Participantes Voices of Culture - Culture: Habilidades, Formación y Transmisión del Conocimiento PC by Asociación Española de Gestores del Patrimonio Cultural AEGPC

STRUCTURED DIALOGUE BETWEEN THE EUROPEAN COMMISSION AND THE CULTURAL SECTOR ''Skills, training and knowledge transfer: traditional and emerging heritage'' Brussels

PRESENTATION OF THE PARTICIPANTS

List of the participants Asociatia Monumentum ............................................................................................................... 4 ASTRA National Museum Complex ............................................................................................... 7 British Council ............................................................................................................................... 9 Chamber of Restorer/Academy of Fine Arts and Design ............................................................ 11 Cyprus University of Technology / Digital Heritage Research Lab .............................................. 13 DIADRASIS ................................................................................................................................... 14 E.C.C.O. European Confederation of Conservator-Restorers' Organisations ............................. 16 Ecomuseu Municipal do Seixal / CM Seixal ................................................................................. 18 EUROCLIO - European Association of History Educators ............................................................ 20 EUROPA NOSTRA......................................................................................................................... 21 European Federation of Tourist Guide Associations................................................................... 24 European Historic Houses Association........................................................................................ 25 European Network of Conservation-Restoration (ENCoRE) ....................................................... 28 ENCATC - European Network on Cultural management and Policy Education .......................... 30 FFCR - Fédération Française des professionnels de la Conservation- restauration.................... 32 Fundatia Transilvania Trust ......................................................................................................... 34 Future Heritage ........................................................................................................................... 36 ICCROM ....................................................................................................................................... 38 ICOMOS - International Council on Monuments and Sites ......................................................... 39 Institut National de l'Audiovisuel ................................................................................................ 42 Institut national du patrimoine ................................................................................................... 44 International Council of Museums (ICOM) ................................................................................. 46 NEMO - The Network of European Museum Organisations ....................................................... 49 Interpret Europe ......................................................................................................................... 54 Kultur und Arbeit e.V. - Association Culture & Work .................................................................. 56 Politecnico di Milano ................................................................................................................... 59 PostScriptum ............................................................................................................................... 61 Raymond Lemaire International Centre for Conservation (KU Leuven) ..................................... 63 Regional Centre for the Safeguarding of Intangible Cultural Heritage in South-Eastern Europe under the auspices of UNESCO ................................................................................................... 65 Resourcing Scotland's Heritage ................................................................................................... 67 Spanish Association of Cultural Heritage Managers (AEGPC) ..................................................... 69 Stowarzyszenie Badawczo-Animacyjne Flaneur ......................................................................... 71 The FabriC Association ................................................................................................................ 73 The Heritage Consortium ............................................................................................................ 75

Asociatia Monumentum http://asociatiamonumentum.ro/

Represented by EUGEN VAIDA President eugen_vaida@yahoo.com

ABOUT Asociatia Monumentum (AM) is a non-governmental organization acting in favour of the protection of movable and immovable heritage in compliance with the current legal norms and conducting a heritage inventory (safeguarding the built heritage from Romania). The Association takes emergency actions to the traditional buildings from the rural area, up to present, managing to intervene for over 120 traditional houses and two wooden churches that are heritage objectives nominated by Europa Nostra as some of the most endangered seven monuments at international level. AM aims to consolidate the professional relations with competent authorities in the field, central authorities (Ministry of Culture, The National Commission for Historical Monuments, the National Commission for Museums and Collections), county authorities (county directorates for culture, local administration offices, county councils, promotion and assessment centers for folk art, museums etc.), with educational establishments (faculties of architecture within the country), with other institutions and cultural, scientific and tourist associated structures. Our international partners are The Prince of Wales`s Foundation, ARTTA (The Anglo Romanian Trust for traditional Architecture) and Global Heritage Fund. AM is also involved in monitoring the immovable heritage from the southern part of Transylvania. We write brochures and guides about how traditional materials and technique can be used nowadays in order to restore or project new buildings. â&#x20AC;&#x153;The Traditional Saxon House from Transylvaniaâ&#x20AC;? is a guide that contains restorations methods for old houses, written by Jan HĂźlsemann and edited by our organization. We also organise training courses and practical workshops for all categories of citizens in order to make public the necessity of contributing to the preservation of the cultural building heritage and with the purpose of acknowledging the cultural and historical importance of the heritage items.

EXPERIENCE/EXPERTISE Asociatia Monumentum (AM) is conducting educational activities for all categories of citizens, in order to make public the necessity of contributing to the preservation of the cultural building heritage and with the purpose of acknowledging the cultural and historical importance of the heritage items. 4

In this respect, the following actions have been done: 

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Organising public debates, conferences and professional debates, this increases the professional efficiency level by facilitating the access to specialized information. By encouraging the private-public partnerships and collaborations with the state authorities we aim to attract the investments needed for the development of the traditionally constructed fund, for their transformation into cultural attractions and sightseeing spots integrated within the local marketing strategies and plans. Training for local people in order to learn the traditional skills concerning building (Daia, com. Apold, jud. Mures; Roades, com. Bunesti, jud. Mures). This brings more confidence in the local value and pride of the simple people from the rural areas. Training for local people to learn the process of tilemaking (Hosman, com. Nocrich, jud. Sibiu). Passing knowledge and skill of an old technique and working locally keeps local people in the chain of the local economic growth. Training of tile making for architecture students and architects to understand the traditional crafts and the traditional architecture (Apos, com. Barghis, jud. Sibiu). Giving consultancy to architects who wish to design in the Saxon area, making guidebooks for interventions in the local context Helping a craftsman to set up a new traditional tile kiln (Apos, com. Barghis, jud. Sibiu) Helping craftsman to get certifications for their products Talking with school children about local heritage

GOOD PRACTICES In order to preserve the historic roofs in Transylvania, the Monumentum Association (AM) aims to build four traditional kilns, in which the communities and local artisans can work (the construction of the first kiln is already completed in the Apos village with the help of HRH the Prince of Wales who inaugurated it in 2015; the works for the second kiln have already started). In this way we want to preserve and transmit the traditional skills to the younger generations. AM and its partners propose a pilot-project named ”The ambulance of monument” that involves the safeguarding of the immovable heritage, by assuring the safety of certain important heritage objectives found in an advanced state of degradation or breakdown. The project follows: a better involvement of the civil society, and on a long-term, also that of the philanthropic society from Romania, in preserving the immovable heritage; presenting the project in other areas with similar issues as a good practice template; sensitizing the population regarding issues that are affecting the building heritage via pro-heritage education and cultural events. In order to achieve its scope, as a first stage, AM proposed the setting up of a monitoring system of all the monuments found in three counties in the southern part of Transylvania, for which the county directorates do not have a clear evidence. The association communicated the statuses to the Directorates for Culture and to the Ministry of Culture, institutions that do not detain complete data in this regard. The works (replacement of rafters and roof tiles, consolidation of historical paint coating, clearing the downspouts, digging drain trenches, the temporary support of roofs and walls, protecting the construction with the help of temporary sealing membrane structures etc.) took place within a 1 – 5 5

days period and has been conducted according to a pre-established schedule, one intervention every two weeks, volunteers and local people got involved.

ASTRA National Museum Complex www.muzeulastra.ro

Represented by CIPRIAN STEFAN General Manager ciprian.stefan@muzeulastra.com

ABOUT ASTRA Museum is the largest ethnography museum in Romania. In our Open air museum unit we have more than dwellings, annexes, workshops and technical installations that were reconstructed using traditional techniques and materials. We have two reconstruction and restoration departments with specialists who constantly elaborate methods for the preservation and restoration of the monuments. ASTRA center for heritage is a good practice example when it comes to using the latest techniques in preventive conservation and restoration of cultural objects. We also have experts that are accredited by the Ministry of culture and National Identity. Furthermore, the museum has experienced field research specialists, as well as contact details of craftsmen from Romania, with whom workshops are regularly organized for the visitors. Thus, several programs that actively involve the audience are constantly developed, contributing to linking together specialists, craftsmen and visitors. Most of the programs have a strong educational side, because we think we have an important role in educating young audiences towards traditions, crafts, heritage and everything that these promote: tolerance, acceptance and diversity, among others. In this regard, we developed a program for volunteers and students that can practice and learn a craft under the museum’s specialists’ watch. The museum also has a great impact in the community. We think that in order to promote someone’s heritage, either we are talking about their traditions, crafts, language or clothes, we must hear their stories. This is why we emphasize on going in the community and talking to the locals, interviewing and filming them because we are aware of our role as participative actor and our mission to preserve our intercultural heritage for future generations. These are only some of the reasons why we think we are one of the main actors in the museum field.

interaction and makes HI fun and memorable. 3. interpretive writing, explaining how the principles of interpretation can be used in written text (brochures, panels, etc.) and 4. interpretive hosting, for tourism professionals in regions where tourism is based on heritage, to show how tourism sector can benefit when connected with heritage while at the same time promoting respect and ownership of it. The quality of our training programme is based on the people creating these courses, who have long experience on adult education and interpretation, and on our trainers, who share IE’s philosophy of interpretive training. All IE courses have to fulfil some quality criteria set by IE’s training team: To follow the cooperative approach, to be rewarding, meaningful, well-prepared, to offer challenges, to be supportive and inspiring, to foster vision, to offer variety, to always remain fresh and relevant, to have transparent and clear certification requirements, to open up professional opportunities, to put things in a wider context and offer a bigger picture of conservation and sustainability. Finally, Interpret Europe has been involved in 4 projects from the EU Lifelong Learning Programme, all of which helped us build our experience on training. These projects were: HeriQ – Quality in Heritage Interpretation and Interpretating Our European Heritage (Leonardo da Vinci), HISA: Heritage Interpretation for Senior Audiences and InHerit: Heritage Interpretation in Adult Education (Grundtvig)

GOOD PRACTICES We could name here our entire process of reconstructing a monument. It all begins with the cabinet and field research. When our museum specialists identify an area that can be representative for our domain whether we talk about tangible or intangible heritage, they organize a field trip to document the monument, for example. If they consider that it is valuable based on its architecture, age, and relevance for the geographic and ethnographic area, they will propose its purchase and transfer to the open air museum. A mixed team of minimum one curator, one architect, one restorer and one conservator will then come and analyze the monument and talk to the owner. When everything is set, the dismantle can begin and it will be made conserving all the original material that can be used afterwards. After the monument is brought to the museum the reconstruction works can begin after the place for the new monument is established based on its particularities. When reconstructing the monument we use traditional techniques and the original materials if possible. We also try to find in the monuments’ area craftsmen (carpenters, blacksmiths) that can help with details for best solutions. Every step of the reconstructing process is documented and noted in the monument’s book. But all this elaborate process needs professionals in traditional occupations that are so hard to find nowadays. This is another reason why we deeply want to be part of this brainstorming sessions.

British Council www.britishcouncil.org

Represented by HELEN THOMAS Head of Museums and Cultural Heritage helen.thomas@britishcouncil.org

ABOUT The British Council is the United Kingdom's international organisation for cultural relations and educational opportunities. Creating friendly knowledge and understanding between the people of the UK and other countries, by making a positive contribution to the UK and the countries we work with. Changing lives by creating opportunities, building connections and engendering trust. British Council has significant and valued experience of working on museums and heritage programmes across the world. Cultural Skill at the British Council conducts research and develops partnerships and programmes to create a stronger, more prosperous cultural sector, benefiting institutions and enriching the lives of individuals, thereby increasing the UK's reputation for excellence and building trust between people and institutions worldwide. British Council’s flagship skills programme International Museum Academy has been delivered in 10 countries across every region of the world. Skills needs are identified through research and programmes developed to address these needs and build capacity according to the local infrastructure and context. Culture and Development at the British Council looks at the role of arts and culture in an international development context and explores creative responses to the social and economic needs of developing countries. In partnership with DCMS, British Council is managing the Cultural Protection Fund of £30M to protect tangible and intangible cultural heritage in conflict-affected zones. It is a model that can be replicated in future, taking lessons learnt and best practice from the process. A number of these projects are focussing on Archaeology and Monuments but also other fields such as Museums, Libraries, Archives and Intangible Heritage.

EXPERIENCE/EXPERTISE Museums and galleries are experiencing unprecedented growth and rapid change globally. These changes create an urgent need to train a new generation of museum leaders. In response to this need, the British Council launched the International Museum Academy – an intensive professional development programme designed to enable professionals to respond to these new challenges and build capacity in their respective countries. The programme aims to equip museum and cultural heritage professionals with the skills and knowledge that are necessary to secure their resilience. 9

Based on these successful programmes British Council is beginning to explore the potential of expanding this programme to the wider heritage sector, as the need to respond to rapid development and create sustainable modes of operation is becoming increasingly important. In partnership with DCMS, British Council is managing the Cultural Protection Fund of £30M to protect tangible and intangible cultural heritage in conflict-affected zones. Knowledge transfer is a vital aspect of the programme and organisations bidding into the fund are encouraged to incorporate skills development at practical, technical and policy level to ensure heritage is valued and preserved.

GOOD PRACTICES British Council is well placed to share its expertise in skills development through cultural exchange. We have established a successful model of operating in this area: research identifies the need, scoping of the sector establishes the best approach to building capacity and pilot activity informs future programming and builds relationships to establish engagement over the long term. Mutuality and reciprocity is core to our work and programmes are valuable continued professional development opportunities for UK professionals that share their expertise with their international peers. Most recently we have begun to deliver the Transforming Future Museums programme in Greece, supported by the Stavros Niarchos Foundation. The programme offers both organisations and individuals the necessary support and tools to test out new ways of working, to build tactical collaboration channels, and to generate long-term working relationships based on peer-to-peer learning and exchange of good practice. The core part of the programme is the International Museum Academy (IMA), taking place in Athens and Thessaloniki. In depth research has informed the development of the training programme, so that it is relevant and tailored to meet the needs of the sector. In addition to the courses of the International Museum Academy, main programme events include:     

Delivery of the IMA courses in five regional cities across Greece International study tour, museum visits and meetings with industry experts as well as the opportunity to take part in Europe’s leading museum and heritage events Exchange of short work placements in Greece and the UK Creation of a new, national, peer-to-peer network of museum professionals in Greece Opportunities to meet-up regularly in conferences, symposia, panel discussions and activities that will facilitate dialogue among professionals of the sector

Chamber of Restorer/Academy of Fine Arts and Design www.restauro.sk/en/

Represented by SYLVIA BIRKUŠOVÁ Assoc. Prof. of Textile Conservation/Restoration sbirkusova@gmail.com

ABOUT Chamber of Restorers is an autonomous, nonpolitical organisation consisting of professional Conservators- Restorers in the Slovak Republic. The Chamber is a legal entity; it was established by Law no. 200/1994 Coll. on the Chamber of Restorers and performance of restoration activities of its members Academy of Fine Arts and Design is an educational institution which enables the students to gain a competence of a professional conservator/restorer. Study at the conservation /restoration Department of the Academy of Fine Arts and Design includes independently the assignment and complex restoration process. Students are encouraged to individual approach and to solution of various problems. In cooperation with historians –curators of museum collections, originals with challenging problems, large format objects or collections and files of collection. The items are selected for purposes of the final thesis. Conservation/restoration research is assessed in relation to the nature of subject, scope and causes of damage, evaluation of research, justification of the optimal option of restoration procedure – development of restoration documentation and implementation of restoration itself. Reversibility of single interventions is important, and also cooperation and consulting with historians, chemists, restorers.

EXPERIENCE/EXPERTISE The essential mission of the Chamber of Restorers is to act as public authority in two main areas. The first area is the authority of the Chamber to decide about the ability to execute the liberal profession “restorer” in the relevant specialisation of restoration and for that purpose to keep the list of its members. The Chamber in this area of its activity has the position of public authority which decides about which natural person in which specialisation of restoration will carry out business activities in the area of the Slovak Republic in the field of restoration activity on national cultural heritage and collection items of works of art. The second area is the realisation of the Chamber’s law duty to continuously monitor its members´professional activities to be carried out in accordance with the professional, expert and ethical principles and rules which are related to the execution of the liberal profession “restorer”. 11

GOOD PRACTICES The Chamber of Restorers was established on September 1st 1994 by the Law of the National Council of the Slovak Republic No. 200/1994 Collection of Law about the Chamber of Restorers and the Execution of the Restoration Activity of its Members, as a so called professional chamber with compulsory membership, which has the task to gather physical persons executing the profession “reštaurátor”Conservator- Restorer in the area of the Slovak Republic. Our members have to act according to the Code of Ethics of the Chamber of Restorers and take a vow. The Chamber is a highly respected partner in the field of cultural heritage maintenance. The Chamber is the only national chamber gathering professional conservator- restorers in Europe. The Chamber organises seminars on conservation-restoration and in cooperation with the Association of Restorers of Slovakia and thanks to co - funding by the Ministry of Culture of the Slovak Republic annually publishes the Collection of lectures from the international Seminars on Restoration in the Slovak republic - expert articles on conservation -restoration. Conservation -Restoration is a founding department at the AFAD. Since its establishment in 1949, the Department is continually developing; it is cooperating with conservations schools abroad. It is organizing/taking part in different workshops, conferences and seminars in the field of restoration and custody of cultural heritage. It is collaborating with museums, galleries, curators, chemists and other specialists.

Cyprus University of Technology / Digital Heritage Research Lab www.digitalheritagelab.eu

Represented by MARINOS IOANNIDES Chair of the Digital Heritage Research Lab marinos.ioannides@cut.ac.cy

ABOUT 1. 2.

We are the only Digital Heritage Lab in the Education and Research area on the Island of Cyprus. We managed in the last 3 years to acquire more than 2,5 Euro from EU high competitive Grants.

We have a local Network of more than 90% of all the Cultural Heritage stakeholders working with us together. Moreover, 75% of all the villages and Municipalities are working intensively with us together for the digitalisation and preservation of their content. 4. We have established in the last 3 years a professional network of more than 150 partners in Europe and in the World. 5. We are involved in more than 9 EU projects (FP7, Horizon 2020 and Regional) in the area of Digital Cultural Heritage. 6. We are working closely with Europeana (www.europeana.eu): the EU digital Library on Cultural Heritage and we are leading a Task Force Group in the area of 3D documentation and semantics.

EXPERIENCE/EXPERTISE The University as well as my Lab have a long year of experience in Research & Vocational Training activities: www.itn-dch.eu. Moreover, we are involved in different EU projects for the training of young persons and unemployment and refugee/3rd countries immigrants.

GOOD PRACTICES www.itn-dch.eu FP7- PEOPLE Marie-Curie Initial Training Network on Digital Cultural Heritage www.vi-mm.eu H2020 CULT-COOP 8 â&#x20AC;&#x201C;CSA Virtual Multimodal Museum www.inception-project.eu H2020 SC7 INCEPTION Project

DIADRASIS www.diadrasis.org

Represented by LAURA-MELPOMENI TAPINI Managing Director/ Head Conservator lmt@diadrasis.org

ABOUT Diadrasis is dedicated to the conservation, research, promotion and development of culture and heritage. Diadrasis from the Greek word which means “interaction” represents the main philosophy of the organization underlining the need for interdisciplinary collaboration. Throughout the years we have developed different projects based on this very principle of open active dialogue, of different specialists of Heritage and Culture. This mosaic of a variety of people, with different research or practices focus, makes our organization a very interesting example of how we can collaborate for the safeguarding of Cultural Heritage. Focusing on four main axes, non-formal education, research, awareness -volunteerism and publications we work on a wide range of subjects both in national and international level and in a small scale we manage to generate every time a bit of change. Thus we are a representative nongovernmental organisation working passionately for the protection of Cultural Heritage.

EXPERIENCE/EXPERTISE Diadrasis main focus is interactive and participatory training. We have been developing different activities on training and skills for heritage professionals: project based workshops, seminars and an intensive internship programme. The basic principle of all three is always: “learning by doing in a complete project”; where in the project workshop participants gain skills by performing different tasks, while in seminars they are trained in a specific given methodology. Seminars:  

2015 Viaduct seminar: «Do we make the best out of scientific analysis in conservation projects?» , Athens, Greece 2013 Gatzea seminars I & II, «Dissemination strategies for Heritage» and «Stratigraphy analysis for buildings», Pilion, Greece, participants and experts from 9 countries

Project Workshops:  

2012 «The Martos project A workshop on Stone conservation and Urban regeneration», Andalusia, Spain participants and experts from 19 countries 2011 «The Romiri project An interdisciplinary workshop on stone conservation», Zakynthos, Greece, participants and experts from 13 countries

Furthermore we have developed the internship programme offering opportunities to young professionals interested in heritage for gaining skills and working experience during our activities. We had until now participants from Greece, Serbia, Italy, USA, Croatia, Philippines and Germany.

GOOD PRACTICES On conservation practice, the Martos project: a restoration educational workshop on a 16th century monumental fountain, organized in Andalusia, Spain. The success of this workshop was based in the local community and the power of synergy proposing a sustainable conservation intervention. In Spain there is an established system of training workers for heritage craft works in the so called “Escuela Taller”. We involved therefore 7 students under the supervision of one of their instructors, in the intervention week to work with our participants (architects, engineers, conservators). Initially they were briefly trained by us in theory and principles of conservation of monuments. On the worksite, their technical abilities and familiarization with materials and tools became a unique educational tool for our heritage experts. In conclusion, not only did they actively contribute in the two weeks of conservation intervention of our workshop but, being the ones that will be taking care of the monument after our departure, ensured the sustainability of the intervention by the indispensable periodical maintenance.

E.C.C.O. European Confederation of Conservator-Restorers' Organisations www.ecco-eu.org

Represented by ELIS MARÇAL Conservator-Restorer elismarcal@gmail.com

ABOUT E.C.C.O is a confederation of national professional bodies across Europe currently representing 23 organisations from 21 countries in Europe. It represents the profession at European level by evaluating the impact of European Directives such as those which affect the free movement of trades and services and the regulation of professions. It works for the legal recognition of the profession based on the public interest nature of the work of Conservator-Restorers. Has expert status to the Council of Europe and attends the plenary sessions of the Steering Committee for Education, Culture and Landscape (CDCPP). Is a member of CEPLIS and the European Heritage Alliance 3.3, and has Memorandi of Understanding with ICCROM and ICOMOS has produced the Professional Guidelines and Code of Ethics which are standard in the field to which all members must recognise and comply. http://www.eccoeu.org/documents/Competences for access to the profession of Conservator-Restorer have been mapped and the learning outcomes with reference to the EQF have been developed. http://www.ecco-eu.org/documents/E.C.C.O. produced the Declaration of Berlin in June 2016 wich was adopted by all participants at E.C.C.O.‘s 25 th Anniversay http://www.eccoeu.org/documents/declarations/ Defining conservation-restoration contextualises how society understands and values the resource that is cultural heritage in direct relation to its appropriate care and sustainable use. Conservationrestoration is part of the analytical discourse around cultural heritage. In the spirit of the Faro convention E.C.C.O. sees conservation-restoration as contributing to and being part of the critical dialogue on heritage values, authenticity, contested heritages, public participation, and heritage stewardship. E.C.C.O. also sees itself as the nexus or fulcrum point between the profession on the one hand and the care and preservation of cultural heritage on the other and as this care is in the general public interest.

EXPERIENCE/EXPERTISE E.C.C.O.‘s professional Guidelines describe the types of knowledge and skills that are required of the conservator-restorer and that these must be delivered to Masters Degree level or its equivalent. The Professional Guidelines have three parts: the Profession, the Code of Ethics and the Education. These documents direct principled interventions of conservation and restoration to cultural heritage. This is upheld by all our members and we work very closely with the European Network of Educators in Conservation- Restoration to achieve this. 16

The ‘’Competences for Access to the Profession of Conservation-Restoration” was published in 2010, maps the conservation-restoration process and describes the level of knowledge and skill that is required to practice at a professional level. It is based on existing definitions of ConservationRestoration and the recognition that the Conservator-Restorer has a public responsibility to contribute to the preservation of cultural property and dissemination of related knowledge for the benefit of present and future generations. The strategic plan builds on the strength and experience E.C.C.O. has gained over the last 25 years and which helps to point the way forward for members and partners. Based on the working reality of the professional and the different situations experienced by our member organizations are reflected. Their selection is based on shared needs, similar situations and on challenges our members face today. It highlights the fundamental role of the profession as a facilitator in the engagement of society with its cultural heritage. This change of emphasis has come about as the result of a number of European projects that E.C.C.O. has led or been an active participant and the formulation of European Recommendations for Conservation-Restoration of Cultural Heritage in conjunction with ICCROM and ENCoRE (E.C.C.O. 2009) and through active dialogue with its members and other stakeholders in the field.

GOOD PRACTICES The Professional Guidelines and Code of Ethics of E.C.C.O. are the standards in the European conservation-restoration community and were basis for document of Pavia to professional engagement in the care and safeguarding of European cultural heritage http://www.encoreedu.org/Pavia.html?tabindex=1&tabid=188 The use of E.C.C.O.’s Guidelines are found as reference to written statements, declarations, legal papers and code of conducts in the field of conservation and restoration. The study of the competences in Conservation-Restoration is implemented up to now in three universities into their learning outcomes and ETCS system for Bachelor’s and Master’s degree: Bern in Switzerland, Vienna in Austria and Oslo in Norway. And it’s used for describing job specifications, required competences in procurement procedures for conservation-restoration projects and in explaining the complex activity of Conservation-Restoration to politicians and civil society. E.C.C.O. was a main Coordinator together with ICCROM of the “Survey of the legal and professional responsibilities of the Conservator-Restorers as regard the other parties involved in the preservation and conservation of cultural heritage” APEL. E.C.C.O. contributed in CON.B.E.FOR: A Comparative Study of European Academic Education in the Conservation-Restoration of Cultural Heritage. At the 25th anniversary of E.C.C.O. in June 2016, the Declaration of Berlin was adopted by the participants of the Presidents Meeting. In considering the FARO Convention, EU Commission’s “Integrated approach to Cultural Heritage for Europe” and the Namur Declaration, it calls to recognise Conservation-Restoration as a strategic resource for society in the care and valorisation of our common Cultural Heritage; to kindly request that the CoE and other relevant bodies consider developing a charter or a recommendation on the Conservation-Restoration of Cultural Heritage. 17

Ecomuseu Municipal do Seixal / CM Seixal www.cm-seixal.pt

Represented by ANA SILVEIRA Project Manager cl_silveira@hotmail.com

ABOUT The Seixal Municipal Ecomuseum was founded by the Seixal Municipal Council in 1982. The museum programme focuses on activities related to the territory of the council, the active conservation of heritage, wherever possible in situ, and interaction with the local community. The Ecomuseum became an important institution on the museum sector in Portugal and an inspiration for other local museums. One of its local heritage sites is the Corroios Tide Mill, which remains in testimony to the milling activities that predominated in the past and contribute towards the economic dynamism of the region. Nowadays is one of the most visited monuments in the south bank of Tagus estuary. In fact, operational in the Tagus estuary as from the Middle Ages through to the 20th century was an impressive set of at least 45 tidal mills. They played a leading role in flour production whether for supplying the city of Lisbon and the production of hard tack sea biscuits for the Portuguese navy and the military strongholds in North Africa. The maintenance of the mill and the dressing of the millstones represented normal activities within the daily routines and were carried out in parallel with the actual milling. In still functioning mills, the miller today also plays an active role in the preservation and transmission of traditional milling techniques and practices through displaying them to visitors. Between November 2004 and November 2005, the Ecomuseu Municipal do Seixal coordinated the international project "Tide Mills of Western Europe", funded by the European Commissionâ&#x20AC;&#x2122;s Culture 2000 Programme. The aims of the project were to share information and experiences relating to tide mills, promote good practices for their conservation and restoration and further the recognition of the value of a heritage common to various Western European countries. In this scope was produced the touring exhibition "Tide Mills of Western Europe", which was presented around Europe during 10 years.

EXPERIENCE/EXPERTISE By the end of the 1970â&#x20AC;&#x2122;s the Corroios Tide Mill had lost its significance and most people were unaware of its existence. However, acknowledgement of the importance of the mill as a heritage building and its conversion into a museum has given a new value to the site. 18

Between 1980 and 1986, the Seixal Municipal Council was responsible for conserving the Corroios Tide Mill in working order and opening it to the public as a museum, preserving 'in situ' and in working order an important local landmark, whilst allowing the traditional skills and know-how associated with milling to be preserved. The mill and the miller were both integrated within the structure of the Seixal Municipal Ecomuseum and a new miller was integrated to learn with the older one. During 20 years, he was able to keep the mill in operation and explain to visitors all the process of milling. The museum is therefore a key agent in order to assure the maintenance of the registers and to document the process keeping and showing visitors the results of research such as interviews, films, collected objects and memories related to them or the people that used them. The restoration of the building has allowed the local community to learn more about itself, about the land and its development. Not only has the mill taken on an important educational role but it has also helped to promote urban improvements in the surrounding area and contributed towards the preservation of the Corroios wetlands and their ecosystem.

GOOD PRACTICES The political and social transformations which took place in Portugal after the revolution of 25th April, 1974 favoured the introduction of new practices in relation to heritage protection, along with the surge in local associations working in this area. The creation of the Ecomuseum in Seixal and the option to work with the local community must be understood in this context. The preservation of both material and intangible cultural heritage as it had occurred with the preservation of Corroios Tide Mill was a particularly powerful method of widening and deepening civic participation. Engaging with peopleâ&#x20AC;&#x2122;s lived heritage provides a range of pathways to involve local communities in participatory governance. Since then Corroios Tide Mill has been a sign of identity for this community, a place of encounter and connections between people, between an historical legacy and the challenges of the present, between building heritage and environment.

EUROCLIO - European Association of History Educators www.euroclio.eu

Represented by DENIS DETLING Ambassador denis.detling@gmail.com

ABOUT We are the only association which is set up, run and lead by history teachers. In the federal structure, history teachers are running democratic associations on the national levels, and at EUROCLIO they find a Europe-wide platform for cooperation.

EXPERIENCE/EXPERTISE We have always included on-site learning as a key component of our capacity building work in the field of cross-border professional development of history educators. This is mainly thanks to the contacts and ideas stimulated through participation in the European Heritage Alliance 3.3

GOOD PRACTICES Historiana - Your Portal to the Past, is a close collaboration with Europeana and utilises the digital heritage for re-use in education.

EUROPA NOSTRA www.europanostra.org

Represented by GRAHAM BELL Member of the Council of Europa Nostra Director of the North of England Civic Trust Graham.Bell@nect.org.uk

ABOUT Europa Nostra as “the voice of cultural heritage in Europe” is probably the most representative civil society network for the safeguarding of Europe’s cultural and natural heritage. Founded in 1963, our network is composed of highly skilled and experienced heritage professionals and volunteers who also dedicate their time to the work of the organisation as members of various juries, committees and advisory panels, or by advocating for the cause of heritage in national, European or international conferences. As the leading pan-European federation of heritage NGOs, EN contributes to the formulation and implementation of European strategies and policies related to heritage through a structured dialogue with European Institutions and the coordination of the European Heritage Alliance 3.3, an informal platform of 41 European and international networks active in the wider field of cultural heritage who join forces for advocacy. EN was the coordinator and one of the consortium partners of the EU-funded project “Cultural Heritage Counts for Europe” which resulted in a comprehensive report published in 2015 that has established itself as a key document of reference in the heritage world. Since 1978, EN celebrates excellence in heritage with the EN Awards. In 2002, the European Commission launched the EU Prize for Cultural Heritage / EN Awards which has been organised by EN ever since. In 2013, EN launched The 7 Most Endangered programme together with the European Investment Bank Institute as founding partner. Every 2 years, a list of the 7 most endangered heritage sites is drawn up with the aim of mobilising public and private support on local, national and European level for a sustainable future for these sites. EN is recognised for its valuable work by the European Institutions and has received funding from the European Commission for more than 10 years (currently under the Creative Europe Programme with its network project Mainstreaming Heritage).

EXPERIENCE/EXPERTISE Skills, training and knowledge transfer are key to the preservation of heritage and tap into its full potential. One of the priorities of our Network Project is to strengthen the capacity of cultural players and enhance their skills, competences and know-how in the field of heritage conservation, management, fundraising, interpretation, communication, education and youth involvement by facilitating and stimulating at European level peer-learning and the exchange of best practice standards. To this aim, since 2015, we organise annual Capacity Building Days focusing on various issues. Further Capacity Building workshops will be organised in the future to provide participants with new skills, competences, insights and ideas to address the challenges the sector is facing, and to facilitate peerlearning and cross-border cooperation. We also organised a one-week workshop focusing on traditional crafts and building techniques in 

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The EU Prize for Cultural Heritage / EN Awards scheme has a wealth of good practices as it celebrates and promotes the best heritage related achievements. Their “power of example” is broadly promoted by EN. The 7 Most Endangered programme also brings together many examples of best practice in the preservation of endangered European sites and monuments. (see question 10) The juries and advisory panel members, nominators, assessors, technical experts and other stakeholders involved in these 2 programmes also form an invaluable skills base.

Last but not least we seek to encourage cultural heritage players to make full use of communication and learning opportunities offered by digital technologies by introducing the interactivity of our new website – which will be launched soon – and by developing new social media initiatives (a.o. Social Media Volunteers for Heritage and Linkedln group for heritage professionals).

GOOD PRACTICES Europa Nostra gathers hundreds of concrete examples of best heritage practice through 2 main programmes: The European Heritage Awards: which celebrate and promote best practice related to heritage conservation, management, research, education and communication. In this way, it contributes significantly towards further professionalism and structuring of the heritage sector, by highlighting the best practice, encouraging cross-border exchange of knowledge and bringing together different stakeholders in wider networks. The Prize honours every year up to 30 outstanding heritage achievements from all Europe, including up to 7 Grand Prix laureates and 1 Public Choice Award. Now, more than 400 laureates form a unique network of “heritage excellence alumni” in the 4 Awards categories: Conservation, Research, Dedicated Service and Education, Training and Awareness-Raising. www.europanostra.org/heritage-awards/ The 7 Most Endangered programme identifies endangered monuments and sites in Europe and mobilises public and private partners on a local, national and European level to find a viable future 22

for those sites. This programme was launched with the European Investment Bank Institute as founding partner and the Council of Europe Development Bank as associated partner. Its aim is to serve as a catalyst for action and to promote “the power of example”. An international advisory panel meet to shortlist the most endangered monuments and sites. The final list is selected by EN Board. EN and EIB Institute heritage and financial experts follow up and undertake “rescue missions” to the sites, together with the nominators. The multidisciplinary teams assess the sites and help formulate a feasible action plan for each of them in close cooperation with national and local, public and private stakeholders. The results and recommendations of these missions are summarised in public reports. Until now, 3 lists and 16 technical reports have been published. http://7mostendangered.eu/

European Federation of Tourist Guide Associations www.feg-touristguides.com

Represented by SMARAGDA TOULOUPA Licensed Tourist Guide for Greece smarot@yahoo.com , secretariat@feg-touristguides.org

ABOUT Tourist Guides protect, present and interprete cultural heritage (tangible and intangible), sites, museums, places of worship, traditional communities, customs and practices through CPD on sustainability, niche markets, special interest groups of visitors and cultural awareness, including training in guiding people with special needs and learning difficulties, which are delivered at the Federation's AGM. They promote and represent a destination - city, region, country or monument in which they are qualified.

EXPERIENCE/EXPERTISE National or regional tourist guide professional training programmes and CPD according the European Norm EN15565:2008 â&#x20AC;&#x153;Tourism services - Requirements for the provision of professional tourist guide training and qualification programmesâ&#x20AC;?.

GOOD PRACTICES Group management of visitors at sensitive sites: accurate knowledge transfer, enthusiastic and passionate ambassadors of cultural and emerging heritage, helping ensure its sustainability by making sure visitors are aware of its meaning, value and vulnerability. Providing high quality services to visitors through specialization in languages, subjects, areas, group needs and interpretative techniques, and CPD.

European Historic Houses Association www.europeanhistorichouses.eu

Represented by DELPHINE DUPEUX Senior Policy Officer d.dupeux@europeanhistorichouses.eu

ABOUT The European Historic Houses Association is a unique organization representing the interests of 24 national associations (and 2 observer countries) and more than 50.000 historic houses in Europe. Our objectives comprehend:    

To promote European cooperation regarding the conservation of historic houses and gardens; To provide a platform for the exchange of information and support for national historic house associations; To promote interest in the historical, aesthetic, educational, environmental, economic and social aspects of historic houses and gardens; To promote the extension and improvement of current historic houses, parks, gardens and estates to enable society as a whole to enjoy their attractions, beauty and story.

Our core interest gather taxation policy, energy policy, environmental and sustainable development, promotion of cultural tourism and the fight against the illicit traffic in cultural goods. To face the upcoming challenges, the association created in 2014 a group of young and future owners and managers of historic houses, the Next Generation group. Gathering once a year for a Conference, these young owners represent the future of historic houses in Europe. The core challenge is to ensure a good transmission of historic houses, so that they do not fall into decay. Last year, the Association’s annual Conference (on October 5th, 2016) was entitled “Education, Training and Innovation for Better Management of Historic Buildings”, which enabled the members to have some insights into how to improve knowledge-transmission and promote innovativeness.

EXPERIENCE/EXPERTISE Historic houses represent a major lever for local employment and for the preservation of various types of craftsmanship specific to the maintenance of these particular houses. As more than 90% of surveyed owners employ local skilled workers on their property, historic houses are able to provide 25

significant local growth and employment for a Europe in dire need of both, as they act as education and formation centres for apprenticeships. Nonetheless, the economic situation has seen a drop in numbers of trainees and apprenticeship involved with the historic houses’ sphere, in major positions such as marble and bronze workers, restorers, plasterers, glaziers, silversmiths, mosaic artists, painters, and such. Owners may also be faced with excessive labour costs. Notwithstanding these obstacles, craftsmen and local businesses are vital parts of the maintenance and safeguard of historic houses across Europe, and this relationship offers tremendous positive social and economic impacts for Europe. The European Historic Houses Association has already reflected on these issues during its previous annual Conference, held on the 5th of October 2016, entitled “Education, Training and Innovation for Better Management of Historic Buildings”. In addition, this year’s Next Generation Conference organized from the 24th to the 26th of March in Siena tackled the issue of “Sense of Place: Protecting, Transmitting and Enhancing Social Capital”. In this framework, we highlighted the important role and work of historic houses and their gardens towards educational and greater public awareness programmes. If one would like to attract the new generation towards cultural heritage, there is an increasing need to invest in training, transfer of knowledge and acquisition of skills. The issues of heritage transmission, knowledge dissemination, promotion of good management skills and techniques are crucial to the Association, and notably to its Next Generation group. The Next Generation group gathers young owners working with their predecessors in order to reflect on how to better transmit their heritage so that it will be preserved for the next generations to come. They carry out brainstorming and exchange of information in order to achieve this goal. The European Historic Houses has the ambition to raise awareness of the need for innovation in a sector which is considered as traditional and conservative. However, owners of historic houses are deeply interested in creative and innovative thinking and opportunities for their buildings to adapt to the new challenges of the 21st century such as sustainability, digital revolution and education.

GOOD PRACTICES The European Historic Houses Association is a network and platform of exchange. Our members communicate and share successful business models in privately-owned family businesses. As SME runners, they are deeply involved issues such as innovation, managerial skills and are very much eager to improve on these matters trough trainings and exchange of good practices. There are some crucial steps to implement in order to improve the skills and knowledge about historic houses and gardens: 

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Increase the use of new technologies, and especially communication technologies (ICTs), and most notably social media. Indeed, they enable to spread fast and to an unlimited amount of people good examples of trainings as well as skills and knowledge transmission. Communicating on successful example is crucial. We should also inspire from the new sharing models spread on the web (i.e. Airbnb etc.). Develop synergies and efficient partnerships which can bolster innovative practices and exchange. Develop user-friendly guides and guidelines to improve the transmission of information. 26

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Improve awareness raising activities among the general public, such as trainings, volunteering works or other types of engaging activities to promote heritage protection. Organize awards or ceremonies to communicate on these good initiatives. Inspire from models such as the ‘Compagnons du devoir’, a group which exist in France and work to transmit highly specialized skills in several fields of activities.

European Network of Conservation-Restoration (ENCoRE) www.encore-edu.org

Represented by WOLFGANG BAATZ Professor, Institute for Conservation-Restoration / Head w.baatz@akbild.ac.at

ABOUT ENCoRE (European Network of Conservation-Restoration Education) is a European network established on 23 May 1998 as an international non-profit network association, in accordance with the free right of association as stated by the Danish Constitution. The objectives of ENCoRE are to promote research and education in the field of conservationrestoration of cultural heritage, based on the directions and recommendations given in the E.C.C.O. Professional Guidelines (Annex 1) and The Document of Pavia (Annex 2). ENCoRE seeks to instigate, establish and promote research within the discipline of conservation/restoration, to promote collaboration in research between academic institutions of education in conservation-restoration in Europe and other institutions active in research. Furthermore, it seeks to advance and develop academic education in conservation/restoration in Europe to the highest level and to instigate, establish and promote collaboration in education between institutions in conservation-restoration in Europe and with other institutions providing a high quality of conservation-restoration activities Up to now ENCoRE has 40 Members from 20 European countries, universities or equivalent institutions recognized equivalent by a governmental body. They offer conservation-restoration education as the core subject, providing education and research providing 300 ECTS corresponding to level 7 of the European Qualification Framework (Full Member) or at least 120 ECTS leading to a MasterÂ´s level Degree or at least 240 ECTS leading to a BachelorÂ´s level Degree (Associate Members). Based on its expertise in a relevant education field of cultural heritage ENCoRE could deliver substantial contributions in the dialogue.

EXPERIENCE/EXPERTISE 19 years of intense dialogue between universities and other institutions of higher education, the last "product" being the "Document on Practice in Conservation-Restoration Education" (see www.encore-edu.org/practicepaper2014.html). 28

GOOD PRACTICES Practice is the comprehensive activity of providing physical care for cultural heritage, being associated with its interpretation, and representing the core competence of the conservatorrestorer. It is based on the understanding of the appearance, meaning, values, material composition, and condition of the cultural heritage object as interdependent parameters and their relevance to the decision-making process. If practice unites all these above mentioned aspects then this definition makes evident that practice represents the central piece, the heart of any conservation-restoration education; it is in the dialogue with the object that all acquired knowledge and skills come together. As conservation-restoration practice involves the application of direct or indirect physical action with respect to objects of cultural heritage, it is necessary to deliver, as an essential part of the educational process, practical experiences in relation to original objects as well as practical studies of the properties and interactions of their constituting materials. In order to prepare future conservator-restorers for their profession, with a profile and code of ethics according to the E.C.C.O. Professional Guidelines, the teaching of all aspects and activities of practice as shown in the EQF description by E.C.C.O. is necessary. The final aim of conservation-restoration education is to impart all the knowledge, skills and competences needed for access to the conservation-restoration profession, so that the graduate can undertake all the responsibilities linked to the preservation of the cultural heritage as described in the E.C.C.O. Professional Guidelines.

ENCATC - European Network on Cultural management and Policy Education www.encatc.org

Represented by GIANNALIA COGLIANDRO BEYENS Secretary General g.cogliandro@encatc.org

ABOUT ENCATC is not a network or an organisation in the field of cultural heritage. ENCATC - the European network on cultural management and policy education and research - represents all disciplines in the arts and culture including cultural Heritage, advocate and promote cultural management and cultural policy education, including the cultural sector professionalization. ENCATC is platform for discussion and exchange of knowledge, methodologies, experiences at local, national, European, and international level across fields sectors (Economic, Management, Tourism, etc.) and sectors (music, performing arts, visual arts, heritage and museums etc. Our ambition is to stimulate cross-fertilization/ collaboration among all the sectors, fields and disciplines for a mutual benefit.

EXPERIENCE/EXPERTISE ENCATC operates around four complementary strands of work: 1. Advocacy: ENCATC develops and influences policies by engaging in advocacy actions. Since 1992, ENCATC is a key partner in the field of tangible and intangible heritage with UNESCO, the COE, the EC, the EP and Member States. In 2011, to press Europe to invest more in cultural heritage, ENCATC joined the Alliance 3.3. 2. Education: ENCATC offers a wide range of opportunities to enhance and strengthen their knowledge, skills and competencies in the field of traditional and emerging heritage. In 2007, ENCATC set up a Thematic Area on Cultural heritage. To satisfy the growing demand for the latest teaching material in the field of Heritage ENCATC publishe the Scholars bulletin. 3. Networking: Through a major Annual Conference, ENCATC enables key players to share ideas, projects, methodologies, experiences and research in several topics including traditional and emerging cultural heritage. 4. Research: ENCATC promotes access to cutting-edge research in the field of cultural management and cultural policy, ENCATC manages the ENCATC Research Award and an annual Forum for young researchers. ENCATC also publishes a Journal and organises an annual Research Session for established and emerging researchers. The topic cultural heritage is always one of the main thematic focus of all these research activities. 30

5. Knowledge transfer: ENCATC transforms information into knowledge by collecting, analysing, and disseminating information inside and outside the network through a number of communications tools including a “google group” started in 2007 called “Understanding heritage”.

GOOD PRACTICES Here below few concrete examples of the work implemented or to be implemented by ENCATC in the field addressed: 

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In October 2017, to promote networking of academics teaching and training in the field of intangible cultural heritage ENCATC will open an “online” platform that will enable participants to gather information in order to think and reflect collectively on experiences and challenges in safeguarding intangible cultural heritage with broader context of sustainable development. This platform will not only serve as a learning opportunity tool, but also as a networking opportunity, offering participants to connect and exchange. In November 2017, ENCATC will organise an Academy to contribute raising the level of knowledge of university teaching faculty in the field of intangible cultural heritage safeguarding, enabling them to incorporate the issue in their teaching and provide guidance for their future courses and programs on heritage and sustainable development. In December 2016, ENCATC published in English the PhD research of Alessia Usai “The creative city”. This book is characterized by a cross cutting approach to cultural heritage. In October 2007, ENCATC set up its Thematic Area “Understanding Heritage” - to stimulate dialogue and exchange between education and training institutions, heritage organizations and research field; In 2012, ENCATC organised in Hvar, Croatia, a Conference "Heritage and Public Policy of Education".

FFCR - Fédération Française des professionnels de la Conservationrestauration www.ffcr.fr

Represented by

DAVID CUECO Conservator-Restorer of Paintings and Contemporary Art, Advisor in Preventive Conservation dcueco.frjoseph@gmail.com

ABOUT Legitimacy: FFCR is one of the main organisations in the sector of conservation-restoration of cultural heritage in France. The other French associations involved are generally our founding members in 1994. We are regularly negotiating and discussing with the Ministry of Culture, in respect of the services involved in Cultural heritage (historical monuments, Museum, archives, archaeology, artistic creation and international affairs). We are contributing actively to Comité Européen de Normalisation, CEN, Technical Committee 346, « standardisation of conservation of cultural heritage », at French and European level, being supported and financed by French Ministry of Finance. Furthermore FFCR have negotiated with the Société d’Encouragement des Métiers d’Art (SEMA, Arts and Craft French Society) between 2002 and 2007, then continued with Ministry of Finance Services and INMA (Institut national des Métiers d’Art, further SEMA). Investment: As a member of the European Confederation of Conservator-Restorers’ Organisations, FFCR contributed to the map of skills, knowledge and competences referring to the European Qualification Framework and developed in the relevant document “Access to the profession of Conservation-Restoration”. Also FFCR have contributed between 2009 and 2013 to the project of European Recommendation about Conservation-Restoration of Cultural Heritage at the CDPATEP now renamed CDCPP at the Council of Europe. Even if it wasn’t finally achieved, this project lead E.C.C.O. to become a member of CDCPP, invited at the 2015 Namur conference with European Ministers of Culture.

EXPERIENCE/EXPERTISE We have some experience in this matter: We are regularly in contact with the different French higher education schools in the field at EQF level 7 and 6, regularly attending their annual pedagogic meeting. We also have a lot of our individual members who have gone through personal informal courses of education, and our door is never closed to them.

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As mentioned earlier, FFCR have negotiated regularly with Société d’Encouragement des Métiers d’Art (SEMA Art and Craft French Society) between 2002 and 2007 to define a set of recommendations for the respect of the rules for public tendering in the field of listed heritage and Museums, then continued with Ministry of Finance services and INMA (new name of SEMA after 2013). FFCR have contributed to the definition of the outcomes of this level 7 in academic courses such as Institut National du Patrimoine4). Some of our members participated in the jury for evaluation of acquired experience in French University of Paris 1 since 2003 and later occurrences. Most of the criteria for the accreditation of professionals working on collections for the Museums of France application in 2003 have been elaborated and defined by our association by the membership accreditation sub-committee.

GOOD PRACTICES The juries for acquired experience in Paris 1 University (2003 / 2004) deliver university or higher education professionals in France with informal courses of education, using a reference chart of knowledge and skills. Such project exists in France since 2002 and such chart and reference criteria were defined and experimented in years 2000’s. It helped to realize the difference among generations of practitioners, to appreciate the balance and differences between skills and their competences, to set the relevant outcomes expected from these different careers. These examples of assessing colleagues, were elaborated before the experience, skills and competence map of E.C.C.O. was available but it also helped later on to feed that map. As such it constitutes a good example for self or shared common assessment and/or for more formal certification / accreditation. This mapping system could be used as a reference methodology for identification of skills and competences of different profiles of education, their differences and eventual complementarities for different sort of activities aiming at care and preservation of Cultural Heritage.

Fundatia Transilvania Trust www.transylvaniatrust.ro

Represented by

CSILLA HEGEDĂ&#x153;S President (March-Sept. 2014: State Secretary at the Ministry of Culture of Romania, responsible for heritage issues; Nov.-Dec. 2014: Minister of Culture of Romania) hegedus.cs.csilla@gmail.com

ABOUT The Transylvania Trust opened a Built Heritage Conservation Centre at Banffy Castel Bontida for education trough restoration and restoration throughout education. For this educational activity, the Foundation won the Europa Nostra price in 2008. Before we received another Europa Nostra price in 1999 for restoring and conserving the vernacular architecture of Rimetea, Cluj County. From the beginning (1996)the Transilvania Trust is involved in many projects concerning documentation, survey, education, restoration and conservation in the field of built heritage, and revitalization of a very important historical monument, the Banffy Castle from Bontida. We are among the firsts in Romania who started a restoration process on a listed building, and we are using the restored place for educational and cultural activities with the aim of awareness raising.

EXPERIENCE/EXPERTISE The Transylvania Trust is a registered charity, set up by conservation professionals and volunteers in 1996. Our principal aim is to conserve and promote Transylvania's rich and diverse built heritage, to encourage society to be receptive towards the built environment. The Trust is active in all fields of conservation: data recording, inventory, survey, building restoration, maintenance, training, and also scientific research. The purpose of the Built Heritage Conservation Training Centre runned by the Transilvania Trust is to promote excellence in the conservation of the historic environment and specifically to teach traditional building craft skills which can be utilised in the repair and maintenance of historic buildings. The Centre promotes a policy of Minimal Intervention in dealing with the repair of historic buildings, combined with a strategy of Compatibility in techniques and materials, and the use of local resources. It promotes a philosophy of analysing, understanding, and recording historic buildings before and during intervention. The Centre is running from 2005 and attracted more than 2600 participants from more than 26 countries.

GOOD PRACTICES   

Education throughout built heritage restoration The use of traditional crafts skills in restoration using built heritage for education and cultural reinterpretation

Future Heritage www.future-heritage.org

Represented by JASMIN GRIMM Initiator jasmin@future-heritage.org

ABOUT Future Heritage is exploring how heritage can be transformed sustainably and manifest in new forms. Future Heritage wants to transform local community knowledge for a sustainable, global society. The project bonds cultural traditions to global opportunities and Maker Culture to Craftsmanship in the fields of visual arts, handcrafts and technology. Heritage is often part of the discourse, when it comes to transformation. Ownership, significance and preservation are core issues. Official labeling of heritage is important to nations, but when it comes to communities, the role of heritage and ownership is yet another. It acts as a bond between generations, is inherited from previous generations and passed on to the future. Future Heritage sees heritage not as an antiquity but rather as a living organism, which is open to access, owned by the communities and reproduced in a constant change. Looking at the moment between the tangible and intangible heritage, we explore how heritage can be delivered and manifested in the digital age. How are digital manufacturing processes embedded in traditional production? In which way can new technologies actively and supportively design the process of cultural identity building?

EXPERIENCE/EXPERTISE In artistic processes we are exploring how heritage is delivered and thus manifested. Future Heritage explores how heritage can migrate nowadays beyond territory, connecting communities and actualising cultural traditions. With local cultures at the heart we want to promote a sustainable transformation of heritage, explore the artistic potential for local businesses in networked societies and build bridges between global innovation and local needs.

GOOD PRACTICES Future Heritage highlighted cultural heritage in Palestine, which is an important component of cultural identity and narrative to Palestinians. Future Heritage reproduced hand pottered objects in new forms and techniques to develop and promote them locally and internationally. By combining 36

crafts with new media technologies traditional forms can be reproduced and shaped beyond physical boarders. Collaboratively in a 5-days workshop in Ramallahâ&#x20AC;&#x2122;s Community Art Centre participants exchanged their interdisciplinary contexts. Local communities (potters from Hebron and Bethlehem) created together with German and Palestinian artists new objects, which are based on traditional forms and enhanced through digital manufacturing technologies. Traditional physical objects are merged into hybrid forms and objects in a curated design process. New forms and objects evolved, oscillating between analogue and digital. This process of merging, multiplying and virtualising the existing cultural heritage, gives space to further developments in international maker communities.

ICCROM www.iccrom.org

Represented by PAUL ARENSON Manager, Knowledge and Communication Services pa@iccrom.org

ABOUT ICCROM is the only institution of its kind with a worldwide mandate to promote the conservation of all types of cultural heritage. We are an intergovernmental organization at the service of our Member States. In an age in which economies, cities and ideas are rapidly evolving within a globalized world, cultural heritage provides roots and a sense of identity to communities and individuals. It is the essence of what makes us human and is a part of our daily lives. The Universal Declaration of Human Rights proclaims, â&#x20AC;&#x153;Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits.â&#x20AC;? Caring for cultural heritage ensures this right and promotes societal wellbeing. ICCROM contributes to this endeavour by providing knowledge, tools and training to those who are working hard to conserve culture. We work at the international and governmental level, and with institutions and professionals on the ground. Through selected outreach activities, we aim to engage and inform new generations of upcoming professionals and the general public with an interest in heritage. We also maintain an active, engaged network of professionals from around the world who are passionate about heritage and its protection. We contribute to preserving cultural heritage in the world today and for the future through five main areas of activity: Training, Information, Research, Cooperation and Advocacy.

ICOMOS - International Council on Monuments and Sites www.icomos.org

Represented by PAUL MACMAHON Senior Conservation Architect Heritage Services of Ireland emailpaulmc@gmail.com

ABOUT

45 of ICOMOS’ National Committees are in Europe – representing 60 % of our membership. Organised in the ICOMOS Europe Group, under the guidance of an ICOMOS Vice President, these Committees cooperate also at the regional level – e.g. Baltic States, Nordic Committees, etc. The European Committees meet at least twice a year, regional meetings are held regularly, and information is constantly circulated through an electronic distribution list. Ever since the idea of a new European Year of Cultural Heritage was floated, ICOMOS has encouraged its confirmation – through its participation at events such as the 6th Conference of the Council of Europe of Ministers responsible for Heritage, Namur, April 2015, and subsequently the Council of Europe expert meeting, Paris, December 2015, but also through the organisation of the event “Europas Kulturelles Erbe - gemeinsame Chancen und Herausforderungen / Europe’s Cultural Heritage – Joint Opportunities and Challenges” co-organised by ICOMOS in Berlin, November 2015 – which promoted the idea of such a European Year and presented the ICOMOS publication “A Future for Our Past - The 40th anniversary of European Architectural Heritage Year (1975–2015)”. ICOMOS also promoted the confirmation through its participation in the European Heritage Alliance 3.3 platform. As soon as the Year was officially announced in April 2016, ICOMOS submitted a document called « Initial Reflections » with its vision and ideas for the Year to the European Commission (Ms Erminia SCIACCHITANO). Taking into account the reflections put forward in the Concept Paper “Sharing Heritage”, September 2015, and current challenges facing Europe – such as the need for a better understanding of the benefits of European Union membership; the rise of nationalism; coping with the refugee crisis - the European Year of Cultural Heritage 2018 represents an outstanding opportunity for promoting the notion of sharing, building bridges and tolerance at various levels, through a bottom-up and peoplecentered approach - among other by: 

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Raising awareness among European citizens and communities that European heritage policies have a significant and positive impact on their own lives and those of future generations, as heritage is central to our identity and community life and a strategic resource for economic development and sustainability Building bridges between citizens and countries by encouraging an interpretation and transmission of heritage which places the national discourses in a wider European context and enriched by the shared aspects of our past and common destiny with our neighbours 39

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Fostering recognition of the various influences and interactions with the rest of the world which shaped European cultural heritage and therefore its existing cultural diversity - and the history of displacement/migration within Europe itself (and the heritage sites linked to it)- so as to encourage understanding of the plight and cultural identities of refugees and migrants Bridging the gap between generations – through education, capacity building, developing heritage-related skills and knowledge transmission to build a sound foundation to preserve and develop Europe’s diverse cultural heritage

EXPERIENCE/EXPERTISE At the service of cultural heritage since its founding in 1965, ICOMOS is dedicated to the development of common doctrines, the evolution and circulation of knowledge, the creation of improved conservation techniques, and the promotion of cultural heritage significance. ICOMOS has built a solid philosophical, doctrinal and managerial framework for the sustainable conservation of heritage around the world. ICOMOS extensive network of over 10 000 members covers over 130 countries, and is organised in 110 National Committees, of which 45 are in Europe. Its 28 International Scientific Committees (ISC) are at the forefront of scientific inquiry and exchange in a wide variety of topics. structures; archaeology; cultural landscapes; cultural routes; cultural tourism; earthen architecture; economics of conservation; energy efficiency; fortifications and military heritage; documentation; towns and villages; intangible heritage ; interpretation and presentation; legal issues; polar heritage; risk preparedness; rock art; sacred, spiritual and religious heritage ; shared built heritage; stained glass; stone; theory and philosophy; training; twentieth century heritage ; underwater cultural heritage; vernacular architecture; mural paintings; wood. In addition to an associate status with UNESCO, ICOMOS also has long standing cooperation with many partner and affinity organisations. It provides support and advice to national and local heritage authorities, governments, international and regional organisations, private heritage organisations and all other groups involved in heritage conservation. ICOMOS is one of the founding members of the Blue Shield network, working to protect the world’s cultural heritage threatened by armed conflict, natural and man-made disasters. ICOMOS’ values: united around heritage Social and cultural diversity: ICOMOS brings together members’ ideas and expertise in a spirit of common purpose and respect for all cultures. Impartiality: ICOMOS provides institutional advice, relying on an interdisciplinary global network of members who give independent technical assessments whilst respecting ethical guidelines. International exchange, dialogue, and solidarity: ICOMOS facilitates the participation of members who are geographically isolated or work in difficult conditions, and mobilises experts to prepare emergency measures for heritage affected by disasters. Transfer of knowledge and youth involvement: ICOMOS creates and participates in training programmes, and fosters individual professional development and the active involvement of young members. 40

Free access to information: ICOMOS has a strong commitment to publishing its knowledge for the benefit of defenders of heritage, and supports free and unrestricted access to scientific publications. ICOMOS’ programmes focus on:    

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Promoting best practice through its charters and doctrinal texts Providing expert advice Disseminating knowledge through its publications, Documentation Centre, Open Access Archive and events Involvement in international conventions including UNESCO conventions on World Heritage, Underwater Cultural Heritage, Intangible Heritage and the 1954 Hague Convention. As an official advisory body to the World Heritage Committee ICOMOS evaluates nominations and advises on the state of conservation of properties inscribed on the World Heritage List Alerting on threats to heritage and advocating its protection wherever possible Fostering education and training on heritage and conservation (e.g. E-learning course for Syrian heritage professionals) Researching emerging issues such as rights based approaches to heritage management and sustainability Enriching the professional development of its members

Institut National de l'Audiovisuel www.institut-national-audiovisuel.fr

Represented by CHRISTINE BRAEMER Expert in Training cbraemer@ina.fr

ABOUT Relying on its long-run experience, Ina provides support and know-how to private companies, institutions and media organizations in all issues related to the preservation, digitization and management of their audiovisual archives and digital content. Several bilateral and multilateral projects are conducted every year, aimed at preserving and digitizing collective heritages and memory: for instance in South Africa, Western Balkans, Kuwait, Algeria and Cuba, among many other countries. The institute also relies on and involves other institutions and partners with a similar confirmed experience when complementary knowledge is needed out of its sphere of competences (e.g. Technical assistance in Algeria: trainers from Ina and the French Film Archives, la Cinémathèque française, la Cinémathèque de Toulouse, les Archives nationales, etc.). Higher education:  

Ina SUP offers higher-education training courses to French-speaking foreign students keen to acquire Masters’ in multimedia research, audiovisual production and audiovisual heritage management. Mobility of students and staff are encouraged thanks to the Erasmus + program and mobility grants Ina is requesting every year.

Professional Training: 

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A catalogue of 504 vocational training courses, on all fields related to audiovisual and digital, among them 37 training courses dedicated to AV heritage management (audiovisual archives management, multimedia documentation, images’ researches, collections’ enhancement, and engineering). 28 certified training courses, among them “multimedia librarian” (104-day training course) and “digital images and sounds restorer” (75-day training course). 14 initial training courses, among them a Master degree in AV heritage management.

EXPERIENCE/EXPERTISE As a national institution, INA ((French National Audiovisual Institute)) fulfills a public service mission. INA collects and preserves 80 years of radio archives and 70 years of television programmes which form our collective memory, making it the world’s biggest source of digitised audiovisual content. 42

INA enhances its sound and image collections, giving them meaning and making them available to the widest possible audience. Thanks to its 40 years old experience, INA has developed a unique knowhow on every step of the audiovisual content’s value chain. This knowledge is shared with other professionals throughout the world thanks to INA’s training and expertise department. Ina is developing specific training courses, delivered in French, English or Spanish:  Answering a company/institution occasional / ad-hoc needs,  Conducting a digitization plan (e.g.: International Red Cross Committee, Vanuatu Cultural Centre)  Managing digital media formats and digital storage (e.g.: Paris Musée)  Analyzing, describing and indexing audiovisual archive (e.g.: Vietnam Film Institute)  Audiovisual assets preservation (Moroccan TV 2M, Cameroon CRTV)  Enhancement of audiovisual collection (e.g.: IOC, Television National Agency in Columbia, Cuban Cultural Centre)  Web-semantic (e.g.: IOC)  Integrating/leading EU-financed assistance and training projects,  Creative Europe | 2-weeks FRAME training course: digitization, management and uses of digital media, in partnership with FIAT/IFTA and EBU.  Neighborhood program | Preservation of cultural heritage in Algeria: Film, posters and photography preservation and uses’ training program for several Algerian’s institutions (CAC, CNCA, National library…) in partnership with the Ministry of Culture and the EU delegation in Algeria, and IBF consulting, l’Ecole d’Avignon, l’Ecole de Chaillot and l’ICOM.

GOOD PRACTICES Ina benefits from a wide network of experts and trainers throughout the world, and can call on those experts to adapt to specific contexts. Networking is also a big part of INA’s pedagogical approach towards its trainees as they get to visit different working environments and alternate periods of theory and field trainings. A special attention is brought to giving to the trainees the opportunity to be patronized by professionally active trainers. As INA is also a higher education structure, the institute tends to create links between students and trainees, teachers and trainers, thanks to experience sharing oriented pedagogic patterns. One of INA’s goals is to provide sustainable solutions to archive holders for the safeguarding of their collections. In order to provide the most effective and tangible human resources solutions, INA trains trainers who will pass on their knowledge to concerned staff. Relying on its strong experience and the recognition of INA as an important training center in its field, the institute develops innovative pedagogical patterns such as field schools, workshops, hackathons and blended learning (e-learning and classroom sessions) INA’s international effort is aimed at raising awareness among decision makers on the sustainability of their audiovisual heritage and training dedicated staff in order for them to innovate in turn on preservation but also on reusing their archives to give them new meaning and resonance.

Institut national du patrimoine www.inp.fr/en/About-Inp/The-Institut-national-du-patrimoine

Represented by JANE ECHINARD Assistant Director (Department of Restorers) jane.echinard@inp.fr

ABOUT Training Department for restorers has been created as early as 1977 and took part to the European dynamic on ethics, values and skills devoted to transmission of cultural heritage. In the 1990's, training curators and training restorers became 2 axis of a same school. Different aspects of the management, valorization, conservation and restoration are prepared in the 2 departments. INP benefits of a mature experience in the field of training and a deep knowledge of the difficulties in combining traditional and contemporary questions. INP depends on French Ministry of Culture which generate close relationships and collaborations with many museums, institutions, research centers devoted to conservation/restoration and also libraries or archives. After graduating, restorers become freelances whereas curators are civil servants so we experienced both statutes. Both are submitted to a French law as a frame to conserve cultural heritage. INP has a lab and a research team devoted to students but also producing international research. INP's library provides the second source of documentation in Europe about conservation and restoration. Professionals we trained are specialized in a material (painting, metal, wood, paper, photograph, textile, ceramic, plastic,...), kinds of objects (furniture, photographs, tools, musical instruments,...) and/or specific fields (Asian arts, ethnography, archaeology,...)so the diversity of cultural heritage conserved in France and diversity of professional statutes are well represented.

EXPERIENCE/EXPERTISE INP trains curators and restorers since many decades. We are used to different kinds of students and professionals' frameworks and profiles. INP have seen the evolution of the field, the discussions and even conflicts, the evolution of materials, tools and methods, ethics, even profiles through 3 generations of teachers and more than 1000 students for the initial studies. INP is used to welcome more than 500 teachers/year for its students. It also propose short continuing trainings for professionals about emerging heritage, emerging conservation problems and emerging solutions.

GOOD PRACTICES We could share the positive aspects of French frame of management in conservation (movable or immovable heritage),the experience of selecting and training various profiles and especially the very specific links between curators and restorers. We could share the experience we have of "in-field schools" which allow students to learn and collaborate on site (churches, houses, museums...), as a team, in France or abroad. We could describe the experience of inviting around 600 teachers/ year to teach, among them European specialists or discuss of the importance of continuing education program. We would like to describe also the benefit to host a lab in the school and to develop research on materials, knowledge of ancient techniques as well as scientific conservation treatments. http://www.inp.fr/Formation-initiale-et-continue/Formation-des-restaurateurs/Actualites/Chantierecole-des-eleves-restaurateurs-du-patrimoine http://www.inp.fr/en/Research/Laboratory

International Council of Museums (ICOM) http://icom.museum

Represented by PETER KELLER for the Brainstorming Session Director General peter.keller@icom.museum

ABOUT The International Council of Museums (ICOM), created in 1946, is the worldwide organisation of museums and museum professionals. The largest of its kind, ICOM is committed to promoting and protecting natural and cultural heritage, present and future, tangible and intangible. With more than 36,000 members in 138 countries, ICOM is active in numerous fields relating to museums and cultural heritage. ICOM has 30 International Committees who conduct discussions and advanced research in their respective fields for the benefit of the museum community, making ICOM a global think-thank on museum. The work of these committees encompasses a great variety of museum fields such as training, documentation, conservation, etc. (the full list is available here: http://icom.museum/thecommittees/international-committees/). ICOM sets standards for museums in design, management and collections organisation, and the ICOM Code of Ethics for Museums is a reference in the global museum community. It establishes minimum ethical standards for professional practices and achievements for museums and their employees to follow. ICOM also carries out some of its international missions thanks to international mandates in association with partners such as UNESCO, INTERPOL and the World Customs Organisation (WCO). ICOM's missions include building capacity for museum professionals; fighting illicit traffic in cultural goods, promoting culture and knowledge to all publics, and protecting tangible and intangible heritage at risk. Over 70 years of existence, ICOM has been implementing numerous activities in the field of museums and cultural heritage (including training of museum professionals), thus gaining extensive experience and expertise.

EXPERIENCE/EXPERTISE As the main representative of the international museum community, ICOM is committed to the promotion and protection of cultural heritage and sets standards in most disciplines related to museums. As such, one of ICOMâ&#x20AC;&#x2122;s core missions is to disseminate best practices and ethics to museum professionals. That is why ICOM and its network regularly implement and support training programmes, in order to help museum professionals prepare for their future institutional challenges 46

influenced by the fast and deep changes of our societies. Over the last years, in order to address at best the needs of museum professionals, ICOM’s General Secretariat actions regarding capacitybuilding and training have been more specifically focused on three types of activities: an International Training Centre, tailored-made workshops and special projects. Since 2013, the ICOM International Training Centre (ICOM-ITC) in Beijing is a collaborative programme of ICOM Secretariat, ICOM China and the Palace Museum. It holds two training sessions each year for Chinese and international participants, on various topics such as “Current Practices in Museum Management” or “Learning in Museums”. Tailored-made workshops are regularly developed and implemented depending on the needs expressed by the museum community. For instance, in 2017 ICOM has two projects under development to provide trainings for professionals in Qatar and in Iran. Additionally, some special projects are funded through public or private programmes including specific requirements. An example is the training which is carried out by ICOM in Algeria in 20162017 through a service contract from the European Union. This programme intends to provide 250 days of training in the area of management of cultural goods on behalf of the Algerian Ministry of Culture. Additionally, ICOM’s International Committees provide trainings every year in their area of expertise, all over the world. ICOM also has an International Committee for the Training of Personnel (ICTOP) which is specifically dedicated to the issue of training for museum professionals.

GOOD PRACTICES In its 70 years of existence, ICOM has been committed to promote professional standards of professional trainings with practical and collaborative approaches. In this context, ICOM and its committees are constantly collecting good practice in a wide range of museum-related fields. They discuss and disseminate the results of this monitoring and research work through conferences, workshops, trainings and publications, and by developing international standards. ICOM’s standards and guidelines constitute models to museum professionals in order to facilitate the implementation of their good practices in terms of objects acquisition, personnel, conservation of art objects and museum specialism. Because exemplary ethical practices are essential to ICOM members, the ICOM Code of Ethics for Museums was created in 1986 and revised in 2004. It establishes the values and principles shared by ICOM and the international museum community. Available in 38 languages, it is a reference tool which sets minimum standards of professional practice and performance for museums. Regarding training materials, ICOM developed in collaboration with UNESCO in 2004 a Museum Studies Training Package Running a Museum which includes a practical handbook and a trainer’s manual. These publications intend to provide an overview of the key aspects of the operation of a museum. ICOM’s International Committees also collect case studies and best practices in their fields of expertise. For instance, the Committee for Education and Cultural Action (CECA), has a “Best 47

Practiceâ&#x20AC;? programme, which includes a practical tool to assist and focus the planning, development and evaluation of education and cultural programmes, and a series of publications of case studies. ICOM is also preparing a new publication on training (to be published in 2018), which aims at providing reflective papers and case studies on the new challenges faced by museums of the 21st century.

NEMO - The Network of European Museum Organisations www.ne-mo.org

Represented by MARGHERITA SANI Executive Board Member Margherita.Sani@regione.emilia-romagna.it

ABOUT Museums safeguard material evidence of the man-made and natural world for current and future generations. They are the guardians of cultural heritage and they are warehouses of the mind. Their collections offer a rich variety of stories and interpretation of our history, present and future. Museums can facilitate dialogue because they stimulate us to think, learn, reflect and to celebrate differences and discover interconnections. The EYCH2018 will be a chance for museums to visibly show their potential to add value to society in different sectors, learning, social, economic.

EXPERIENCE/EXPERTISE NEMO was founded in 1992 as an independent network of national museum organisations representing the museum community of the member states of the Council of Europe. Together, NEMO's members speak for over 30.000 museums across Europe. Since 1992, NEMO connects European museums and their organisations to help to ensure their place in the cultural development of Europe.NEMO believes that museums are key players in safeguarding cultural heritage and they are central figures on the way for a better understanding within Europe. NEMO advocates for the cause of museums at European level and through its members on national level and influences policies that are museum-relevant. NEMO informs its members and the museum sector at large of current and prospective European policies on culture and museums, and of the funding opportunities offered by various EU programmes, thereby helping museums to work and act at European level and internationally. NEMO enables museums to network and share best practice at all levels, building on their capacity and improving the service they offer to the public. It also works to help increase the skills of museum staff to provide a quality public service. Through its network NEMO empowers museums to collaborate on multilateral projects at European level and beyond. NEMO works with other cultural organisations in Europe to emphasise common causes and objectives and to show how cultural activities can be strengthened by working together. It establishes links with relevant stakeholders to create an environment for its members to work and prosper internationally.

GOOD PRACTICES Academy of Craft Where? The Western-Hungarian Open-Air Folk Museum of Szombathely, Hungary, and other museums in Hungary and Slovenia Who was involved? Various museums in Hungary and Slovenia under the Government Office of the Republic of Slovenia for the Development of European Cohesion Policy When? From 2007 to 2013 Introductory phrase: A cross-border network and programme that aimed to preserve craft knowledge through public education. Project description: Museums in Slovenia and Hungary collaborated in two projects, Academy of Craft and Academy of Craft 2, initiated by the Government Office of the Republic of Slovenia for the Development of European Cohesion Policy to share knowledge of certain crafts that might otherwise be lost over time. In each project, 10 to 11 museums in Slovenia and Hungary participated, among them the Open-Air Folk Museum of Szombathely in Hungary. The museum depicts how people have lived over the last two and a half centuries in the villages of Vas County, an administrative region of Hungary. Visitors can find out about the peasant world of the past and the multi-ethnic border region’s colourful ethnographic and natural heritage, not just through the museum’s permanent exhibitions, but also – thanks to the project – through live handicraft workshops and related museum lessons. The workshops demonstrate craft professions such as brush-maker, weaver, potter, wheeler, blacksmith and rope-maker. The experience is further enhanced by seasonal fairs and folklore events that provide a more realistic setting. Knowledge of these crafts was preserved not only through personal training but also by creating educational films, which could be used in schools or elsewhere. The museums also engaged with specific target groups and carried out fieldwork, which was documented in order to present and publish it more widely. International studies on the preservation of the craft traditions were written as part of the initiative. Eleven museums participated in the second project. In Hungary, the Western Hungarian Open-Air Folk Museum of Szombathely and the Museum of Szentgotthárd became partners in a cross-border informative network. Additionally, the Martineum Roman Catholic Foundation of Szombathely developed educational materials, and the Zala County Association for Folk Art in Zalaegerszeg organised training programmes and travelling exhibitons.

Link: http://ec.europa.eu/regional_policy/index.cfm/en/projects/hungary/academy-of-crafts-gives-younghungarians-and-slovenians-new-perspectives-using-old-crafts http://www.vasimuzeumfalu.hu/hu/projektbeszamolok (Hungarian) http://www.rokodelska-akademija.si/en (Slovenian)

Days of Science & Engineering (Dnevi znanosti in tehnike) Where? Technical Museum of Slovenia and other institutions in Slovenia Who is involved? in particular TMS and Faculty of Electrical Engineering When? Since 2002 (continuing) Introductory phrase: The “Days of Science & Engineering” (Dnevi znanosti in tehnike; DiZiT) are a programme designed as a multi-institutional project to arouse young people’s interest in science and natural science and to bring these subjects closer to the public through practical demonstrations. Project description: The Technical Museum of Slovenia (TMS) first presented the “Days of Science & Engineering” programme in 2002. The event was a collaboration between TMS and the Faculty of Electrical Engineering. Due to the growing interest from visitors as well as participating partners (faculties, associations, schools, firms) the project was extended. The TMS has always been responsible for the organisation, promotion, coordination, and in part also the running expenses, whilst the participating institutions provided demonstrations, helped with the staffing arrangements and participating students and covered most of the remaining expenses. The annual demonstrations are themed according to the TMS’ mission and programmes and they supplement the museum’s day-to-day operations. The main objective is to popularise science and engineering and promote its study in young people, demonstrating the many possible applications and combining theoretical knowledge with practice. A number of the demonstrations are designed by students mentored by their professors, promoting the innovative use of knowledge, and supporting decision-making on future study and career choices. The demonstrators try to deliver as much information as possible and present these often rather “abstract” themes in a clear and comprehensible way. Visitors can usually participate in the experiments. At the same time, a link to past achievements is drawn using the museum collections. DiZiT programmes do not have a supplementary charge, so they can be visited by anyone who buys a normal museum ticket. The days dedicated to science and engineering have seen record numbers of visitors. They are visited by school groups from all over Slovenia as well as interested individuals from all age groups. Link: http://www.tms.si/index.php

Network of Archaeology Clubs: learning about us through the past Where? National Museum of Archaeology (Portugal) Who is involved? National Museum of Archaeology When? Since 2012 Introductory phrase: The educational mission of the National Museum of Archaeology (MNA) aims to develop innovative and inclusive programs and experiences within the cultural and educational fields. Project description: The “Network of Archaeology Clubs” is a project of the MNA, whose main objective is to establish a partnership network with schools and other institutions to promote archaeology and Heritage Education. 51

In close coordination with the general society, and different cultural, educational, and research institutions the MNA developed these educational and cultural activities. They are targeted at different audiences (among others schools, families, visitors with special needs, immigrant communities, national and foreign groups), thus disseminating the museum’s collections and developing the habit of visiting the Museum as an open space, which serves the community and helps in the construction of citizenship. The museum placed in the Monastery of Jerónimos (World Heritage), assumes itself as a mediator in the public participation and enjoyment. It promotes the construction of individual knowledge and the participation of the different publics, motivating a sense of ownership by the community. Representing several material cultures from the past, the museum’s collections allow the establishment of bridges towards the active participation of different minority communities living in Portugal, which review themselves in the cultural diversity expressed in the museum. The Network of Archaeology Clubs makes the connection of the museum’s collections with the different communities through new technologies. Everybody can develop activities related to the protection of the archaeological heritage through an online platform that enables both the exchange of information and knowledge, and the access to learning materials. This network not only facilitates a connection with the official school curriculum, thus creating pedagogical-didactic activities in order to cover those contents in a practical way, but also promotes the lifelong learning through activities designed for visitors from different levels of education and age groups. This project was awarded as "Best educational practice in museums" by the ICOM-CECA, in 2012 and it is linked with international research in the area of education, namely through the project “Eurovision: Museums Exhibiting Europe (EMEE)”. Links: Eurovision: Museums Exhibiting Europe (EMEE) - (English) http://www.museums-exhibiting-europe.de/ Network of Archaeology Clubs - (Portuguese) http://www.clubesdearqueologia.org/ Blog of the National Museum of Archaeology - (Portuguese) http://museunacionaldearqueologia-educativo.blogspot.pt/ Website of the National Museum of Archaeology (Homepage) - (Portuguese / English) http://www.museuarqueologia.pt

Thematic Educational Programmes at the Inquisitor’s Palace – National Museum of Ethnography Where? Inquisitor’s Palace in Malta Who is involved? Inquisitor’s Palace, Introductory phrase: Cultural traditions are preserved, presented, and made accessible through a variety of events and actions tailored to a broad audience at the Inquisitor’s Palace in Malta. Project description: In the past few years a strategic approach towards increasing social awareness in Malta’s museums has been made. With emphasis on museum educational programmes that tried to engage and promote specific cultural traditions, which have become lost or changed through time. One such long 52

term programme was held at the Inquisitor’s Palace (Ethnographic museum) whereby school and special interest groups where allowed to delve into specific socio-cultural and religious events that have become completely changed over time or even totally lost. Thus it was a ‘back to the roots’ approach to contemporary beliefs and events that have lost their intrinsic significance. These thematic educational programmes range from storytelling sessions narrating traditional folktales to seasonal cooking and crafts hands-on sessions to illustrate a myriad of traditional insights into Carnival, Easter, summer and Christmas. Past programmes included the use of tools and equipment, to traditional games in the neighbouring streets, to musical instruments and scores, to religious festivities and rituals. Besides preserving and presenting cultural traditions such thematic educational programmes fall within Heritage Malta’s prerogative towards the democratisation of heritage and culture in general. Fostering accessibility in the physical sense, and also by setting up a wide-range of social events to target different audiences; from family oriented during weekends and holidays, to thematic suppers and sleep-overs for younger and adventurous audiences. History enthusiasts, tertiary students and academics were in numerous instances the main target audience during conferences and lectures. Yet, accessibility is also endorsed financially, as well as intellectually through research and publications. Link: https://www.facebook.com/inquisitorspalace?ref=hl http://heritagemalta.org/learning-2/

Interpret Europe www.interpret-europe.net

Represented by VALYA STERGIOTI Training Coordinator valya.stergioti@interpret-europe.net

ABOUT As heritage interpretation spreads in our continent, the number of people whose profession is related to heritage and wish to use heritage interpretation increases. This has resulted in the creation of national associations dealing with interpretation in countries such as the UK, Croatia, Italy, Czech Republic, etc. However, Interpret Europe is the only heritage interpretation association with a European scope, with more than 400 members from 41 different countries (29 European and 12 from other continents). Furthermore, Interpret Europe is always acting in a complementary way towards all other institutions and national associations who are also dealing with heritage and heritage interpretation. Therefore Interpret Europe can give a voice to interpretive professionals from all over Europe – and beyond.

EXPERIENCE/EXPERTISE Last year, IE organized more than 10 courses for guides from 15 European countries. This year, we are enriching our training programme, with 4 new types of courses about: 1. about interpretive planning, for those who wish to use HI in every aspect of the visitors’ experience on a heritage site. 2. live interpretation (where guides are in costume and make interpretive presentations as characters of another time). This novice way of attracting visitors helps them to engage into meaningful interaction and makes HI fun and memorable. 3. interpretive writing, explaining how the principles of interpretation can be used in written text (brochures, panels, etc.) and 4. interpretive hosting, for tourism professionals in regions where tourism is based on heritage, to show how tourism sector can benefit when connected with heritage while at the same time promoting respect and ownership of it. The quality of our training programme is based on the people creating these courses, who have long experience on adult education and interpretation, and on our trainers, who share IE’s philosophy of interpretive training. All IE courses have to fulfil some quality criteria set by IE’s training team: To follow the cooperative approach, to be rewarding, meaningful, well-prepared, to offer challenges, to be supportive and inspiring, to foster vision, to offer variety, to always remain fresh and relevant, to have transparent and clear certification requirements, to open up professional opportunities, to put things in a wider context and offer a bigger picture of conservation and sustainability. Finally, Interpret Europe has been involved in 4 projects from the EU Lifelong Learning Programme, all of which helped us build our experience on training. These projects were: HeriQ – Quality in 54

Heritage Interpretation and Interpreting Our European Heritage (Leonardo da Vinci), HISA: Heritage Interpretation for Senior Audiences and InHerit: Heritage Interpretation in Adult Education (Grundtvig)

GOOD PRACTICES Our best good practice to date is Interpret Europeâ&#x20AC;&#x2122;s course for interpretive guides. This 40-hour course is designed for professionals who present cultural and/or natural heritage to any type of audience. In this course, participants use hands-on activities and peer evaluation techniques in order to familiarize themselves with the principles and implementation of personal (oral) interpretation. The course itself is based on interaction and active participation of the participants; the trainer acts more like a facilitator who helps the trainees gain new skills and competences based on the experiences and knowledge they already have. Through this course, the trainees become interpretive guides, and are able to transform their guiding into an interpretation by: transforming their guiding into an experience rather than a simple rhetorical presentation, help their public see beyond mere facts, to the deeper meaning heritage has, provoking resonance in their participants and finally help their public understand why and how they can respect and protect heritage and thus becoming active citizens in their own way. Another opportunity where Interpret Europe shared its experience was the recommendations we offered to the European Heritage Days initiative of the Council of Europe. In this case, IE suggested ways to include heritage interpretation into the work of cultural heritage sites in 50 European countries (to be found at http://www.europeanheritagedays.com/) , supporting the continuous aim to turn heritage days in single European countries into real European heritage days.

Kultur und Arbeit e.V. - Association Culture & Work www.kultur-und-arbeit.de

Represented by DR. KARIN DRDA-KÜHN Managing Director info@kultur-und-arbeit.de

ABOUT As a non-profit organisation with no continuous public support, we represent the majority of institutions and companies in our sector. This has the advantage, that we can act free of regulations or expectations, but can align with the market, which in our case is the training market for cultural workers. We do not offer professional training e.g. in terms of building technical expertise, but bring different needs together, which are relevant for a holistic approach. Our training task is to balance the needs and expectations of conservators, local and regional planners, tourism representatives and citizens. In our trainings, we insist that there are no single or isolated actions but ask for additional effects being economic, social, energetic or touristic. Having specialized in topics of relevance for cultural heritage preservation, we work in close contact with regional developers, business developers, public and private owners of heritage sites. We also work with local and regional stakeholders like citizens, who would like to contribute to the preservation of cultural heritage they feel socially or historically linked to. So we “listen to the training market needs” and create tailor-made training units for customers and interested parties. This is definitely representative for the vocational training market, which does not focus on initial education. Additionally, we have collected data over the last ten years that we are able to provide empirical evidence of our experiences. Our network includes 6000 representatives of the cultural sector all over Europe and we understand our organisation as a multiplier in the field.

EXPERIENCE/EXPERTISE Since 2002 Association Culture & (ACW) is active in the field of skills, training and knowledge transfer in the cultural heritage sector: 

2002 – 2005 ACW developed vertikult, the first online German employment portal for cultural workers offering training for start-ups in cultural economy in the cultural and heritage sector: http://kultur-und-arbeit.de/leistungen-undprojekte/kulturwirtschaft/vertikult 56

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2010 – 2012 ACW was partner in the EU EVOC project (“EVoCH – ECONOMIC VALUE OF EUROPEAN CULTURAL HERITAGE”) and developed overall 6 seminars for representatives of cultural heritage preservation on cultural-economic topics: www.evoch.eu 2011 – 2013 ACW trained 450 local actors in three EU countries at the Roman limes in cultural touristic activities with mobile devices: http://limes.per-rlp.de/?lang=en 2012 ACW trained 360 local actors of the city of Unkel (in the German region RhinelandPalatinate) in exploring the cultural economic and cultural touristic potential of the city: http://kultur-und-arbeit.de/leistungen-und-projekte/kulturwirtschaft/kulturstadt-unkel 2014 – 2016 ACW coordinated the European QUALIGUIDE project, which qualified cultural workers for the European working market. The project focused on European knowledge transfer in the cultural heritage sector: http://kultur-und-arbeit.de/leistungen-undprojekte/kulturwirtschaft/qualiguide 2010 – 2013 ACW was a partner in the FP7 research project MEMORI, which developed an innovative measurement technology for the reduction of gaseous pollutant impact on movable cultural assets. ACW offered 5 training units for 150 European conservation experts: www.memori-project.eu Since 2015 ACW coordinates the EU EUROPETOUR project (EUROPETOUR - Vocational Training in Cultural Tourism for European Heritage) and develops in a partnership of 8 EU regions training modules and guidelines for cultural tourism in rural areas: www.europetour.tips

GOOD PRACTICES There are numerous good practices, which would earn to be collected/presented in a database or publication – which could also be an outcome of this Structured Dialogue topic. Not all of them have European relevance as many are too much linked to local or regional challenges, but here are some with a good transfer potential: 

Great Britain: The CCT as an example for stakeholder involvement in preservation of religious heritage

The Churches Conservation Trust (CCT) has developed a so called “regeneration concept” for endangered churches, which includes local citizens in a most active way in restoration activities for future use of the buildings: www.visitchurches.org.uk 

Italy: Albergo Diffuso as an example for saving cultural heritage by developing a new use for historic villages in danger of abandonment

The Albergo Diffuso is an innovative concept of hospitality and reviving small, historic Italian villages off the usual tourist track. The hotel is not situated in a single building, but consists of various historic buildings in a small community. The different houses are restored to serve tourists as accommodation and comfortable and authentic places to stay. This concept combines the preservation of historic buildings and landscape and is an opportunity for income for the locals. http://www.alberghidiffusi.it

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Germany: Ehrenbreitsein as an example for sustainable restoration

The fortress Ehrenbreitstein in Koblenz / Germany was restored 2010 â&#x20AC;&#x201C; 2012. The restoration was linked to a major cultural event, the national Gardening Show, which attracts thousands of visitors every year. The restoration concept included an energetic restoration of parts of the fortress in order to use energy efficient measures for opening the fortress the whole year. The holistic concept linked restoration, energy efficiency measures, and cultural events in a most convincing way and made the actions a sustainable success: http://www.diefestungehrenbreitstein.de

Politecnico di Milano www.polimi.it/en

Represented by Dr. JERMINA STANOJEV Researcher and Project Manager jermina.stanojev@polimi.it

ABOUT Politecnico di Milano (Polimi) is a university with several faculties/departments working on cultural heritage - from a single tangible and intangible cultural heritage site/element, to cities and landscapes as well as models, methodologies and policy development in the area of cultural heritage. Politecnico di Milano is a leading university in a preventive and planned conservation of a built cultural heritage (La Conservazione Programmata) - a management strategy based on a long run vision and on a virtuous integration between conservation and valorization that includes development of skills, training and knowledge transfer within local communities and in general. Politecnico di Milano is an important and relevant stakeholder in the field with a great outreach having very high number of students, researcher and experts who are participating in different projects, consultations and decision making processes. The topic of skills, training and knowledge transfer related to heritage is not only a topic, but also an instrument used in the university’s approach and mission. The link between the valorisation of cultural heritage and various forms of formal and non-formal education and training is significant element of Polimi’s approach and it includes both “education for heritage”, mostly intended as the training of professionals in heritage management-related fields, as well as “education through heritage”, focusing on the use of cultural heritage as educational topic to favour the acquisition of basic skills, within both curricular and extracurricular activities.

EXPERIENCE/EXPERTISE Politecnico di Milano has been involved into many practical and theoretical projects based on or resulting with training and knowledge transfer in the traditional and emerging heritage. Importance of the heritage for the continuous culture revalorisation and identification is enormous, especially seen through being a carrier for the sharing skills, expertise and knowledge between generations. It also delivers motivation for modern creativity and encourages cultural diversity. Although staff may take basic information concerning issues of protection through various university resources (art history, archaeology, ethnology, architecture, etc.), there is no systematic training of staff focused on conservation work, especially in the area of protecting and preserving cultural heritage and that is one of expertise of Politecnico di Milano. The fairly acceptable state of the work of the protection service is the outcome of many years of experience working on these tasks and additional education 59

of individuals. Furthermore, Politecnico di Milano holds an expertise on projects and their implementation phase, especially European funded projects related to the topics of skills, training and knowledge transfer. In addition, many national projects working on this topic were implemented during previous years.

GOOD PRACTICES Politecnico di Milano has implemented many projects, events, publications, BA, MA, PhD, specialization and lifelong learning programmes, summer schools and other activities in the field of cultural heritage and it holds UNESCO Chair in Architectural Preservation and Planning in Heritage Cities. Furthermore, among many others, it implements CHANGES _ Changes in Cultural Heritage Activities: New Goals and Benefits for Economy and Society a European Project supported by the JPI Heritage Plus program. In 2016 it was held the International Summer School aiming at opening a research dialogue on the relationship between recognition of heritage values and planning as agonistic communication. In order to make available to Institutions and public and private entities the whole spectrum of competences, skills and technologies from the different Departments for the conservation and promotion of Cultural Heritage, the Politecnico di Milano has established the Cultural Heritage Centre. Politecnico di Milano leads several biggest national projects related to cultural districts. The â&#x20AC;&#x153;Distretti Culturaliâ&#x20AC;? (cultural districts) a wide-area project in the Lombardy Region co-financed by Cariplo Foundation. The aim of the cultural districts is creating new attitudes towards culture as a factor for local development and moving beyond the common thought that the heritage sector should only deal with conservation skills and costs. In practice, a cultural district is a model of integrated local development in which culture plays a strategic and cross-cutting role. Culture, research, education as well as the social and economic sector are involved in its evolution and development (Della Torre, 2015) shifting "traditional" to "emerging" heritage professions. Politecnico di Milano is directly involved into the "Monza & Brianza Cultural District" (July 2010), and also into the "Dominus in the Mantua Po River Area" (April 2010) and "The Gonzaga Palaces" with the Mantua Regional Campus of the Politecnico di Milano, but some others as well in a consulting capacity.

PostScriptum www.postscriptum.gr/en

Represented by

KOSTAS KONSTANTINIDIS CEO kkonst@postscriptum.gr

ABOUT PostScriptum helps museums, art galleries, heritage organizations and other cultural institutions redefine their role and position through innovation and to transform the way they use digital technologies to effect transformation. It provides know-how in digital strategy and digital preservation, identification of visible rights, engagement of communities and access to a wide spectrum of funding opportunities in Europe. PostScriptum focuses on GLAM projects to promote excellence, challenge existing practices, pioneer new ideas, highlight emerging media business models and brings experts together on a participatory way. PostScriptum key differentiation is a sophisticated approach in an international and interlinked digital society that makes use of open standards, open source and open content to deliver sustainable services, develop audience, create communities and new ways of thinking for public and private bodies alike.

EXPERIENCE/EXPERTISE PostScriptum offers consulting services to:   

Develop digital strategy as well as online and physical communities Manage, edit and enhance cultural goods in a digital manner Manage intellectual property rights

PostScriptum undertakes studies and manages projects for Museums, Archives, Libraries and Galleries that:    

Promote pioneering ideas and best practices Connect the physical space with the digital world suggesting experiential design solutions Implement new business models in digital media utilizing open standards as well as open and reusable content Bring together experts from various fields of cultural management in a participatory process 61

GOOD PRACTICES PS Value Talks, 22-23/2015. The two-day conference PS Value Talks Digital Sustainability – New prospects for museums and cultural organizations called leading representatives of European Union institutions to talk about six themes and present the newest trends in the management and promotion of cultural heritage goods with emphasis on the components of our digital world and the contribution of the institutional managers of cultural heritage to the sustainable development of the societies to which they belong. Prominent Greek representatives of national universities and cultural institutions were invited as speakers and moderators towards a fruitful and constructive dialogue with the participation of the audience. Deputy Minister of Culture Mr. Nikos Xydakis opened the conference with a welcoming speech. The conference was organized by PostScriptum LTD in cooperation with Innovathens hub of the City of Athens and the Greek Free /Open Source Software Society (GFOSS), in the context of the celebration of International Museum Day 2015 “Museums for a Sustainable Society” and is under the auspices of the Greek Section of ICOM (International Council of Museums). The Conference was live streamed: http://psvaluetalks.gr/en.

Raymond Lemaire International Centre for Conservation (KU Leuven) http://set.kuleuven.be/rlicc/

Represented by Prof. BARBARA VAN DER WEE Program Director barbara.vanderwee@kuleuven.be

ABOUT The Raymond Lemaire International Centre offers a world-wide renowned Advanced Master of Science in Conservation of Monuments and Sites at one of Europe's top universities (University of Leuven). The master is supported by high-level research focusing on a integrated approach in the preservation and management of Built Cultural Heritage. Graduates of the advanced master are passionate to address heritage preservation challenges in an interdisciplinary manner at a national and international level. Research at the Centre aims at improving heritage protection, preservation, valorisation and (re)-integration of heritage in society based on needs identified by the international community. In an educational and research environment, the Centre cherishes interdisciplinary collaboration and intercultural dialogue.

EXPERIENCE/EXPERTISE To answer the current challenges related to the transmission of traditional knowledge, as well as skills and training needs related to the "emerging" professions, the RLICC takes an a very pro-active, integrated and multidisciplinary approach. The backbone of the programme is the project-based education which is mainly defined by the ‘Integrated Project Work’ (IPW3). During this project work interdisciplinary groups of students collaborate on a concrete heritage site for the duration of one semester. The methodology from ‘research to design’ of the integrated project work is divided up into two parts. The first part of the project work is focused on historical research and architectural analysis, surveying and technical aspects, and on urban and socio-economic analysis, resulting in a value assessment and in the formulation of a ‘masterplan for conservation’. The second part of the project work is focused on an urban and architectural proposal generating both continuity and renewal at the tangible and intangible level. In addition, the programme includes the international ArchDOC workshop, which brings together many professionals from different universities to teach state of the art techniques in the 63

documentation and surveying of built heritage. The course “Analysis, Registration and Documentation Techniques” empowers students to:      

Develop an understanding of the role of information in conservation, addressing national and international standards; Review the potential limitations of recording and documentation techniques, including simple and advanced tools, and the financial constraints; Develop a practical approach to the use of these tools and documentation techniques in order to capture information from cultural heritage resources; Include the use of information systems in cultural heritage resources management; Design reports for presenting information to stakeholders and decision makers; Use free online tools for information sharing.

GOOD PRACTICES The RLICC hosts the Master in Conservation of Monuments and Sites (Master of Science, 90 ECTS) programme, which is a three-semester research-based academic degree. Currently, over 800 students covering 70 countries have graduated from our Centre. We have ample experience in:   

Offering an international environment in which students are taught in small groups in close contact with professors and guest lecturers. Providing knowledge and expertise through a variety of lectures, site visits and project works. Providing vital working experience across the globe thanks to our close relations with UNESCO, ICOMOS, and other national and international organisations as well as through our vast alumni network.

We can share good practices in terms of: 



The boundaries as well as the structures currently in place to deliver professional practitioners in the heritage sector. We have over 40 years of experience in the sector and understand the needs from and for our students who come from all over the world. Through this experience, we have ample examples of good practices – but also obsolete methods which are no longer viable approaches in today’s heritage training. The skills and training needs related to the "emerging" professions, including those concerning the digital shift, as we have ample experience in hands-on training of Analysis, Registration and Documentation Techniques. This entails a partnership in learning organised by RLICC and the Subdivision of Geomatics and Surveying KU Leuven (BE), English Heritage (UK), National Technical University of Athens (GR), Politecnico di Milano – ABC (IT) and Politecnico di Torino (IT). It is endorsed by the ICOMOS/ISPRS Scientific Committee on Heritage Documentation (CIPA) and lots of its members played a vital role in the completion of this workshop.

Finally, the RLICC is a part of the KU Leuven, which is at the top of Reuters ranking of Europe’s most innovative universities.

Regional Centre for the Safeguarding of Intangible Cultural Heritage in South-Eastern Europe under the auspices of UNESCO www.unesco-centerbg.org

Represented by MIGLENA IVANOVA Assistant Professor miglenadi@gmail.com

ABOUT The Regional Centre for the Safeguarding of Intangible Cultural Heritage in South-Eastern Europe under the auspices of UNESCO is one of the eight category 2 centres in the field of intangible cultural heritage in the world and the only one in Europe. As a Category 2 centre under the auspices of UNESCO, it is expected to contribute directly to the achieving of the Strategic Programme Objectives, programme priorities and themes of UNESCO. The key objectives of the Centre are: to promote the UNESCO (2003) Convention for the Safeguarding of the Intangible Cultural Heritage and to contribute to its implementation; to increase the participation of communities, groups and individuals in safeguarding ICH in the region; to coordinate and exchange information related to ICH; to foster regional and international cooperation between the countries in the region and UNESCO; to support and participate in activities aiming to enhance the capacity of experts in the field of ICH. By 2016 the Centre had 15 Member States – Albania, Armenia, Bosnia and Herzegovina, Bulgaria, Croatia, Cyprus, Georgia, Greece, Moldova, Montenegro, Romania, Serbia, Slovenia, The Former Yugoslav Republic of Macedonia and Turkey. Each country is represented by an institution responsible for the safeguarding of intangible cultural heritage on its territory – Ministry of Culture (10), National Commissions for UNESCO (3), national research institutions (4), one Ministry of Foreign affairs and one international non-governmental organization.

EXPERIENCE/EXPERTISE One of the main goals of the Centre is to support and encourage the countries of the region to strengthen their capacity for safeguarding ICH at national level. In this regard the Centre is organising a series of training seminars in the frame of UNESCO’s global capacity-building strategy. This is one of the most important activities of the Centre and one with a long-term effect for the safeguarding and promotion of ICH in the region. Usually the training is delivered by two lecturers from the UNESCO’s network of facilitators. The participants (max. 25 persons) are selected by the respective Ministry of culture with assistance from the facilitators and consist of representatives from the national/local authorities, NGOs, communities, experts. From 2012 until now 9 seminars were successfully delivered in some of the countries in the region (Bulgaria, Albania, The Former Yugoslav Republic of Macedonia, Romania, Croatia and Montenegro). In Cooperation with UNESCO the Regional Centre has also supported the organization of training of trainers workshops and review meetings in order to develop and upgrade the knowledge of the facilitator’s network. Also in cooperation with the 65

UNESCO Regional Bureau for Science and Culture in Europe the Regional Centre has organized annual meetings of the SEE expertâ&#x20AC;&#x2122;s network on intangible cultural heritage. These meetings have contributed to enhance a common understanding of opportunities and challenges linked to the safeguarding of ICH as a key asset of South-East European cultural diversity, as well as to develop institutional and professional capacities within the relevant national authorities serving as a regional platform for sharing knowledge and good practices.

GOOD PRACTICES The Regional Centre could share good practices from its capacity-building programme and the training seminars already delivered in 6 countries in the region of South-East Europe.

Resourcing Scotland's Heritage www.resourcingscotlandsheritage.org

Represented by AILSA MACFARLANE Project Manager ailsa.macfarlane@scotheritage.org

ABOUT Resourcing Scotland’s Heritage is a three year programme led by Arts & Business Scotland with Archaeology Scotland, Built Environment Forum Scotland, greenspace scotland and Museums Galleries Scotland. The programme is funded by the Heritage Lottery Fund Catalyst grants to deliver a capacity building programme for heritage organisations across Scotland. Resourcing Scotland’s Heritage is the first fully co-ordinated sector specific training and network strengthening programme to provide Scotland’s diverse heritage sector with the vital tools it needs to increase funds from private sources. The Heritage Lottery Fund Catalyst programme, which includes £8.5million of endowment grants and £3.8million to help build fundraising capacity, is designed to help organisations diversify their income streams, attract significantly more funding by increasing their fundraising potential and help them to develop and explore innovative approaches to securing private donations. The range of partners we work with, as well as the 400+ unique heritage organisations within Scotland that have attended the training, mean that we understand the breadth and range of work taking place across the sector. We also hear first hand about the challenges to funding across those organisations, and we connect those involved with training to have stronger networks and to learn from each other. This collaborative approach builds confidence and enables those more disparate geographical locations to make useful connections to develop their organisations and their programmes. Resourcing Scotland's Heritage received an extension to the grant and will run in this way until spring 2018 when a major conference is planned in Scotland to share, disseminate and celebrate the work done by all those involved in training, fundraising and volunteering their time to support heritage.

EXPERIENCE/EXPERTISE Personally before project managing the Resourcing Scotland's Heritage programme I ran a Skills for the Future HLF funded programme which provided funded training opportunities to non-graduates within the heritage sector. The aim of the programme was to diversity the workforce enabling new ideas, new cultures and new expressions of working practice to come into museum settings. The 67

trainees studied (work based learning) for a specially designed SVQ in Museums and Galleries Practice giving them an accredited qualification, as well as the experience throughout the year. In my current role, Resourcing Scotlangâ&#x20AC;&#x2122;s Heritage delivers a range of training courses across Scotland (including visiting the Western Isles and Orkney - a trip to Shetland is being planned) - the training we provide is, mostly, new to the sector and is reacting to the challenges the heritage sector faces in adapting to a changing environment both socially and technologically. As change develops it often brings financial challenges and enabling the heritage sector to adapt and thrive, with an ability to develop sustainable financial models including a range of fundraising practices is what we do best. Every session involves networking and we maintain numerous modes of communication to enable the sector to stay better and more usefully connected.

GOOD PRACTICES Resourcing Scotland's Heritage (RSH) has taken steps to consistently evaluate and measure all of the training opportunities run under its remit. Evaluation was put in place from the start. This gives a large amount of data both about the heritage sector in Scotland, but also about the effectiveness of a training experience in a nationwide setting, with multiple entry points. Where possible engaging video case studies (available on the website) have been made with programme participants to demonstrate aspects of fundraising - from the new, to the fundamental (Full Cost Recovery principals). RSH has also worked to develop courses based on need as this information has been gathered. New courses that embrace technology (such as crowdfunding) or making your case for support via the medium of film have been developed to constantly grow the skills and confidence of a sector which is aware of the need to embrace change in the most practicable and viable (within the scope of any individual organization) possible.

Spanish Association of Cultural Heritage Managers (AEGPC) www.aegpc.org

Represented by VICTORIA ATECA AMESTOY Associate Professor at the University of the Basque Country (UPV/EHU) and AEGPC Treasurer victoriamaria.ateca@ehu.es

ABOUT The AEGPC was founded in 1997 and it has currently more than two hundred members, professionals and institutions, involved in the management of cultural heritage resources. AEGPC promotes the professional management of cultural heritage resources and advocates for the recognition of the value for the society of the efficient implementation of cultural programs. Apart from its own advocacy works, it contributes to the articulation of the cultural sector. It is a founding member of the Spanish Federation of Associations of Cultural Managers (http://www.feagc.com/), and holds currently the Presidency of the Federation. To achieve its aims, the AEGPC has signed agreements with many universities, public organs and private companies for the co-operation in activities related to the preservation and enhancement of the Spanish and Latin American Cultural Heritage. The AEGPC has organized its activity around the following areas: advocacy, research, information hub and lifelong learning, all of them updating the professional skills of cultural heritage managers. Starting from the research and debate of the professional practice, the association has designed and managed training and dissemination tools to enhance the professional competences of cultural heritage managers. In doing so, the association promotes professional and institutional cooperation within European and Latin-American networks and supra-national institutions.

EXPERIENCE/EXPERTISE Pioneer in the implementation of lifelong learning programs for cultural heritage managers in Spain. Organizer of one of the first courses online on skill development for project managers. Creator of the first course of quality management and quality system implementation in Spain (1996) funded by the Spanish Ministry of Culture. Editor and publisher of the series aretĂŠ DOCUMENTA, which included the first monographs on intangible cultural heritage and Iberoamerican cultural heritage.

GOOD PRACTICES The AEGPC promoted the first code of ethics in the Spanish sector in 1998. The AEGPC is currently leading a reflection process on the new skills for cultural heritage managers that brings together practitioners, researchers and policy-makers, as well as new means to get involved with lifelong learning processes and networking (aretĂŠ meeting point, with the support of the Spanish Ministry of Education, Culture and Sports). We are further testing a virtual platform for job market for cultural heritage professions, and are involved in the preparation of several international research proposals.

Stowarzyszenie Badawczo-Animacyjne Flaneur www.flaneur.org.pl

Represented by NATALIA SZELACHOWSKA Coordinator, Board member natalia.szelachowska@flaneur.org.pl

ABOUT Our activities are based on two pillars: participatory and responsible activism referring to public spaces (artistic interventions, social and cultural events, research) and raising awareness toward local and European heritage (creating platform to exchange, social archives, workshops and events). Based in Warsaw, Flaneur Associaton adopted the metaphoric figure as a patron because of its attributes: a 19th century archetype of wanderer and urban explorer. Shows the best organisations character: passion of peer at urban spaces and phenomenoms, which are normally omitted or ignored. We try to get involved into the local community activities and provoke a new ways of perception. In 2013 we run a local project “Bazar Szembeka – warszawski folkor i miejsce spotka?”. The project aimed a cultural and social mobilization of the Szembeka marketplace neighbourhood. Through educational activities, cultural animation, debates on local traditions and art Flaneur team created website - an interactive platform with local archives (www.naszembeku.pl). Flaneur has interest in the initiatives balancing between art and social intervention and concerning actual problems in neighbourhoods, Warsaw, Poland and Europe. We are also interested in artistic activities, which engage people from different social background. Project „U jak Universam” (2015-2016) based in Grochów, Warsaw was dedicated to Universam Grochów shopping center. Built in 70s, it was an example of modernistic architecture, but also recognizable venue for local community. In the past it was well known for the luxury products, from 90‘ it started to slowly perish. In the last years it was a fasciating object for young peoople, who treated it as a „time capsule“ with back to communism button inside. Our goal is to activate local community, create a cultural programme of open to public events and draw attention to the socrealistic architecture – with its heritage and the general issue of neglecting public architecture.

EXPERIENCE/EXPERTISE We developed the social archives (developing website to share stories and memories, official and unofficial histories, photographies and press articles), we run different workshops (creative workshops for youngsters to learn about the neighborhood and local history, computer workshop for elderly to include them into new technologies and allow them add their stories). We were responsible for organizing debates and discussions with different panelists (on social changes, local dialect, architecture and local food). We have experience in managing exhibitions (in unconventional spaces presenting local heritage and stories, at the market place, inside the shopping center).

GOOD PRACTICES Involving people into small actions and giving them freedom to expression. People are then more eager to share their stories, they also become more engaged into community development and more aware of local history and heritage. We run one of the events, which was composed of two parts: tidying up a courtyard at the neglected shopping center from 70' named Universam Grochรณw and organizing an open air cinema on the spot. We invited the people to help us clean the place as well as share the stories and memories concerning the shopping center. We ended up having three times more people than we expected.

The FabriC Association www.fabrikata.eu

Represented by MARIANA PRODANOVA Director fabrikata@gmail.com

ABOUT The FabriC Association is the only Bulgarian Regional Cultural Resource Center in Bulgaria. In its projects and activities the organization gives specific attention to rethinking the importance of cultural heritage and its integration into contemporary societal dynamics. The organization works in a region (North Central Bulgaria) where traditional arts and crafts are still in high renown among the local population. The integration of the traditional arts and crafts into contemporary life gives an opportunity to safeguard, socialize and depict the actual diversity of forms of cultural expression in this area. This makes the FabriC contribution to heritage sector more tangible and socially significant in regional development. The organization is a member of â&#x20AC;&#x153;Mad Capâ&#x20AC;? Association which is the only Association in Bulgaria of secondary Arts Schools of applied arts. For over a century, or even more, these schools educate professionals some of which go directly into the creative industries and in this way they change the preexisting model of training and practice. The FabriC Association is working in close collaboration with Etara ethnographic museum. It is the only open air museum in Bulgaria ensuring that the knowledge and skills associated with traditional artisanry are passed on to future generations so that crafts can continue to be produced within their communities, providing livelihoods to their makers and reflecting creativity. In 2016 the FabriC Association initiated the formation of an European Crafts and Design Network, connecting people, organizations and institution form Europe working in the crafts and design sector and focusing on what has always been central to human development in a sustainable way - folk culture, traditional skill and knowledge and the design as catalyst and innovation driver of new context and development strategies.

EXPERIENCE/EXPERTISE The FabriC Association implements different activities that attempt to influence practices and policies in the field of skills, training and knowledge transfer in the traditional and emerging heritage. We work in cooperation with researchers, academic professionals, field experts, decision makers to identify key priorities for a structured, forward-thinking and innovative research in the field of protecting and fostering our common intangible and digital cultural heritage. We undertake activities and approaches that move knowledge from researchers to practitioners. We invite artists and designers to reflect on the artisansâ&#x20AC;&#x2122; indigenous knowledge of the social and cultural context and to take it forward, especially when thinking about a sustainable future. In this respect we are engaged in collaborative efforts with different organizations from Bulgaria and Europe. The FabriC Association 73

has implemented a number of projects facilitating discourse and knowledge exchange between arts and heritage, uniting different stakeholders. The Association provided experts in the management team of Veliko Tarnovo candidacy for the title of European capital of culture in Bulgaria in 2019. The city is the cradle of Bulgarian cultural heritage. In 2016 the FabriC Association initiated the formation of an European Crafts and Design Network, connecting people, organizations and institution form Europe working in the crafts and design sector and focusing on what has always been central to human development in a sustainable way - folk culture, traditional skill and knowledge and the design as catalyst and innovation driver of new context, new European narratives and development strategies. Currently the FabriC Association is working in partnership with Gabrovo municipality in the formulation and preparation of an application of the city to the UNESCO Creative Cities Network. The application refers to the specific creative filed of Crafts and Folk art.

GOOD PRACTICES In 2014 the FabriC Association carried out a research on cultural potential of traditional arts and crafts in Bulgaria, in particular in a region which provides a representative sample of comparatively well-preserved craftsmanship practices, and as a first step towards a full-scale research in Bulgaria. The model of â&#x20AC;&#x153;unlocking through inclusionâ&#x20AC;? has been developed in order to reveal (unlock) their specific features and cultural potential. The research suggests possibilities for action aiming to integrate into contemporary cultural life those craftsmanshipâ&#x20AC;&#x2122;s knowledge and skills that have been passed down through generations. The working hypothesis is that the traditional arts and crafts represent a cultural value, cherished by some people in modern societies who admire and use craftsmanship products. Another research was carried out aiming to explore the synergy (interaction) of crafts and design as a maximum radicalization of the difference of applied arts from which it originates, reaching a relatively autonomous existence as a result of the industrial (re)production as its distinctive feature. The radical difference of design compared to crafts makes possible both utilitarianism of synergy as well as the search for common ground in the form of the manufactured utilitarian objects in connection with the formation of competence and skills for the implementation of specific practice. Both researches provided a guide to the formation of the European crafts and design network. In cooperation with different European partners a concept for development of virtual Museum of almost lost movements was elaborated. The technical and creative processes with 3D capturing will create an online environment where people can study the movements of old crafts and artists/designers to be catalytic in bringing a contemporary idiom to ancient craft skills and thus be a strong force in creating them to a dynamic modern European expression.

The Heritage Consortium www.heritageconsortium.ac.uk

Represented by SARAH MCKEON Academic Coordinator s.mckeon@hull.ac.uk

ABOUT The Heritage Consortium is an AHRC supported centre for doctoral training. It is a partnership between seven universities based in the North of England [Bradford, Huddersfield, Hull, Leeds Beckett, Sheffield Hallam, Teesside and Northumbria] who are keen, intellectually and in practice, to nurture and develop relationships and collaborations between academic research and heritage organisations for the benefit of the general public. One of the Heritage Consortium's main interests is knowledge transfer and the processes and methods used for the spread and development of ideas. Our PhD candidates come from a diverse range of backgrounds: a number are mature students who have worked for heritage organisations and industries prior to their doctoral training, others are students who have chosen to continue in education after their Bachelors and Masters degrees. All of our students have articualted a desire to pursue their doctoral training with the Heritage Consortium in order to equip themselves with knowledge and experience that will be relevant to careers outside of academia and which are particularly suited to the heritage sector. We aim to create a training environment which reflects the diverse, interdiciplinary and multidisciplinary nature of training for the heritage sector in both the UK and Europe. The students awarded AHRC-funded scholarships from the Heritage Consortium are carrying out research that could be classed as investigating tangible movable heritage, tangible immovable heritage, and intangible heritage. Many of the students are engaging with the digital humanities. The Heritage Consortium strives to enable our doctoral students to forge collabortive relationships with non-HEIs and to engage with and disseminate their research findings to relevant heritage collaborators, industries and oragnisations.

EXPERIENCE/EXPERTISE As a research centre we are concerned to challenge the dichotomy between traditional and emerging heritage, acknowledging that traditions can in fact be relatively recent and forged as traditions by political and social factors and pressures. The Heritage Consortium endeavors to train students to become reflective heritage practitioners so that they understand why they do what they do and recognize the various contexts in which their scientific/analytic practices take place. Such contexts might easily include the understanding of public history, the management of landscape and built environment sites, planning legislation, funding arrangements and constraints from government and other sources, and local and national government policy contexts as well as the concerns of international organizations. The Heritage Consortium believes that heritage professionals and

academics must be trained to ask the big questions and to focus on the ethical considerations of the present’s debt to the future. In the first year of our PhD students' doctoral training programme, they are required to carry out two week-long residential courses, which deliver two training modules. These modules instruct students on the development of their academic research skills and knowledge of the theory behind heritage practice. During the training modules we invite students to participate in discussions and activities around heritage in practice, heritage policy, and planning for heritage activities. The modules are delivered collaboratively by academics and professionals working in heritage with support from experts in, for example, bid writing and with marketing expertise. Where possible, we essay to incorporate visits to heritage events that coincide with the times of the training modules so that students can come together as a group to analyse and assess the event, discuss the events' effectiveness and possible impacts. The final module in the Heritage Consortium's CDT training programme is a placement. Students' placements can last from between six weeks and six months and it is possible for students to undertake several placements in order to bolster their practical training. Whilst on placement, students often get to experience the tension between traditional and emerging heritage drivers. They are encouraged to document their experiences by writing blog-posts for the Heritage Consortium website and/or for their placement provider's website. The Heritage Consortium has found the placement activities and our work with our strategic partners to be extremely valuable for creating collaborative networks and knowledge exchange pathways.

GOOD PRACTICES One of the unique elements of our doctoral training programme is the compulsory practical placement that students undertake, typically during the second year of the programme. The placement is intended to enable the student to learn new practical skills that will be relevant to his/her research development and/or career progression, but might not necessarily be thematically or directly related to their PhD research project. This innovative collaborative method of training encourages the transmission of knowledge about best practice led by organisations and individuals from the Heritage sector. Thus, we are keen to ensure that we are realistic about the ability of academics to provide the practical skills necessary to the heritage sector. By working with partners in heritage organisations we explore original and customised pathways to knowledge and experience. We believe that we have a responsibility to the students and to the sector to be realistic about the everyday challenges facing heritage in practice and we believe that the best way to become aware of these challenges is to engage in collaborative training relationships with strategic partners. The Consortium universities have established working relationships – through previous collaborative doctoral studentships, joint research projects, formal co-operative agreements and networks – with more than 70 partner institutions in the UK and abroad. A smaller group of ten strategic partners [Heritage Lottery Fund, International Slavery Museum, Liverpool, Iziko Museums of South Africa, National Coalmining Museum for England, Wakefield, National Maritime Museum, Greenwich, North Sea Maritime Museums Network, Stiftung Preußischer Schlösser und Gärten, Germany, Yorkshire Film Archive, Saltaire World Heritage Site, Bradford and the Co-operative Heritage Trust, Manchester] play a more substantial role through participation on the Management Committee and by contributing training sessions for the certificate in heritage studies awarded to students who successfully complete the Heritage Consortium's training programme. These partners help to shape the Consortium’s strategy, providing a broad range of insight and expertise. 76