Laura-Edythe Coleman & Porchia Moore
A Crash Course for the Museum Professional

Table of Contents

This Workbook is constructed upon the many fruitful
conversations that the authors have had together and with the
greater museum community.

In particular, the author/editors of this workbook express their
gratitude to:
The Incluseum and its founders: Rose Paquet Kinsley and
Aletheia Wittman. Rose and Aletheia have worked tirelessly for
years to make the Incluseum a mainstream museology reality Thank you.
The research contained within this book streams mostly from
our contact with the Reesearch Centre for Museums and the
University of Leicester museum professors Dr. Richard Sandell
and Dr. Jocelyn Dodd. Additional research has been
influenced by our contact with Professor Tlili, Kings College
The author/editors meet regularly online and in-person at the
American Alliance of Museums annual conference (AAM) in an
attempt to further enrich our understanding of the socially
inclusive role of museums. We would like to thank AAM
president Laura Lott and the Alliance for being receptive to
our continued efforts at igniting interest in social inclusion for
American museums.
The author/editors met for the first time in person during the
7th International Inclusive Museum Conference 2014. Our
continued efforts into promoting socially inclusive museums in
America have been bolstered by our interaction with The
Inclusive Museum, the conferences and the OnMuseums
Online Knowledge Community. We are thankful to you, our
Inclusive Museum Community, for your continued support.

W hat is Social Inclusion Theory?
The exploration of the term social inclusion begins with a
historical examination of the antithesis: social exclusion.
Provocative in nature, social exclusion became a tenet of
Western European social studies during the 1970s. Social
exclusion became the title of numerous economic and social
injustices, essentially naming the problem without offering
practical solutions. The ability to name societal woes granted
authority to several decades of politicians who were
self-appointed as champions for social justice (Silver, 1994).
Social exclusion has come to represent a broad variety of
problems not limited to welfare benefits, and not localized to
Western Europe. By the mid-1990s the term social exclusion had
become an essential part of western European political rhetoric,
and a part of museum studies discussions.

Social Inclusion & Exclusion are:
Two sides of the same coin


In W hat W ays Are We Socially Exclusive?

M y M u seu m Is Exclu sive
Wh en :

Sph er e:

Write in an example here so that participants
know how to fill this in.


The Multi-Faceted Nature of Exclusion and Inclusion: Spheres


Richard Sandell, a strong proponent of social inclusion in
museums, created both a format for examining social
exclusion and a typology for the understanding of social
inclusion within a museum context. Sandell proposes, in
?Museums as Agents of Social Inclusion,? that social
exclusion is a multi-faceted phenomenon that negatively
affects the social, economic, political, and cultural life of
both the individual and the society (Sandell, 1998).

The social aspect of exclusion is seen in the lack
of access to employment opportunities, welfare
opportunities, and social opportunities. It can
also be described as lacking the relationships
needed to be a part of the fabric of society, i.e.,
family and friends.

Econ om ic


An individual lacking the economic means
to buy admission to a museum is unlikely
to attend.

Political problems are inherent within social
exclusion because those who are
disenfranchised from society are less likely to
participate in the political process, and are
much less likely to be agents for change.

Polit ical

The aspect of social exclusion most often
associated with museums is the cultural
aspect. How museums represent cultures
ask cultures to participate in the
Cu lt u r alCu lt uand
making of exhibits directly impacts the
inclusivity or exclusivity of a museum
(Sandell, 1998).

W ho Is Serious About Social Inclusion and Exclusion?

The Incluseum advances new
ways of being a museum
through critical discourse,
community building and
collaborative practice related to
inclusion in museums.

The American Alliance of
Museums is committed to
Inclusive Museums through
Policy Development and the
Center for the Future of

The Inclusive Museum
Knowledge Community
provides a forum to meet
others in the field, share
ideas, and publish your

The International Council on
Museums (ICOM). In accordance with
ICOM, ?museums work in close
collaboration with the communities
from which their collections originate
as well as those they serve? (ICOM,
2013, p. 10).

But Does Policy Create Social Inclusion and Eliminate Exclusion?

As social inclusivity has become a political goal, museums,
particularly in the UK, have adhered to the rhetoric of politicians
and the socially inclusive policy mandates to maintain public
funding of their institutions (Coleman, 2016). Social Inclusion has
begun to appear in American museum practitioner discourse, as
evidenced by the 2014 AAM policy on ?Diversity and Inclusion?
(?Diversity and Inclusion Policy,? 2014).

Diver sit y an d In clu sion
Approved by the Alliance Board of Directors, February 26,

Diver sit y an d In clu sion Policy
St at em en t
The American Alliance of Museums respects, values and
celebrates the unique attributes, characteristics and
perspectives that make each person who they are. We
believe that our strength lies in our diversity among the
broad range of people and museums we represent. We
consider diversity and inclusion a driver of institutional
excellence and seek out diversity of participation, thought
and action. It is our aim, therefore, that our members,
partners, key stakeholders reflect and embrace these core


How Do We Define Social Inclusion ?
The strength of social inclusion theory is also its weakness:
flexibility. The flexibility of social inclusion theory allows diverse
usage, but promotes little agreement between researchers. The
discourse of politicians has been steeped in the considerations of
being socially inclusive, and the focus of funded research in
Western Europe and the UK. Yet, the extensive use of the term is a
testament to its ambiguity, as it may be readily adapted to fit
conveniently into diverse usage (Rawal, 2008; Silver, 1994; Tlili,
The definition of inclusive solutions remains subject to the desires
of political juggernauts, thus creating multiple meanings of the

One Certainty: Social inclusion theory directs museums in the
fulfillment of social responsibility, and directs researchers to explore
the scope of those responsibilities.

"Our definition of inclusion recognises that people need to feel
connected and engaged. Inclusion can be defined as a state of
being and feeling valued, respected and supported. Practising
inclusion is necessary for diversity initiatives to work effectively"

~UK Museums Association
"Valuing Diversity: The Case for Inclusive Museums" 2016

How Does The American Alliance off Museums (AAM) Define
Social Inclusion ?
"The act of including; a strategy to leverage diversity. Diversity
always exists in social systems. Inclusion, on the other hand, must
be created. In order to leverage diversity, an environment must be
created where people feel supported, listened to and able to do
their personal best."

W hat is Your Definition of Social Inclusion ?


We Need To Define the Terminology






The Inclusive Museum is Not A Solitary Concept,
Rather it is Networked intoSociety, and
Exists Along a Spectrum

Level 3

Level 1

n ge
l Ch a
ad S
at i o n
r Br o
en er Th
e In
Veh ic o r So cial

Level 2




Level 0
M ost M u seu m s Exist Her e...
In a cau t iou s, pr eser vat ive st at e.
How do w e con vin ce m u seu m s t o
f r om t h is seden t ar y posit ion t o a
m or e act ively in clu sive space?


Th e In clu sive M u seu m Spect r u m

"Exclusion is Tackled
within the 'Cultural

"To Achieve Cultural Inclusion"

Social problems
associated with
exclusion ? ?might be
addressed indirectly.?

Level 1


Sandell, R. (1998).
Museums as Agents of
Social Inclusion. Museum
Management and
Curatorship, 17(4), 401?418.
Adapted by Coleman, L-E


through? ?Representation
of and participation and
access for those


* Recognition of curatorial voice, the sharing of
curatorial voice, and sharing of cultural authority.

* Exhibits present contested histories or issues, but the
individual is left with the task of addressing these issues

* Studies of objects in the collection, and also identified
as associated with those excluded. Example: Ratio of
objects identified with those excluded on display to objects
identified within the entire collection.

* Studies of museum visitor and staff perceptions of
exhibits and collections. Example: Ethnographic work in
which visitors and staff talk aloud through the process of
internalizing an exhibit

Level 1: TheIncl usiveMuseum

* Representation of those excluded is evidenced in the
of an exhibit.

u seu
Agen t of
l Regen
an ge er at ion


Th e In clu sive M u seu m Spect r u m

Exclusion is tackled
within? ?the Economic,
Social, Political, and
Cultural Dimensions?

"To Improve Individuals?
Quality of Life?

Level 1


through? ?Providing a
forum for public debate,
education and

Social Exclusion and
Inclusion ? is or ?might
be expressed within the
museum?s goals.?


Sandell, R. (1998). Museums
as Agents of Social
Inclusion. Museum
Management and
Curatorship, 17(4), 401?418.
Adapted by Coleman, L-E


* The direct intention of sharing curatorial voice

u seu
Agen t of voices are heard within curatorial
cultural authority is distributed and
l Regen
an ge
er at ion
exchanged in a democratic manner.

* Curators (Formal and Informal) on multiple
levels consciously address the social problems
associated with exclusion.

* Longitudinal studies which measure
multiple facets of individual, household,
community, and national health.
* Change may be measured in all areas of

* Longitudinal studies which consist of
interviews or dialogues with the same
individuals over time.
* The occurrence of change measured at the

Level 2: TheMuseumAsAgent of Social

* Recognition of curatorial voice, the sharing
of curatorial voice, and the sharing of cultural


Th e In clu sive M u seu m Spect r u m

Exclusion is tackled
within? ?the Economic,
Social, Political, and
Cultural Dimensions?

"To Influence Society, and
Instigate Positive Social

Social Exclusion and
Inclusion ? is
"expressed within the
museum?s goals.?


Sandell, R. (1998). Museums
as Agents of Social
Inclusion. Museum
Management and
Curatorship, 17(4), 401?418.
Adapted by Coleman, L-E


through? ?Initiatives
which seek to alleviate
disadvantage and
encourage personal


* The direct intention of sharing

* Is indicated by the free two-way flow of

u seu
Agen t of
l Regen
ge er at ion

* Curators act as facilitators
* Curators (Formal, Informal) at multiple
levels of authority, moving in a constantly

* Historic social issues become
contemporary problems through
authorized channels such as museum
mission & vision statements.

* Studies of individuals within the
community who do or do not experience
the museum directly. Example:
?Improvement? of individual?s lives might be
measured by the occurrence of change

* Studies of individuals?perceptions of
museum value in their lives. Example:
?Improvement? as described by individuals
through interviews, focus groups, and
self-reflection exercises such as journals.

Level 3: TheMuseumAsvehicl efor broad
social change

* The curatorial voice of a museum has
an unashamed social stance: to provide a
forum to create a better society through
dialogue and visible.


Social Incl usionTheory
* The primary advantage of social inclusion theory is that it
extends the role of museums beyond traditional discussions of
diversity and multiculturalism.
* Social inclusion asserts the importance of including more than
the representations of marginalized communities, but in actively
engaging marginalized communities in the co-creation of
community heritage exhibits.

Tr adit ion al Appr oach es

Diversity: Differences are

Social In clu sion

Supports Self-Curation by
Individuals and Communities

Multiculturalism: Museum
Museum Professionals Serve
Professionals are tasked with the As Facilitators in Cultural
Curation of Diferences and
Information Provision.
Similarities Between Cultures.


* The second key advantage of social inclusion theory is the
awareness that this theory generates concerning
marginalization and division within society. Social inclusion
theory, birthed from the presence of social exclusion, directs
the attention of citizens to the social problems at hand.

* At a foundational level, social inclusion positively reassures
society of two key assertions: yes, there is a problem in the
society; and yes, there is a solution.

* Social inclusion theory allows for the recognition that there
is no one solution to societal problems of division and
marginalization. The multidimensional nature of exclusion,
once revealed by social inclusion theory, may then be tackled
by multidisciplinary teams.


Social Incl usionTheory
Although social inclusion theory has influenced both museum
research and practice, it is not without limitations: the infancy
of social inclusion terminology is problematic, and research
utilizing social inclusion theory for museum evaluation is
performed only sporadically.
These limitations may also be viewed as unique opportunities:
underdeveloped social inclusion terminology may offer
researchers the opportunity to work with museum
practitioners to design a standard vocabulary.
A st an dar dized social in clu sion vocabu lar y is an
im por t an t st ep in t h e pr odu ct ion of valu able m u seu m
assessm en t t ools. The demands of policy makers to produce
measurable social change may be countered by industry
definitions of social inclusion and museum professional


* Not En ou gh Eviden ce: The usage of social inclusion theory
in the evaluation of museum impact upon marginalized
groups has only just begun.

Social Inclusion Theory Will Make Your Museum More Aware...

In Revealing Histories: Myths about Race (2007?2009) at the
Manchester Museum, UK, a team from within and beyond the
museum tried to address this uncomfortable history. They faced
challenges and raised many questions: how to present such
material honestly but sensitively? Could other voices be included
without jeopardising the credibility of the museum? How can
post-colonial arguments be made with a collection based on the
spoils of empire? And, finally, how are museums to escape the
legacies of prejudice? Although well intentioned, the actions of
museum staff in realising the project ? the authors included ?
exhibited unanticipated vestiges of institutional racism.



?You see, there are so many kids in this country who look at
places like museums and concert halls and other cultural
centers and they think to themselves, well, that?s not a place
for me, for someone who looks like me, for someone who
comes from my neighborhood," she said. "In fact, I guarantee
you that right now, there are kids living less than a mile from
here who would never in a million years dream that they
would be welcome in this museum. And growing up on the
South Side of Chicago, I was one of those kids myself."
~First Lady Michelle Obama
Remarks at the opening dedication of the Whitney Museum,
NYC 2015

Wh at Do You Th in k ?
Ar e M u seu m s Wh it e Spaces ?

Moore, P. (2015). Who Is Your Museum For? A Tool for Initiating Critical Conversations and
Reflection. Retrieved from

Discussions of Diversity

1. Diversity itself is a system which centers on
dominant white culture.
2. In each discussion on inclusion, museum
professionals must ask critical questions on
who benefits from inclusion.
3. Inclusion is a process, an action, and a
4. Diversity is a hegemonic device.
5. Diversity and Inclusion have two different
expected outcomes.





Promoted by

Who Benefits?

For years museums have sought to address ways to
increase diversity and invite full participation from
minority communities. At the same time, we seem to
view it as the norm when, in spite of our best efforts,
the minority turn out remains low. We resign ourselves
to a job well done for our efforts or walk way
exasperated and frustrated at our energies to diversify.
It is my very firm belief that museums are for everyone.
Everyone. But, perhaps, our conversation on inclusion
in museums should not be framed around discourses of
Porchia Moore,

"The Danger of The D Word, Museums and Diversity"

Can You Nam e An
In st an ce In Wh ich
Diver sit y Ar ose f r om
a Com m u n it y of
Color ?

Moore, P. (2014). The Danger of the D Word, Museums and Diversity. Retrieved from


The Data Says...

Center for the Future of Museums. (2008). Museums & Society
2034: Trends and Potential Futures.

THE 2016 AAM


?We know that we must embrace diversity, equity, accessibility, and
inclusion. Many of us are grappling with how to take the next steps.
And we?re all probably a little nervous about sounding uninformed or
inadvertently saying something hurtful in the process ? in spite of
good intentions."
~Brook Leonard

2015 AAM Survey
Q: What 3 Words Come to Mind When
You Hear "Inclusion"?

-Diversity -Accessibility

Q: Thinking about your own experience
working in museums, perhaps using
those three words, how would you
define inclusion?

-?Ensuring that
feel apart of a larger
whole or experience.?
-?Telling stories of all

Q: Expanding on your own definition,
who do you think is included or
excluded in museums?

-?museums are still
thought of as elitist?
-?mostly white females
are catered to.?

?Excluding No One?

Q: Do you know of any good examples
of inclusion in museums? What are

Coleman, L.-E., Moore, P., & Paquet-Kinsley, R. (2015). Museum Professionals and
Inclusion: A Study in Practitioner Perception. Atlanta, Georgia.


The W ing Luke Museum of the Asian Pacific
American Experience
"Our institution is about people ? the people whose stories are
reflected in our walls, the people who work and volunteer
throughout the year, the people who come to visit and experience,
the people who came before us, and the people who have yet to
come? (Chinn, 2006c, p. 013).

The Wing Luke Museum of the Pacific Asian American
Experience is a community-based museum in Seattle?s
Chinatown-International District. The 60,000 square foot, three
level museum containing temporary and permanent
exhibitions. The Wing Luke offers guided tours of the museum
and the adjoining preserved historic hotel, as well as walking
tours throughout the international district. The mission of the
Wing Luke is, ?To connect everyone to the rich history, dynamic
cultures and art of the Asian Pacific Americans through vivid
storytelling and inspiring experiences?(Chinn, 2006a). Unlike
the traditional museum, the Wing Luke has engaged in a
Community Based Exhibition Model (CBE), a format that
?Builds upon a basic exhibition development model but strives
to infuse community members throughout the entire
27 process.?(Chinn, 2006c, p. 015)

?Ou r Neigh bor h ood is Ou r Lar gest
Exh ibit ion?
Bet h Tak ek aw a, Execu t ive Dir ect or

The curators put their principles into
practice, placing relationship-building above
exhibition development in the museum
priorities: ?The exhibition however which is
often times secondary to the primary goal
which is the community building - the
connections and the relationships.?

An Inclusive

Com m u n it y Based Exh ibit ion M odel


Your Museum

Implement Inclusion:

* Know your community Who Doesn't come to your museum?

* If you were doing an exhibit on your museum's
community identity, what would you pack in the

Knowing your community starts with NOT reinventing the

1. Census Data
2. Community Groups and Organizations
3. Public Libraries
4. Chamber of Commerce
5. National Organizations such as YMCA, America's Second
6. Religious Organizations
7. Schools, Community Colleges, Vocational/Technical Schools,

?Ou r Neigh bor h ood is Ou r Lar gest
Exh ibit ion? ???

Your Inclusive Museum

Can you an d you r m u seu m , say :


How W ill I KNOW That My Museum Is Inclusive?

1. You Must Define the Terms You will Be Exploring (Inclusive,
Exclusive, Diversity, Community, Mulitculturalism, etc.)
2. You Must Collect Data - Short-term and Longitudinal Studies.
3. You Must use both Quantitative and Qualitative Methods to
Collect Data.
4. You Must Articulate Your Evaluation Strategy to Your
5. You Must Be Willing to Re-Define Your Terms Based Upon Your
Findings - Holding to a definition will not help your museum move
forward .

For Every Concept You Explore in Your Community, Make Sure to
Explore Its Counterpart. For example: If you are exploring
poverty issues in your community, make sure you are also
examining privilege in your community. Social inequity often
occurs in a yin/yang relationship.

Don't shirk from discussions that
are painful but productive.

Issue In
What is The
Community to this Issue?


What Can Be
Done by the
on this Issue?

What Can Be
Done by the
to the
on this Issue?

What is Your
Role on this



It Begins with YOU

Strategic Plans are Nice, such as the
recently developed AAM 2016-2020
Strategic Plan. These Plans Help to
Highlight Core Areas of
Concentration for Our Museums.

Change begins with YOU.

W hat Change Do YOU W ant To See?


In 2015, Rose Paquet Kinsley and Aletheia Wittman,
Incluseum Founders, co-authored an article for AAM's
Museum Magazine "Bringing Self=Examination to the
Center of Social Justice Work in Museums."

Rose an d Alet h eia ch allen ged m u seu m s t o
t ack le social ju st ice & in clu sion issu es
t h r ou gh self -exam in at ion in sever al ar eas:

1. Institutional Legacies
2. Staffing
3. Language.

"Why is it important that museums turn the social justice
inward? A lack of introspection and visible internal change
projects the idea that museums have something special
others lack - that they are the "chosen" group to help those
who cannot help themselves. There are some clear
problems with this line of thinking. First, it assumes an
exceptionalism that distances museums from other
organizations and institutions trying to address social
justice. Second, it obscures the fact that museums have
many of their own issues to deal with. Museums can be
strong partners toward positive social change, but this
effort ought to be accompanied by critical

Exclusive Patterns In Our Museums

Paquet-Kinsley, R., & Wittman, A. (2016).Bringing Self-Examination to the Center of
35 Social Justice Work in Museums. Museum, (January/February), 41.

Exclusive Patterns In Our Language

to Your
Language do You Need?
You Need?


Middleton, M., Paquet-Kinsley, R., & Wittman, A. (2016). ?Introducting the 21st Century
Family and Family-Inclusive Language? In (Re)Frame The Case for New Language in the 21st
Century Museum. Exibition, (Spring), 60.

Resources for You Museum

Websites & Blogs

Center for the Future of Museums, AAM
Network of European Museum Organizations
The Inclusive Museum
The Museum Association UK
International Sites of Conscience
Social Justice Alliance of Museums
International Institute for the Inclusive Museum

Exemplars of Inclusive Museums

Wing Luke Museum of the Asian Pacific American Experience.
(2006). Community-Based Exhibition Model.


Reading List for You

Books, Journal Articles, Reports, Magazines
Ang, I. (2005). The predicament of diversity: Multiculturalism in
practice at the art museum. Ethnicities, 5(3), 305?320.
Askonas, P., & Stewart, A. (2000). Social inclusion: possibilities and
tensions. New York, N.Y: St. Martin?s Press.
Atkinson, A. B., Marlier, E., & Nolan, B. (2004). Indicators and Targets
for Social Inclusion in the European Union. JCMS: Journal of Common
Market Studies, 42(1), 47?75.
Atkinson, A. B., & United Nations. (2010). Analysing and measuring
social inclusion in a global context. New York: United Nations.
Blackburn, F. (2015, December 1). The Intersection Between Cultural
Competence and Whiteness in Libraries. Retrieved from
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its Consequences (n edition). Cambridge, Mass: The MIT Press.
Caidi, N., & Allard, D. (2005). Social inclusion of newcomers to Canada:
An information problem? Library & Information Science Research, 27(3),
Center for the Future of Museums. (2008). Museums & Society 2034:
Trends and Potential Futures.
Center for the Future of Museums. (2010). Demographic
Transformation and the Future of Museums.
Center for the Future of Museums. (2012). Trends Watch 2012:
Museums and the Pulse of the Future.
Christen, K. (2011). Opening Archives: Respectful Repatriation.
American Archivist, (74), 185?201.


Coffee, K. (2008). Cultural inclusion, exclusion and the formative roles
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Coleman, L.-E. (2015). Social Inclusion and the Gatekeeping
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Coleman, L.-E., Moore, P., & Paquet-Kinsley, R. (2015). Museum
Professionals and Inclusion: A Study in Practitioner Perception. Atlanta,
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Dodd, J., O?Riain, H., Hooper-Greenhill, E., Sandell, R., Fund, H. L., &
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Giambona, F., & Vassallo, E. (2013). Composite Indicator of Social
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Group for Large Local Authority Museums. (2000). Museums and Social
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Hendry, J. D. (2000). Social inclusion and the information poor. Library
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Hodgetts, D., Stolte, O., Chamberlain, K., Radley, A., Nikora, L., Nabalarua,
E., & Groot, S. (2008). A trip to the library: homelessness and social
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Kelly, L. (2006). Museums as Sources of Information and Learning. Open
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Labonte, R. (2004). Social inclusion/exclusion: dancing the dialectic.
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Middleton, M., Paquet-Kinsley, R., & Wittman, A. (2016). ?Introducting the
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Moore, P. (2015). Who Is Your Museum For? A Tool for Initiating Critical
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Paquet-Kinsley, R., & Wittman, A. (2016). Bringing Self-Examination to the
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Rawal, N. (2008). Social Inclusion and Exclusion: A Review. Dhaulagiri Journal
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Sandell, R. (Ed.). (2002). Museums, society, inequality. London?; New York:
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Tlili, A. (2008). Behind the Policy Mantra of the Inclusive Museum:
Receptions of Social Exclusion and Inclusion in Museums and Science
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Wilson, L. (2006). Developing a Model for the Measurement of Social
Inclusion and Social Capital in Regional Australia. Social Indicators Research,
75(3), 335?360.

Final WordsAbout Social Inclusion

The Authors of this workbook affirm that:
1. Museums cannot embark on a Social Justice Initiative without
understanding and leveraging Social Inclusion Theory. Why?
Many of the current museum initiatives are not built on social
inclusion, and without that formidable anvil, the hammer of
social justice has no platform to forge social change upon. Social
inclusion allows an expansion of social justice discussions and
actions by providing the foundational anvil required for true
social justice to prevail within society.
2. Museums can propel the creation of better evaluation systems
for understanding their impact upon society. Social inclusion
theory may serve as a framework to guide the production of
standardized vocabulary for the articulation of both the social
role of the museum, and the significance of evaluating effectively
that social role.
3. For better or for worse, museums are a part of society, and do
not operate in a vacuum, If museums are to stay relevant to
society, they must include society in the construction and
preservation of cultural heritage.
4. You are not alone. Your museum is not alone. There is a
grass-roots movement across the United States committed to
amplifying the social role of museums. Please ask us for help,
and please be willing to share your experiences with other
museums and museum professionals.


About TheAuthor/ Editors

Laura-Edythe Coleman is a Museum
Informaticist: her focus is on the point of
convergence for museums, information,
people, and technology. Knowing that societies
need museums for creating and sustaining
cultural memory, she strives to help
communities co-create heritage collections
with museums. She holds a PhD in Information
Science, a Masters of Library and Information
Science and a Bachelors of Fine Arts. She
brings an extensive background in cultural
heritage informatics, LIS education, and information technology to focus on
cultural institutions that are embedded in communities reconciling civil conflict.
Her motto is to ?save the world: one object, one exhibit, one museum, one
community, one nation at a time.? She can be reached via Twitter:


Porchia Moore is a fourth year doctoral
candidate dually enrolled in the School of
Library and Information Science and the
McKissick Museum?s Museum
Management Program at the University of
South Carolina. She is the recipient of the
Cultural Heritage Informatics Leadership
Fellowship as endowed by the Laura Bush
21st Century Librarian Grant. Her work
employs Critical Race Theory as an
informative framework for interrogating
and exploring the museum space as a
means to advocate for inclusion in the
museum world. In addition, she is interested in the intersection between culture,
technology, information, and race. She is the 2013-2014 Humanities, Arts, Science
& Technology Alliance & Colloboratory (HASTAC) Scholar. Currently, she serves a
two-year appointment to the Professional Development Committee, which helps
to design and plan the annual conference for the South Carolina Federation of
Museums. She regularly presents on race, culture, and museums at conferences
such as Museums and the Web and Museum Computer Network. She is an avid
lover of museums, having explored museums from Malaysia to New Zealand and
back. Follow her on Twitter @PorchiaMuseM.