1 10 5 https://apconf-much.org/proceedings/files/original/f1bbfa91c33b182af4c141d94f514c34.pdf b8a309bc6facd2b653da75d3347e91f8 PDF Text Text PRIISMH project: A Case Study of Community Involvement and Museum Collaboration on Maritime Cultural Heritage around Rottnest Island (Perth, Western Australia) Nicolas Bigourdan Western Australian Museum Kevin Edwards Tempus Archaeology Abstract The Program for the Rottnest Island Interpretation of Shipwrecks and Maritime Heritage (PRIISMH) project is a community-based initiative conducted under the aegis of the Maritime Archaeology Association of Western Australia (MAAWA), in collaboration with the Western Australian Museum (WAM), the Rottnest Island Authority (RIA), Tempus Archaeology, and Shipwreck Data, with sponsorship provided by the Maritime Museums of Australia Project Support Scheme (MMAPSS 20162017) from the Australian National Maritime Museum. The main objective of the PRIISMH project was to enhance the presentation of Rottnest Island maritime cultural heritage through the use of new and innovative forms of interpretation involving terrestrial and underwater 3D Photogrammetry as a key element in for public engagement. Specifically, the project was initially developed to address issues identified in a recent condition report on the Rottnest Onshore Shipwreck Plaques (MAAWA, 2015), relating to existing interpretive signage on the island. As a consequence, MAAWA and RIA identified as a priority the need to update existing land-based shipwreck signage (currently over thirty years old) in order to address potential health and safety issues, to improve overall visitor experience, and to improve public accessibility to the Rottnest Island underwater shipwreck heritage. The project represents a new stage in an on-going long-term program of site documentation, management and interpretation within the broad Perth region, initiated by MAAWA in 2014 under the aegis of the ThreeDimensional (3D) Maritime Archaeology Project – Perth Region (3DMAPRR, Edwards et al. 2016). The structure and nature of the project also allowed it to be connected to another MAAWA earlier initiative (2013), namely the ‘Shipwrecks WA’ website and app platform to expand the audience outreach. Key words: Outreach, Photogrammetry, Heritage, Australia �Introduction As a geographical reference, Rottnest Island is located 18 kilometres off the coast of Western Australia, and it encompasses an area of approximately 19 square kilometres. The island is administered by the Rottnest Island Authority and mainly used currently as a popular holiday destination. Known as Wadjemup to the local Noongar people, the island has a rich and diverse history including the early Aboriginal presence, and the European exploration and settlement. The coast surrounding Rottnest Island is composed of outlying reefs which have been the resting place of at least 12 vessels since 1842. Access to, and interpretation of, the maritime cultural and archaeological heritage of Rottnest Island is currently facilitated through a variety of means, among which is the Rottnest Wrecks Heritage Trail (RWHT), which currently encompasses 12 wreck sites, namely Transit (1842), Gem (1876), Macedon (1883), Janet (1887), Lady Elizabeth (1878), Raven (1891), Shark (1939), Uribes (1942), Mira Flores (1886), City of York (1899) and Kyrio Maru I (1984). Information on each of these wrecks is provided through on-site underwater and terrestrial plaques, links to websites, and information pamphlets. Visitors are also encouraged to view the wrecks using a land trail, snorkel dives, semi-submersible tour, boat trail and dives (Rottnest Island Wrecks Heritage Trail pamphlet, 1981). The RWHT has been rightly praised for its innovation since being established in 1981 by the Western Australian Museum in conjunction with the Rottnest Island Authority (and with the participation of MAAWA) as the first underwater heritage trail in the Southern Hemisphere (McCarthy 1981; McCarthy et al. 1982). Nevertheless, a number of issues have been identified, both in terms of on-going maintenance of interpretive signage (now almost 30 years old), and the interpretive content itself. These issues are outlined in more detail, below. Project Background The Maritime Archaeological Association of Western Australia or MAAWA is a not-for-profit association created in 1974 in order to promote and encourage maritime archaeology in Western Australia. Since the 1990’s MAAWA and its members have been very regularly traveling to Rottnest �Island in order to undertake basic maintenance and the cleaning of the underwater plaques. This annual task has put the association in a favourable situation to be able to visually inspect these plaques, but also to visit and inspect the terrestrial plaques at each opportunity. This observer viewpoint led in 2015, some MAAWA members on their own initiative, to conduct a formal and documented visual inspection about the state of the terrestrial plaques. The final observations gathered in a report were subsequently sent to the RIA (MAAWA 2015). The condition report highlighted the poor condition of many interpretive plaques, prompting the RIA to initiate a long-term renovation programme of terrestrial signages as part of a wider Rottnest Island interpretation plan. Based on the MAAWA long standing past experience as well as these more recent observations, another group of MAAWA members (including the authors) listed a series of inherent as well as structural limitations concerning the various means of interpretation accessible to the public about the maritime cultural heritage of Rottnest Island. As a consequence, this group identified a number of points to address about these pamphlet and plaques (with the aim to update and improve these means), including:  The lack of accurate and updated visual representation and geographical localization for each of the sites;  The basic nature of the interpretation format in comparison to the more immersive experience provided by the possibility of diving/snorkelling on those shipwreck sites;  The level of inconsistencies between the different supportive media proposed to visitors for the various sites, in term of content but also regarding the general layout;  The degradation of the on-land signage due to the choice of material and the impacts of the natural elements. In terms of interpretive issues, these observations are consistent with an earlier review of maritime heritage trails in Australia conducted by Cassandra Philippou and Mark Staniforth (2003). Part of the reason behind these observations resides in the lack of consistent professional �archaeological monitoring of these sites during the past 20 to 30 years, and hence the lack of updated information to enhance the interpretive content and means accessible to the RIA to improve the visitor experience. Nourished by the points listed above, MAAWA embarked in an internal consultation stage, which resulted in the decision to shape the contours of a project in order to address these points, and hence instigated the basis of the PRIISMH (Program for the Rottnest Island Interpretation of Shipwrecks and Maritime Heritage) project. Once agreed on the definition of the objectives, and after consultation with project partners (RIA, MADWAM, Shipwreck Data and Tempus) this initiative became a reality when MAAWA was officially notified of the success of its grant application to the Maritime Museums of Australia Project Support Scheme (MMAPSS) 2016-17 from the Australian National Maritime Museum (becoming as a result one of the project support). The project received strong additional backing with the in-kind support from the MADWAM and RIA. Finally, the fieldwork for the project was conducted in several phases between mid 2016 and mid 2017. Project Objectives Beyond the meaning of the acronym PRIISMH, the word ‘Prism’ has been chosen for its definition of a light refracting device. When applied in the context of this project, this word symbolises the project’s aim. Indeed, the idea developed as the basis of this project is to enlarge accessibility to the various components of the local knowledge on Western Australian maritime cultural heritage. Likewise, a prism enlarges the light beam to perceive all its colourful components. The PRIISMH project is inscribed in a wider strategy based on a continuity of projects established by MAAWA since 2011 in order re-invigorate the association as a crucial link and a central facilitator between the general public and its local maritime cultural heritage. Indeed, in addition to providing support for the RIAs Rottnest interpretation plan, the project aims to build upon several long-terms MAAWA initiatives, including the ‘Shipwrecks WA’ app and website, as well as the 3DMAPPR initiative. �As a consequence, and in order to fulfil its mission, the overall objectives of the PRIISMH Project can be summarised as follow: 1 To enhance the Rottnest Island content of the ‘Shipwrecks WA’ website and app; 2 To record three terrestrial features with maritime heritage values (specifically the anchors of the Kyrio Maru, City of York and Mira Flores); 3 To support the renovation of the terrestrial shipwreck trail on Rottnest Island as part of the wider Rottnest Interpretation Plan; and 4 To conduct 3D photogrammetric recording of six shipwreck sites around Rottnest Island (specifically the Lady Elisabeth, Miwok II, Uribes, Macedon, Mira Flores, City of York. Beyond building upon MAAWA’s existing skillset and projects, important aims of the PRIISMH project were also to address current documentation, management and interpretation priorities associated with the maritime and underwater cultural heritage in the Perth region and more particularly within and around the Rottnest Island. It was furthermore planned that this project would enhance the visitor experience and awareness (both in reality and virtually), as well as to increase to a wider audience the accessibility to the Rottnest Island shipwreck sites that are typically inaccessible to non-divers and people with reduced mobility. Finally, the project also provided an avenue for skill development among the MAAWA membership, with training being provided in respect of maritime archaeology best practices. Enhance ‘Shipwrecks WA’ The first objective of the PRIISMH project was to conduct a gap analysis in respect to the information content of MAAWAs ‘Shipwrecks WA’ app and website, specifically as it pertained to Rottnest Island content. The gap analysis was performed in July 2016, by two volunteers from the University of Western Australia (UWA) during their internship at the Maritime Archaeology Department of the Western Australian Museum (MADWAM). Having identified deficiencies in the ‘Shipwrecks WA’ content, additional research was carried out to identify suitable documentary and/or image-based content from the MADWAM archives. This research was also conducted by the same two volunteers in August �2016, and was focusing particularly in looking at the digital photos, the slides and the paper archives specifically for the Rottnest Island shipwrecks site files. The results of these first two steps were then combined into a single working document with the purpose to use the content data collected to fill in the gaps identified within the MAAWA’s ‘Shipwrecks WA’ app and website. This task consisted in the migration (with MADWAM authorization and credit) of all content data from the MADWAM archives (text and/or visuals) deemed appropriate to each relevant entry to the MAAWA’s ‘Shipwrecks WA’ app and website. This data was migrated to the various platforms supported by ‘Shipwrecks WA’ by project partner Shipwrecks Data in September 2016. This aspect of the project has benefited significantly from the long experience and expertise accumulated by several MAAWA members involved in the development of the MAAWA’s ‘Shipwrecks WA’ app and website, but also from the collaboration with MADWAM as the Western Australian custodian of the archives on the Rottnest Island shipwreck sites. Record maritime heritage terrestrial features The second objective was focused on the accurate recording of terrestrial maritime heritage features around Rottnest Island. As part of this component of the project, focus was placed on the recording of three anchors from local three different shipwrecks, namely the City of York (British three-masted ship, wrecked in 1899 after striking a reef), the Mira Flores (British built but German owned Barque, wrecked in 1886 after running around in poor visibility) and the Kiryo Maru (Japanese tuna boat, wrecked in 1984, in rough seas after its propeller shaft broke). These three anchors and their associated commemorative plaques are the only anchors installed terrestrially on Rottnest Island to mark (almost as reminders but also as urban decorations) the proximity of these three shipwreck sites. (Fig.1) �Fig 1: The measuring of the City of York anchor. (Nicolas Bigourdan) To fulfil this objective, it was decided that both manual and close-range 3D photogrammetric techniques would be employed. Here Photogrammetry was undertaken not only as a recording tool but also to provide additional data assets that could be used for interpretive purposes. The first recording technique used was based on the standards of the manual recording (coupled with detailed descriptions) developed by the Nautical Archaeology Society (NAS) as part of their international ‘Big Anchor Project’ (BAP) online anchors typology database project. The second one was centred around the use of photogrammetry in order to create an accessible interactive 3D model for each anchor, while following the methodology developed as part of MAAWA’s 3DMAPPR initiative. This also allowed various MAAWA members to practice the simple but crucial skills needed to complete the recording of a 3D model (Fig. 2). Fig 2: 3D Model of the City of York anchor. (Kevin Edwards) This phase of the project has required three visits on Rottnest Island and involved up to eight different team members during various visits between �December 2016 and July 2017. The task consisted firstly in taking hundreds of digital images for each of the 3D models anchors reconstruction, and secondly to undertake the necessary measurements for each anchor as required by the BAP. In addition, some testing attempts were implemented on nearby maritime cultural heritage features such as the Rottnest Island pilot boat. However, a few problems emerged, involving access difficulties the poor lighting conditions. As a result in participating in the world-wide maritime cultural BAP initiative coordinated by the NAS, it allowed MAAWA to become the Western Australian representative of this NAS BAP initiative after uploading the three anchors forms with corresponding images, and secondly has also permitted MAAWA to create three interactive 3D models for each of these anchors that were made accessible to the wider public on the MAAWA Sketchfab account. (https://sketchfab.com/MAAWA). Upgrade the Rottnest Island terrestrial shipwrecks trail The third objective was focused on upgrading one element of the terrestrial component of the RWHT. This aspect of the project was carried out as part of RIAs longer-term Rottnest Island Interpretation plan. This task was centred on the creation of the signage’s design, its manufacturing as well as its installation. This new sign, concerned a site for which no previous sign existed mainly due to its isolated location in a less visited area of Rottnest Island. This site concerned the shipwreck of the Uribes (three-masted Schooner, wrecked in 1942, after drifted onto rocks) The design of the sign followed a recent and consistent new generation of sign template developed by RIA (similar to others on Rottnest Island. Made out of solid metal, the sign was composed of a square pole onto which was fixed an information plate. The content of the sign was composed of a brief text provided by one of the authors and a MAAWA member about the Uribes wreck, a few images of the ship sourced and the wreck from MADWAM’s and MAAWA’s archives; a map showing the location of the shipwreck site relative to the sig, and a QR code. The presence of this QR code make this sign unique in Rottnest Island, and at least in Australia for a maritime cultural heritage site. This QR code is a �link that provides direct and in situ access for any visitor with a mobile phone to the page of the MAAWA Sketchfab account showing an interactive 3D model of the Uribes (Fig. 3). Due to unexpected issues encountered at the data acquisition and processing phase of this site as well as at the sign conception stage, this objective was only completed at a much later stage (around December 2017). Fig. 3: Home page of the ‘Shipwrecks WA’ app and website. (MAAWA) The creation of this sign permitted a strong working collaboration between 3 partners (MAAWA for the 3D model and some visuals, MADWAM for the historic information and some visuals, and RIA for the design, manufacturing and installation) of the PRIISMH project. Once finalised and manufactured, the Uribes sign was installed, made operational and finally unveiled in February 2018. Record 3D models of six shipwrecks The fourth and final objective of the PRIISMH Project was to carry out detailed close-range 3D photogrammetric documentation of six wreck sites. This proved to be the most time consuming, challenging component of the PRIISMH project. The documentation of these sites was completed over the course of three visits between December 2016 and April 2017. Overall, fifteen MAAWA members and two MADWAM staff members have been involved. Weather and underwater conditions involving strong winds, surge as well as low underwater visibility have created numerous issues in term data acquisition and processing. These constraints forced the team to review the initial list of targeted sites, and replace two of the target sites with �fallback options; specifically, Denton Holmes (Irish built Barque, wrecked in 1890, after drifting inshore) and Shark (local Hopper Barge, wrecked in 1939, after going aground) were replaced by Miwok II (local flat top crane Barge, wreck in 1983, by explosives) and Lady Elizabeth (British threemasted Barque, wrecked in 1878, after running aground in a heavy gale) respectively. In addition to these two shipwrecks sites the list consisted in the Uribes, the Mira Flores, the City of York and the Macedon (British screw steamer rigged Barque, wrecked in 1883 after running aground on a reef). Several MAAWA divers recorded each site to ensure an optimal and maximum coverage of the area targeted. (Figs. 4 and 5). Gopro action cameras together with simple scale and orientation rig were used to implement the image recording methodology. In addition to the photogrammetric recording, basic length and width measurements together with surface GPS points were taken between pre-defined points across the site in order to ascertain the scale, orientation and geographic position of each site. Once captured, the images were processed using Agisoft Photoscan 3D Photogrammetry software through the contracted endeavour of the project partner Tempus Archaeology. After the processing phase, each 3D model was uploaded onto the MAAWA Sketchfab account (provided in kind as one of the project support), together with the 3D models of the terrestrial anchors. Fig. 4 (left): Shannon Reid recording the Macedon (Nicolas Bigourdan) Fig. 5 (right): Nick Sargeant and Shannon Reid undertaking measurement on the Lady Elisabeth (Nicolas Bigourdan) Because as a best practice in maritime archology, the collection and management of data should not be seen as an end in itself; it is important to remember as a principle that research becomes most valuable when it is effectively disseminated to a wider audience. This why as a tool to �respond to this principle, the MAAWA Sketchfab account facilitates a wider accessibility to and dissemination of information to the general public (Fig 6). These 3D models will also in due course be linked to the ‘Shipwrecks WA’ app and website, and as a consequence will become a touristic opportunity for the RIA to be used as promotional material of the underwater and maritime cultural heritage of Rottnest Fig. 6: Home page of the MAAWA Island (Figs. 7 and 8). Sketchfab account. (MAAWA) Fig. 7: 3D Model of the Lady Elisabeth (Kevin Edwards) Fig. 8: 3D Model of the Uribes (Kevin Edwards) The PRIISMH project was also designed as a capacity building exercise from the start, allowing MAAWA members to participate in several workshops (in October 2016) and training sessions on 3D �photogrammetric recording and processing in November 2016 as well as February and April 2017 (Fig. 9). The project also allowed further transmission of knowledge and skills, because it enabled MAAWA members to further engage in community education and outreach through a workshop to recreational divers from Perth Scuba dive club and shop in October 2017. This last action was pursued with the objective to further expand the accessibility for a wider audience to involvement opportunities in the preservation of the Perth region maritime and underwater cultural heritage. Fig. 9: MAAWA members teaching 3D photogrammetry (Perth Scuba) Conclusion The PRIISMH project represents the latest in a long-line of collaborative ventures between an institutional organisation and a community-base avocational group. In the context of ensuring a sustainable future for the local Perth Metropolitan maritime and underwater cultural heritage by actively involving and engaging the public into local, meaningful, useful and innovative projects, the PRIISMH initiative successfully responded in the most encompassing and proactive way to this complex but rewarding challenge. With the enhancement of the ‘Shipwrecks WA’ app and website, the recording of three anchors in 3D and in traditionally, the creation and installation of the Uribes interactive sign, and the processing of 3D model from 6 shipwreck sites around Rottnest Island, the PRIISMH has entirely fulfilled its 4 main objectives. MAAWA’s active role was central in the �PRIISMH project in initiating the condition report, but above all a number of its new assets can be accessed through its ‘WA Shipwrecks’ app and website or via Sketchfab where the majority of MAAWA 3D content has been made available to the public. The multiple facets of the PRIISMH project have highlighted the relationship between MAAWA and MADWAM (or in other words between a community group and a governmental institution), and will continue to be in the upcoming and even more inclusive SWAN RIVER project the beacon that will show the direction to follow for the connection between maritime heritage and local public. Acknowledgements Shannon Reid, Patrick Morrison, Michael McCarthy, Ian Warne, Colin Cockram, David Jackson, Rebecca Ryan, Rebecca Familton, John Cecchi, Nick Sargeant, Jacquie McGhie, Kosta Stamoulis. References Edwards, K., Bigourdan, N., McCann, I., Cooper, D. 2016 3DMAPPR: A Community-based underwater archaeological photogrammetry program in Perth, Western Australia. Journal of the Australasian Institute for Maritime Archaeology, 40:1-16. McCarthy, M. 1981 ‘The Rottnest Experiment’. Skindiving in Australia and New Zealand 11(4). McCarthy, M., Barblett, P. and Humphries, V. 1982 ‘Follow the Rottnest Wreck Trail’. Information pamphlet published for the Rottnest Island Board. MAAWA 2015 ‘Report on the Rottnest Onshore Shipwreck Plaques’. Unpublished MAAWA Report. Philippou, C. and Staniforth, M. 2003 Maritime Heritage Trails in Australia: an overview and critique of the interpretive programs. In Spirek, J.D. and Scott-Ireton, D.A. (eds), Submerged Cultural Resource Management: Preserving and Interpreting our Maritime Heritage. Kluwer Academic/Plenum Publishers: New York. pp. 135147. �Biography Nicolas Bigourdan graduated from the ParisSorbonne University in 2003 and from James Cook University in 2006 in nautical and maritime archaeology respectively. His research interests include 18th and 19th centuries French scientific sailing expeditions in the Southern Hemisphere, 3D visualisation of underwater maritime cultural heritage, Western Australian maritime Aboriginal rock art, Middle Eastern (Mesopotamia and Persian Gulf) early watercraft depictions, Indian Ocean French illegal slave trade, Citizen scientist’s involvement in maritime archaeology, and Ethnoarchaeological study of canoes traditions from Irian Jaya (Indonesia). He has an extensive fieldwork experience in multiple countries, and as worked over the last 10 years successively for Wessex Archaeology (UK) and the Western Australian Museum (Australia). Kevin Edwards graduated from the University of Western Australia in 1991 and is currently a post graduate student in the Maritime Archaeology program at Flinders University. His research interests include the archaeological potential of near and offshore disposals of military material in wartime and postbellum contexts, the application of social theory to shipwreck survivor camp studies, and the documentation of archaeological collections using a variety of 3D digitization technologies. He hopes to expand his study interests to include the social and material agencies involved in the creation of 19th century museum collections relating to maritime archaeology. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 4: Ensuring a Sustainable Future for UCH: Museums and Public Engagement Description An account of the resource Cultural heritage derives its value from societal contexts, and so public engagement plays an important role in growing support for, and interest in heritage. Engagement may take many forms, from awareness-raising to formal learning programmes to creating platforms for public participation in the process of heritage conservation, governance, and/or interpretation. Papers bridging theoretical and practical approaches to engagement with UCH are particularly welcome, as are papers which offer collaborative and/or participatory models, stakeholder engagement, capacity-building and development, approaches to the particular challenges of engagement with underwater cultural heritage vs other kinds of cultural heritage. Of course heritage exists in a variety of cultural frameworks, and ensuring sustainability requires approaches to engagement to be both responsive and sensitive to the overlapping cultural contexts in which UCH may exist. As a culturally diverse region, the treatment of heritage must be also tailored to cultural definitions, heritage management frameworks and conventions which may, in some cases, differ across jurisdictions/countries and their interests. The panel will also attempt to explore the ways in which UCH is managed within diverse cultural frameworks, and invites papers to examine topics including contested UCH, ownership, security, etc. The panel invites papers exploring significance within local, national and transnational historiographies and the implications for funding and management of UCH. UCH includes material that has been deposited on the seabed as a result of warfare and catastrophe, so papers which explore and/or engage with topics including loss, warfare, conflicted significance and contested heritage are particularly welcome. Other relevant sub-themes include: * Public engagement in the management of UCH * Interpreting maritime cultural heritage for non-specialist audiences * Significance, interpretative potential, stakeholders and support/sustainability * Museums, Education, Outreach and Conservation * Memory, memorials and memorialisation Creator An entity primarily responsible for making the resource Raphael Igombo National Museums of Kenya, Kenya Michelle Damian Monmouth College (IL), USA Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource PRIISMH project: A Case Study of Community Involvement and Museum Collaboration on Maritime Cultural Heritage around Rottnest Island (Perth, Western Australia) Description An account of the resource The Program for the Rottnest Island Interpretation of Shipwrecks and Maritime Heritage (PRIISMH) project is a community-based initiative conducted under the aegis of the Maritime Archaeology Association of Western Australia (MAAWA), in collaboration with the Western Australian Museum (WAM), the Rottnest Island Authority (RIA), Tempus Archaeology, and Shipwreck Data, with sponsorship provided by the Maritime Museums of Australia Project Support Scheme (MMAPSS 2016-2017) from the Australian National Maritime Museum. The main objective of the PRIISMH project was to enhance the presentation of Rottnest Island maritime cultural heritage through the use of new and innovative forms of interpretation involving terrestrial and underwater 3D Photogrammetry as a key element in for public engagement. Specifically, the project was initially developed to address issues identified in a recent condition report on the Rottnest Onshore Shipwreck Plaques (MAAWA, 2015), relating to existing interpretive signage on the island. As a consequence, MAAWA and RIA identified as a priority the need to update existing land-based shipwreck signage (currently over thirty years old) in order to address potential health and safety issues, to improve overall visitor experience, and to improve public accessibility to the Rottnest Island underwater shipwreck heritage. The project represents a new stage in an on-going long-term program of site documentation, management and interpretation within the broad Perth region, initiated by MAAWA in 2014 under the aegis of the Three-Dimensional (3D) Maritime Archaeology Project – Perth Region (3DMAPRR, Edwards et al. 2016). The structure and nature of the project also allowed it to be connected to another MAAWA earlier initiative (2013), namely the ‘Shipwrecks WA’ website and app platform to expand the audience outreach. Creator An entity primarily responsible for making the resource Nicolas Bigourdan Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Nicolas Bigourdan Date Created Date of creation of the resource. November 2017 Asia-Pac Session 4 2017 https://apconf-much.org/proceedings/files/original/ae207b7d0f6b67f3ed0c0496a7950d7e.mp4 7be95d2df8c91591b1c3ce48c38f00a7 https://apconf-much.org/proceedings/files/original/eee82ba797abec3ad67b718943f701db.jpg 407cc2369cbe3dc31caccebb4fe8251b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 4: Ensuring a Sustainable Future for UCH: Museums and Public Engagement Description An account of the resource Cultural heritage derives its value from societal contexts, and so public engagement plays an important role in growing support for, and interest in heritage. Engagement may take many forms, from awareness-raising to formal learning programmes to creating platforms for public participation in the process of heritage conservation, governance, and/or interpretation. Papers bridging theoretical and practical approaches to engagement with UCH are particularly welcome, as are papers which offer collaborative and/or participatory models, stakeholder engagement, capacity-building and development, approaches to the particular challenges of engagement with underwater cultural heritage vs other kinds of cultural heritage. Of course heritage exists in a variety of cultural frameworks, and ensuring sustainability requires approaches to engagement to be both responsive and sensitive to the overlapping cultural contexts in which UCH may exist. As a culturally diverse region, the treatment of heritage must be also tailored to cultural definitions, heritage management frameworks and conventions which may, in some cases, differ across jurisdictions/countries and their interests. The panel will also attempt to explore the ways in which UCH is managed within diverse cultural frameworks, and invites papers to examine topics including contested UCH, ownership, security, etc. The panel invites papers exploring significance within local, national and transnational historiographies and the implications for funding and management of UCH. UCH includes material that has been deposited on the seabed as a result of warfare and catastrophe, so papers which explore and/or engage with topics including loss, warfare, conflicted significance and contested heritage are particularly welcome. Other relevant sub-themes include: * Public engagement in the management of UCH * Interpreting maritime cultural heritage for non-specialist audiences * Significance, interpretative potential, stakeholders and support/sustainability * Museums, Education, Outreach and Conservation * Memory, memorials and memorialisation Creator An entity primarily responsible for making the resource Raphael Igombo National Museums of Kenya, Kenya Michelle Damian Monmouth College (IL), USA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Session 4 Introduction Video Description An account of the resource Dr. Michelle Damian introduces Session 4. Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/28/2017 Rights Information about rights held in and over the resource The Museum of Underwater Archaeology Asia-Pac Session 4 2017 https://apconf-much.org/proceedings/files/original/0360e971ac74b77dcc466348b9e4824f.pdf c15fdc94be37a269470b756649233bc8 PDF Text Text Forgotten Past? Alternative Forms for Museological Approach to interpret Egypt's Maritime Heritage Nevine Nizar Zakaria Abstract In the past decades, Ministry of Antiquities (MA) has invested many efforts in excavating underwater archeological sites, and mapping them to reveal the navigation routes during ancient times. Remarkable discoveries have been made by the European Institute of Underwater Archeology (IEASM) as well as others archeological projects on Egypt's coasts. Despite this wealth of Egypt's maritime history and intellectual resources, it lacks a Maritime Museum till present or even an exhibition gallery dedicated to elucidate maritime' legacies to the local community. It also lacks a special legal placement for Maritime cultural heritage with scientific management principles oriented towards interconnects the society, local governing authorities and museums professionals with cultural purposes to promote and preserve Maritime History of Egypt. Maximizing awareness is the key element to preserve and publish the Maritime Heritage. So, How to make it accessible to the public? How to foster this richness past in the minds of young generations? This paper presents approachable alternative forms to ensure effective engagement with the public and develop new strategies for sustainable future of Egypt's UCH. Key words: Egypt, UCH, public engagement Introduction Maritime history of Egypt dates back to thousands of years where Egypt was at the center of the global commerce and at the axis of trade routes linking Asia, Europe, and Africa. It's blessed with a rich maritime history and diversity of underwater archeology holds the memories of our nation's past and the legacy of Egypt's history that still preserved beneath the sea. Hence, this paper is rooted in several interconnected purposes and concerns contribute to developing understanding of maritime Egypt which is crucial for preserving and promoting the tangible and intangible of �maritime cultural of Egypt as living heritage. The central aim of this paper is to propose new alternative approaches to go beyond to raise interest among the public with maritime cultural, and foster the involvement of local community in an awareness-raising process lead to major endearment towards shaping the national identity of Egypt maritime. The framework is consisting of three main sections 1) elucidate the historical value and cultural significance of Egypt maritime; 2) define how maritime cultural interpreted in the Egyptian antiquities museums; 3) setting up new effective solutions for imparting knowledge and information of Egypt's maritime and encourage interaction and engagement among the public. 1) The Cultural Setting The cultural setting of maritime Egypt is commitment to two main factors; a) maritime material cultural that's derived from the human interaction with the seas, Nile river, lakes, etc (which is known today as maritime archeology); b) underwater archeology that is relate to the archeological sites submerged beneath the water in old times (Bass, 2013), taken into consideration that most of Egypt' underwater archeological sites of the Mediterranean Sea were originally maritime sites ( served as trading ports) before disappearance in the waters due to seismic factors and geological subsidence (Stanley, et al., 2007). A) Cultural significance of Maritime Egypt 'When the Nile covers the land, only the towns are visible above the water, and they look like nothing so much as the Aegean islands. The rest of Egypt becomes open sea, with only the towns rising up out of it'. (Herodotus II.97). On the geography of the country, the Greek historian Herodotus (c. 484425 BC) called Egypt 'the gift of the Nile' (Herodotus, 1998). Egypt's �landscape is determined by the presence of the Nile River, the largest river in the world, stretching from Africa to the Mediterranean Sea, and unquestionably most important element for the geography of both ancient and modern Egypt (Rice, 2003, Shaw and Nicholson, 1995). In addition to the riverine environment of Egypt, it has a special geographical location overlooking the Mediterranean Sea by the north and Red Sea by the east. With this unique nature, Egypt is considered in its role as seafaring nation influencing and interaction with others through well-established shipbuilding technology that permitted the Egyptians to sail round-trip journeys as early as ancient times. (Ward, 2012). The wealth of maritime Egypt materials (textual, iconographic, and archeological) comes from the ancient Egyptian cultural, which is called 'Pharaonic Egypt' [ Fig. 1] with many historical and archeological evidences provide significance data on the ancient Egyptian maritime activities and tasks; diversity of ships and boats representations, seafaring, sea power and naval forces operations, nautical expeditions, shipbuilding technology, models of boats left in tombs, full-size boats buried in the ground, mariners with their nautical titles, nautical themes within religious practices and much more meaningful resources reveals to what extent and variety the maritime influences on all levels of the ancient Egyptian civilization and penetrated in every aspect of its culture. �Fig. 1: Chronological Periods of Egypt. An asterisk (*) used to refers the periods mentioned in text. This has been formulated with references to: Shaw. G. J., The Pharaoh. Life on court and on Campain, London, 2012. Shaw, I., the Oxford History of Ancient Egypt, Oxford, 2000. The petri Museum's Digital Egypt for Universities: http://www.ucl.ac.uk/museums-static/digitalegypt/chronology/index.html accessed on 10th of July 2017 �It is worth mentioning that Egypt maritime had direct impact on the formation of the Egyptian state in Pharaonic times, as the earliest kings used maritime forces not only to facilitate communication and trade within Egypt and its neighbors, but also to conquer their enemies, threaten their rivals, and to consolidate their power (Gilbert, 2008). Egypt's shipbuilding technology was well-developed by late Naqadah II period (Vinson, 2009) indicate considerable navigation linked Egypt with Asia to the east and Sudan to the south. Great innovation in nautical technology was promoted by Predynastic period, in which Egyptian kings sent mining expeditions involving maritime forces along the Nile and cross the Red Sea to the south of Sinai (Gilbert, 2008). [Fig. 2] Fig. 2: Major trade routes used by Egyptian seafarers for mining and trade missions cross the Nile and the Red Sea's coastline during the Early Dynastic and Old Kingdom periods. (Gilbert, 2008) The seafaring activities is documented since old Kingdom and continued throughout ancient Egyptian History referring to maritime Egypt contact with the Late Bronze Age civilizations of the Eastern Mediterranean and �Aegean (Vinson, 2009). The Egyptians seafarers used both the Red and the Mediterranean seas for military expeditions to protect Sea Power ashore, as well as tribute and trade expeditions to obtain valuable products (Gilbert, 2008). [Fig. 2] Broad seagoing ships are seen in Queen Hatshepsut's expedition to Punt (probably the Horn of Africa) [Fig 3] provides clear evidences of seagoing ships arriving at Punt through the Red Sea. (Ward, 2012, Vinson, 1994, Landström, 1970). Fig. 3: Queen Hatshepsut's expedition to Punt commemorated in reliefs on her Funerary temple at Deir el Bahri, it is portray eight seagoing ships arriving at Punt loading with products. (Vinson, 1994) Close relationship between both Egyptian and Greek Civilizations initiated in the Saite period through maritime trade cross the Mediterranean Sea admitted Greek and Phoenician traders into Egypt (Goddio. and MassonBerghoff, 2016) up to the trading point of Naukratis at the east Delta. (Vinson, 2009) [Fig. 4] .After Alexander death 332 BC, the New city of Alexandria turned into one of the most important commercial port and �cultural centers of the Hellenistic Mediterranean (Vinson, 2009, Vinson, 1994). Fig. 4: Map of Egypt and the Eastern Mediterranean illustrate the Greek cities and Island involved in the foundation of Naukratis according to Herodotus. (Goddio and Masson-Berghoff. 2016) The eastern trade was facilitated by the construction of a canal linking the Nile to the Red sea. subsequently, an open-water trade route between Egypt and India has been established by the Roman period "the Red SeaIndian Ocean route" turning Egypt into nexus of a far-flung international maritime system that tied the Mediterranean to distant ports in East Africa, Arabia, and India (Vinson, 2009, Meyer, 1992). (A) Underwater Heritage Beyond the evidences offered by the representations and epigraphy of ancient Egypt maritime, enormous numbers of archeological remains �submerged beneath the waters of the Mediterranean Sea and Red Sea, contribute information on new archeological sites with all its harbours, temples and towns that still preserved under the sea. In addition to large number of shipwrecks that's still lie on the seabed of both Mediterranean Sea and Red Seas. Hence, Egypt's Underwater cultural Heritage (UCH) have been stepped in the beginning of the twentieth century with individual amateur efforts reflect the growing interest in Egypt's underwater archeology especially in Alexandria (Khalil and Moustafa 2002). In late 1996, the foundation of the Department for Underwater Antiquities (DUA) supervised by Ministry of Antiquities (MoA) to survey and carry out topographical study for the submerged landscape in collaboration with international institutions (Abdel-Maguid, 2012). This has been resulted in the discovery of many new underwater archeological sites in the Mediterranean Sea, the Red Sea, the Nile, and Lake Qarun, spans the history of different periods including the Pharaonic, Hellenistic, Roman, Byzantine and Islamic periods (Abdel-Maguid, 2012, Khalil and Moustafa 2002 ). Major efforts are promoted by the Institut European d’Archeologie SousMarine (IEASM) in co-operation with MoA to allocate, identify and excavate the major ancient sites that vanished into the Mediterranean, specifically in the Eastern Harbours of Alexandria. It led to the rediscovery of two ancient sunken cities; Thonis-Heracleion and Canopus. (Goddio and Masson-Berghoff, 2016). Excavations uncovered monumental building, heads of Pharaohs, sphinxes, basins, columns, stelae, sizable assemblage of pottery and coins, and other significant colossal artifacts (Goddio and Masson-Berghoff, 2016, Goddio, 2007). �Archeological remains submerged in Red Sea indicate the wealth of UCH of the Red Sea with considerable efforts invested by the Institute of Nautical Archaeology (INA-Egypt) and In Situ Institute working alongside with DUA to revealing and surveying Red Sea underwater heritage (Abdel-Maguid, 2012). 2) Define and assess the presentation of maritime materials in the Egyptian Antiquities Museums This approach is largely depends on How maritime Egypt exists within the narrative structure and communication styles of the Egyptian Antiquities museums? And how the social interaction formulation exists both within and beyond the museums walls? In fact, the answers to these questions have direct impact on the content, context and consequences of interpreting maritime heritage of Egypt. Accordingly, we need first to examine the current museums setup that provides any context relate to maritime aspects of Egypt and obtain baseline information upon which we could define the missing aspects, subsequently generate creative solutions to messages communication and interpretation for the maritime heritage of Egypt. Egypt has different types of museums, ranging in size and activity from main national museums to small provincial museums. They vary too in their purpose, their collections, the ways of display, and the public they seek to serve. According to the programme set by the Ministry of Cultural and the Supreme Council of Antiquities (later MoA) in 2005, the Egyptian museums subdivided into five main categories; (1) Regional civilization museums (2) Site museums (3) Specialized museums (4) Graeco-roman, Coptic and Islamic museums (5) Main national museums (Hawass, 2005). �However, this classification did not support the national identity of the Egyptian heritage. Doyon classify the full range of Egyptian museums by subject- type using the five basic distinction of archeology (from prehistoric to Islamic), history, art, ethnography, and natural history (Doyon, 2008). Compared with the classification and types of museums that are seen nowadays around the world, there is a specific type for maritime history and nautical activities specialized in displaying ships, navies, military use of the sea and all that is related to any human activity at the sea. (Bass, 2013, Neill and Krohn, 1991). In this view, and despite the wealth of Egypt's maritime history and the massively intellectual resources, it lacks that type of maritime museum or even a comprehensive gallery disseminates the cultural identity of Egypt maritime and its legacies to the local community with well-constructed interpretive model. Although that a wide range of archeological objects of ships, boats, and other related materials can be seen broadly in many galleries at the Egyptian museums, but the composition of the archeological displays does not elucidate the maritime heritage of Egypt at any level or reflect the historical and geographical significance of the Egyptian civilization that rely heavily on the development of the maritime and the utilization of the sea power (see Gilbert, 2008). In researching the presentation of permanent displays for boats and ships among the Egyptian museums, two main museums become evident. One is Solar Boat Museum (Cheops) at Giza that displaying full-size vessel from ancient Egypt used for religious purposes. The other is that the local regional museum of Suez; the Suez National Museum which tells the �history of Suez Canal at ancient times, and displaying a round 1500 archeological artifacts span the full order of Egyptian history from prehistoric period till modern times with themes highlight on the Suez as an important port and navigational link at ancient Egypt, in addition to remarkable collection for boats accompanied with with maps and illustrations. Both museums are classified as Archeological museums (Doyon), and the thematic archeological exhibits are avoiding constructing narrative that would inform the public about the existence of distinctive maritime cultural in Egypt, moreover they have yet to produce any educational programmes communicate the maritime pasts to the public. Hence, it should be mentioning that, there is a series of exquisite touring exhibitions for Egypt's sunken treasures occurred throughout the last decade till present on loans to different destinations; France, United Kingdom, Spain, Italy, Switzerland, United states of America, Japan, presenting objects of underwater excavations of IESAM in collaboration with MoA (Goddio and Masson-Berghoff. 2016, Goddio and Clauss 2004). A variety of remarkable collections ranging between 250-500 underwater objects on displays in diverse venues all over the world attracting millions of visitors with focused scope on the lost world of the pharaohs beneath the sea and the relevant aspects of maritime Egypt. A good example is the Sunken Cities Exhibition at the British Museum in 2016. The Exhibition's narrative aimed to explain the encounter between ancient Egypt and Greek with understanding of the deep and meaningful interconnection between both Greek and Egyptian Communities through many themes highlighting on the cultural integration between Egypt and Greek world through the Sea, religion aspects interaction, trade and exchange cross the open water of Mediterranean Sea, Thonis- Heraclean �and Naukratis as international ports, long history entanglement between Egypt and Rome, Navigation of Osiris boats (Goddio and MassonBerghoff. 2016). The narrative is conveyed through a variety of explanation materials help communicate the information to the audience. In comparison with the local underwater venues of Egypt, there are number of permanent exhibitions in Alexandria' museums dedicated to display the recent excavations of underwater archeology, but without constructive narrative for neither Egypt maritime, nor intended messages rendering cultural/historical interpretation for the displayed objects. The concept is focusing only on presenting the recovered objects from the Eastern Harbour of Alexandria and Aboukir Bay and put them on display with textual description (artifacts labels) in different venues; the renovated Alexandria National Museum gallery presenting underwater artifacts, thematic section at the Bibliotheca Alexandrina Antiquities Museum demonstrate the submerged Antiquities, and part of the open –air landscape of the Roman Theater at Kom Al-Dikka display a number of underwater sculptures. Noticeably, the absence of maritime identity in the exhibitions context is related to the narrative content which avoiding the maritime scope and subsequently affect all levels of presented information and related public programmes. The main intention is to display the archeological materials of maritime form archeological point of view without considering any conjunction with the distinctive cultural of maritime Egypt. In general, the original formulation and fundamental structure of the display at all the Egyptian Antiquities museums derives from Egyptological and archeological prospective (Doyon, 2008). The methods of presentation the archeological collections rely on the repetition of certain �themes within the multiple periods of the ancient Egyptian history following the chorological order. Within a larger framework of presentation maritime materials, there is an ambitious plan to establish Underwater Museum in Alexandria's bay supported by the Egyptian authorities and UNESCO to preserve and exhibit the underwater heritage of Alexandria in sit (.Abd-el-Maguid, 2012). 3) Proposing innovative ways for interpreting maritime Egypt Maximizing awareness is the key element to preserve and publish the maritime heritage of Egypt and foster this richness past in the minds of young generations. Thus, this section aims to present approachable alternative forms to ensure effective engagement with the public and develop new strategies for sustainable future for Egypt's maritime and UCH through the following:  Formulating an illustrative and modern shape web-site for maritime It is now an uncontested fact that technology is pervasive throughout our lives; technology has become an integral part of the way that we communicate with each another and has increasingly taken the place of face-to-face communication (Kotler et al., 2008). We need to use these modern technologies advancement to communicate that level of engagement with the public and lead them gradually to embrace their maritime cultural heritage virtually. This approach will provide comprehensive information and broader and more cohesive picture on the overall maritime heritage of Egypt; subsequently will open up new opportunities for public to learn about varied aspects of maritime and UCH in an engaging way. In fact, it will fill �the gap for the absence of maritime museum in Egypt and will serve as a powerful engine for regeneration both tangible and intangible maritime heritage of Egypt. Keeping up with what the global museums offers nowadays for their users, and by adopting the current use of technologies and digital media particularly the revolutionary use of both AR and VR application and 3D modeling technology (Gutiérrez et al. 2016), this trend can take many forms; from building a virtual maritime museum with interactive stories arranged in chorological order (INDICAT, 2012), to diversity of meaningful visual narratives reveal the maritime legacies and the submerged heritage underwater arranged thematically, or virtual field trips to maritime cultural landscape and long coastlines of Egypt, or diving virtually into the depths of seas and encounter the treasures of the sunken cities, or using the visualization technology to reconstruct the UCH and maritime sites and get glimpse of lifestyles of the people in the past. In this concern, it should referring to the remarkable efforts of IEASM in create reconstruction for the discovered underwater cities ThonisHeracleion and Canopus, also the international harbour town of Naukratis with its Egyptian and Greek temples (Goddio and Masson-Berghoff, 2016) [Fig. 5]. �Fig. 5: Reconstruction of the international harbour town of Naukratis features the Egyptian and Greek temples. (Goddio and MassonBerghoff, 2016) These virtual experiences will promote the UCH and make it accessible to the public. On another hand, implementing interactive visualization technology and 3D modeling/mapping on underwater archeology will safeguard and preserve this endangered heritage under the seas. This approach can be achieved through active collaboration between MoA and Center for Documentation of Cultural Heritage at Egypt (CULTNAT), with support from IEASM and together with other local and international cultural authorities that concerned with maritime cultural and underwater archeology.  Online Exhibitions for Maritime Series Indeed, online viewing of maritime cultural heritage whether movable (museums) or immovable (underwater archeological sites) will attract visitors and encourage them to make actual visits, but what if the visitors themselves share their maritime memories online? �Online Exhibition is online display of collections with the aim of engaging an audience that is not necessarily expert (Museum Association, 2011). It's a new approach allow to share the museum collection through build online exhibits with objects, and invite visitors to share their memories (INDICAT, 2012, Roy Rosenzweig Center for History and New Media, 2011). This online experience is relatively affordable in comparison to other techniques of display and considered to be interactive digital experience allows to use social media and search to build audiences, thus, it is two – way conversation process with the audience provide immersive engagement to the maritime cultural (Museum Association , 2011). In fact, these online maritime series can serve as social media platforms help in building maritime memories and promote two- ways communication with the local community through offering them the opportunity to share their maritime stories and other related memories. Hence, it can used broadly to preserve the intangible heritage and oral history of Egyptian maritime identity and linked the public with their maritime history as living heritage.  Visitor Center as interpretive tool for maritime cultural heritage of Egypt Visitor center is a powerful tool can be used effectively in the raising awareness process to stimulate the public towards understating their history of both maritime and the underwater archeology. visitor center has been identified as physical buildings located in a city or in historical and natural sites to provide visitors with services and information, it vary from a small building with modest services to great one with entertainment center and even a museum. (Mohamed, 2015, Pearce, 2004). �One of the main aspects of the visitor center is adopting interpretation content and technological components to communicate the provided information and related context to users (visitors, staff, and local community) (Pearce, 2004). Due to the International Conference organized by the Getty Conservation Institute and Paul Getty Museum in May1995, the main role of visitor center is to prepare the visitor to enjoy and understand the history behind the archeological site using different interpretive tools accompanied with walking tours whether guided or independent. (Mohamed, 2015). Bibliotheca Alexandrina(semi-governmental institution), one of the main cultural institute in Egypt has publish a book stressing the importance of visitor center in Egyptian community as a crucial tool for the preservation of archeological sites as well as participate in the community development (Hassan and Youssef 2008). In this light, considering a visitor center at the coasts of both Mediterranean and Red seas will emphasis particular interest for the local community and enabling them to understand the precious maritime heritage of Egypt. In the same context, it should be referring to the ambitious project that carried out in 2008 with the purpose of creating a network of visitors centers in the southern region of the Red Sea, entitled; ' Visitor Center Information Distribution Network –VCIDN' from Marsa Allam to Shalateen within a distance of 200 km. among the overall objective of this project, it aim to provide a deeper understanding of the cultural and marine history environment of the Red Sea region. Despite the construction of these networks of visitors' centers, it didn't open to the public till present. (USAID 2008). �Another project in the Red Sea region funded by the United States Agency for International Development (USAID) regarding the restoration and transformation of historical ottoman fort dates back to 1571 at the Quseir ( located on the Red Sea ashore) into heritage visitor center with the involvement of the local communities. It served as learning center teaching the history of the Red Sea' legacy to the local by using creative interpretive methods ( e.g. they were able to revive the oldest fishing boat used in the port called the Gatira and create an identical replica based on the local’s memories). Unfortunately, after shifting this center under the jurisdiction of MoA, it loses many of its authenticity as heritage building due to lack of training for the staff. (Mohamed, 2015) However, the proposed venues for creating visitor center for interpreting the context of Egypt maritime and UCH can be located in different places; in the Red sea coastline; underwater archeological sites of Mediterranean Sea coastline particularly at Alexandria as a unique attraction point for both tourists and locals; the Bibliotheca Alexandrina or Qaitbay fort -the top-visited cultural site in Alexandria- since they both overlooking the Mediterranean Sea; or we might consider using one of the historical buildings in the Alexandria and transformed into a visitor center. This visitor center of maritime cultural and UCH could enrich both locals and tourists with a wide variety of maritime topics and encourage them to visits museums, thus will lead them to deeper engagement with the displays of sunken treasures collections and other related exhibitions in the Alexandria museums.  Cultural Network Egypt lacks a special legal placement for Maritime cultural heritage with scientific management principles oriented towards interconnects the �society, local governing authorities and museums professionals with cultural purposes to promote and preserve maritime history of Egypt. In this regard, we need to fostering cooperation on international scale between MoA, Alexandria Centre for Maritime Archaeology, IEASM, together with UNESCO and ICOM committee for Maritime ICMM, and all relevant stakeholders to build up a "cultural network" tasked with developing sustainable strategies for preserving and communicating maritime cultural heritage of Egypt. The focused actions should be 1) Create thorough databank compiles all the UCH sites and maritime resources of Egypt both tangible and intangible; 2) create cultural map for all UCH sites and maritime sites of Egypt ; 3) develop methodology with standards and guidelines for promoting social and cultural programmes to the local community education; 4) set up implementation strategies for disseminating explanation materials and information, as well as collaborative projects with community participation.  Heritage Tours and Water Adventures By recognizing the vast submerged landscape that facing the Mediterranean and Red Seas, daily nature cruises and heritage tours with interpretive storytelling and explanatory materials can help the audiences to unlock the historic past beneath the water and had immersive engagement with maritime legacy. This might be led by museums staff, DUA staff, trained docents. In conclusion Egypt's maritime cultural is rich and diverse; its tangible and intangible aspects exerted a dominating influences on the formation and consolidation of the Egyptian civilization and its interconnection with the neighbors. Maritime Egypt still not defined, it is in need to identified, �explained and interpreted as powerful tool for the Egyptian history linked the public with their maritime national identity, and affect on their perception to the riverine and maritime nature of modern Egypt through developing and delivering meaningful and engagement offerings. Bibliography: .Abd-el-Maguid. M. M., 2012. Underwater Archaeology in Egypt and the Protection of its Underwater Cultural Heritage. Journal of Maritime Archeology, Vol. 7:193–207. Bass. G. F., 2013. The Development of Maritime Archeology. The Oxford Handbook of Maritime Archeology. Oxford University Press. Oxford. Doyon, W., 2008, The Poetics of Egyptian Museum Practice. British Museum Studies in Ancient Egypt and Sudan, Vol. 10:1-37. Gilbert, G.P., 2008. Ancient Egyptian Sea Power and the origin of Maritime Forces. National Library of Australian Cataloguing. Australia. Goddio, F. and Masson-Berghoff, A., 2016. Sunken Cities. Egypt's lost worlds. Thames & Hudson. UK. Goddio, F. 2007. The Topography and Excavation of Heracleion-Thonis and Eaast Canopus (1996-2006), Underwater Archeology in the Canopic Region in Egypt, Oxford Centre for Maritime Archeology 1, Oxford. Goddio, F and Clauss, M., 2004. Egypt’s sunken treasures. American University in Cairo Press, Cairo. Gutiérrez, J. M. et al. 2016. Virtual Technologies Trends in Education. EURASIA Journal of Mathematics Science and Technology Education. Spain. Hassan, F. and Youssef, M., 2008, Introduction, Cultural Heritage and Development in the Arab World. Cairo; 1-11. �Hawass, Z. 2005, A New Era for Museums in Egypt. Museum International 225/226. United Nations Educational, Scientific and Cultural Organization;7-23. Herodotus, 1998. The Histories. translated by Robin Waterfield. Oxford University Press. Oxford. INDICAT , 2012. International Network for Digital heritage E- Infrastructure. Handbook on Virtual Exhibitions and Virtual Performances. Khalil E. and Moustafa. M., 2002. Underwater Archaeology in Egypt. In: Ruppe C, Barstad J (eds) International handbook of underwater archaeology. Plenum Series in Underwater Archaeology, New York; 519– 539. Kotler et al., 2008. Museum Marketing and Strategy. Jossy-Bass. San Francisco. Landström, B., 1970. Ships of the pharaohs: 4000 years of Egyptian shipbuilding. Doubleday & Company. New York. Meyer, C., 1992. Glass from Quseir al-Qadim and the Indian Ocean trade. Studies in Ancient Oriental Civilization , Vol. 53. Oriental Institute of the University of Chicago .Chicago. Mohamed. M. 2015. The Role of Visitors Center to Enrich the Visitor Experience and to support the Community Development, Master of Arts Thesis-unpublished. Brandenburg Technology University Cottbus, German. Helwan University, Cairo. Museum Association, 2011. Practical tips for Creating Online Exhibitions. Neill. P and Krohn B., 1991. Great Maritime Museums of the world. Balsam Press in association with H.N. Abrams. New York. �Pearce, Ph. L., 2004. The functions and planning of visitor centres in regional tourism. Journal of Tourism Studies, Vol. 15 (1); 8-17. Rice, M., 2003. Egypt's Making. The origins of Ancient Egypt 5000-2000 BC. London. Roy Rosenzweig Center for History and New Media, 2011. User Guide for Museum Professionals Instructions for Building a Website in Omeka.net for Sharing Museum Collections and Creating Digital Exhibits. Shaw. I and Nicholson. P., 1995. The British Museum Dictionary of Ancient Egypt. The American University in Cairo Press. Cairo. Stanley, J. D., Schnepp, G., and Jorstad T. F., 2007. Submergence of archeological sites in Aboukir Bay, the result of gradual long-term processes plus catastrophic events. In J. D. Stanley (Eds.), Geoarchaeology, Underwater Archeology in the Canopic Region in Egypt, Oxford Centre for Maritime Archeology 2, Oxford: 23-57. USAID, 2008. Egypt, Life red Sea Project, Enhancing Sustainable Tourism in the Southern Red Sea Region of Egypt, Vol. 6: Action Plan for Sustainable Tourism in the Southern Red Sea Region of Egypt, Cairo. Vinson. S., 2009. Seafaring. In Elizabeth Frood and Willeke Wendrich (eds.), UCLA Encyclopedia of Egyptology. Los Angeles. Vinson, S., 1994. Egyptian boats and ships. Shire Egyptology 20. Shire Publications. UK. Ward. C., 2012. Building pharaoh’s ships: Cedar, incense and sailing the Great Green. British Museum Studies in Ancient Egypt and Sudan, Vol. 18: 217–32. �Biography Nevine Nizar Zakria, has PH.D in Egyptology (2016), member staff of Ministry of Antiquities since (2001) till present. She has 15 years' experience of curatorial work and museological practices, involved in the process of developing the exhibition content of the Grand Egyptian Museum (2004-2015). She promotes her experience in Museology professionally by joining the international training programme of the British Museum (2012), and extra training in 2015. She has exposed to the best practices in the field of museums at UK, USA, Germany and India. Since (2015) She joining Helwan University as Lecturer in Museum Studies. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 4: Ensuring a Sustainable Future for UCH: Museums and Public Engagement Description An account of the resource Cultural heritage derives its value from societal contexts, and so public engagement plays an important role in growing support for, and interest in heritage. Engagement may take many forms, from awareness-raising to formal learning programmes to creating platforms for public participation in the process of heritage conservation, governance, and/or interpretation. Papers bridging theoretical and practical approaches to engagement with UCH are particularly welcome, as are papers which offer collaborative and/or participatory models, stakeholder engagement, capacity-building and development, approaches to the particular challenges of engagement with underwater cultural heritage vs other kinds of cultural heritage. Of course heritage exists in a variety of cultural frameworks, and ensuring sustainability requires approaches to engagement to be both responsive and sensitive to the overlapping cultural contexts in which UCH may exist. As a culturally diverse region, the treatment of heritage must be also tailored to cultural definitions, heritage management frameworks and conventions which may, in some cases, differ across jurisdictions/countries and their interests. The panel will also attempt to explore the ways in which UCH is managed within diverse cultural frameworks, and invites papers to examine topics including contested UCH, ownership, security, etc. The panel invites papers exploring significance within local, national and transnational historiographies and the implications for funding and management of UCH. UCH includes material that has been deposited on the seabed as a result of warfare and catastrophe, so papers which explore and/or engage with topics including loss, warfare, conflicted significance and contested heritage are particularly welcome. Other relevant sub-themes include: * Public engagement in the management of UCH * Interpreting maritime cultural heritage for non-specialist audiences * Significance, interpretative potential, stakeholders and support/sustainability * Museums, Education, Outreach and Conservation * Memory, memorials and memorialisation Creator An entity primarily responsible for making the resource Raphael Igombo National Museums of Kenya, Kenya Michelle Damian Monmouth College (IL), USA Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Forgotten Past? Alternative Forms for Museological Approach to interpret Egypt's Maritime Heritage Description An account of the resource In the past decades, Ministry of Antiquities (MA) has invested many efforts in excavating underwater archeological sites, and mapping them to reveal the navigation routes during ancient times. Remarkable discoveries have been made by the European Institute of Underwater Archeology (IEASM) as well as others archeological projects on Egypt's coasts. Despite this wealth of Egypt's maritime history and intellectual resources, it lacks a Maritime Museum till present or even an exhibition gallery dedicated to elucidate maritime' legacies to the local community. It also lacks a special legal placement for Maritime cultural heritage with scientific management principles oriented towards interconnects the society, local governing authorities and museums professionals with cultural purposes to promote and preserve Maritime History of Egypt. Maximizing awareness is the key element to preserve and publish the Maritime Heritage. So, How to make it accessible to the public? How to foster this richness past in the minds of young generations? This paper presents approachable alternative forms to ensure effective engagement with the public and develop new strategies for sustainable future of Egypt's UCH. Creator An entity primarily responsible for making the resource Nevine Nizar Zakaria Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Nevine Nizar Zakaria Asia-Pac Session 4 2017 https://apconf-much.org/proceedings/files/original/8c70732fee795a6471a4cd5110b657e2.pdf b905a878c821138380a90fc834751752 PDF Text Text Antiquities Homecoming：An Experience of Rescue Team of Cultural Relics Tsai, Cheng Chung ZhongKai University of Agriculture and Engineering aaa_maxwell@hotmail.com Shuhan Guo ZhongKai University of Agriculture and Engineering tinakashu@gmail.com Yuping Zhang ZhongKai University of Agriculture and Engineering 1239633011@qq.com Abstract Through five thousand years of Chinese culture, thereare as many ancient cultural relics as there are stars in the night sky. Much like stars, these artefacts are scattered all over the world. For this reason, we established a small antiquity public welfare organization. In this article, we will introduce some details around working in this department and explore our user experience. Some of these activites include; looking for ancient cultural relics, finding ancient cultural relics, identifying ancient cultural relics, and contacting a descendant of ancient cultural relics, and negotiating with the sellers;with the ultimate goal of sending the antiquities back to their home. We felt the sacred sense of mission by bringing antiquities home. We also began to realize the public welfare and the value of the historical relics are common to people all over the world. At present, the problem of the antiquities coming home is emerging in the various rescue operations once again. In particular, as the nation becomes generally wealthier, there is an increase in the number of transactions to acquire ancient cultural relics to obtain profits. In addition, historically, overseas organizations and foreign funding agencies have been acquiring Chinese ancient cultural relics strategically. Because of this, bringing the ancient cultural relics back to their hometown or museum, or returning them to their descendants has become even more difficult. Therefore, our team has decided to create and manage the ancient cultural relic’s rescue and homecoming project. Through which, we will advocate that the ancient cultural relic’s protection and public �welfare for ancient cultural relics is paramount. We will do our best to return these ancient cultural relics back to their hometown, and let the ancient cultural relics engage and influence the public. Key words: Cultural relics, homecoming, descendant, collections, cultural and creative industry The experience of Germany how they dispose "gray antiquities" 1.1Chippindall Law British archaeologist Christopher Chippindall and Dawid Geere began an unprecedented investigation in 2000, using 7 international collections of cultural relics in the collection system to verify the reliability of their source. Officials have the collection directory with those cultural relics, which clearly record every piece of the source. However, of the 1396 items catalogued, up to 75% of these cultural relics lack the source of written documents. They also found that there were more than 500 pieces of relics lack any historical transaction record and has been proved that no one knows why this group of cultural relics made its debut on display in the museum. That means these exhibits illegally posess potentially tomb-raided stolen goods. They have a startling discovery after compared with the same marked when the exhibits on display in different provenance. Generally, those first exhibited marked "unknown sources" cultural relics appeared again with a clear source tag, suggesting that these cultural relics may be a fake story. Their research result is called Chippindall Law. 1.2 Museum admitted "gray cultural relics" There is a hidden rule which allows cultural relics with no transparent background in the marker. A clear experience relic which we call white �cultural relic not only can check all previous possessors and where it came out of that therefore it should be legal. On the other hand, an unclear experienced cultural relic which we call black cultural relic usually came out of the grave or was stolen out of the museum or from private collectors. Actually, most traded relics in the market are gray cultural relics which we do not know where they came out but still could pull wool over some possessors’ eyes. However, archaeologists deem that gray cultural relics are equal to the black cultural relics. In the early 1960s, the British museum with a rich collection of relic objects bought from the market. In 1970, UNESCO issued a convention against cultural products illegally traded, but Germany didn't become signatories until 2007. Although Germany signed, but there were still many excuses to reject the convention, and not to return those illegal cultural relics. Germany started to implement a legislative correction as to ensure the innocence of its collections. It stipulated that acquisitions in the museum should be white relics. Baden state museum curator Eckart Cohen said "museum curator's affection and greed of collection tend to cause them to become accessories of illegal trade." he said "It is not innocent cultural relics derived from an anonymous Swiss collector". 2 Antiquities Homecoming People always marvel at the beauty of an ancient cultural relic when they see it. However, does everyone know where it comes from or who its owner is? Is this a clear origin of cultural relics? As we know the cases in Germany and UK. There are many cultural relics with unclear origins. So, a program came out .This is a program to return relics that belonged to certain families or estates. And there is an overwhelming feeling by the members of our organization that this is the right and just thing to do. We plan to return objects, may they be relics to certain descendants or �surviving families or organizations who manage familial assets we trust. There are many reasons as to why relic objects may be in disarray or disregarded. Our goal as a group is to preserve the legacy and spirit of the relic objects. In doing so, we have to secure adequate funding to purchase relic objects in existing markets that to offer prices to said objects. We plan to setup a process by which we will discern the appropriate prices and appraised value that we deem fair for purchase. We will employ a mechanism that is equitable for all parties involved. We will standard governing practices to regulate the process to ensure �stability. An issue that will be addressed in the future is the question of funding. We will establish a funding process for this project. Fig. 1: Funding Process Flowchart. 3 Antiquities homecoming evaluation criteria There are three indispensable standards for relic objects if they could be sent back home. The first step is to ensure the antiquity has a clear and �certain name. Or it has been recorded from other historical documents. Second, it could be traced to a certain dynasty. The last one is to make sure that we could find its surviving generations of the cultural relics, family ancestral hall, museum etc. According to former experiences certain relic objects such as famous calligraphy, paintings, manuscripts, imperial mandate etc. could be easily up to the three standards. After members of the project found unmistakable name on the relic object and could know its dynasty and background, and antiquary work, they may start searching whether there are descendants of the owner of cultural relic have the intention to collect the family relic from their predecessor. It could be returned to surviving consanguinity of the owners, family ancestral hall, local museums and other related parties. Project team members note the cultural relics "without surviving families" if the descendants could not be found. Then the project team members would start the next steps to find whether there are relevant museums, temples on behalf of the ancestral temple and local administration of cultural heritage that can collect it. 4 The circulation channels of cultural relic objects General, people purchase cultural relics and works of art mainly as private collections, investment of innovation company, decorations and so on. It is important to purchase cultural relics from formal circulation channels for antiquarians. There are three circulation channels to transaction relic objects beyond the seas:  Auction companies: The auction companies are considered as the secondary transaction market. It focusses on the arts trade, as they �have sensitive professional marketing orientation, and pay more attention on the objects with high benefit in a short-term.  Galleries: In the art market galleries are deemed as the primary market. The agents would sign contracts with artists strictly, and they have responsibility to the find, nurture and promote potential artists and their works. One risk of investment of arts in the galleries is the difficulty in evaluating the appreciation due to the agents would promote on its own preferences rather than market orientation.  Private procurement: The term of "private procurement" is relative to the “auction companies". Though it is often misunderstood as lack of professional evaluation, slight influence on art market and low exchange price, so far, top six paintings with astronomical price were unveiled from this channel for the low risks, fewer bidders, efficiency and privacy of transaction, personalized customer services have made it a big draw of investors. Transaction of arts and paintings in western countries compare that in China mainland, the program members could search relic objects in channels below. Fig. 2: Top six paintings with astronomical price. � Network: In the information age, the Internet takes over a large part of one's daily life so that cultural relics can be obtained from the Internet, as well as the historical background of cultural relics which help us understanding. It also became convenient sources of obtaining information of the relic objects. The following chat integrated the Internet purchasing channel for the project members to search. Fig. 3: Antique markets in the Internet. � Commercial market operations for cultural relics: This is for people who prefer to play with, understand the cultural relics in the antiquities market. Here are some famous commercial markets for cultural relics. Fig. 4: Cultural relics market in China.  Enthusiastic people informed the members: it is distinct between private contact and warm-hearted people contact report that mainly depend on the interpersonal connections of the team, like the posterity, ancestral hall, temple museum which the team service before. They will tell the project team members they inadvertently discovered the ancient cultural relics in the market, let us work together. In general, the project team members will be released out of the most important introduction of "mysterious ancient cultural relics” through the interpersonal relationships of museums, the community or union of institutions of higher learning like the ancient cultural relics and director of the famous temple ancestral temple. There are numerous propaganda ways to improve the enthusiasm of the alliance like through the network to seek the aid of enthusiasts, clubs or organizations, or through the "human flesh search", "price set". �Occasionally the team holds the club, in the form of a salon, lectures to promote communication relationship between members. 5 A homecoming case of Guo Rong’s handwritten manuscript Team members in late 2016 found a handwritten manuscript written by Guo Rong who could be dated back to Qing dynasty, named "Confucius in Hsiang-tang”, listing on the internet priced at 1500 Yuan by a relic collector from Hebei province. According to the historical recordation manifests that his family members were very famous and many of his relatives were Jinshi(official position in ancient China) ,and he was a Juren (official position )at that time in Henan province. Lest the scenario of other buyers and speculators from outside purchase this handwritten manuscript once the news of rescue and valve of this relic object has been filtered out occurred. After the agreement of buying this relic first by all the members, rescue plan of this handwritten manuscript initiated. By using all sorts of medium to contact Guo Rong’s descendants with a hope of getting this relic back to where it used to belong, members found an article on the Internet about the big honorable family and its members; released on the newspaper by Mr.Lu Meisong a former director of Research Institute of Culture and History in Fuzhou City. Through whom members found Guo rong’s great-grandson Mr. Guo Zhen, then immediately informed Mr. Guo Zhen of his great-father’s relic object and asked whether they have the intention to purchase the cultural relics, Mr. Guo Zhen first told members: “because it’s hard to know the authenticity of this undeclared cultural relic, together with many of his family cultural relics have been removed to Lin Zexu Memorial Museum, so there was no willingness to purchase it as a private collection... ”then �members tried to contact other parties of the family collections of intent, please refer to the contact members shown in the chart below. Table 1: Willingness to retrieve Guo Rong’s relic Name Identity Willingness Guo Zhen great-grandson of NO Guo Rong Guo Yongmei Guo Baiyin’s NO descendant Sina Blogger Guo of”Guo’s Baiyin’s NO descendant descendants” Lu Meisong former curator of NO Research Institute of Culture and History in Fuzhou city Chen Jiyong Lin Zexu’s NO memorial museum 6 Why relic objects may be in disarray or disregarded There is an interesting phenomenon in cultural relics market that people would buy other people's cultural relics in the commercial market rather than collect the relics of their fathers. And descendants may sell or destroy the inherited collections of cultural relics for various reasons leading to the �cultural relics ending up with vicious circle of disappear or disregarded. The ultimate purpose of establishing homecoming project by the members is to resolve the scenario of never-ending speculation by contacting the museum that could collect and display the relics, other public sectors, and conservation of cultural studies, ancestral hall and surviving generations. Project team members would try their best to preserve the legacy and spirt of the cultural relics. From what have been discussed about the Guo Rong’s case, it could now be speculated that the descendants may or may take the excuse of lacking the financial ability to afford the price. And to some extend this is also attributed to lacking a sense of recall of their old generations due to the functions of modern core families are not tightly connected as it was in hundreds years ago. At that time ancestors were highly respected and earned widely worships by their descendants. Another reason may the owner was a traitor in history, the family members might break off all relations with owner in order to evade from the punishments or outside criticism about this family. So if the descendants receive the relic object belonged to a traitor predecessor, they will bear pretty much stress form the public. The third reason may lay in the distrust the appraisal of cultural relics, as in this profit-driven society, everything could be faked let alone these cultural relics with sophisticated procedure of appraisal its value, all sorts of suspicious attitudes reflect today’s descendants pay more attention to its physical valve rather than its old glories and the meaning of educating and reminding their roots. 7 The indispensable explanation of using the fund-raising as the management costs of the non-profit organizations �All the governments in the world are making great efforts to encourage more public-interest activities and services, and also put their endeavor to develop the explicit rules and stipulations to make the charitable work more efficient and use their funds more smartly to against corruption. Taking the comparison of the two laws for example, the newly launched Charity Law of the people’s republic of China in May, 2016（ http://www.gov.cn/zhengce/2016-03/19/content_5055467.htm) and the regulations of charitable organizations initiated in Taiwan province May, 2006 (http://law.moj.gov.tw/Eng/LawClass/LawAll.aspx?PCode=D0050138) about utilizing fund-raising in managing the charitable organizations and pay the labor costs through charitable activities and other necessary expenditures. Please look at the chart below. Table 2: Comparison of purpose and amount of charitable assets utilization in China mainland and Taiwan (province) The charity Law of the People’s Charity Donations Destined Republic of China For Social Welfare Funds Implementation Regulations(Taiwan) Chapter 6 Charitable Assets Article 5 Fund raising groups Article 51. The financial assets of as referred to by these charitable organizations include: regulations are described as (1)Founding capital from fund-raising; below: (2)Assets collected from fund-raising; (a) Public schools. (3)Other legal assets. (b) Incorporated … Administration. Article 60.Charitable organizations (c) Corporation who has shall carry out charitable activities Social welfare character. actively, use charitable assets fully (d) Corporate bodies. and efficiently, apply the most Based on considerations for necessary principles regarding social welfare, all management fees, practice frugality, agencies/levels of �and cut unnecessary expenditures. Annual expenditures for charity activities by foundations with the qualifications for public fund-raising shall be no less than 70% of the average revenue of the past three years and the annual management fees cannot meet the previous regulations due to special circumstances, the foundation shall file with which it registered and explain the situation publicly. Standards for annual expenditures and the management fees of charitable activities by charitable organizations other than foundations with public fund-raising qualifications are regulated by the civil affairs departments of the State Council together with the treasury and tax departments of the State Council according to the principles stipulated in the last paragraph. If the expenditure and management costs of an individual charitable donation activity are specified in the donation agreement, then the agreement should be followed. government shall be permitted to accept financial funds and gifts donations, bestowed by concerned person[s]; however, such donations are not permitted to be initiated by such governmental agencies. Exempted from this ruling, are incidents of major disaster [force majeure] and international rescue missions. … Article 8 All financial funds and gifts collected through donations, can and must be used only for the purposes as listed below: (a) For Social Welfare Activities. (b) For educational & cultural affairs. (c) For social charity affairs. (d) For international humanity rescue affairs. (e) Other relevant affairs recognized by central governmental agencies.。 … Article 11 If relevant documentations provided, for the application of governmental permission for charity donations, contents therein were to be found to be falsified, then previously �granted permission is to be annulled immediately. … Article 17 All necessary administrative fees/charges occurred during the conducting of charity donations activities, shall following the tabulation limits as described below: (a) Total solicited donation amount under NT$10,000,000.00: 15%. (b) Total solicited donation amount between NT$10,000,000.00 NT$100,000,000.00: Basic toll of NT$1,500,000.00 + 8% of remaining amount over 10 million NTDollars. (c) Total solicited donation amount over NT$100,000,000.00: Basic toll of NT$8,700,000.00 + 1% of remaining amount over 1 Billion NTDollars. If solicited charity donations are physical items [instead of cash funds], then relevant tabulation should be based on the "then" current market prices of the items concerned. We will standard governing practices to regulate the process to ensure stability. An issue that will be addressed in the future is the question of �funding. We will establish a funding process for this project. Introducing the club membership system might be a suitable way of adjusting to this circumstance mentioned above in its future development: one has to register a membership of the relic home returning organization and then provide the historical information of their predecessors. Doing by this at least shows their willingness to buy their own relics. All the information provided will be recorded in our file system. Members have the priority when we scrutinizing thousands of relics in this huge relics market and then match to their owners. When undergo the scrutiny in the selecting procession a series of reduplicative and automatic works in matching and confirming relics and their owners and time waiting for their willingness of buying their dispersed relics can be saved by this targeted combing progress. Reference Gray, B., 1964. The export of Chinese porcelain to India.Transactions of the Oriental Ceramic Society, Vol. 36: 21-37. Tsai, Cheng Chung，2012. Compare present situation and analysis the development of charitable trust in the social among British，America and Japan，social Welfare（The theory of version），12-21 Yuan Yuan. Germany attaches great importance to the source of legitimacy of cultural relics to say no "gray cultural relic",. Xinhuanet http://news.xinhuanet.com/world/2015-01/22/c_127407612.htm Zong he. Gauguin painting "when will you get married" $300 million,http://epaper.bjnews.com.cn/html/201502/09/content_561752.htm?div=-1 Beijing newspaper, The phenomenon of "hyping art works http://finance.qq.com/a/20150413/005044.htm Biography in the market " �Tsai, Cheng Chung (1975-): Taiwan Kaohsiung, Zhongkai University of Agricultural Engineering Department of social work department, the People's Republic of China Ministry of civil society social work research center special researcher, expert committee member of Guangdong Provincial Civil Affairs Department social work professional team construction, master Mentor, doctor of law, psychological counselor. The main research direction: medical social work. Tel: 13640211648. Shuhan Guo (1995- ): Hunan, China. Graduate student of Zhongkai University of agriculture and engineering, bachelor’s degree, President of Social Work Association in ZhongKai University of Agriculture and Engineering. The main research direction: non-government organization management and social work Tel: 18813754680, Yu-ping Zhang (1996- ), Xingning. Guangdong, China Zhongkai University of Agriculture and Engineering, Guangzhou, Guangdong ,China. Job: Project Team Responsible Person. The Assistant Head of the Department of Social Work and Social Policy. The first Vice President of Social Work in association in ZhongKai University of Agriculture and Engineering. The main research direction: Medical social workers and Charity management.Tel:188-19493890, wetchat: yp1239633011, � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 4: Ensuring a Sustainable Future for UCH: Museums and Public Engagement Description An account of the resource Cultural heritage derives its value from societal contexts, and so public engagement plays an important role in growing support for, and interest in heritage. Engagement may take many forms, from awareness-raising to formal learning programmes to creating platforms for public participation in the process of heritage conservation, governance, and/or interpretation. Papers bridging theoretical and practical approaches to engagement with UCH are particularly welcome, as are papers which offer collaborative and/or participatory models, stakeholder engagement, capacity-building and development, approaches to the particular challenges of engagement with underwater cultural heritage vs other kinds of cultural heritage. Of course heritage exists in a variety of cultural frameworks, and ensuring sustainability requires approaches to engagement to be both responsive and sensitive to the overlapping cultural contexts in which UCH may exist. As a culturally diverse region, the treatment of heritage must be also tailored to cultural definitions, heritage management frameworks and conventions which may, in some cases, differ across jurisdictions/countries and their interests. The panel will also attempt to explore the ways in which UCH is managed within diverse cultural frameworks, and invites papers to examine topics including contested UCH, ownership, security, etc. The panel invites papers exploring significance within local, national and transnational historiographies and the implications for funding and management of UCH. UCH includes material that has been deposited on the seabed as a result of warfare and catastrophe, so papers which explore and/or engage with topics including loss, warfare, conflicted significance and contested heritage are particularly welcome. Other relevant sub-themes include: * Public engagement in the management of UCH * Interpreting maritime cultural heritage for non-specialist audiences * Significance, interpretative potential, stakeholders and support/sustainability * Museums, Education, Outreach and Conservation * Memory, memorials and memorialisation Creator An entity primarily responsible for making the resource Raphael Igombo National Museums of Kenya, Kenya Michelle Damian Monmouth College (IL), USA Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Antiquities Homecoming: An Experience of Rescue Team of Cultural Relics Description An account of the resource Through five thousand years of Chinese culture, thereare as many ancient cultural relics as there are stars in the night sky. Much like stars, these artefacts are scattered all over the world. For this reason, we established a small antiquity public welfare organization. In this article, we will introduce some details around working in this department and explore our user experience. Some of these activites include; looking for ancient cultural relics, finding ancient cultural relics, identifying ancient cultural relics, and contacting a descendant of ancient cultural relics, and negotiating with the sellers;with the ultimate goal of sending the antiquities back to their home. We felt the sacred sense of mission by bringing antiquities home. We also began to realize the public welfare and the value of the historical relics are common to people all over the world. At present, the problem of the antiquities coming home is emerging in the various rescue operations once again. In particular, as the nation becomes generally wealthier, there is an increase in the number of transactions to acquire ancient cultural relics to obtain profits. In addition, historically, overseas organizations and foreign funding agencies have been acquiring Chinese ancient cultural relics strategically. Because of this, bringing the ancient cultural relics back to their hometown or museum, or returning them to their descendants has become even more difficult. Therefore, our team has decided to create and manage the ancient cultural relic’s rescue and homecoming project. Through which, we will advocate that the ancient cultural relic’s protection and public welfare for ancient cultural relics is paramount. We will do our best to return these ancient cultural relics back to their hometown, and let the ancient cultural relics engage and influence the public. Creator An entity primarily responsible for making the resource Tsai, Cheng Chung Shuhan Guo Yuping Zhan Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Tsai, Cheng Chung Shuhan Guo Yuping Zhan Asia-Pac Session 4 2017 https://apconf-much.org/proceedings/files/original/ea76aae7c36db87b81550c9312843ccd.pdf 2b131e1dd837d3120129cd4846449bc8 PDF Text Text Merging Museums with the Classroom: Using Collections to Teach Maritime Archaeology Michelle M. Damian Monmouth College Abstract Although there is a growing interest in studying maritime archaeology even at the undergraduate level, it can be a challenge to bring to life for non-divers both the mechanics of an archaeological investigation, but also the joy of discovery and satisfaction of identification of a wreck site. This paper will describe possible alternative methods of recreating that entire process through the use of museum collections. In particular, I will discuss a project undertaken by undergraduates at Harvard University in partnership with the Peabody Museum of Archaeology and Ethnology. Students were required to choose a ship model from the museum’s collections and, with very minimal initial information, had to research its historical background and construction techniques, treating it as an archaeologist would a shipwreck site. This paper will introduce the benefits and challenges to both the students and the museums in using this type of approach. Key words: Collections, Ship models, Museums, Public Engagement Project Description While a postdoctoral fellow at the Reischauer Institute of Japanese Studies (Harvard University) in spring of 2016, I was invited to teach an introductory class on maritime archaeology in the anthropology department. Even though the Boston, Massachusetts, area has a rich maritime history, such a class had never previously been taught at Harvard. Since my fellowship was a nonrenewable, single-year appointment, there was no opportunity to develop a sustainable maritime archaeology program there. The class, ANTHRO 1281, was therefore �designed as a stand-alone introduction to the field, with no prerequisites for undergraduates. My two main goals for this class were to give the students as much handson experience as possible to evoke the excitement involved in maritime archaeological fieldwork, and to emphasize the need for archaeologists to disseminate our work to a wide variety of audiences. The challenges to the first goal, however, were that the students were not certified divers and even if they were, Boston in the winter months does not provide ideal diving conditions! We were fortunate to collaborate with NOAA staff members from Stellwagen Bank, who did an ROV demonstration one evening at the campus pool, and with Victor Mastone at the Massachusetts Bureau of Underwater Archaeological Resources, who took us to a shoreline wreck site. There the students were even able to do some preliminary mapping of an 18th century shipwreck. While these experiences were valuable and students cited them in class evaluations as some of the most exciting aspects of the class, they did not provide the in-depth experience of exploring a single site over a longer period of time. Nor are they necessarily able to be replicated in other areas where there might not be a NOAA ROV to borrow or a convenient shoreline shipwreck site. To provide students with at least a sense of the research aspects of maritime archaeology, as well as to achieve the second class goal of emphasizing multiple means of interpreting the site, I approached the Academic Partnerships department at the Peabody Museum of Archaeology and Ethnology (PMAE). Located on Harvard’s campus, the museum was founded in 1866 and is home to over 1.4 million artifacts. As part of its mission, the museum promotes using the collections for “unique opportunities for innovative teaching, research, and �enrichment at Harvard” and other communities (Peabody Museum of Archaeology and Ethnology). The Academic Partnerships Department is excited to work with instructors and make collections available to students, and that made for a natural collaboration between the ANTHRO 1281 class and the museum. The PMAE has in its collections over seventy different ship models, many of which were donated to the museum in the late nineteenth and early twentieth centuries. Most of the models represent indigenous watercraft from Asian, Oceaniac, and Native American peoples (Figs. 1 and 2). As many of them came to the Peabody from another Boston-area museum that was destroyed in a fire, documentation is minimal for the vast majority of the models. One typical accession card simply reads “Chinese Boat. Peale’s Museum, ca 1840.” Due to space limitations, very few of the models are displayed in the public galleries. �Fig. 1: Representative ship modelfrom the PMAE collection, No. 32-6260/D4111. (Damian) Fig. 2: Representative ship models from the PMAE collection, No. 99-1260/52934). (Damian) �These models became our “shipwrecks.” In class we discussed the anonymous nature of much of maritime archaeology. Few archaeologists know that they are working on a Vasa, a Mary Rose, or a CSS Hunley when they discover a wreck. Instead, they encounter an often unnamed vessel in a particular geographic region, and must identify diagnostic features and do research to determine the type, time period, and origin of the vessel. Students were charged with treating the models in a similar manner, using them as substitutes for a shipwreck. Where was it from? Who might have sailed on this kind of ship? How can we determine what type of vessel it was? The minimal documentation for these models was therefore not an impediment to the process, as students were required to research and discover the answers themselves. A second component to the museum partnership was to create an online exhibit for the Peabody Museum (visible here: https://www.peabody.harvard.edu/node/2619). In keeping with the course goal of disseminating information to multiple audiences, students were to not only write an academic term paper about their model, but were also required to write several shorter, public-focused introductions to their models that became the heart of the online exhibit. The multicomponent assignment therefore spanned the entire semester. Students each chose a single model as their focus. They arranged with the Academic Partnerships office to visit the museum and investigate their model, taking photographs and making notes and sketches of diagnostic features. They were not meant to be researching the model maker or the actual model itself, but instead were to treat the model as an archetype, treating it as a shipwreck. The first assignment focused on the historic background of the vessel, and the second on a detailed discussion of the �ship construction features. Research was often a challenge if the only information they had to begin with was “Chinese boat ca 1840.” As secondary scholarship on some of these vessel types was limited, students discovered the importance of incorporating multiple lines of inquiry into their research, including artwork, primary source ethnographic accounts, and even films. Details of the students’ work can be seen on the online exhibit, but a typical example is of work done on a model titled “War Canoe.” The accession notes included information that the model originated in Sarawak, Borneo (Malaysia), and referenced the Iban tribe. Using a flag included with the model, students were able to date the ship to the late 19th or early 20th century (Gilbert). Records from European explorers described the seafaring members of the Iban tribe as the Sea Dyak, and students relied heavily on those sources to discern who may have used this type of vessel and the context in which it sailed (Kimball). The models therefore served as stand-ins for actual shipwreck sites, as the focus was not on the individual model and its creator, but on the model-as-typicalwatercraft. The museum aspect of the project was divided into three different components. As these were put online for a general audience, students were charged with writing to that public, foregoing a more traditional academic writing style. They needed to consider how to draw their readers in to learn more about their vessels, balancing being informative and exciting. The first two assignments consisted of a photo of their vessel (taken by the student), accompanied by a brief introductory paragraph and followed by a more in-depth analysis (2 – 3 pages) of their findings. The third assignment was to create a museum label for their boat, introducing �the artifact to someone who might be walking past the model in a physical exhibit. Once they had learned as much as they could about their watercraft, they needed to consider what was most important for the casual museum visitor to learn about their boat. The original intent was to announce each component of the project to the public as it was put online and solicit feedback and suggestions. Particularly since many of the models had such limited documentation, crowdsourcing the research in this way was one strategy that could provide the students with more insight into their vessel. Incorporating the public suggestions and feedback from the instructor and teaching assistants, students needed to complete a final assignment rewriting their publicly focused entries as a more academic term paper. This was meant to help them again consider those multiple audiences and adjust their communication styles accordingly. Some obstacles hindered that ideal realization of this project, however, as I will address in the next section. The entire project was designed to emulate the archaeological process: the “discovery,” research, and interpretation of a shipwreck site. It spanned the entire semester, allowing students to expand their research as they considered the different aspects of their vessels. While some students expressed frustration at spending “so much time” on a single ship type in their research, I believe it was an effective introduction to the research process for an archaeological project – particularly when some archaeologists can spend years on a single site. �Challenges to the Project Because this was the first time I had taught this class, and because this was the first time the Peabody Museum had partnered with a faculty member to use student classwork to create an online exhibit, there was an element of trial and error to actualizing the project. None of the following comments are meant as criticisms of the PMAE staff, as everyone involved was extremely enthusiastic about the collaboration, and the Academic Partnerships staff in particular were tremendously accommodating. Here I describe the issues that arose simply to note potential pitfalls for future similar projects The first issue was simply that of the actual web coding. As I myself am not a programmer, this became an additional project for the museum’s web developer on top of his other duties. In addition, since he was only in-house certain days of the week, progress at putting the information provided by the students online was sometimes slower than I had hoped. Progress was further hindered by my own failure to clarify how best to provide him the data. For example, for the first two assignments the students needed to submit a stand-alone image of their boat to be used as a cover photo, a short paragraph, and a longer paper. Initially the students embedded their cover photos directly into the Microsoft Word documents containing their paragraphs and longer essays, but that became problematic for the web designer to extract and put online. We decided on a file naming convention for both images and documents, and had the students re-submit their files via Dropbox. Streamlining this process took some time, and thus the public launch of the website was delayed until both the first and second assignments were already online. �This, then, affected the ability to promote the website and adequately crowdsource feedback as I had initially hoped. The second, and perhaps more striking, issue came in the form of copyright considerations. Many of the students found different images in their research that they wanted to incorporate into their analyses, and therefore scanned them and included them in their papers, with proper citations. When it came to putting those images online, however, a question arose regarding copyright of those images, regardless of educational fair use. According to the Academic Partnerships department, “Each image would have had to have been reviewed on a case by case basis, to determine whether their use was “transformative” [which would have been impossible due to the time constraints of the class].” (Rose) The public distribution inherent to internet display was the main concern, as it increased the risk that the copyright holder may have discovered that his/her image was being used without permission. It was decided that it would be safer to remove any images that were not either in the public domain or the students’ own photos or sketches from their papers. This put an additional burden on both the students and the instructors, as everyone needed to re-edit their papers and verify the ability to use any embedded images. Students were understandably upset at needing to delete certain images, since in many cases they referred to those sources in their written analyses and felt that the removal would hinder the ability to effectively convey their argument. We therefore compromised by substituting an “image redacted” icon for the deleted images, which we hoped would indicate to any readers that any missing information was not due to student error. �A final concern came from an individual student. Since the Peabody Museum wanted to be sure that students were getting credit for their work online, and since ideally the project would be receiving feedback directed at individual submissions, we decided to have the names of the students clearly associated with their web submissions. One student approached me with concern, as she had been the victim of online stalking in the past and did not want her name to be searchable. With her permission, we compromised by including the student’s initials instead of her full name. Most of these obstacles were due to the fact that this was the first time such a project had been conceived of and carried out at the Peabody Museum. If the museum collaborates in the future with faculty to create a similar exhibit, or when this kind of class is taught at other institutions, those issues have now been identified and can be corrected before the project begins. Benefits of the Project The stumbling blocks noted above were of small concern when compared with the overall benefits of doing this type of project. The Peabody Museum staff were excited to be a part of this project not only because it conformed to their mission, but it also allowed them to breathe new life into old collections. As noted above, the majority of the models cannot be displayed in the main galleries due to their size. When the Academic Partnerships staff first brought out the models for me to view prior to beginning the project, one exclaimed that even as a long-time staff member, this was the first time she was viewing the models. Allowing the students to research the vessels and create an online exhibit of the models enabled the Peabody Museum to make those long-stored objects �accessible to an online audience. In some cases, the students’ findings provided additional information or called into question the museum’s classifications of the vessels. One model, labeled a “Chinese barge,” was actually closer to a junk, concluded two students (Barrett, McGough). As noted above, this project allowed non-diver students to get a sense of the type of research work and methodologies that archaeologists may have to use when trying to identify an unknown shipwreck. Further than that, however, many of the students found the experience valuable for a number of reasons. Several students elected to write a brief “reflections” post for the website, and other comments were gleaned from class evaluations. In these writings, many students noted the benefits in learning to communicate with various audiences. They often acknowledged that it was difficult at first to convey complex technical information in an accessible manner, but that it became easier with practice (Skendarian, Gerberich). Several also appreciated that this assignment approached work on an actual site as closely as possible within the limitations of the class. One noted the restrictions in working with a model, since special arrangements had to be made with the collections staff each time she wanted to view the model. She acknowledged, however, that this was probably very similar to limitations an archaeologist would encounter on an actual site: repeated lengthy visits are not always possible (Lu). Perhaps the most notable response, however, was the pride the students took in actively contributing to the field through this project. Comments included statements such as “knowing that my research for this project will be available online for the public to see makes me feel as if I am truly �a maritime archaeologist” (Lu), “I’m really glad I had the opportunity to break new ground and contribute to the academic world of maritime archeology with the research I conducted over the last few weeks” (Skendarian), and “seeing our work go on an actual museum webpage was a worthwhile finish” (Metoyer). An anonymous comment from class evaluations further stated, “The museum project was one that allowed such a realistic approach to maritime archeology and further enabled the ability for some realistic learning approach. It was one of the first times within my life that I've actually made a profound difference within the academic world and for that reason, it was an incredible experience.” The students’ work is still part of PMAE’s online offerings and at present there are no plans to remove it. The class has therefore made a lasting contribution that will remain accessible to anyone interested in maritime history and ship construction of indigenous crafts from Asia, Oceania, and North America. Future Possibilities In planning this project, I was of course tremendously fortunate to have a museum such as the PMAE located on the same campus, with an incredible collection of ships’ models and staff who were excited to work with faculty and students. Obviously, this scenario is the exception rather than the norm. That being said, there are possibilities. Local maritime museums are likely to be interested in collaborating, and I have spoken with a faculty member of a Georgia university who intends to undertake a similar project in conjunction with the Ships and the Sea museum. Furthermore, in the Spring of 2018 I will be teaching a version of this class at my current institution, Monmouth College in Illinois (USA) – a very �landlocked college with no ship model collection at hand. I intend to test the idea that it should be possible to replicate this type of project with other materials. While models provide a tangible, three-dimensional representation of a vessel especially helpful for understanding elements of ship construction, photographic or even artistic representations of ships may be able to be used to the same effect. As some of the students noted in their analyses, the models were not always perfect representations of actual construction techniques either. While relying solely on twodimensional depictions of ships may be even more limiting, in other ways it could widen the scope of discussion considerably. Instead of being confined to the extant items in a collection, the possibilities for research of images is nearly endless. Copyright considerations, of course, would still need to be taken into account. While putting up an online exhibit is ideal in that it can both reach out to a worldwide audience and endure indefinitely, if programming or online access is an issue a physical exhibit could be mounted with the help of any local gallery space. Particularly if students are working with images, all that would be needed is some wall space for mounting the photographs and labels. At Monmouth College, I hope to make use of the resources afforded by the Museum of Underwater Archaeology (MUA; www.themua.org) to create an online exhibit, as well as appeal to the library for the use of gallery space to mount a physical exhibit on campus. For an introductory class in maritime archaeology to a group of undergraduates who may or may not have prior experience or a desire to continue in this field of study, this type of project provides a good overview of the process of researching and interpreting a “shipwreck.” The satisfaction of creating an actual exhibit and contributing to the field was �for many an exciting way to experience a taste of what maritime archaeology is all about. Acknowledgments I would like to thank the Academic Partnerships staff of the Peabody Museum of Archaeology and Ethnology, most particularly Diana Loren, Lainie Schultz, Emily Rose, and Andrew Smith, for their enthusiasm and help in making this project a reality. The students of ANTHRO 1218, spring 2016, at Harvard University were a pleasure to work with and deserve all the credit for researching and presenting their “shipwrecks.” I am also in debt to Ted Bestor at the Reischauer Institute of Japanese Studies for facilitating my being able to teach the class, Jason Ur at Harvard’s Anthropology department for being willing to let me do so, the teaching assistants for ANTHRO 1218, and the faculty and staff of RIJS for providing me the opportunity to spend an incredible year there. Works Cited Barrett, A, and T. McGough. “Second Chinese Barge.” https://www.peabody.harvard.edu/node/2644 Accessed July 5, 2017 Gerberich, D. “Reflection.” https://www.peabody.harvard.edu/files/Gerberich%20%20Research%20Reflection.pdf Accessed July 5, 2017. Gilbert, C. “The Sea Dayak War Canoe: A Symbol of the Iban Culture in the late 19th Century.” https://www.peabody.harvard.edu/files/Gilbert_Museum1%20REDACTE D.pdf . Accessed July 5, 2017. Kimball, S. “Examining the Form and Function of an Iban War Canoe.” https://www.peabody.harvard.edu/files/Kimball_museum2.pdf . Accessed July 5, 2017. �Lu, A. “Reflections of a Pirate Archaeologist.” https://www.peabody.harvard.edu/files/Lu%20%20Reflections%20on%20Peabody%20Project.pdf . Accessed July 5, 2017 Metoyer,K.“Peabody Reflection.” https://www.peabody.harvard.edu/files/Metoyer%20Peabody%20Reflecti on.pdf Accessed July 5, 2017. Peabody Museum of Archaeology and Ethnology, “Mission.” https://www.peabody.harvard.edu/node/97 President and Fellows of Harvard College, 2009 – 2017. Accessed July 5, 2017 Rose, E. Personal communication. July 12, 2017. Skendarian, T. “Museum Project Reflection.” https://www.peabody.harvard.edu/files/Skendarian%20%20Project%20Reflection.pdf . Accessed July 5, 2017. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 4: Ensuring a Sustainable Future for UCH: Museums and Public Engagement Description An account of the resource Cultural heritage derives its value from societal contexts, and so public engagement plays an important role in growing support for, and interest in heritage. Engagement may take many forms, from awareness-raising to formal learning programmes to creating platforms for public participation in the process of heritage conservation, governance, and/or interpretation. Papers bridging theoretical and practical approaches to engagement with UCH are particularly welcome, as are papers which offer collaborative and/or participatory models, stakeholder engagement, capacity-building and development, approaches to the particular challenges of engagement with underwater cultural heritage vs other kinds of cultural heritage. Of course heritage exists in a variety of cultural frameworks, and ensuring sustainability requires approaches to engagement to be both responsive and sensitive to the overlapping cultural contexts in which UCH may exist. As a culturally diverse region, the treatment of heritage must be also tailored to cultural definitions, heritage management frameworks and conventions which may, in some cases, differ across jurisdictions/countries and their interests. The panel will also attempt to explore the ways in which UCH is managed within diverse cultural frameworks, and invites papers to examine topics including contested UCH, ownership, security, etc. The panel invites papers exploring significance within local, national and transnational historiographies and the implications for funding and management of UCH. UCH includes material that has been deposited on the seabed as a result of warfare and catastrophe, so papers which explore and/or engage with topics including loss, warfare, conflicted significance and contested heritage are particularly welcome. Other relevant sub-themes include: * Public engagement in the management of UCH * Interpreting maritime cultural heritage for non-specialist audiences * Significance, interpretative potential, stakeholders and support/sustainability * Museums, Education, Outreach and Conservation * Memory, memorials and memorialisation Creator An entity primarily responsible for making the resource Raphael Igombo National Museums of Kenya, Kenya Michelle Damian Monmouth College (IL), USA Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Merging Museums with the Classroom: Using Collections to Teach Maritime Archaeology Description An account of the resource Although there is a growing interest in studying maritime archaeology even at the undergraduate level, it can be a challenge to bring to life for non-divers both the mechanics of an archaeological investigation, but also the joy of discovery and satisfaction of identification of a wreck site. This paper will describe possible alternative methods of recreating that entire process through the use of museum collections. In particular, I will discuss a project undertaken by undergraduates at Harvard University in partnership with the Peabody Museum of Archaeology and Ethnology. Students were required to choose a ship model from the museum’s collections and, with very minimal initial information, had to research its historical background and construction techniques, treating it as an archaeologist would a shipwreck site. This paper will introduce the benefits and challenges to both the students and the museums in using this type of approach. Creator An entity primarily responsible for making the resource Michelle Damian Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Michelle Damian Asia-Pac Session 4 2017