FOSTERING INCLUSIVITY IN RUSSIAN MUSEUMS

In recent years, the topic of inclusiveness has gained prominence in Russian media, with the emergence of new museum programs, art workshops, exhibitions, and even inclusive theaters. However, these initiatives are still relatively concentrated in large cities and institutions in Russia. Even in major cities like Moscow and St. Petersburg, only 13 out of the existing museums can be considered inclusive.

The first attempts at museum inclusion can be traced back to the first half of the last century. In the USA, the Metropolitan Museum of Art in New York experimented with lectures for blind children, excursions for deaf visitors, and wheelchair rentals [1]. In Russia, the pioneering institution in this regard is the State Darwin Museum, which has been open to a diverse audience, including people with disabilities, since its establishment in 1907. Zoologists Alexander Kots and Nadezhda Ladygina-Kots, the founders of the Darwin Museum, led excursions for students without sight and soldiers returning from the Civil War. After the Great Patriotic War, they visited hospitals, lectured to wounded soldiers, and brought exhibits from the collection. The Darwin Museum even introduced the first tactile exposition, using natural pieces of skins, skeletons, stuffed animals, footprints, fossilized shells, and sea urchins to educate visitors about animals and plants [2].

By the mid-2000s, major museums began offering programs for children and adults with disabilities, including those who are deaf, hard of hearing, blind, visually impaired, have mental disabilities, or use wheelchairs. 3D technology has been developed to create copies of exhibits, and the concept of universal design has emerged, aiming to provide a comfortable and attractive environment for everyone to access information [1].

The Darwin Museum, as mentioned earlier, has been actively engaged in working with children with special needs for decades. They place a strong emphasis on staff training, with scientific staff participating in seminars, conferences, master classes, and refresher courses throughout the year. Briefings are also held for caretakers, ticket cashiers, and security guards annually or as needed [2].

Other museums have periodically organized excursions and workshops for people with hearing, visual, and mental disabilities. For instance, the Russian Museum has undertaken such initiatives. However, it's important to note that until the early 2010s, these projects for people with disabilities were more like one-time charity events or small author's art programs [1].

In 2012, Russia also signed the UN Convention on the Rights of Persons with Disabilities, further accelerating the development of inclusive programs in Russian museums. In 2015, Russia introduced mandatory accessibility standards for museums, emphasizing the special needs of disabled individuals and other low-mobility groups in cultural institutions. According to this directive from the Ministry of Culture, every cultural institution must have facilities like ramps, sign language interpreters, interactive screens, and technical devices to ensure accessibility.

In 2015, Russia saw the establishment of its first department of inclusive programs at the Garage Museum of Modern Art. A year later, the Pushkin State Museum of Fine Arts launched the "Accessible Museum" program, aimed at creating an environment accessible to visitors with diverse needs [3].

These changes in the regulatory and legal framework have elevated inclusion as one of the most vital aspects of the museum system and a key direction in the development of Russian museums. Consequently, this has transformed museum strategies concerning exhibition activities, educational programs, and audience engagement.

Developing Inclusive Programs in Museums: A Holistic Approach

Achieving successful inclusive programs in museums goes beyond creating specialized exhibits and initiatives. Genuine inclusivity calls for an internal transformation of museum culture and a commitment to addressing inequalities within these organizations. An outward-facing approach alone falls short in addressing the multifaceted challenge of inclusion.

Maria Dreznina, a senior researcher at the Pushkin State Museum of Fine Arts and an art therapist, stresses the importance of comprehensive training and education for museum staff. Effective engagement with marginalized audiences requires a deep understanding of their unique needs, sensitivity, respect, and the ability to create a friendly and supportive atmosphere. This training equips staff to better understand the requirements of visitors with disabilities and interact with them empathetically and effectively.

Irina Gavrilenko (Prokhorova), head of the organizational sector at the M.A. Vrubel Orenburg Regional Museum of Fine Arts, highlights the significance of partnerships between museums and specialized organizations. These partnerships can involve adaptive schools, compensatory kindergartens, special pedagogy faculties, libraries for the blind, and regional branches of inclusion societies. Collaborating with these organizations is crucial for museums to design truly inclusive experiences and avoid common pitfalls. It requires the involvement of all museum departments, from the director to the cloakroom staff, in efforts to effectively engage with the new target audience.

Vladimir Stepanov, curator of inclusive projects at the Museum of Russian Impressionism, emphasizes that not all visitors with diverse forms of disability require "special" programs. Inclusive museums should aim to create conditions that provide equal access to information for all visitors, regardless of their specific needs. This may involve offering quiet spaces, trained educators, tactile layouts, and other enhancements to improve the overall visitor experience. However, certain audiences may benefit from tailored programs, such as guided tours with sign language interpreters or workshops incorporating art therapy. The central goal is to develop programs that are universally adaptable and considerate of the individual requirements of each visitor [4].

The journey toward developing inclusive programs in museums is a collective effort that requires the involvement of all museum departments. Therefore, it is crucial to ensure that all staff members are well-informed and equipped with the necessary training to make working with the new target audience a norm and an integral part of museum culture.

Challenges Faced by Museums in Developing Inclusive Programs

Museums face several significant challenges when striving to develop inclusive programs and expand access to their cultural offerings:

1. Lack of Equipment and Expertise

Museums often lack the necessary equipment and expertise to create inclusive exhibits and programs. Some staff may require training to design and implement inclusive initiatives. For instance, at the Marina Tsvetaeva Museum, they initially faced equipment shortages and a knowledge gap [5].

2. Historical Building Limitations

Many museums are housed in historically significant buildings, which can pose limitations on making comprehensive adaptations for visitors with disabilities. For example, the Marina Tsvetaeva Museum, located in a historically valuable building, faced challenges in achieving full accessibility due to a spiral staircase. Efforts were made to improve accessibility where possible [5].

3. Staff Training and Attitudes

Museum staff may not always be adequately prepared for implementing inclusive practices. Some may have reservations or lack understanding, as observed at the State Museum of the History of Religion. To address this, the museum organized events to familiarize staff with the needs of visually impaired visitors and dispel personal barriers and prejudices [5].

4. Adapting Museum Spaces

Even if a museum has physical adaptations like ramps, readiness inside the museum to accommodate visitors with disabilities is essential for full inclusivity. The Vladimir-Suzdal Museum-Reserve has taken steps to create adapted classes and collaborative efforts to make museum spaces accessible for all, particularly those with visual impairments.

These challenges underscore the multifaceted nature of developing inclusive programs in museums and the importance of resource allocation, staff training, adaptive measures, and a commitment to overcoming barriers, especially in historic buildings. Addressing these challenges is crucial to create a truly inclusive and accessible museum experience for all visitors.

The Evolution and Prospects of Inclusive Initiatives

Russian museums have recently shifted from focusing solely on physical accessibility to a broader commitment to social inclusion. Legislative requirements now compel museums to embrace inclusive practices, marking a significant transition from individual efforts to collective responsibility.

However, there's still a gap between legal mandates and some staff members' understanding of inclusion, often limited to architectural accommodations. Negative staff attitudes, such as avoidance and pseudo-positive behaviors, can hinder meaningful interactions with visitors with disabilities.

To advance inclusive practices, museums are moving towards full inclusion, offering integrated programs to visitors with diverse needs. This transition comes with challenges, including addressing architectural constraints and modifying facilities for equitable access. The goal remains to actively involve individuals with disabilities at all levels of museum activities.

Enriching cultural spaces with diverse visitors enhances the museum experience. Yulia Tugarinova, the Head of the Center of Museum Inclusion at the State Museum of the History of Religion, aptly notes: "Museums should embrace inclusivity not only because it is mandated by legislation but also because each visitor, with their unique cultural background, enriches the museum. The more diverse the audience within cultural spaces, the more intriguing and fulfilling the experience becomes for museum staff [6]."

References:

1. How museum programs for people with disabilities are structured [electronic resource]. – Access mode: https://pro-palliativ.ru/blog (date of access: 02.11.23)
2. Shchekochikhina M. Understanding and implementation of inclusion in Russian museums. The Garage Journal: research in art, museums and culture. – 2020. №01. – P. 98-123
3. The State Darwin Museum [electronic resource]. – Access mode: https://www.darwinmuseum.ru/pages/integraciya-i-adaptaciya-invalidov (date of access: 04.11.23)
4. Inclusion in museums [electronic resource]. – Access mode:  https://www.musrzn.ru/ (date of access: 01.11.23)
5. How museums are becoming inclusive [electronic resource]. – Access mode: https://dzen.ru/a/ZKVs7Lks0hjHkNEc?referrer_clid=1400& (date of access: 01.11.23)
6. The museum is initially open to talking about the diversity of the world [electronic resource]. – Access mode: https://www.museumandfamilies.com/post/irina-donina-forum (date of access: 03.11.23)