclusivity. Keywords: museum accessibility, visual impairments, tactile exhibition, SHIFT People with disabilities often face significant barriers when attempting to visit cultural institutions. Several factors contribute to this limitation, with the most prominent being a lack of information and understanding regarding international and national regulations. Institutions frequently struggle to comprehend their responsibilities related to human rights and other relevant considerations. Many Balkan museums started to develop projects for accessibility and inclusion in cooperation with the BMAG11. Training sessions and international seminars were organized for the museum staff with the goal of enhancing accessibility and inclusion. These sessions highlighted best practices and emphasized both INTRODUCTION 11. Since 2010, the Balkan Museum Network has been providing support to Balkan museums through small grants for implementing projects for accessibility. Many museums benefited from these grants, developing tactile exhibitions and access surveys conducted by representatives of the BMAG https://www.bmuseums.net/ balkan-museum-access-group/ Irena Ružin, Jove Pargovski N.l. Institute and Museum Bitola 1 99 international and national regulations. The Nl Institute and Museum Bitola efforts started with improving physical accessibility with movable ramps and a lift car. This was proposed by the Association of Persons with Physical Disabilities of Bitola, as one of the measures to improve the physical accessibility of an object that is registered as a monument of culture, where there is a limited possibility for architectural interventions. The same approach was applied to improve accessibility for people with sensory disabilities. Through communication and cooperation with the relevant associations from our country, work began on proposing new solutions to improve accessibility guided by the principle ”Nothing About Us Without Us”. The sense of touch holds profound significance for persons who are blind or visually impaired, serving as a gateway to understanding and experiencing the world around them (Levent and McRainey, 2014). Recognizing the pivotal role of touch in the lives of persons who are blind, museums have increasingly embraced the creation of tactile exhibits. By offering multisensory encounters through tactile displays, museums strive to democratize access to art, history, and culture, ensuring that everyone can engage with and appreciate their collections regardless of visual ability. These tactile exhibits not only empower visitors who are blind to independently explore and interpret artefacts but also foster empathy and understanding among sighted visitors, thereby promoting a more inclusive and diverse museum experience. Two elements are essential for a successful tactile representation: a tactile object and its description. The tactile object in some cases can be the museum object itself. It would be ideal if all museum objects were available to be touched. However, as touching is prohibited in most cases, an appropriate solution could be to use a representative tactile copy. A “true copy” made of same material would be ideal, but sometimes these are expensive or impossible to produce. Also, many times the object itself in its original form cannot convey any message to the persons who are blind (for example - the elements cannot be distinguished from each other when touched), so it is necessary to create a tactile representation with more pronounced elements (Picture 1.c). Thus, tactile objects can be created using paper, plaster, 3D printing or some other technique or material (Candlin, 2008). The second important element is the description of the object, crucial for making tactile objects accessible and meaningful for persons who are blind or visually impaired. Tactile objects rely on touch, so detailed descriptions provide the essential context, guide exploration, and aid comprehension. Descriptions bridge TACTILE EXHIBITIONS FOR BLIND AND VISUALLY IMPAIRED VISITORS 1 100 the physical object and the individual’s understanding, offering details like shape, texture, size, and spatial relationships to create a mental image. Descriptions also provide interpretive information not obvious through touch alone, such as the object’s historical or cultural context, function, significance, and symbolic elements. This enriches the understanding and appreciation of the object (Asakawa, et al. 2018). Descriptions can be divided into two types: • Object Description: Explains the object’s uniqueness, importance, and exhibition context using clear and concise language to create an engaging story for all visitors. • Navigational Description: Specifically for persons who are blind, this type of description provides instructions on what the tactile object represents, whether a 2D drawing or 3D copy. The first tactile exhibition in the NI Institute and museum Bitola was organized in 2018 with the support of the Balkan Museum Network. This initiative aimed to improve accessibility for persons who are blind or visually impaired individuals. Tactile images, inspired by objects from the permanent exhibition, were displayed on panels with Braille descriptions and accompanying pictures for sighted individuals. An audio narration accessible via QR code was also provided. The exhibition was enthusiastically received by blind individuals nationwide and soon followed requests for the exhibition to visit other cities. Many museums adopted this approach, including institutions in Macedonia, Montenegro, and Serbia. Additionally, exhibitions were held in museums in Slovenia, Croatia, Bosnia and Herzegovina and Serbia. The objects on the tactile images were selected from the permanent collection of the museum in Bitola, promoting the rich cultural heritage of the Bitola region. a. 3D printed tactile map of the Heraclea Lyncestis archaeological site near Bitola b. Plaster copy of the Tragic Mask of Heraclea Lyncestis (reduced size) c. Enlarged plaster copy of a coin portraying Alexander the Great 1 101 Figure 2. Portable tactile exhibition with motifs from the museum objects from the NI institute and Museum Bitola, presented on tactile panels Initially, QR codes were unfamiliar to many visitors at our first tactile exhibition in 2018, so we provided informational flyers with aid usage instructions. The first part of the tactile object - the description, the object’s story, is universally translatable and can also be presented through audio narrations or sign language videos, also enhancing engagement and accessibility for persons who are deaf or hard of hearing. By scanning the QR code, visitors can access the museum website for more information, including sign language videos, high-quality photos with zooming capabilities, and even 3D reconstructions for some objects. This initiative marked the first self-guided tour tailored for the people who are deaf and hard of hearing, offering them a deeper understanding of Bitola’s heritage. Simultaneously, object descriptions elevated the experience for sighted visitors, resulting in an improved museum experience for all museum visitors. Picture 3 shows a QR code placed next to the museum object in the permanent museum exhibit. ENHANCING MUSEUM ACCESSIBILITY WITH SIGN LANGUAGE VIDEOS AND QR CODES Figure 3. QR code next to the museum object Figure 4. Museum in a suitcasetactile copies Figure 5. 3 D model of the Museum building 1 102 By scanning the code, visitors open the appropriate section on the website, where more information is provided: narration, a sign language video and a high quality photo with the possibility of zooming in. By using this approach, we have managed to bring the museum collection closer to a much larger number of visitors in a relatively cost-effective and simple way. The objects are accessible to all visitors around the world 24/7. Through the use of sign language videos, the museum exhibit has been made more accessible to people who are hearing and speech impaired, while audio narrations allow visitors’ smartphones to serve as their personal museum guides, without the need to install software. Each new visit to the exhibition and each new object led to an improvement in access and an increase in the collection with new “tactile” objects. The “Museum in a Suitcase” was a project created in cooperation with the Homeland Museum of Knjaževac, Serbia (Picture 4) that included copies made of material similar or identical to the original object. For immovable cultural heritage objects, such as the museum building, 3D printing was utilized (Picture 5). This created smaller-scale replicas to help people who are blind or visually impaired understand their shape. Additionally, these 3D prints could be used to craft tactile maps showcasing the city center’s key features. During the initial exhibitions, it became evident that, in order to visit museums, people with visual impairments still dependent on the assistance they get from their family, friends or from the museum personnel. This dependence stems from challenges such as navigating spaces not being designed for people who are blind, or the inability to read Braille. Braille illiteracy is a significant obstacle, limiting the persons who are blind or visually impaired from accessing crucial information and hindering their educational and professional prospects. In Europe, approximately 5% of people who are blind can read Braille. Globally, the highest percentage is in the USA, at around 10% (Asakawa, S. et al. 2018). Starting from our belief that modern technologies should complement Braille, we have started to integrate modern technologies to enhance the accessibility. Initially, we provided audio narration alongside Braille text, accessible online via smartphones. As many people who are blind are smartphone users, this approach proved effective. For those without smartphones, museum staff offered devices during the exhibition. To streamline the access, assistants scanned QR codes to open relevant audio narrations for tactile objects. Later, we explored the use of NFC tags. NFC TAGS AND THE AIM OF ACHIEVING FULL INDEPENDENCE FOR BLIND AND VISUALLY IMPAIRED VISITORS 1 103 In the realm of tactile museum experiences, NFC (Near Field Communication) tags emerge as a ground-breaking tool (Blöckner et al., 2009). These tiny, unobtrusive tags discreetly embedded within museum exhibits hold the power to transform static objects into gateways of rich auditory description. Near Field Communication (NFC) is a short-range wireless technology that allows devices to communicate when they are close to each other, typically within a few centimeters (Blöckner et al., 2009). Imagine a scenario like the one shown in Picture 6: A blind or visually impaired visitor enters the exhibition space and taps their smartphone on a designated NFC tag (1). This action provides them with navigational and other relevant information about the exhibition. By tapping their smartphone on additional NFC tags placed at tactile images (2) or 3D replicas (3), visitors instantly receive tailored audio descriptions. This level of autonomy empowers visually impaired individuals to explore museum collections independently and at their own pace, enhancing their understanding and connection to the exhibits. Тhe versatility of NFC technology allows for flexibility and scalability in creating accessible museum experiences. Curators can easily update or customize audio descriptions to cater to diverse audiences or accommodate temporary exhibitions, ensuring that inclusivity should remain at the forefront of museum accessibility initiatives. Figure 6. Proposed design of a tactile exhibition space, in which NFC tags are used 1 104 THE SHIFT PROJECT The approach explained earlier and the activities described have proven to be successful tools for improving the accessibility of museum exhibits. However, modern trends and technologies offer many new possibilities, that will significantly improve the accessibility of museums. Since 2023, the Balkan Museum Network has been a member of the SHIFT project (MetamorphoSis of cultural Heritage Into augmented hypermedia assets For enhanced accessibility and inclusion supports the adoption of digital transformation strategies and the uptake of tools within the creative and cultural industries - CCI). SHIFT is a part of a cluster of six projects funded under HORIZON Europe and it leverages advances in Artificial Intelligence (AI) and Machine Learning (ML) to improve cultural heritage access for European citizens experiencing sensory impairment. It aims to enrich the experience of interacting with cultural assets through visual, auditory, and sensory modalities, e.g., using haptics. SHIFT also develops tools and methodologies to enable contemporary description of cultural assets through language evolution models. Results are thematically clustered into visual-auditory-haptics components: • Visual toolkit: using AI and ML algorithms will enable automatic transcription of the cultural heritage content. The toolkit will identify objects and actions, which assist in transcribing the historical depictions at economies of scale. • Auditory toolkit: the toolkit will deliver an emotional response to the audience by using advances in auditory synthesizers. Human-like correspondence will minimise barriers for effective interaction by people with sensory impairments. • Haptics toolkit: this will enable multi-sensory interaction with digital objects, through a novel approach which delivers haptic feedback emulating the feeling of touch in a digital object. • IPR toolkit: To address the challenge of protecting the digital native content, SHIFT will adopt international standards on copyrights and digital protection of derivative copyrights. Ultimately, NFC tags revolutionize tactile museum experiences, foster inclusivity, innovation, and engagement for all visitors, regardless of their visual ability. 1 105 CONCLUSION The integration of new technologies such as smartphones, QR codes, NFC, and AI into the permanent and tactile exhibits at the NI Institute and Museum Bitola holds tremendous potential for enhancing accessibility for people with sensory disabilities. These innovations enable personalized and adaptable experiences, that cater to the specific needs of visitors. The use of QR codes and NFC tags within the exhibit, combined with visitors’ personal smartphones, transforms these devices into personal guides, providing audio descriptions and sign language videos that make the exhibits more inclusive and engaging. AI technologies further enhance accessibility by offering sophisticated tools, such as those mentioned in the SHIFT project. Together, these advancements contribute to creating a more inclusive museum environment. The latest developments in AI technologies open up a wide range of possibilities, which, combined with our experience in improving accessibility, are steadily leading us toward the goal of an inclusive museum environment where all visitors can fully enjoy and benefit from our exhibits. 1 112 voice” effects, were also recommended for better engagement over extended periods. Finally, visitors on the autism spectrum wished for clear, predictable information delivery, avoiding sensory overload from flashing screens or intricate backgrounds. For this group, providing advance information about the tactile and visual experiences can help reduce anxiety and improve engagement. The workshop continued with the feedback session where target group representatives were invited to give their assessment on five new SHIFT technologies showcased via short videos compiled by the developers of the project. The first video showcased an image processing technology for analysing and restoring artefacts, transforming visual information into accessible formats and unlocking the stories embedded within artworks based on the SOM coin collections used in the previous exercise. Visitors on the autism spectrum required clear, direct information with minimal design distractions. Supporting materials such as flowcharts and visual guidelines, along with the presence of knowledgeable staff, were recommend. Visitors who are visually impaired felt they would benefit from strong contrast in visual displays, though preferences varied. Customisable tools for adjusting contrast, sound, and text size were labelled necessary to meet diverse needs. The second video demonstrated the use of VR headsets and haptic gloves to create immersive experiences, allowing visitors to virtually interact with artefacts. Visitors on the autism spectrum asked for clear instructions and control over sensory inputs to prevent sensory overload in similar cases. In general, providing advance information about the duration and nature of the immersion was considered crucial for them. Visitors who are visually impaired looked for detailed narrations describing visual elements. Differentiating between types of information through distinct voices was also beneficial for them. Visitors who are deaf or hearing-impaired required easy-to-read texts and clear signage for effective navigation and understanding. The third development focused on creating more human-sounding text-tospeech translations using a museologist’s voice for consistency, aiming to provide extensive textual content in translated languages at a lower cost. In general, visitors who are on the autism spectrum or hearing-impaired found the lack of synchronisation between facial gestures and spoken words in translated versions disturbing. Optional captioning with large, clear fonts was suggested to assist such groups of visitors. The fourth video featured an AI tool offering customisable descriptions of artefacts in various formats, allowing visitors to tailor the information to their preferences and needs. Visitors who are visually impaired opted for flexible description lengths and clear user interfaces, while autistic individuals needed straightforward navigation and important keywords highlighted. The group comprising of individuals who are hearing-impaired found captioning options helpful in reducing noise and aiding in understanding the content framing the artefacts. 1 113 The last technological development added sound effects to visual artefacts, creating a fuller sensory experience, particularly for visitors who are visually impaired. For example, the sound of the seashore was added to the painting “The Isle of the Dead” by Arnold Böcklin to enhance the immersive experience. Visitors on the autism spectrum required the careful handling of abstract concepts and metaphorical content to avoid overwhelming them. They also preferred separating background sounds and narration to help prevent sensory overload. The group comprising of individuals who are visually impaired found that sound effects enhanced their understanding of the visual elements. Participants who are hearing-impaired opted for captioned narrations and control over background sound volumes for an effective comprehension. The workshop began with a brief update on the project’s latest developments. Subsequently, participants who are visually impaired and professionals specialising in autism were invited to provide their feedback. Thought bubbles and word clouds were generated based on the project’s primary objectives: accessibility, inclusivity, and usability. Among the keywords, the participants associated “inclusivity” with acceptance, openness, awareness-raising, and “being in the picture,” emphasising that inclusion should not only pertain to the presence of visitors with special needs but also to the museum adopting their perspective. One participant elaborated on this, saying: “Inclusion also means that we should be able to receive what the museum wants to offer us, establishing an equal, non-hierarchical relationship as recipients and givers.” This also involves the museum understanding the capabilities of its visitors, whether they are living with a disability, adults, children, elderly, from the city, or from the countryside. SUMMARISING WORKSHOP: MORE ON ACCESSIBILITY, INCLUSIVITY AND USABILITY Figure 1. Workshop for visitors who are hearing-impaired at the SOM in April 2024 1 114 Regarding “usability,” discussions touched on accessible movement within museum spaces and the comprehensibility of artefacts. Controllable lighting was deemed especially important, as some of the individuals who are visually impaired require more light, while for others, it can be a hindrance. Glass display cases, due to their transparency, can pose a danger – contrast, predictability, and prior knowledge of the case’s existence, dimensions, and shape can help mitigate this. Discreet but clear sound signals can also be beneficial. On the topic of “accessibility,” it was emphasised that having an online accessible audio map when planning a museum visit significantly improves the user experience. Knowing the length of the exhibit, the route to be taken, and the installation method beforehand allows for better focus on the exhibition, making it easier to understand the curator’s concept and appreciate the value of the artefacts (Casanova-Salas et al. 2024). A negative example mentioned was the inconsiderate use of buttons: while push buttons are more practical than touch screens for a visually impaired person, they are only truly functional if one knows in advance about their presence, location, and function. The workshop revisited the previously examined Arnold Böcklin’s painting “The Isle of the Dead”. Visually impaired individuals could choose from texts of varying lengths and detail, selecting the most informative and accessible version. Participants again highlighted that the perception of a painting differs for someone who has been blind since birth versus someone who lost sight later in life: for the former, listing the colours and forms of the painting means little, while for the latter, these details help connect with the artwork. Besides physical data – such as the painting’s size, weight, and significance – both groups considered it important to understand the relationship between the painting and the artist, its place in the artist’s oeuvre, and the description of the depicted scene. For individuals who were born blind, accurately conveying the painting’s mood is crucial. Subsequently, participants were introduced to two artefacts from the Semmelweis Museum of the History of Medicine: a porcelain “opium pillow” and a wooden model of a medieval anatomical theatre. Both artefacts are displayed in cases, and their comprehension is primarily achieved through auditory descriptions. However, there was consensus that a handheld, three-dimensional model could help “visualise” the artefact behind the glass. Individuals with autism highlighted that, for many, interactions with doctors are associated with anxiety, which can be triggered by historical medical instruments seen in a museum setting. They suggested that it is worthwhile to pre-emptively inform visitors about these critical artefacts and allow for them to be avoided. To accommodate diverse visitor groups, the development of applications and solutions must be inherently flexible and customisable. Tools and features should be optional and adjustable to ensure a tailored experience that meets the specific needs of each visitor group. This approach not only enhances accessibility but also enriches the overall visitor experience by catering to individual preferences and requirements. 1 115 • Visitors who are hearing-impaired: Museums should implement clear, easyto-read texts, optional captions, and sign language interpretation to facilitate better understanding and navigation. • Visitors who are on the autism spectrum: Museum should ensure predictability, clear information delivery, minimal distractions, and control over sensory inputs to prevent sensory overload and anxiety. • Visitors who are visually-impaired: Museum should provide detailed auditory descriptions, customisable visual contrasts, and distinguishable narration options to enhance the overall experience. At a local scale, the cooperation between the different stakeholder groups, the museum and the SHIFT project highlighted that, by addressing the specific needs and preferences of diverse visitor groups, museums can ensure that everyone has the opportunity to enjoy and understand cultural offerings. It was critical for the SOM to create inclusive and accessible experiences that allow all visitors, regardless of their disabilities, to fully engage with and appreciate exhibits. The results of these workshops also clearly demonstrated the importance of involving focus groups – in this case, comprising individuals who are blind, deaf, or are on the autism spectrum – throughout the project’s various stages. Their firsthand CONCLUSION Figure 2. Word clouds compiled at the June workshop at the SOM 1 116 feedback provided important insights that can significantly enhance the usability of the developed tools and strategies. This involvement ensures that the solutions created are practical, effective, and genuinely beneficial for the intended users. The workshops may also contribute to the successful implementation of the SHIFT project, hopefully paving the way for other EU funded projects with a similar approach. At a larger scale, by adopting this comprehensive approach to accessibility, museums can foster a more inclusive cultural environment. This not only improves the experience for visitors with disabilities but also enriches the cultural landscape for all, promoting diversity, understanding, and acceptance. The insights gained from this cooperation so far already underscore the essential role of continuous user engagement and feedback in developing truly accessible and inclusive cultural spaces. These insights also highlighted the importance of creating inclusive and accessible museum experiences, ensuring that all visitors, regardless of their disabilities, can fully engage with and appreciate the exhibits. Finally, and most importantly, as one of the visually impaired visitors emphasized, the collaboration has brought significant benefits for people living with disabilities: “Here - and I can speak for everyone - there is really no wrong question, no taboo question, and we are happy to talk about our disability because we know that later on, you will be able to use the practices and advice that we give you.” REFERENCES Casanova-Salas, P., Sevilla, J., Coma, I., Morillo, P., Gaitán, M., & Portalés, C. (2024). Enhancing accessibility and navigation of heritage collections through interactive spatiotemporal maps. Journal on Computing and Cultural Heritage, 17(3), Article 39. https://doi. org/10.1145/3652521 Kruczek, Z., Gmyrek, K., Ziżka, D., Korbiel, K., & Nowak, K. (2024). Accessibility of cultural heritage sites for people with disabilities: A case study on Krakow museums. Sustainability, 16(1), 318. https://doi.org/10.3390/su16010318 Sova, R. B. (2010). The inclusive museum. The International Journal of the Inclusive Museum, 3(2), 39-48. https://doi.org/10.18848/1835-2014/CGP/v03i02/44323 1 117 AUTHOR’S BIOGRAPHIES Jelena Bobić graduated from the Faculty of Philosophy in Novi Sad, in pedagogy. She has been employed at the Gallery of Matica Srpska since 2020, as a museum educator. She participates in the creation and implementation of educational programs and creative workshops for children, family programs and youth programs. Since starting her internship at the Gallery, she has been developing cooperation between primary and secondary schools and museums through the Gallery as a Classroom program. She is a member of the Pedagogical Society of Vojvodina and National Committee of ICOM Serbia. Liliána Benyó-Vattay obtained her degree in History from the Faculty of Humanities at Eötvös Loránd University (ELTE-BTK) in 2014, specialising in the ecclesiastical and social history of the early Middle Ages. She has been working as a museum educator in historical museums since 2016. In her work, she employs a variety of methods, primarily using elements of drama pedagogy and playful techniques. Since 2018, she has been the owner of a company that develops museum games, responsible for the museum education offerings of several Hungarian museums and the development of digital and analogue games. Since 2021, she has been a student at the ELTE Bárczi Gusztáv Faculty of Special Needs Education, specialising in the education of individuals with learning disabilities and hearing impairments. Since 2022, she has been working as a museum educator at the MNM Semmelweis Museum of Medical History. In her current role, she focuses on democratic and inclusive education, primarily working with adolescents. She supports the SHIFT project from a museum education perspective. Natalija Čađenović, director of the Natural History Museum of Montenegro, was born in Podgorica, Montenegro. She completed her basic studies at the University of Montenegro, Faculty of Science, Department of Biology. She completed her postgraduate studies in 2006 at the Faculty of Biology, University of Belgrade. She obtained the title of Doctor of Biological Sciences at the Department of Biology and Ecology, Faculty of Science and Mathematics in Novi Sad in 2014. She obtained the title of museum adviser in 2009, while she obtained the title of scientific associate in the field of zoology in 2019. She is the author and co-author of numerous scientific papers in the field of herpetology, published in domestic and renowned international journals. She is the author and co-author of numerous exhibitions of the Natural History Museum of Montenegro, and a participant in many international conferences, projects, and workshops. Since her appointment as the museum director, she improved the work of the museum, which now has a significant cultural, scientific and educational role in the Montenegrin society. 1 118 She has made a special contribution to the improvement of exhibitions and the creation of accessible content for people with disabilities, and she has devoted herself especially to visually impaired and blind visitors. Branka Dragičević was born in Foča in 1980. She completed the elementary school and high school in Foča, and the Faculty of Philosophy, Department of Journalism at the University of Banja Luka. She has been employed at the Museum of Old Herzegovina since 2010, where she held the position of director for two terms. She has been working as a museum pedagogue for seven years. She has organized numerous exhibitions, and initiated workshops for children, adults and people with disabilities. Ioana Cornelia Cristina Crihană is a philology graduate who specialized in digital enterprise management and service science as well as financial management and consultancy and expertise in advertising. She is a certified trainer in the partnership brokering field and is now a PhD student in System Engineering. Ioana Cornelia Cristina Crihană worked consecutively in a radio studio, in the written media, in an important governmental institution, in a well-known advertising agency, and in a leading company in the software industry. Currently, she is the Executive Director of the most representative professional association of public libraries in Romania. In the last 15 years, she coordinated complex cultural and educational projects and acted as an active ambassador of inclusive education, being the initiator and project manager in numerous cultural, educational and community development projects. Ivana Gruden Milentijević was born in Leskovac in 1985. She graduated from the Faculty of Philosophy at the University of Niš, Department of History, in 2011. Ivana is employed as a senior museum educator at the National Museum in Niš. She is one of the authors of the permanent exhibition at the Red Cross Concentration Camp and has authored several monographs and professional papers related to civilian suffering during the World War II. In addition to her scholarly work in history, she actively promotes the cultural heritage of the National Museum in Niš through workshops and lectures. Derviš Hadžimuhamedović is a Project Manager at the Department for Sustainable Development, City of Sarajevo, with experience in cultural management. He has coordinated the International Summer School Youth and Heritage since 2017. Derviš is an archaeologist who combines practical work with a constant aspiration to expand the scientific and theoretical knowledge of cultural heritage in an international framework, with a special focus on heritage documentation methods. He has participated in a number of international conferences and workshops, including UNESCO and World Heritage Committee Meetings. He is engaged in creative photography, for which he has received several awards. Elma Hodžić, a curator from Sarajevo, has worked at the History Museum of Bosnia and Herzegovina since 2013. Actively involved in revitalizing the museum, she has helped shape a more open policy that encourages societal engagement, dialogue about the past, and critical thinking. As head of the museum’s library, 1 119 she also oversees the Art Collection and the Collection of three-dimensional objects. Together with her colleagues, she has implemented programs that reinterpret museum stories, providing them with new social contexts and exploring heritage from diverse narratological perspectives. Her work focuses on the role of museums in constructing collective memory and identity, as well as on the musealization of the 1992-1995 war through the “Besieged Sarajevo” exhibition. Hodžić has collaborated with prominent artists on the national and international cultural scene, curating over 50 exhibitions for the History Museum of BiH and other institutions. She has contributed to projects aimed at developing museum pedagogy, authored the program “The Story of Museumdom,” and designed programs for various audiences, including children and seniors. An active participant in museological seminars, conferences, and workshops, she also serves as editor-in-chief of the *Proceedings of the History Museum of BiH* since 2017. Since 2022, she has worked as a journalist and culture editor at *Urban Magazine*. With a decade of experience, Hodžić remains committed to the transformative power of museums in society. Amar Karapuš (born 1981 in Sarajevo, Bosnia & Herzegovina) is a museum advisor at the Historical Museum of Bosnia and Herzegovina. He received his university Diploma from Faculty of Philosophy, University of Sarajevo in 2006, and is currently a postgraduate student in History at the same university. He has been employed by the Historical Museum since 2007, and during this time has overseen the organization of numerous exhibitions (both for the Historical Museum and other institutions), and has participated in a number of workshops and conferences; both regional and international. Much of his current work and interests covers themes such as the Second World War in the Former Yugoslavia, interpretation of contentious histories, historical interpretation for the public, and preventive conservation techniques. He currently oversees the weapons collections of the Historical Museum and is actively engaged in researching and inventorying these collections. During his work in museum practice, he participated in the realization of 16 exhibitions, of which 3 are permanent installations including the “Touch History” tactile area intended for individuals who are blind and visually impaired, and has authored 11 works in the field of history and museology. He also participated in numerous workshops, trainings, conferences and courses aimed at working people with disabilities. Marko Karaman has served as the curator of the invertebrate collection of the Natural History Museum of Montenegro since the museum was established in 1996. He graduated with a degree in biology in 1995 at the University of Novi Sad, and earned a PhD degree in 2010 at Department of Morphology, Systematics and Phylogeny of Animals, the University of Belgrade, Serbia. Well acquainted with environmental problems in Montenegro, he has significant experience in ecology and taxonomy of invertebrates, especially ants and cave dwelling animals. He participated as the co-author in several exhibitions of the Natural History Museum of Montenegro, as well as in many international projects, workshops, conferences. Since he became the Assistant Director, in 2021, he has devoted 1 120 more of his time to improving the educational and cultural role of the Museum in the Montenegrin society. In particular, he examines the ways in which exhibitions can be adapted to people with disabilities, as well as how to implement results of these examines. Katarina Krstić graduated from the Department of Art History at the Faculty of Philosophy in Belgrade. She completed Master’s studies in Cultural Studies at the Faculty of Political Sciences in Belgrade. Since 2006, she has been employed at the Museum of Contemporary Art in Belgrade in the Department of Art Documentation as a curator and librarian. She deals with the processing and presentation of artistic documentation and library activities. Since 2014, she has been developing her curatorial practice by implementing a program for adaptation of the museum contents and collections to persons with disabilities through the Inclusion and Museum program, which she designed with Senka Ristivojević, the curator. As part of the program, she co-authored workshops for children with intellectual disabilities, guidance in sign language and exhibitions for the blind and persons with visual impairment – In Touch With in 2019, and the Blue Exhibition in 2023. Anida Manko, PhD. is a senior assistant at the Faculty of Philosophy, University of Sarajevo. In her professional development, she researches and develops topics in the fields of inclusive education, museum pedagogy, intercultural education, and educational policies. She is particularly interested in creating an accessible educational environment in museums. In line with this, she has researched the application of Universal Design for Learning in museum environments. She has participated in many international scientific and professional conferences and has authored numerous scientific articles and publications in the fields of pedagogy, inclusion, museum pedagogy, and intercultural education. Milena Milošević Micić, with an M.A. in art history, works as a museum advisor at the Homeland Museum of Knjaževac. For more than 20 years, she has been a dedicated activist, curator, educator, PR, project manager, and acting director of the museum in two mandates, with the main goal of developing a new role for the museum in the local community. She believes that museums are public spaces open for everyone, forums for open dialogues or debates, and places of unique values of common heritage. Her fields of expertise include museum studies, collection management, re-organization of the museum storages, access & inclusion, marketing in culture, cultural & educational tourism, heritage interpretation etc. She is also a member of ICOM, SMА, BMN, BMAG, AAM, AAMC, Interpret Europe, Bridging Ages and was awarded by the ICOM’s National Committee of Serbia, as the best museum professional in Serbia in 2021. She is a licensed heritage interpreter (Interpret Europe) and a tourist guide. Milica Orlović Čobanov graduated from the Faculty of Philosophy in Belgrade, at the Art History Department. Since 2002, she has been employed in The Pavle Beljanski Memorial Collection in Novi Sad as a curator – educator, and from 2011 as a coordinator of the Museology Department. She is in charge of research team 1 121 coordination and works on exhibitions, as well as on educational programmes and designing educational, informative and promotional material in public relations. With the idea of making the Memorial Collection open for all and making it accesible, from 2011 she has coordinated the Touch and Feel project, designed for visualy impaired people. From 2019, she is engaged in production of application for hearing impaired visitors within the Museum for All project. She is a member of Museum Society of Serbia and the ICOM Serbia. Jove Pargovski, MSc. works in the National Institution Institute and Museum Bitola, in the documentation and digitization department. He is actively engaged in enhancing museum accessibility through the implementation of diverse projects. Jove has authored several tactile exhibitions and showcases in countries including Macedonia, Serbia, Montenegro, Albania, Croatia, and Slovenia. In addition to his exhibitions, he has produced numerous scientific papers, printed publications, and multimedia content. Jove is a member of the Balkan Museum Network and several national associations. Ivana Rastović graduated from the Faculty of Philosophy, University of Belgrade, in art history. Since 2018, she has been employed at the Gallery of Matica Srpska as the curator. As author and an associate, she participates in the organization, realization and promotion of exhibitions and accompanying programs. Moreover, she creates programs for children, the young and adults. She has also authored several publications in the field. Ivana is also engaged in the development of accessibility and inclusive programs. She is a member of the National Committee of ICOM Serbia. Senka Ristivojević is a curator at the Culture Centre of Belgrade, and former curator at the Museum of Contemporary Art in Belgrade, Serbia. She holds a bachelor’s degree in History of Art from the Faculty of Philosophy, Belgrade, University of Belgrade. With Katarina Krstić, she is the co-author of inclusive exhibitions titled In Touch With and the Blue Exhibition, which propose a new approach to the adaptation, mediation and interpretation of artworks intended for the blind and people with visual impairments. She is the author of many educational texts and art reviews. Her fields of interest include art interpretation and mediation, museum studies, and advancing accessibility and availability of contemporary art. Irena Ružin Ph.D. is a proud Steering Board member of the Balkan Museum Network, Balkan Museum Access Group and other professional bodies. She has worked in the National Institution Institute and Museum Bitola, Macedonia, for more than 30 years. Her professional work is mainly focused on managing international and national projects, museum marketing and cultural heritage education. Irena is involved in many international projects related to cultural tourism and tourism development strategies. She has shared fer knowledge, gained from many international trainings, specializations and study visits, with her colleagues from the Balkans. Several years ago she started to implement accessibility and inclusion projects in museums and cultural heritage sites in the Balkans. Irena is an active member of several international professional associations and boards 1 128