1 10 7 https://apconf-much.org/proceedings/files/original/881b889c20947b38c2a24aa4aaecabb3.pdf 5e6757f427b0fa87c4b26527c307a83d PDF Text Text Media Curiosity and Underwater Cultural Heritage Asmaa Elsayed (Alexandria Centre for Maritime Archaeology & Underwater Cultural Heritage, Alexandria University, Egypt. MA Student) ABSTRACT Underwater cultural heritage (UCH) faces multiple threats, as stressed by UNESCO through the 2001 Convention on the Protection of Underwater Cultural heritage and by the Ocean Decade Heritage Network (ODHN), such as treasure hunting, looting, and commercial exploitation. Therefore, raising awareness about underwater cultural heritage and engaging the public in its preservation and protection are vital points. There are many ways of engaging the public with UCH, one of the most obvious ways is through the media. The goal of media is to convey messages to the audience through the media channels most appropriate for them, which include printed media, internet media, and broadcast media, which are known as mass media. Different media deliver different messages in various ways, but the most powerful medium is films. Films have worldwide reachability. They are the most effective type of mass media to promote cultures and spread social awareness. Keywords: films, cinema, documentaries, treasure hunting. INTRODUCTION Media, especially films, have long played an essential role in shaping culture, influencing society and shaping public opinion, and the ability to reach a large audience and deliver powerful messages. Films, usually called motion pictures or movies, refer to a medium of visual storytelling that uses moving images and sound to create a narrative. Films were quickly recognized as perhaps the first truly mass form of entertainment. Not only that, but they also educated and inspired people for over a century and have the power to shape cultures, societies, and public opinions; they reflect our collective experiences and can evoke strong emotional responses from audiences and indirectly engage them. Hence, films can have an effect on people’s thoughts, attitudes, and behaviors Films can be fictional or non-fictional and cover a wide range of genres, including drama, comedy, horror, action, and documentary. With the advancement of technology, films are easily distributed across various platforms and can be accessed by people from all over the world. This makes films a highly influential and impactful form of Mass Media. Which is the means of communication reaching a large number of people and refers to a diverse array of media, including print media (newspapers and magazines), broadcast media (radio and television), and digital media (websites and social media platforms). Archaeology, in general, and underwater archaeology, in particular, have struggled historically to be distinguished from the early misrepresentations of it as adventure-seeking, treasure hunting, and underwater salvage (Gately and Benjamin 2018,15-16). This misconception led to a lack of public understanding of the true nature of this field, which involves scientific research and the preservation of cultural heritage. Films that depict underwater treasure hunting, shipwreck exploration, and looting, while entertaining, can reinforce these misrepresentations and make it even harder for the public to understand the true nature of archaeology and underwater heritage. However, it is important to note that some films, such as documentaries, can serve as a way to educate the public about the importance of this field and the real work that is done by archaeologists. But here lies an issue. 1 �DOCUMENTARIES vs. MOCKUMENTARY A documentary is a "reality-based" movie. In fact, a documentary film is a broad term used to describe a non-fiction movie that, in some way, tries to capture, recreate, or "document" reality or scientific versions of ‘an event’ or ‘a person’. Documentaries bring viewers into new worlds and experiences through the presentation of factual information about real people, places, and events, generally—but not always— portrayed through the use of actual images and artifacts (Bernard 2011, 1). Not all documentaries are entirely reality-based, as there are certain things which go into the making of documentaries that viewers may not even be aware of, and which could lead to great misunderstandings about the people and events featured in them. These are the “re-enactment footage”, or other enhancements, which are added by filmmakers to the events of the story. According to Yates (2018) in the Jonestown Report documentaries that use actors and re-enactments should be rated for their veracity so that viewers know what weight to give to the information presented in them. “The viewers didn’t question the veracity of what they had seen on screen. They didn’t even think that they might need to do so. They believed that they had seen a true (i.e., truthful) documentary” (Yates 2018.). It is important for the documentary audience to understand that these reenactments may not be entirely factual and are being used to create a more dramatic or compelling narrative. The effects of these re-enactments on documentary viewers can be varied. It might help to bring the events being documented to life and make them more interesting for viewers or to fill in gaps in the original footage, or provide context for the events being documented. On the other hand, these re-enactments may also be inaccurate or misleading and could potentially lead viewers to have an incorrect conclusion or a misunderstanding of the events being portrayed. The most recent example which sparked controversy even before its release is the new Netflix docudrama series, Queen Cleopatra, due to the disagreement in the depiction of the main character, Cleopatra, Queen of the Ptolemaic Kingdom of Egypt. The portrayal of Cleopatra in the documentary has caused a debate over her race and ethnicity. The series has been accused of historical inaccuracy. The new series has drawn the ire of online users reacting to it since the release of its trailer. The Mini- Series documentary caused many controversies that led to many arguments and opinions. For most, that may lead us to highlight that the temptation in the use of re-enactments is to recreate historical occurrences that are not completely faithful to the facts or which speculate or go beyond what is known about a subject. It is up to documentary filmmakers to use re-enactments responsibly and to be transparent about it, so that viewers can make informed decisions about the accuracy and reliability of the information presented in the documentary. That leaves us to wonder if the use of reenactments in documentaries affect how the viewers of such films view historical people, places, and events? Documentaries are supposed to be as truthful as possible, so people assume that any film that is labeled as a documentary is exactly that; they documented the truth. However, another genre of film is known as False Documentary "Mockumentary". It is a documentary-style film with a fictitious subject. For the most part, mockumentaries present their subjects sarcastically. It is a comedy made and edited in the style of a documentary. Mockumentaries are made to look like real documentaries; the purpose of mockumentaries is typically to mock or critique current events, pop culture trends, modern society, lifestyles, religion, and politics (“Production Notes: Mockumentary | Nevada Film Office” 2018). Uncovering Damien Hirst's treasures in Netflix's false documentary ‘Treasures from the Wreck of the Unbelievable’ (2017). Despite being marketed as a documentary; the film is a work of fiction. Documenting the discovery and excavation of a fictional Roman-era wreck, presenting numerous recovered faux artifacts as authentic. The film adds a further feel of authenticity by intercutting footage of well-known academics and maritime archaeologists. The entire project frames maritime archaeology as the hunt for treasure (Learey 2018, 4). Damien Hirst and the crew recount the moments various discoveries are made and the myths and legends surrounding the finds. It was not a real archaeological excavation or documentary. Although "Treasures from the Wreck of the Unbelievable" is pure fiction, it could potentially confuse the audience into believing it is a real documentary as it is also labeled as a documentary genre. This could lead viewers to believe that the events 2 �depicted in the film are real and not fictional. Such films raise some important concerns. There are many film examples about shipwrecks and salvage-treasure. Do such movies affect people's perception of archaeology and underwater cultural heritage? Is the film industry trying to market heritage as just finding treasures? Established and trusted documentary shorthand can be manipulated through the misuse of stereotypes or by presenting only partial truths. IT IS JUST FICTION The archaeological work and the nature of the ancient human past were variously sketched in the early decades of cinema (Hiscock 2014, 2779). The popularity of archaeology as a storytelling medium and the historical events that archaeologist’s study have inspired the cinema industry. So, we find many fictional films that are either based on archaeological themes or have a main character who is an archaeologist. There is a massive list of films featuring Archaeology, or at least a fantasized version of it, in many popular fictional films, with the first Indiana Jones film, launched ‘Raiders of the Lost Ark’ (1981); it brought archeology and archaeologists into the mainstream. There are also ‘The Mummy’ (1999) sequels, ‘National Treasure’ (2004), and ‘The Mummy: Tomb of the Dragon Emperor’ (2008) sequels. The common thread between many of these films featuring archaeology, is the adventure and the quest for the lost treasure. Much recent research indicates that Indiana Jones and Lara Croft are the most famous archaeologists in the world. That is why today's popularity of archaeology is based on fictional heroes rather than real archaeologists (Kobiałka 2017, 213). Indiana Jones and Lara Croft have indeed become wellknown and influential archaeologists in popular culture. They shape public perceptions more than real archaeologists and archaeological history, as being a fast-paced race to find treasure or showing the archaeologist as either the scruffy eccentric scholar or the rugged action hero antiquarian. Indiana Jones himself described perfectly what archaeology seems to be truly about in ‘Indiana Jones and the Last Crusade’ (1989), "Archeology is the search for facts, not truth. If it's truth you're interested in, Dr. Tyree's philosophy class is right down the hall. So, forget any ideas you've got about lost cities, exotic travel, and digging up the world. We do not follow maps to buried treasure, and X never ever marks the spot. 70% of all archaeology is done in the library. Researching. Reading. We cannot afford to take mythology at face value." Archaeology does not involve following maps of buried treasures or other mythical objects. That is not real archaeology. Archaeology aims to understand history and culture, not uncover lost treasures and chests of gold. The presentation of underwater cultural heritage (UCH) in fictional films is not much different from that of archaeology in general; the portrayal of the discipline and the archaeologist is almost the same, although the representation of UCH in fictional films is still quite limited. Not many films have focused on UCH as a main theme, but there are few examples, such: As the ‘Treasure of Jamaica Reef’ (1974), the ‘Deep’ (1977), ‘Into the Blue’ (2005), ‘Fool's Gold’ (2008). These few examples of films that do feature UCH often showcase the "unreal exotic" and adventurous aspects, discovering lost treasures or shipwrecks and creating a stereotypical image that matches treasure hunters. The Titanic, “unsinkable ship” The Titanic myth draws from its own historical position (Singh 2020). The sinking of the Titanic is an event whose mythical significance has eclipsed its historical importance. James Cameron's ‘Titanic’ (1977) film can be debated as the closest example of representing underwater cultural heritage in a fictional film. Skipping the primary plot, focusing on the fictional romance story, the film sparked an interest in the RMS Titanic wreck. The tragedy inspired countless works of fiction across many platforms and numerous novels, TV dramas, documentaries even computer games where Titanic is the main theme. For many people, the ‘Titanic’ (1977) film has been the mass provider of information about the ship. In my opinion, the film was 3 �a good representation of the underwater cultural heritage; despite the fact that it is a fictional film, The film provides a culturally significant artifact, exploring the wreck, depicting of the ship's passenger class differences and behaviors, using remotely operated vehicles (ROVs) to explore the wreck site and shows the expedition team. The film achieved a balance of fact and fiction. DISCUSSION: FILM EXAMPLES OUTSIDE AMERICA Another example that represents the real side of archaeology under a fictional event is ‘The Dig’ (2021) film by Netflix, exploring the story of the excavation of the Great Ship Burial at Sutton Hoo in 1939. The film is based on a novel of the same name. Many of the events and characters depicted in both the film and the novel are inspired by real events and real people (The Dig , Sutton Hoo, Suffolk, n.d.) The Sutton Hoo ship burial was one of the greatest archaeological finds. The film highlights how the archaeology sites are constructed, the documentation of finds - it reflects scientific archaeology work, and the portrayal of archaeologists. Taking a closer look at the fictional movies that represent archaeology and underwater cultural heritage in Asian cinema, one will notice that there are rare examples, ‘The Treasure Hunter’ (2009) is a Chinese film with a famous archeologist embarking on a dangerous journey to recover the map and find ancient treasure. Another movie is the Korean film ‘The Pirates: The Last Royal Treasure’ (2022); a search takes place over the ocean to find the lost treasure of the Goryeo royal family, which disappeared without a trace. The rare fictional portrayal of archaeology and underwater cultural heritage in Asian cinema, and the rare examples depicting treasure hunting as a main theme, make it hard to cultivate the idea of treasure hunting. CONCLUSION The portrayal of archaeology and underwater cultural heritage with emphasis on stereotypical and mysterious-unreal events, adventure-filled "treasure hunt" style in fictional films, reflects the reality that cinema explores the interests of the public rather than the nature of archaeological practices or discoveries (Hiscock 2014, 2781). Portraying archaeology and UCH in the treasure-hunting frame leads to misconceptions about archaeology. Hence the need for good documentaries to diminish misconceptions. Good documentaries can help to diminish these misconceptions by providing a more accurate and informative portrayal of archaeology. However, it is important for documentary filmmakers to be aware of the potential for historical inaccuracies in reenactments. Reenactments should be clearly labeled in all films, especially documentaries, which should be rated for their accuracy. Bibliography Bernard, Sheila Curran (3rd ed.). Documentary storytelling: creative nonfiction on screen, London: Routledge, Taylor & Francis Group, 2011. Castro, Filipe. "Archaeologists, Treasure Hunters, and the UNESCO Convention on the Protection of the Underwater Cultural Heritage: A Personal Viewpoint." Odyssey Papers 13 (2010): 7-9. Fallenbuchl, Aleksandra Urszula. "Damien Hirst's Treasures from the Wreck of the Unbelievable: Parafiction in the Age of Truthiness." PhD diss, University of Guelph, 2020. Gately, Iain, and Jonathan Benjamin. "Archaeology hijacked: Addressing the historical misappropriations of maritime and underwater archaeology." Journal of Maritime Archaeology 13 (2018): 15-35. 4 �Greene, Elizabeth S., and Justin Leidwanger. "Damien Hirst’s Tale of Shipwreck and Salvaged Treasure." American Journal of Archaeology 122, no. 1 (2017): 2-11. Gritten, David. “Egyptians Complain over Netflix Depiction of Cleopatra as Black.” BBC News, April 19, 2023. https://www.bbc.com/news/world-middle-east-65322821. Hall, Mark A. "Romancing the stones: archaeology in popular cinema." European Journal of Archaeology 7, no. 2 (2004): 159176. Hiscock, Peter. “Film, Archaeology In.” Encyclopedia of Global Archaeology, (2014). 2779–2781. Holtorf, Cornelius, and Bodil Petersson. "The archaeology of time travel: Experiencing the past in the 21st century." The Archaeology of Time Travel (2017): 1-330. Jacobs, Norman, ed. Mass Media in modern society. Transaction Publishers, 1992. Kobiałka, Dawid. "Between what is presented and how it is presented: historical re-enactment through popular culture." (2014). Learey, Mark, "Filmed documentaries: How has western imagery of maritime archaeology influenced the creation and reception of Damien Hirst’s Treasures from the Wreck of the Unbelievable? "(2018) McGeough, Kevin. "Heroes, mummies, and treasure: Near Eastern archaeology in the movies." Near Eastern Archaeology 69, no. 3-4 (2006): 174-185. Morgan, Colleen. "Archaeology and the moving image." Public Archaeology 13, no. 4 (2014): 323-344. Singh, Apoorva. "A Biography of the Titanic: Reuse, Rumours and Myths; Constant Sinking and Resurrections Through Stories Spectacular." (2020). Yates, Bonnie. “On the Use of Actors and Re-Enactments in Documentaries.” Alternative Considerations of Jonestown Peoples Temple, 2018. https://jonestown.sdsu.edu/?page_id=81711. Accessed: April 29, 2023 “Production Notes: Mockumentary.” Nevada Film Office, September 28, 2019. https://nevadafilm.com/productionnotes-mockumentary/. “The Dig: Sutton Hoo: Suffolk.” National Trust. Accessed April 20, 2023. https://www.nationaltrust.org.uk/visit/suffolk/sutton-hoo/digging-the-dirt-at-sutton-hoo-the-true-story-behind-the-dig. Films in the text: The Deep. (1977). [film] Directed by P. Yates. The Dig. (2021). [film] Directed by Stone. S. Netflix The Mummy: Tomb of the Dragon Emperor. (2008). [film] Directed by R. Cohen. The Pirates: The Last Royal Treasure. (2022). [film] Directed by J.H.Kim. The Treasure Hunter. (2009). [film] Directed by K.Chu. Titanic. (1977). [film] Directed by J.Cameron. Treasure of Jamaica Reef. (1974). [film] Directed by V. Stone. Treasures from the Wreck of the Unbelievable. (2017). [film] Directed by D.Hirst. National Treasure. (2004). [film] Directed by J. Turteltaub. Queen Cleopatra (promotional trailer). (2023). Netflix Raiders of the Lost Ark. (1981). [film] Directed by S. Spielberg. Indiana Jones and the Last Crusade. (1989). [film] Directed by S. Spielberg. Into the Blue.(2005). [film] Directed by J.Stockwell. Fool's Gold. (2008). [film] Directed by A.Tennant. 5 � 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 2023 Session 20: Effective Ways to Deliver Maritime and Underwater Cultural Heritage Subject The topic of the resource Session 20 papers Description An account of the resource Papers presented at Session 20 of the 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage 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 November 2023 Rights Information about rights held in and over the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage 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 Media Curiosity and Underwater Cultural Heritage Description An account of the resource Underwater cultural heritage (UCH) faces multiple threats, as stressed by UNESCO through the 2001 Convention on the Protection of Underwater Cultural heritage and by the Ocean Decade Heritage Network (ODHN), such as treasure hunting, looting, and commercial exploitation. Therefore, raising awareness about underwater cultural heritage and engaging the public in its preservation and protection are vital points. There are many ways of engaging the public with UCH, one of the most obvious ways is through the media. The goal of media is to convey messages to the audience through the media channels most appropriate for them, which include printed media, internet media, and broadcast media, which are known as mass media. Different media deliver different messages in various ways, but the most powerful medium is films. Films have worldwide reachability. They are the most effective type of mass media to promote cultures and spread social awareness. Creator An entity primarily responsible for making the resource Asmaa Elsayed 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 2023 Language A language of the resource English Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Elsayed, Asmaa. 2023. “Media Curiosity and Underwater Cultural Heritage.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Bill Jeffery. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1964 Asia-Pac Session 20 2023 https://apconf-much.org/proceedings/files/original/498c5d5afc374db8fb745e2b096f9606.pdf e8037153f11bdf6c5d380d58461e1952 PDF Text Text Delivering scientific diver training for underwater archaeology: international best practice in education and a micro-credential case study Jonathan Benjamin, Hiro Yoshida, John McCarthy, Mark Polzer, Wendy van Duivenvoorde Maritime Archaeology Program, Flinders University ABSTRACT Delivering education in underwater archaeology is challenging for a variety of reasons, including the requirements to prepare archaeology students to become professional scientific divers. In practice, the discipline blends traditional academic and commercial archaeology with maritime sectors and diving industries. This paper discusses the principles of conducting safe underwater archaeology by trained divers and presents a case study of applied specialist training for diving maritime archaeology students at Flinders University, South Australia. We have developed an accredited micro-credential qualification in Professional Scientific Diving that meets the standards for both Australian Standards and the American Academy for Underwater Sciences (AAUS), enabling graduates to be classified as diving-workers under legal regimes where qualifications and professionalization are required. Delivery of this educational component within a maritime archaeology program is now critically important for career progression in underwater archaeology. We discuss the challenges of teaching diving for archaeology in a modern university with complex health and safety requirements and regulatory frameworks. We consider the barriers facing educators, students and professionals and how to create a safe and inclusive culture of scientific diving, critical to modern maritime archaeology and marine science in the coming decades. KEYWORDS: Scientific Diving, Professional Practice, Underwater Archaeology, Diver Education INTRODUCTION In 2016, at the annual general meeting of the UNESCO UNITWIN Network for Underwater Archaeology, network members undertook a workshop on Reducing Barriers to International Partnership Working. The workshop identified a number of potential barriers to diving for archaeology, including Compliance Cultures (and working across different bureaucracies), Safety Cultures (a relative term that carries cultural implications), Diving Insurance (i.e., financial risk management for individual divers and their institutions) and Defining the ‘Professional Archaeological Diver’ (competencies, qualifications, experience). These challenges collectively create a substantial administrative burden for university training of archaeological divers. To mitigate this, a project was initiated to create a model code of practice for the UNITWIN Network to reduce the challenges for staff and students to undertake partnership research and educational programmes that involve diving for archaeology. Early examples of UNESCO work in this space include the first Code of Practice for Scientific Diving: Principles for the Safe Practice of Scientific Diving in Different Environments (Flemming and Max 1988) and a short section on diving safety and compliance considerations in the UNESCO Manual for Activities Directed at Underwater Cultural Heritage (Maarleveld et al. 2013). Since the UNITWIN Model Code of Practice was first discussed in 2016, Flinders University has hosted two single-day symposium events in Adelaide, South Australia—in 2017 and 2022. After three years of discussions between Network Members, the Model Code of Practice for Safe Diving Operations (Benjamin et al. 2019) was published online in June 2019. Importantly, it received the endorsement of the UNITWIN Network and ICOMOS ICUCH, whose members were invited to respond to early drafts. The document provides a non-prescriptive model, with consistent practice and common language related to scientific archaeological diving, to serve as a starting point for network members to be able to dive safely, particularly members and aspiring members who do not already have a diving procedure 1 �or code of practice in place (Benjamin et al. 2019, 4). The model code of practice, now published online in English and Japanese (www.underwaterarchaeology.net), is 20 pages in length and covers, among other things, background, tools, roles, training and testing, medical fitness, dive planning and record keeping. CASE STUDY FROM FLINDERS UNIVERSITY MARITIME ARCHAEOLOGY PROGRAM In 2022, the Flinders University Maritime Archaeology Program (FUMAP) celebrated its 20th anniversary of providing postgraduate degrees. Throughout that time, archaeological diving in Australia has been complicated by several factors, including regulatory requirements that vary from state to state and a national standard for scientific diving (AS/NZS 2299.2) that has not been updated since 2002, despite changing regulations. For many organisations with a role in underwater heritage, including universities, government agencies and heritage professionals, the questions of who is allowed to dive for archaeology and which qualifications are fit-for-purpose have been confusing and inconsistently resolved. This has only served to deter archaeological training and project work, which has stunted the development of the discipline, particularly in training underwater excavation methods (see also Benjamin and Mackintosh 2016). A sustainable maritime archaeological community requires a culture focused on safe diving and an understanding of the responsibilities that come from diving while classified as a worker. The late Professor George Bass, who authored the benchmark Archaeology Under Water in 1966, is often credited for having said it is easier to teach an archaeologist to dive than it is to teach a diver to become an archaeologist, an observation also made by Professor John Goggin in 1959 (Goggin 1960, 350). The discipline of maritime archaeology today requires professionalism in both diving and archaeological training and must consider qualifications, competencies, compliance and work health and safety regulations that Bass would not have encountered at the beginning of his career as a diving archaeologist. It is now clear that recreational diving qualifications may be suitable for entry-level, restricted student divers, but that more serious consideration of responsibilities as part of the workforce requires further training and experience. In Australia, the most common vocational training pathway for ‘occupational divers’ (which meets the Australian Standard series 2815 referenced in most state regulations) has typically been undertaken by private commercial diving schools that have been accredited through a private ‘Registered Training Organization (RTO)’, which in turn is accredited under the Australian Qualification Framework and the Australian Skills Quality Authority (ASQA). Commercial diving training, however, does not necessarily prepare one for a career in underwater archaeology or marine science. Skills, risks and pressures are different, and the culture of the sectors and overall approach to diving are often contrasting. For the most part, scientific divers and underwater archaeologists work on SCUBA, using small hand tools and light powered water dredges or airlifts. Certainly, there are risks associated with these kinds of activities, and these must be managed in line with regulations and cultural expectations, but it is refreshing to see some movement in this space, with more interest in a revitalized scientific diving sector than in past decades and a promise of new scientific diving standards over the horizon. There is also a newly recognised way for universities to include accredited qualifications under the Australian Qualification Framework, Tertiary Education Quality and Standards Agency (TEQSA). The TEQSA pathway enables universities to create an accredited program for qualifications, and this can include scientific diving. The most recent occupational diving standards in Australia have now included this in the training standard; a pathway to recognised professionalism that had been omitted previously. Since Flinders University is a TEQSA Registered University, FUMAP staff were able to undertake a multi-year project to develop a curriculum that best serves the program’s graduates, meets the Australian 2815-series Standard and has embedded within it the American Academy of Underwater Sciences training program. 2 �This not only ensures international best practice, but also provides a widely accepted international scientific diver training qualification for our graduates working outside of Australasia. Scientific Diver Training Structure and Delivery Guidelines The Professional Scientific Diver micro-credential (MICR-PSDC) certification ensures the competency requirements of the graduate, as defined in Australian Standard 2815.6, and is internationally aligned with and meets AAUS Standards (2019), ANZSDA guidelines and the UNESCO UNITWIN Network for Underwater Archaeology Model Code of Practice for Safe Diving Operations (Benjamin et al. 2019). Flinders University has a long history of teaching underwater skills. In recognition of this existing activity, MICR-PSDC remains student-focused, formally acknowledging the skills and competencies of our graduates. Flinders has never taught non-divers how to dive, and we have maintained this stance. Within the new micro-credential, we only teach existing, competent SCUBA divers to become professionals, capable and qualified to undertake scientific diving for professional research and educational purposes under Australian Standard 2299.2 Scientific Diving Operations (Figure 1). Figure 1. MICR-PSDC delivery and implementation The primary educational aim of this micro-credential is to provide students with theoretical and practical knowledge and confirm that they have the competencies necessary to conduct research and educational activities under water as a professional scientific diver. MICR-PSDC also aims to introduce students to the basics of techniques for underwater archaeology and marine science, present students with opportunities to apply their practical and interpretive skills during problem-solving exercises and provide students with a certification that aligns to recognised standards for industry recognition. 3 �Upon completion of this micro-credential, students are able to apply compliance and safety requirements to undertake scientific diving per Australian Standard AS2299.2 and AS2815.6; minimise their impact on the underwater cultural heritage and environment through improved diving skills and proper control of buoyancy, stability and trim; explain how to conduct underwater archaeology and marine science as a Scientific Diver; apply the practical and theoretical skills for scientific diving to future research and educational projects; and distinguish Scientific Diver training from Recreational and Commercial training pathways. Roles and Responsibilities of Personnel MICR-PSDC is delivered by a team in the College of Humanities Arts and Social Sciences (CHASS), which is the home college of FUMAP (Figure 2). Nevertheless, following the initial rounds of internal implementation and curriculum development in 2021, staff and students from other colleges at Flinders University with an interest in scientific diving have also been invited to participate. Figure 2. Involvement of roles in MICR-PSDC delivery The Academic Coordinator of MICR-PSDC has overall responsibility for administering and delivering the course content and for student assessment and completions. The Academic Coordinator must be a suitably experienced Scientific Diver with training and experience in all aspects of training to be delivered (i.e., must hold qualifications that meet all competencies outlined in AS 2815.6), have competencies of a professional diving instructor (i.e., be at least an Assistant SCUBA Instructor per ISO 24802-1), be registered as a Flinders University Diver and be authorised as a Dive Coordinator. The Lead SCUBA Instructor (LSI) is the delegated technical SCUBA Diving instructor and must hold qualifications that meet all competencies outlined in AS 2815.6 and be able to certify Autonomous SCUBA Divers (i.e., be a SCUBA Instructor per ISO 24802-2). An Approved Instructor / Assistant Instructor (AI) is a supportive Academic or Professional Staff who is qualified and experienced to oversee and instruct elements delivered in MICR-PSDC. An AI must hold 4 �qualifications that meet all competencies outlined in AS 2815.6. The individual must also hold qualifications that meet all competencies outlined in ISO 24802-1 OR they must meet all competencies outlined in ISO24801-3 (e.g., Divemaster) plus have formal qualification in training and assessment from higher education or vocational education pathways (e.g., Flinders Foundations of Teaching or Certificate IV in Training and Assessment). An AI must also be listed as a Registered Diver and Dive Coordinator in the Flinders Diver Register. The Maritime Safety Dive Officer (MSDO) in Flinders University’s organisational system is the specialist diving and boating officer employed by the University’s Work Health and Safety Office. The MSDO is charged with assisting all dive management tasks and providing advice to staff and students on university policy and procedures as they relate to safe diving. The MSDO undertakes audits of diving practices to ensure compliance with relevant standards, adequate assessment of all divers’ competencies and proper record keeping. The MSDO is responsible for ensuring that staff and students undertaking diving activities are appropriately trained and competent for the diving to be undertaken, and for approving Dive Plans prior to any diving activity commencing. The MSDO approves all new divers, all assigned diver categories and the status of all dive coordinators for Flinders University diving operations. Student Registration and Certification Process Onboarding of the students takes place through the College administration, with formal approval from the Academic Coordinator. Once prerequisites are confirmed and students are registered, they are given access to the MICR-PSDC site on the Flinders Learning Online (FLO) platform and provided with their Professional Scientific Diver Training Record Book, or ‘Workbook’. Minimum prerequisites to enrol in the micro-credential are Rescue Diver certification from a recognized recreational diver training agency (e.g., PADI, SSI, TDI); 40 hours of logged dives; a valid medical certificate of diver fitness (per Australian Standard AS 2299.1 supplement); and valid First Aid, CPR and Emergency Oxygen Provider certifications. Recognition of Prior Learning (RPL) is the process for assessing an individual’s relevant prior learning, including formal, informal and non-formal learning. It is a legal requirement and an important part of MICRPSDC. Generally, we will permit RPL for individual competencies when provided evidence for three times what is required in the standard (AS2815.6). Thus, if a student is requesting to receive RPL for diving experience, they must show verifiable evidence for three times the minimum number of dives and minutes at depths specified by the standard. Verification may entail written, logged or trusted communication, or may require physical verification. A student may be required to sign a statutory declaration to confirm, in legal terms, that they have completed the activities for which they apply. In practical terms, all skills and competencies are verified in person by a qualified instructor. Theory is delivered online and in class, and all materials are available via FLO. International best practice in Scientific Diving is ensured through third-party audits by the Australia/New Zealand Scientific Diving Association (ANZSDA), which undertook an independent review of the curriculum and confirmed that it meets all Safework and Australian Standard AS 2815.6 requirements. A series of theoretical learning modules and short examinations are provided to the students as resources, with students required to achieve 100 per cent on the dive planning exam and 70 per cent or higher on all other exams to pass the theoretical modules. Practical training activities (experience-based learning) are documented in the Workbook. This is the main record of competencies achieved through a combination of training and verified RPL, which comprise all competencies required for compliance with AS2815.6. All individual activities must be completed and signed off by the Academic Coordinator, the Lead SCUBA Instructor or Approved Instructors for the workbook to be completed. A Workbook is only complete when the student has achieved all listed 5 �competencies AND made at least 50 logged dives in total. It can then be uploaded for review for certification. The AAUS modules must also be completed through the online AAUS training platform. Certification is possible once a student successfully completes all theoretical and practical training and their Workbook is reviewed and approved by the Lead SCUBA Instructor and Academic Coordinator. Records are sent to the MSDO for compliance, auditing and record-keeping purposes. Academic marks are required and, in this case, are issued as Pass/Fail. They are sent to College Student Administration Services for processing and academic record-keeping. A certification card is generated by the Academic Coordinator on behalf of the College. It includes the date of issue, the diver’s depth limit, any other restrictions or supplemental endorsements and the following statements: 1. this certification meets the requirements of AS2815.6 and AAUS Standards; 2. this certification card is valid only with a valid diving medical issued within 12 months; and 3. it is the responsibility of the named diver, and any institutional dive officer deploying the diver, to ensure the card holder does not operate beyond their training. Supplemental endorsements are undertaken and administered in a similar manner as the core theoretical and practical competencies (Figure 3). Supplemental endorsement competencies are not required to achieve MICR-PSDC certification, but they are required to be granted the relevant endorsements listed on the certification card. Figure 3. The use of a water dredge during field school represents one possible ‘supplemental endorsement’ for the certified Professional Scientific Diver. (Jonathan Benjamin) 6 �Record-keeping is carefully maintained, with records kept by the College and centrally by the MSDO for at least seven years. Records may be shared externally for purposes of reciprocity and verification. Students are instructed to keep their Workbook and records of all activities in perpetuity. The MSDO undertakes regular reviews and audits to confirm that the course continues to be compliant with relevant standards. IMPACTS AND CONCLUSION The Professional Scientific Diver micro-credential is now in its third year at Flinders University. Although not quantifiable, staff and students have already noticed a marked improvement in the quality of our student divers. This is important, especially for our maritime archaeology field schools. Since MICR-PSDC student divers are already trained in and devoted to diving and safety through their existing training and practice, they can better focus on the archaeological tasks, underwater field methods and learning outcomes rather than on diving-specific components at the cost of their archaeological practice. Students who have taken the micro-credential are noticeably more competent and confident, in and out of the water. Diving routine is almost second nature, so they tend not to waste time during equipment preparation, safety checks, briefings and acclimation to the submerged environment. MICR-PSDC students also teach, both directly and indirectly and to the benefit of both, the less experienced restricted student divers, and in this way both the culture during field schools and standards of diving are noticeably improved. Diving is not a prerequisite for postgraduate studies in maritime archaeology at Flinders; however, there is a new generation of graduates who are divers and who will leave our maritime archaeology postgraduate program with an accredited qualification as a Professional Scientific Diver embedded in their degree (Figure 4). Aligning the diving qualification to both Australian Standards and the internationally recognised AAUS (American) Standard means that the program facilitates the best opportunities for our graduates to work safely and professionally around the world where, increasingly, they will be asked to produce evidence that they are suitably trained, competent and qualified as professionals in both archaeology and scientific diving. Figure 4. Our first graduating class of Professional Scientific Divers in 2021. (Hiro Yoshida) 7 �BIBLIOGRAPHY American Academy of Underwater Sciences (AAUS). Standards for Scientific Diving Manual. Mobile, Alabama: AAUS, 2019. Bass, George F. Archaeology Under Water. Ancient Peoples and Places 48. London: Thames & Hudson, 1966. Benjamin, Jonathan, and Mackintosh, Robert. “Regulating scientific diving and underwater archaeology: legal and historical considerations.” International Journal of Nautical Archaeology 45, no. 1 (2016): 153-169. Benjamin, Jonathan, Underwood, Chris, and Sturt, Fraser, (eds.). Model Code of Practice for Safe Diving Operations. Adelaide, South Australia: UNESCO UNITWIN Network for Underwater Archaeology, 2019. Flemming, Nicholas C., and Max, Michael D., (eds.). Code of Practice for Scientific Diving: Principles for the Safe Practice of Scientific Diving in Different Environments. Compiled and edited by the Scientific Committee of the Confédération Mondiale des Activités Subaquatiques (CMAS). UNESCO Technical Papers in Marine Science 53. Paris: UNESCO, 1988. Goggin, John M. “Underwater archaeology: its nature and limitations.” American Antiquity 25, no. 3 (1960): 348-354. Maarleveld, Thijs J., Guérin, Ulrike, and Egger, Barbara, (eds.). Manual for Activities Directed at Underwater Cultural Heritage: Guidelines to the Annex of the UNESCO 2001 Convention. Paris: UNESCO, 2013. 8 � 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 2023 Session 20: Effective Ways to Deliver Maritime and Underwater Cultural Heritage Subject The topic of the resource Session 20 papers Description An account of the resource Papers presented at Session 20 of the 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage 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 November 2023 Rights Information about rights held in and over the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage 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 Delivering scientific diver training for underwater archaeology: international best practice in education and a micro-credential case study Description An account of the resource Delivering education in underwater archaeology is challenging for a variety of reasons, including the requirements to prepare archaeology students to become professional scientific divers. In practice, the discipline blends traditional academic and commercial archaeology with maritime sectors and diving industries. This paper discusses the principles of conducting safe underwater archaeology by trained divers and presents a case study of applied specialist training for diving maritime archaeology students at Flinders University, South Australia. We have developed an accredited micro-credential qualification in Professional Scientific Diving that meets the standards for both Australian Standards and the American Academy for Underwater Sciences (AAUS), enabling graduates to be classified as diving-workers under legal regimes where qualifications and professionalization are required. Delivery of this educational component within a maritime archaeology program is now critically important for career progression in underwater archaeology. We discuss the challenges of teaching diving for archaeology in a modern university with complex health and safety requirements and regulatory frameworks. We consider the barriers facing educators, students and professionals and how to create a safe and inclusive culture of scientific diving, critical to modern maritime archaeology and marine science in the coming decades. Creator An entity primarily responsible for making the resource Jonathan Benjamin Hiro Yoshida John McCarthy Mark Polzer Wendy van Duivenvoorde 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 2023 Language A language of the resource English Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Benjamin, Jonathan, et al. 2023. “Delivering scientific diver training for underwater archaeology: international best practice and a micro-credential case study.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Bill Jeffery. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1965 Asia-Pac Session 20 2023 https://apconf-much.org/proceedings/files/original/3473fce1842c72a7a0e3229be67b70b6.pdf 8225ae6da85ec5188b4d237607d987c3 PDF Text Text A Digital Multi-tool: Using Storymaps for Education and Public Outreach Thomas Kurt Knoerl Ph.D. R.P.A. (Georgia Southern University, Associate Professor of History) ABSTRACT In 2022, undergraduate students from Georgia Southern University in Savannah, Georgia, U.S.A. conducted one day visual surveys and mapping exercises on five sites related to African American maritime history. As part of their maritime archaeology class, the students conducted historical background research on site, worked with members of the local community and governments, and produced a digital storymap of an African American maritime cultural landscape. By creating the storymap, which shows the sites in relation to each other, students gained a better understanding of the concept of a cultural landscape. Projects like this one can raise public awareness not only on important individual sites but, through a digital storymap, teaches the public that sites such as these are all connected and together, can tell a deeper story. This paper discusses how the project was organized, software alternatives that are available for similar projects, and the educational and public outreach benefits that cultural resource managers from any area can use to both educate students and build community support. Keywords: Storymap, Education, Public Outreach, Digital INTRODUCTION The discovery of a previously unknown shipwreck site can grab headlines and stir the public’s imagination. “Was there any gold onboard? Were there any cannons? Was it a pirate ship?” are among the questions asked by the public. Rarely, if ever, does anyone ask, “is this site part of a larger maritime cultural landscape that can add to our understanding of past maritime communities?” Seeing shipwrecks or other maritime related archaeological sites as part of a larger narrative would demonstrate to the public that there is more to the story here than the potential monetary value of an individual site. This could, in turn, potentially generate public support for historic preservation which is a common goal for cultural resource managers. Shifting the focus from questions about one wreck to questions about an entire community’s past is a useful exercise but how does one do that? The short answer is, by looking at multiple sites at the same time. A MARITIME CULTURAL LANDSCAPE IN COASTAL GEORGIA During the spring 2022 semester at Georgia Southern University, I offered a course on maritime archaeology for undergraduate students. I had taught it once before as a non-diving class that visited five sights around the Savannah, Georgia area. I wanted the students to experience different types of maritime archaeological sites such as an abandoned wharf, a steam engine, a small boat, etc. While the students gained a lot from the different experiences, the most common critique I received was that the students felt the sites were unrelated to each other, which, apart from them all being maritime related, was true. For the 2022 semester, I decided it would be a stronger learning experience if the five sites were related. To do that I selected sites all connected to African American maritime history. They were still different types of sites requiring different recording techniques because I wanted to teach different fieldwork skills. They included a canal lock built with enslaved labor, a Gullah Geechee (African American communities with strong ties to coastal sea islands in the southeast United States) built oyster bateau, an African American owned marina, an island temporarily given to Freedmen in 1865, and a Gullah Geechee oystering community. The common thread of African American relationships to water added a layer of significance in the students’ eyes not just because of topical coherence, but because the students now saw all five of the sites as being part of a much larger story. This made explaining the concept of the maritime cultural landscape far easier than I had experienced in other classes I taught. I was used to dealing with the confusion that accompanied undergraduates after reading the classic, but somewhat complex, work on the topic, The 1 �Maritime Cultural Landscape, written by Christer Westerdahl.1 Seeing the concept laid out before them in the real world made it much clearer. The students viewed the topic of the African American maritime cultural landscape as a regional issue rather than as a collection of independent sites even though the five locations we visited were not connected in terms of their previous owners. They saw the sites as evidence of a wider culture. As a teacher, I was quite gratified by this and affirmed in my decision to use this approach to teaching the class. As a public historian, though, it made me wonder how we as a class could pass the same lesson on the general public. I could not, after all, transport everyone in the Savannah metro area to each individual site so that they could see them the way my students did, or could I? While I couldn’t physically transport members of the public to each of my sites, I could show them where they were located on a map of the region. This provided a sense of the scale of the landscape. The sites were spread out over approximately 1,300 square miles. The second part needed to appreciate the relationship between the locations meant telling the stories behind each site. Finally, I needed a way to do this on demand. A digital storymap accomplishes all of these goals and more. By placing an interactive map online that contains information about each archaeological location, visitors could both “see” the spatial relationship between each site and read the stories that connected them as well. An additional benefit that comes with using a digital platform is the ability to attach different types of media including text, images, videos, timelines, photographic overlays, three dimensional models, etc. I explained to my students that as responsible archaeologists, we had an ethical duty to provide site reports on our work to the stakeholders involved for each site. Without meaning to, I had selected a federal, state, and municipal site along with two owned by private individuals. The students prepared reports for each of these groups but I also taught them that we had an additional responsibility to include public outreach in our project. I informed them that we would create a digital storymap for this project as one of the ways we would share our findings with a wider audience. As a class we discussed why this was important, how it created a shared sense of community and thus an interest in historic preservation. We talked about how writing for the general public, as opposed to an academic audience, meant using less professional jargon, using concise prose, and having teaching as our main objective. The students kept these goals in mind as they recorded our work in photographs and videos. I asked them to consider what images would help explain the stories related to each location. Unfortunately, as the semester came to a close, there was not enough time for the students to work directly on constructing the digital storymap but their text and images were included in the site that I eventually launched on their behalf: http://www.themua.org/aamcl .2 Visitors to the site will find an introduction section that explains the project and its goals. After that, there are two content sections. The first is the storymap based on my students’ work while the second includes data gathered by my colleague, Dr. Julie de Chantal, who conducted research on United States census data related to African Americans working in the maritime industries for six counties in coastal Georgia. The two sections together were funded in part by small grants.3 The maritime archaeology portion of the storymap steps through each of the five sites while simultaneously showing a map of the region with all five locations indicated. This is a constant reminder of the geographic ties between the project locations. The text that accompanies each site provides its background history. Each location contains up to five images or videos which illustrate both the history and the work conducted by the students. A variety of historic newspaper clippings, videos, and photographs provide deeper context for the visitor. Taken all together: the map, site descriptions, and census data are more than just the sum of their individual parts. 1 Christer Westerdahl, “The Maritime Cultural Landscape,” The International Journal of Nautical Archaeology 21, no. 1 (1992): 5–14. 2 T. Kurt Knoerl et al. “The African American Maritime Cultural Landscape: Field Work in Coastal Georgia,” The Museum of Underwater Archaeology, September 27, 2022. http://www.themua.org/aamcl 3 Funding for this project was provided in part by generous donations from Georgia Sea Grant, Americana Corner, and the Museum of Underwater Archaeology. 2 �For example, while the historic African American marina on Wilmington Island is of interest in its own right, as they all are, together, the five locations, each with their own story, illustrate the broad diversity of African American maritime communities across the nineteenth and twentieth centuries, thus painting a more complete picture. The five individual sites become one community spread over the Georgia coast. CIVIL RIGHTS EDUCATION In previous classes, I have used storymaps for different purposes although always in an effort to educate not only the students but the public as well. The first example, the spring 2022 storymap, displayed the spatial relationships between archaeological sites. A second use for storymaps is illustrated by a project created in 2020 in which my digital history class recreated a historic African American walking trail of Savannah, Georgia created and led by the late Civil Rights leader W. W. Law.4 The tour was extensive, highlighting sites of famous African Americans as well as those who were representative of the working classes. Law’s tour helped teach the public that while the individuals may be gone, much of their physical world is still with us. He transformed what might otherwise be just another antique home, into evidence of Black entrepreneurship and of a community’s perseverance in the face of persistent discrimination. As one walks the tour, it becomes apparent just how widespread and vibrant the African American community was in Savannah. This was the end goal I wanted my students to recreate digitally. Students worked with the city archives to review Law’s tour notes. They relocated and photographed the tour stops and conducted additional background historical research to supplement Law’s comments. The storymap currently contains twenty-seven sites and includes photos and videos. Unlike the African American maritime cultural landscape storymap, the W. W. Law storymap’s main focus is on a map of Savannah. Viewers are more likely to actually visit several of the sites. Having the map emphasized makes it easier to select specific sites to see and to plan a walking route. A QR code was used on a flyer that was distributed to numerous places around Savannah to encourage the public to take advantage of the free tour. In 2023, the storymap was updated by a new group of students who recorded an audio version of the tour so that visitors can listen to both Law’s comments and the students’ research. COLLABORATIVE EXHIBITS A third use for digital storymaps includes uniting independent organizations across a far broader scale. Students in my Native American history course were tasked with discovering which museums in North America contained birch-bark canoes in their collections. This Native American technological invention was broadly produced in northern North America from the pre-contact period up to the present day. At first glance there may not seem to be much variation between canoes but a closer examination of the canoes in museum collections shows the incredible diversity that is largely a product of the individual Native cultural groups spread across the continent. The stem and stern of an Algonquin built birch-bark canoe in Musée Huron-Wendat museum outside of Quebec, Canada, is very distinct from one created by the Dena’ina Athabascan culture on display in the Alaska State Museum in Juneau.5 The birch-bark canoe storymap contains, at the time of this writing, sixty-three canoes in thirty-six museums. The storymap allows all of the independent organizations to bring their canoe collections together digitally in a way that would be impossible physically. National boarders do not hinder this sharing. 4 T. Kurt Knoerl et al. “The W. W. Law African American Heritage Trail,” The Museum of Underwater Archaeology, March 6, 2023. http://www.themua.org/wwlawtrail . 5 See tour stops 13 and 36 in Bark Canoes: A Digital Canoe Collection. T. Kurt Knoerl et al., “Bark Canoes: A Digital Canoe Collection,” The Museum of Underwater Archaeology, May 10, 2023. http://www.themua.org/barkcanoes 3 �Numerous Native communities can view the canoe style variations attributed to their cultures which is especially important for those groups who no longer possess any examples of canoes built by members of their culture. Researchers can view the canoes to see similarities and differences in not only design, but in builders and across time. The large map interface also lets viewers see the broad geographic range of museum owned canoes as well as highlighting those areas that are under-represented. This may encourage organizations to volunteer to participate in the project and to gain recognition for their collections. Participation in the bark-canoe storymap is free of charge to the participating institutions. Although far broader in scale than the African American maritime cultural landscape of Georgia storymap, the two sites are similar in that by placing each location, be it an archaeological site or an individual museum, into the context of the larger cultural landscape, the sites do not diminish in their importance but in fact gain from it because of the additional context attributed to them. In some respects, this mirrors the Asia Pacific Regional Conference on Underwater Cultural Heritage. As numerous cultural resource managers from across the Asia Pacific region gather at their triannual conference, each participant can see that they are not alone, but rather, a part of a much larger movement. They learn about and from each other noting similarities and also new viewpoints. Examining disparate birch-bark canoes can demonstrate how Native cultures were both similar to, and independent of, each other. The transnational and transcontinental example of the birch-bark canoes storymap could be a model for Asia Pacific cultural resource managers to bring their sites and collections together digitally, thereby raising awareness and appreciation of their work. The mention of digital technology may be intimidating to some, however, all three examples discussed were created with the assistance of undergraduate students using ArcGIS software. While this may seem like an expensive option, it can be quite affordable if not free. The nonprofit educational organization The Museum of Underwater Archaeology applied for and received a significantly discounted priced account from ESRI, the maker of ArcGIS storymap software. ESRI also provides free accounts to qualified applicants that may be a good alternative for underfunded organizations. Options, such as StoryMapJS by Knight Lab, allow for free accounts and can provide an affordable option. Many storymap software options operate in a similar manner. Users select a geographic location and upload text and images about the site. How best to tell the story is what requires the most thought, especially as the number of storymap software options increases. As mentioned earlier in this paper, my original maritime archaeology class visited five unrelated sites which, when viewed together, lacked a cohesive story. There was little to draw the viewer from one site to the next. The key is to understand why a collection of sites have been grouped together. One must be able to answer the spatial version of the “so what” or “why do we care” questions. When considering creating a storymap one should give serious consideration to whether or not examining a data set’s spatial relationship has any significance. Does it matter if one archaeological site, for instance, is located in Perth, Australia, while a second is located in Buffalo, New York, if there is nothing else tying them together? In this instance, the spatial relationship between the two sites is insignificant or goes no further than mere curiosity. The best area to assess for significance is, unsurprisingly for those working in the humanities, the human story. Because most storymaps allow a viewer to follow a preset path from one location to another, it is very similar to laying out a narrative in a written story. The author should guide the viewer so that each site builds upon the next or at least offers a suggested direction of physical travel should the viewer be interested in visiting some or all of your sites. For those visitors who wish to resist the constraints of a traditional linear path, they can ignore the storymap’s creator and click on the map where they will. These rebels can rest easy knowing that even if they throw caution to the wind and select site number five before visiting site four, they will always have the overall map to guide them back to the suggested order.6 6 As you might have guessed, the author is not a fan of non-linear storytelling. To each their own. 4 �Another suggestion for the beginning storymap maker is to consider, depending on the software platform, taking full advantage of the various media at the researcher’s disposal. Concise, informative text is an absolute necessity but images and video can provide an opportunity to explore the site in greater depth, to draw attention to the relationship between sites, or to describe the threats to their preservation. The stories within the storymap can explore numerous facets of the collection. It all comes down to the overall purpose behind the storymap and, as discussed earlier, there are numerous options. CONCLUSIONS? The African American maritime cultural landscape based on my spring 2022 maritime archaeology class sought to teach both my students and the general public about the variety of maritime experiences of African Americans in coastal Georgia over the past two hundred years. The W. W. Law storymap resurrected a physical tour that was, in its own way, an analog version of a storymap. Law led his guests through the historic spaces in Savannah based on his own experiences and following paper maps. The bark-canoe storymap used the digital realm to shrink the physical space that separates museums and their canoes, thereby allowing visitors to view Native American maritime material culture in the context of their shared North American experience. Regardless of the model one might choose, it is important that cultural resource managers, wherever they are, view storymaps as a way to overcome obstacles to teaching, research, and education that high cost and distance can impose. When interviewed about their experience in creating storymaps for both classes and personal projects, students acknowledged the challenges and opportunities this type of project presents. One student wrote, “I believe, the earlier historians… get into this expanding field, the better. It allows us to expand our range of influences beyond the university or the museum grounds onto a truly international stage.”7 Another student noted the benefit they received from working on a publicly viewable storymap, “Having something other than words on paper to prove your academic abilities solidifies your goals and makes you think of other projects and applications that await you in the future.”8 If it is true that water unites humanity, and the global distribution of shipwrecks around the world can attest to that (there is even a shipwreck in Lake Erie that was built in Asian waters), then cultural resource managers, working jointly, can use storymaps to show the ties that bind their underwater cultural heritage. With each node added to the storymap the story becomes richer in meaning and more effective in what it can teach us about our shared past. What lays at the heart of storymaps, is to put it plainly, the story. The map shows us not that we are disconnected by space, but in truth, connected by it. In the end, it’s just a matter of scale. 7 8 Dalton Blackmon, email message to author, August 18, 2020. Alyssa Saldivar, email message to author, August 18, 2020. 5 �BIBLIOGRAPHY Knoerl, T. Kurt, Robert Carpenter, Bertram Cedola, Abby Anderson, Mary Anne Gojdics, Donna Sanders, Kaz Green, et al., “Bark Canoes: A Digital Canoe Collection,” The Museum of Underwater Archaeology, May 10, 2023. http://www.themua.org/barkcanoes Knoerl, T. Kurt, Julie de Chantal, Sarah Fulford, Ozalynn Davis, Ann Grace Bazemore, Marchello Graddy, Zach Graham, et al., “The African American Maritime Cultural Landscape: Field Work in Coastal Georgia,” The Museum of Underwater Archaeology, September 27, 2022. http://www.themua.org/aamcl Knoerl, T. Kurt, Julie de Chantal, Luciana Spracher, Harlie Bagley, Ana Beasley, Doug Carol, William White, et al., “The W. W. Law African American Heritage Trail,” The Museum of Underwater Archaeology, March 6, 2023. http://www.themua.org/wwlawtrail Saldivar, Alyssa. “Story Map Article.” Received by T. Kurt Knoerl, August 18, 2020. Blackmon, Dalton. “Story Map Article.” Received by T. Kurt Knoerl, August 18, 2020. Westerdahl, Christer. “The Maritime Cultural Landscape.” The International Journal of Nautical Archaeology 21, no. 1 (1992): 5– 14. 6 � 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 2023 Session 20: Effective Ways to Deliver Maritime and Underwater Cultural Heritage Subject The topic of the resource Session 20 papers Description An account of the resource Papers presented at Session 20 of the 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage 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 November 2023 Rights Information about rights held in and over the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage 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 A Digital Multi-tool: Using Storymaps for Education and Public Outreach Description An account of the resource In 2022, undergraduate students from Georgia Southern University in Savannah, Georgia, U.S.A. conducted one day visual surveys and mapping exercises on five sites related to African American maritime history. As part of their maritime archaeology class, the students conducted historical background research on site, worked with members of the local community and governments, and produced a digital storymap of an African American maritime cultural landscape. By creating the storymap, which shows the sites in relation to each other, students gained a better understanding of the concept of a cultural landscape. Projects like this one can raise public awareness not only on important individual sites but, through a digital storymap, teaches the public that sites such as these are all connected and together, can tell a deeper story. This paper discusses how the project was organized, software alternatives that are available for similar projects, and the educational and public outreach benefits that cultural resource managers from any area can use to both educate students and build community support. Creator An entity primarily responsible for making the resource T. Kurt Knoerl 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 2023 Language A language of the resource English Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Knoerl, T. Kurt . 2023. “A Digital Multi-tool: Using Storymaps for Education and Public Outreach.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Bill Jeffery. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1966 Asia-Pac Session 20 2023 https://apconf-much.org/proceedings/files/original/fb0a4f392e4dbb0d0256e78f3346f42b.pdf 01646eb484c6fc8f205da555ec70d71a PDF Text Text The responsible in-situ accessibility and promotion of Underwater Cultural Heritage as a strategy for its protection. A discussion based on recent initiatives in the Mediterranean. Angelos Manglis (Founder, Civil Engineer MSc) Anastasia Fourkiotou (Archaeologist MA) Dimitra Papadopoulou (Dipl. Environmental Engineer MSc) (Atlantis Consulting S.A. Greece) ABSTRACT This paper discusses the current challenges in the protection of Underwater Cultural Heritage (UCH) and proposes the in-situ preservation and responsible accessibility of UCH sites as a strategy for their protection. The questions in focus are the sustainable management and operational framework that can ensure the UCH sites are protected and accessible for the purposes of both research and raising public awareness. Broad accessibility including divers and non-divers can thus enhance the sustainable operation of sites in the long term. This work focuses on the Mediterranean region in Europe and presents initiatives which have been implemented or are still ongoing under various national or transnational projects towards the goal of accessible UCH. The results of the efforts so far include the operation of the first accessible underwater archaeological sites in Greece and integration of technology to reach a wider audience through digital exhibitions, serious games, and dry dive apps available in museums and knowledge awareness centers. This work further discusses how the planning of underwater archaeological field surveys should include considering parameters related to the responsible promotion of the site in a later phase, after the end of excavation or conservation works, as a protection practice. Keywords: Underwater Cultural Heritage, promotion, protection, in-situ accessibility List of Figures Figure 1. The Accessible Underwater Archaeological Site of Peristera in Alonissos, Greece. (Photo by Matteo Collina, UNICAL, DIMEG © Ministry of Culture & Sports, Ephorate of Underwater Antiquities. INTRODUCTION UNESCO emphasizes the preservation of Underwater Cultural Heritage (UCH) sites in their original location and encourages responsible and non-intrusive access for observation or documentation purposes when necessary and appropriate, subject to certain conditions. This approach helps to raise public awareness of the significance of UCH and the need to protect it, as all cultural heritage, for the next generations. Safeguarding UCH entails among other challenges preventing trawling, anchorage or looting. Strict legislation and delimitation have proven ineffective so far to this purpose. When people are educated about their cultural heritage, they come to realize its value and the need for its protection, while citizens acknowledge the UCH sites as part of their history and develop a sense of pride for their heritage and a local cultural identity. It is indeed the broad awareness and public accessibility to UCH that are crucial for the protection and sustainability of the sites. Moreover, accessible UCH creates various benefits for societies from a cultural, educational and socioeconomic development standpoint. There are different approaches to UCH promotion with both advantages and challenges in terms of accessibility and sustainability. One kind of model is the land-based maritime museums with recovered artifacts of wrecks. Another model is the museums with restored ships with several examples in Europe such as the ARQUA National Museum of Underwater Archaeology in Spain, the Mary Rose Museum in the UK, the Roskilde Viking Ship Museum in Denmark, or the Vasa Museum in Sweden. However, the model of in-situ preservation such as in the case of Accessible Underwater Archaeological Sites (e.g., underwater parks, underwater archaeological trails) is unparalleled in terms of efficiency and operational sustainability in the long term. In the Mediterranean, management strategies of UCH vary depending on the site (material, preservation, accessibility), either applying protective frames over the 1 �remains or involving diving centers for the sustainable operation of underwater parks. Recent technological advancements on underwater survey and digitalization have enriched physical dive trails and enabled virtual dives as well. Herein we present different approaches and models of sustainable management, responsible accessibility and promotion of Accessible UCH sites in the Mediterranean. DEVELOPING MODELS FOR INCLUSIVE ACCESSIBILITY OF UCH SITES New approaches to standard technologies can contribute significantly to raising public awareness of UCH protection. Several projects have been implemented or are currently ongoing to promote Accessible UCH sites in the Mediterranean. The CREAMARE project aims to create a cross-sectoral collaboration framework to co-produce creative content to promote UCH and raise awareness about environmental threats to the oceans. The project is testing the framework through the co-production of a Serious Game that allows players to visit highly realistic three-dimensional digital replicas of underwater cultural sites and learn about UCH (shipwrecks, finds, submerged cities, ancient trade routes etc.) and environmental threats. Furthermore, an ad-hoc web platform is being developed to facilitate the matching and collaboration among cultural organizations, creative teams, and technology experts to enable knowledge transfer, synergy and coproduction, to autonomously create three-dimensional models and digital contents of UCH and use those datasets to monitor the conservation state and contribute to the creation of digital apps for their promotion. I-BLUECULTURE is another ongoing research project co-financed by the European Regional Development Fund and Greek national funds that is developing a three-dimensional virtual diving and exploration system in a video-streaming, which is captured underwater in real-time. The system allows non-divers to ‘navigate’ (dry-dive) in selected Accessible UCH sites of the Greek archipelago, including three byzantine shipwrecks with amphoras at Peristera, Alonissos island and the modern wreck of a cargo ship at Skopelos island. The system can be installed in different contexts (e.g. at museum exhibitions or portable devices) allowing dry dives in a virtual reality (VR) environment, textured with live-streaming underwater video. Such three-dimensional virtual explorations can be experienced whether users are on-site, at the sea surface (e.g. on board with a smart phone), or away from the site, on land (e.g. at an awareness kiosk with a VR installation). The MAREBOX project is yet another example of a project that brought together the cultural, artistic, and creative sectors with technology to create an art exhibition and a virtual walkthrough under the theme of the current challenges of the sea. The outputs included a dry diving augmented reality (AR) application for the shipwreck of the classical period in Peristera, in Alonissos Greece. MeDryDive project, using augmented and virtual reality apps and taking personalized dry dive experiences a step further, created a thematic tourism product that included a multi-country approach with Accessible UCH sites in Greece, Italy, Croatia, and Montenegro. The project developed the first serious game on UCH, enriching the experience of tourists and stimulating their interest in UCH and thematic diving. Utilizing augmented and virtual reality increases accessibility to UCH sites for a broad audience. This model of promotion can offer an immersive experience of the underwater environment, which may not be possible otherwise for individuals with mobility impairments or disabilities. The virtual tours and dry diving experiences allow them to explore UCH sites and interact with their surroundings in a simulated underwater environment. 2 �BLUEMED MODEL: EXAMPLE OF CLUSTER OF ACCESSIBLE UCH SITES AT aLONISSOS, GREECE The site and the story The BLUEMED project aimed to raise public awareness on UCH and at sustainable tourism development in coastal regions and islands in the Mediterranean. Based on international good practices for UCH protection, a framework for the sustainable management and promotion of Accessible UCH sites was developed and pilot-tested in three countries, including the “Capo Rizzuto” Marine Protected Area in Italy, the ancient shipwrecks in Alonissos and Western Pagasitikos in Greece, and the submerged sites of Cavtat in Croatia. Figure 1. The Accessible Underwater Archaeological Site of Peristera in Alonissos, Greece. (Photo by Matteo Collina, UNICAL, DIMEG © Ministry of Culture & Sports, Ephorate of Underwater Antiquities). The ancient shipwreck of Peristera is located at the islet of Peristera in Alonissos island and lies at a depth of around 27 meters (m). It is dated around 425 BC with a cargo of transport amphoras of the Mendean and the Peparethian type, both from famed Greek wine-production centers in antiquity, Mendi in Chalkidiki and Peparethos (modern Skopelos island), respectively. The wreck forms an impressive concentration of around 3000 amphoras that seems to maintain the shape of the merchant ship, indicating also that vessels with huge volume cargoes sailed in the Mediterranean already in the fifth century BC (Figure 1). The other three Greek pilot sites nearby are located at the Western Pagasitikos Gulf, near the village of Amaliapolis. A shipwreck from the eleventh-thirteenth century AD at the islet of Kikinthos lies at a depth of three to 11 m with a concentration of pithos and amphoras sherds. At Cape Telegraphos there is a shipwreck of the Roman period at a depth of 17 to 27 m with scattered amphoras sherds of three main types, while at a shallower depth of 10 to 20 m there are also the remains of a second shipwreck from the twelfth-thirteenth century CE. In Cape Akra Glaros at Nies Bay, several shipwrecks of different periods have been discovered, among which a shipwreck of the Middle Byzantine period at a depth of 15 m, with big amphoras sherds and anchors of different eras, and a second shipwreck at about 20 m depth, with intact amphoras and scattered fragments of a great stone stock of a wooden 3 �anchor of the Archaic period (seventh-sixth century BC). The several shipwrecks of different time periods indicate the diachronic trade activity in the area. The project To enhance accessibility at UCH sites and include non-divers, BLUEMED developed digital documentation, three-dimensional-site reconstruction and a virtual diving system, offering a dry-dive experience and providing augmented and contextual site and marine environment information, in a fun and educational context. To host an exhibition of the sites, either on a VR environment or through interactive touch screens, BLUEMED introduced the concept of Knowledge Awareness Centers (KACs), a type of an information center that can host digital exhibitions, showcase replicas of underwater finds or the actual recovered artefacts and hold events to raise awareness among local communities and visitors. KACs can also support the operation of the Accessible UCH sites if located nearby, indicatively provide information about the operating hours of the site, while the VR dry dive system hosted the KACs can become a tourism attraction in the area. Four KACs were established under the BLUEMED project in total. There is a KAC hosted at the National Archaeological Museum of Capo Colonna, in Crotone, Italy and another one in the Archaeological Museum of Konavle, in Croatia. In Greece, two KACs have operated since 2020, one in Chora in Alonissos and another one in Amaliapolis. A web platform was also developed to further introduce users to sites, diving parks, maritime museums and KACs, and offering dry dives at selected sites. BLUEMED as a case study of an integrated approach to UCH sustainable management BLUEMED has developed an all-inclusive model comprising policy recommendations, development strategies, and a management framework to support the sustainable operation of the sites and the KACs. The primary objective of the model is to help competent authorities and managing bodies in issuing policies and managing the sites effectively and sustainably, with the ultimate aim of protecting them. The model focuses on long-term operation sustainability with monitoring of key performance indicators covering cultural, environmental, and socioeconomic aspects, and it employs a validation methodology that assesses the operation of both sites and KACs. Additionally, a roadmap is provided for the uptake of the model, which can be adapted to local conditions. The roadmap is a guide that outlines the technical, operational, and policy requirements that must be fulfilled, the barriers that must be overcome, and the risks and limitations that must be considered, such as funding, legislation, limited promotion, and lack of tourism infrastructure. The roadmap also accounts for the unique characteristics of each site and its location and provides a checklist of steps to follow for the protection, responsible promotion, and sustainable management of the sites. F action plan may develop as a multidisciplinary synergy of different fields and bodies, including the The i Ministry of Culture, regional authorities or municipalities, universities and research institutions, g international organizations or local associations, diving centers, museums etc. u r e BLUEMED roadmap The S E The roadmap is an agile action plan, adjustable to the conditions and circumstances of an island or Q coastal area where a UCH site is located nearby. Its milestones are the crucial issues to consider, yet F these steps can be in overlapping phases and not necessarily in progressive order. Going beyond the i g that meet all the proposed requirements, the roadmap is applicable in cases where the sites may sites u some of the standard features. The core milestones of the roadmap are: lack r e 1.\ * 2.A R A B 3.I C 1 . T h e a Mapping, Assessment and Selection of site(s). Potentials for sustainable tourism development (diving centers, tourism attraction, services and attractions in the area). Stakeholders Engagement. 4 �4. Risk Assessment and sustainability KPIs. 5. KACs operation. The roadmap considers various parameters (environmental, cultural, social, economic) in an area (locality) as well as the policy and technical aspects for an action plan. Offering either a bottom-up or a top-down approach, it is a multidisciplinary and cross-sectoral approach, building upon local community and stakeholders’ involvement, joined by competent authorities and policy makers. The outcomes In BLUEMEDPLUS project, as a continuation of the BLUMED to transfer its good practices, such results have been transferred to three new territories, respectively in Italy, Montenegro and Albania, along the lower Adriatic that preserves an immense UCH that is still barely known and valued. This new effort has aimed to enable the transfer of skills and knowledge gained and improve the management of underwater sites of historical/archaeological interest, promoting new destinations as resources for the sustainable development of coastal tourism. The operation of Peristera Underwater Archaeological Site in Greece has been considered successful, with 260 dives recorded annually since its opening in 2020 and funding secured until 2023. Additionally, as of 2022, four other Accessible UCH sites in Alonissos are open to the public for diving under supervision by archaeologists of the Ephorate of Underwater Antiquities. These sites include ancient shipwrecks with cargo amphoras at an average depth of around 35 m: the shipwreck in Cape Tzelios on Peristera islet from the Hellenistic period, the shipwreck in Skantzoura island (end of the fourth century BC), a mid-twelfth century CE shipwreck at Aghios Petros, Kyra Panagia island, and an archaic period shipwreck in Fagrou islet. These efforts have resulted in the creation of the largest Accessible Underwater Archaeological Park in Greece with a cluster of five ancient shipwrecks, dropping the pin for cultural diving tourism worldwide at Alonissos. With the creation of a cluster of five Accessible UCH sites, there is now the possibility of more dives and an extended visit to the area, making it ripe for the development of a weekly-based tourism product. A promotional strategy can be developed to include not only the Alonissos sites but also the ‘CHRISTOPHOROS’ modern wreck, a popular diving site in Skopelos island nearby. The establishment of a KAC in Skopelos and the development of a dry dive app for the site have contributed to its popularity. All these developments make the area an exciting destination for cultural diving tourism. CONCLUSIONS The results and impact of all efforts have documented the benefits of accessibility of underwater cultural assets not only among divers but in the general public. We consider the integration of innovative technologies such as AR and VR applications and the operation of KACs essential to the implementation of the proposed model. The surge of underwater cultural tourism will undoubtedly enhance the socioeconomical benefits in the long term, especially if combined with high quality services and tourism infrastructure in the area. Tourists consider culture a strong asset of a destination and alternative tourism is an emerging trend globally. Still, even though coastal tourism is among the priorities of the EU strategy for blue growth, UCH is rarely included in the touristic promotion strategies and campaigns. UCH can be beneficial for islands and coastal areas in terms of socioeconomic development, while recreational diving can generate multiple advantages for the local economies such as direct and indirect revenues from cultural tourists. Therefore, challenges and prospects of UCH related to blue growth global trends or tourism also need to be considered by policy makers. 5 �This paper presents different models for the sustainable management and responsible accessibility and protection of Accessible UCH sites that have been developed in the framework of several projects with pilot implementation in the Mediterranean. The examples demonstrate the advancements in technology that allow responsible accessibility of UCH under EU and/or national funding. However, the focus needs to shift towards the operational sustainability of these Accessible UCH sites. Synergies between policy makers, managing authorities, and stakeholders will ensure the sustainable management of the sites, focusing on issues such as monitoring and safeguarding, attractive content and ticketing policy, responsible promotion, and secure funding. Considering that responsible promotion of UCH contributes to its protection, planning of underwater archaeological surveys, excavation or conservation works at UCH sites need to take into consideration in advance the available options for the responsible promotion of the site(s) and the prospects. Making the site responsibly accessible to all, following a plan of both in-situ preservation and accessibility from a distance, and raising awareness of the value of UCH among the locals is key to safeguarding cultural heritage for future generations. Acknowledgements A.M. A.F. and D.P. acknowledge funding from the MeDryDive EU co-financed project under COSME Programme, MAREBOX Bridging culture and audiovisual content through digital - EACEA 06/2019, BLUEMED project funded by INTERREG MED Programme 2014-2020 and co-financed by the European Regional Development Fund (ERDF), CREAMARE project CREA-CULT-2021-COOP managed by the European Education and Culture Executive Agency (EACEA) under Creative Europe Programme Bibliography Beattie-Edwards, M. “England’s protected wreck diver trails and the economic value of a protected wreck”. In A heritage for mankind, Proceedings of the 5th International Congress on Underwater Archaeology (IKUWA V), Cartagena, October 15th18th, 2014; Ministerio de Educación, Cultura y Deporte Eds. Spain, 198-212, 2016. Bruno, F.; Lagudi, A.; Barbieri, L. “Virtual reality technologies for the exploitation of underwater cultural heritage”. In Latest developments in reality-based three-dimensional surveying and modelling; F. Remondino, A. Georgopoulos, D. GonzálezAguilera, P. Agrafiotis Eds.; pp. 220–236, MDPI: Basel, Switzerland, 2018. Bruno F., Ricca M., Lagudi A., Kalamara P., Manglis, A., Fourkiotou A., Papadopoulou, D., Veneti A. “Digital Technologies for the Sustainable Development of the Accessible Underwater Cultural Heritage Sites”, J. Mar. Sci. Eng. 8, no. 955 (2020). Chand, M. “Residents' perceived benefits of heritage and support for tourism development in Pragpur, India”. Tourism: An International Interdisciplinary Journal 61, no. 4, (2013): 379-394. Dwyer, L.; Edwards, D.; Mistilis, N.; Scott, N.; Roman, C.; Cooper, C. “Megatrends Underpinning Tourism to 2020: An analysis of key drivers for change”. CRC for Sustainable Tourism: Australia, 2008. El‐Kady, M. “Potentials of underwater cultural heritage in tourism from the perspective of tour guiding in Alexandria, Egypt”. Journal of Tourism Research 17 (2017): 222-238. EU Commission. “Report on the blue growth strategy. Towards more sustainable growth and jobs in the blue economy: Commission Staff Working Document on Blue Growth 2013-2016”. Hadjidaki E. 1996, “Underwater excavations of a late fifth century merchant ship at Alonnesos, Greece: The 1991–1993 seasons”, Bull. Corresp. Hellénique 1996, no. 120 (1996): 561–593. Henderson, J. “Oceans without history? Marine cultural heritage and the sustainable development agenda”. Sustainability 11, (2019): 5080. Manglis A., Fourkiotou A., Papadopoulou D. “The Promotion of Underwater Cultural Heritage as a Sustainable Blue Growth Investment: Innovative technologies and bottom-up cooperation initiatives in Mediterranean area” in Corpakis D., Ketikidis P. (eds.) Responsible Innovation & Entrepreneurship, Proceedings of the 2019 European Triple Helix Congress on Responsible Innovation & Entrepreneurship (ETHAC 2019), Thessaloniki, Greece, 30 September–1 October 2019, Thessaloniki, 171–175, 2019. 6 �Manglis, A.; Fourkiotou, A.; Papadopoulou, D. “The Accessible Underwater Cultural Heritage Sites (AUCHS) as a sustainable tourism development opportunity in the Mediterranean Region”. Tourism: An International Interdisciplinary Journal 68, no. 4 (2020): 499-503. https://doi.org/10.37741/t.68.4.9 Manglis, A.; Fourkiotou, A.; Papadopoulou, D. “A Roadmap for the Sustainable Valorization of Accessible Underwater Cultural Heritage Sites”. Heritage 4 (2021): 4700–4715. https:// doi.org/10.3390/heritage4040259 Papageorgiou, M. “Stakes and challenges for underwater cultural heritage in the era of blue growth and the role of spatial planning: Implications and prospects in Greece”. Heritage 2, no. 2, (2019): 1060-1069. https://doi.org/10.3390/heritage2020069 Stefanile, M. “Underwater cultural heritage, tourism, and diving centers: The case of Pozzuoli and Baiae (Italy). In A heritage for mankind”. Proceedings of the 5th International Congress on Underwater Archaeology, Cartagena, Colombia, 15–18 October 2014; Cartagena, Spain, 213–224, 2016. Thurley, S. “Into the future. Our strategy for 2005-2010”. Conservation Bulletin 49 (2005): 26-27. Tikkanen, S. “The Nordic experience: access through maritime dive trails and virtual simulation”. In Proceedings of the UNESCO Scientific Colloquium on factors Impacting Underwater Cultural Heritage, UNESCO regional Meeting on the Protection of the Underwater Cultural Heritage: Conference Book Royal Library of Belgium, Brussels, 13-15/12/2011; 62-65, 2012. UNESCO. “Convention on the Protection of the Underwater Cultural Heritage”; UNESCO: Paris, France, 2001. UNESCO. “The Benefit of the Protection of Underwater Cultural Heritage for Sustainable Growth, Tourism and Urban Development”. Elaborated by the UNESCO Secretariat and the Scientific and Technical Advisory Body of the Convention on the Protection of the Underwater Cultural Heritage, 2001, 2013. Vodeb, K.; Nemec Rudež, H. “Which attributes are important to tourists in a mature seaside destination? A case of Opatija in Croatia”. Tourism: An International Interdisciplinary Journal 65, no. 3 (2017): 267-279. Zmaić, V. “The protection of Roman period shipwrecks “in situ”. In Underwater Museums. In Exploring Underwater Heritage in Croatia: A Handbook; edited by L. Bekić, L., Miholjek, I. 18-19. Zadar, Croatia, 2009. 7 � 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 2023 Session 20: Effective Ways to Deliver Maritime and Underwater Cultural Heritage Subject The topic of the resource Session 20 papers Description An account of the resource Papers presented at Session 20 of the 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage 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 November 2023 Rights Information about rights held in and over the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage 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 The responsible in-situ accessibility and promotion of Underwater Cultural Heritage as a strategy for its protection. A discussion based on recent initiatives in the Mediterranean. Description An account of the resource This paper discusses the current challenges in the protection of Underwater Cultural Heritage (UCH) and proposes the in-situ preservation and responsible accessibility of UCH sites as a strategy for their protection. The questions in focus are the sustainable management and operational framework that can ensure the UCH sites are protected and accessible for the purposes of both research and raising public awareness. Broad accessibility including divers and non-divers can thus enhance the sustainable operation of sites in the long term. This work focuses on the Mediterranean region in Europe and presents initiatives which have been implemented or are still ongoing under various national or transnational projects towards the goal of accessible UCH. The results of the efforts so far include the operation of the first accessible underwater archaeological sites in Greece and integration of technology to reach a wider audience through digital exhibitions, serious games, and dry dive apps available in museums and knowledge awareness centers. This work further discusses how the planning of underwater archaeological field surveys should include considering parameters related to the responsible promotion of the site in a later phase, after the end of excavation or conservation works, as a protection practice. Creator An entity primarily responsible for making the resource Angelos Manglis Anastasia Fourkiotou Dimitra Papadopoulou 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 2023 Language A language of the resource English Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Manglis, Angelos, Anastasia Fourkiotou, and Dimitra Papadopoulou. 2023. “The responsible in situ accessibility and promotion of Underwater Cultural Heritage as a strategy for its protection. A discussion based on recent initiatives in the Mediterranean.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Bill Jeffery. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1967 Asia-Pac Session 20 2023 https://apconf-much.org/proceedings/files/original/81a739087cdc24bd84d54084120dcbe6.pdf 5138bd27fa7cbc3b85ea9fbe5fd4cd00 PDF Text Text A Study on the Narrative Display Technique of the Underwater Archaeological Museum: Focusing on Shipwrecks and Underwater Cultural Assets Ye-ree Park (Curator Exhibition & Education Division, National Research Institute of Maritime Cultural Heritage, Korea) ABSTRACT The underwater archeology museum mainly deals with archaeological and historical shipwrecks and artifacts from ancient times to modern times as old as the history of marine activities of mankind, and has been operated with the participation and efforts of many experts for a long time, from underwater excavation to preservation and exhibition. Unlike general archaeological artifacts, underwater cultural properties require sufficient preservation treatment, as they are in a waterlogged environment. In particular, shipwrecks, which are submerged timber cultural assets, should be displayed in a sustainable manner while considering the preservation environment, and there is a need to explore how to effectively introduce the remaining hulls to visitors. The museum's exhibition can be said to be a fact-based narrative realization activity. In particular, a shipwreck that sank at a specific time has a narrative like a ‘time capsule’. In order to examine the narrative display techniques of underwater archaeological museums, this study is conducted as follows: 1) analyzing the shipwreck exhibition cases in Korea and the world to organize the differences of other maritime museums, 2) identifying convergence characteristics such as viewing environment-preservation-restoration strategies, tasks, and issues for effective exhibition of shipwrecks and underwater cultural properties, and presents exhibition directions, and 3) suggesting an exhibition technique to effectively convey the ‘narrative’ and value of shipwrecks and underwater cultural assets. From 1994 to the present, the author has been exhibiting several ancient shipwrecks at the Maritime Artifacts Exhibition Hall of the National Research Institute of Maritime Cultural Heritage (NRIMCH), and has tried various display techniques for them. This study is expected to be the data to think about how spatial curation, which visualizes and spatializes 'time and space of the past' through encounters with convergent exhibition techniques, is carried out. Keywords: underwater archeology, maritime museum, underwater cultural heritage exhibition, shipwreck List of Tables and Figures Table 1 Processes of combining restoration and display of shipwrecks Figure 1 Restoration frames and video display technique of Viking shipwreck Figure 2 A Viking warrior in the animation INTRODUCTION: NARRATIVE OF MUSEUM EXHIBITS Today, the paradigm and central function of museums are rapidly shifting from traditional roles such as collection, preservation, and exhibition to one of user-centered, cultural enjoyment, and consumption. Among them, exhibitions are at the very center of the paradigm shift as an essential activity of museums. In-depth consideration is required for subject selection, exhibition planning, content and scenario composition, archive services, public feedback of academic research and return of research results to the public, and presentation methods and materials. Moreover, it is important to seek an exhibition that moves the hearts of visitors. One of the important elements that move the emotions of the visitors is the narrative. The museum's exhibition can be considered to be an activity of realizing a narrative based on facts. Narrative exhibition contents are curated to visualize and spatialize ‘time and space of the past’ through encounters with design. Narrative realization is importantly treated in museum exhibitions in the field of humanities, such as archeology, history, and folklore. In particular, the ‘shipwreck’, the central exhibition content of the underwater archeology museum, is a product that disappeared at a specific time and place, and has a narrative that contains the story of that point, like a ‘time capsule’. Admittedly, the narrative of the museum is not contained only in the exhibition content. Many maritime museums around the world are located in waterfront spaces such as ports or riversides, providing historical locality to the location environment, and harmony with the sea space and identity to in the architecture. All of this can be said to be a time-space curating and an integrated narrative process. 1 �Research scope and method An exhibition achieves its best purpose when it communicates and exchanges emotions between people in the past and present visitors through exhibits. The theme of the exhibition is a fantasy series that transcends time and space, and the work of creating optimal narrative and storytelling is exhibition design and space curating. This study aims at examining the important 'narrative directing technique' in the exhibition space of the underwater archeology museum and the convergence curating with various fields in the process of realizing it. The scope of the research is museums specializing in underwater archeology, which focuses on 'shipwreck' and 'underwater cultural assets'. EXHIBITION AND NARRATIVE OF THE UNDERWATER ARCHAEOLOGY MUSEUM Underwater Archeology Museum in Korea As for the underwater archaeological museums in Korea, there are two museums: the Mokpo Maritime Artifacts Exhibition Hall and the Taean Maritime Artifacts Exhibition Hall of the NRIMCH under the Cultural Heritage Administration. Other than them, there are two places that focus on humanistic exhibition contents, the National Maritime Museum and the Incheon National Maritime Museum under the Ministry of Oceans and Fisheries. All of these four museums have the identity of the sea and the historical locality. These museums are establishing a narrative environment that connects the sea and exhibition programs from the external environment. Maritime Silk Road Museum in China The museums displaying underwater cultural properties in China include the Shandong Province Penglai Ancient Ship Museum, the Fujian Province Quanzhou Overseas Transportation History Museum, the Zhangzhou Maritime Silk Road Museum, and the Guangdong Provincial Museum and Yangjiang Maritime Silk Road Museum. Yangjiang Maritime Silk Road Museum is China's first museum specializing in underwater archeology, located on the seashore of Hailing Island, Hailing Island, Guangdong Province, in the South China Sea. Nanhai no. 1, the Southern Song Dynasty merchant ship, and about 100,000 artifacts are the main collection. The shipwreck sailed from China to the Arabian Peninsula about 800 years ago, but sank in the South China Sea. The Maritime Silk Road is a huge historical narrative that connects the world by sea and is an important theme in the exhibition of underwater cultural properties in Asia. In 2013, Nanhai no. 1, an underwater merchant ship of the Southern Song Dynasty, was moved to the center of the museum in a large container. Since then, the lower part of the hull has been made into an environment similar to the sea, and archaeological excavations have been carried out on land. All of these processes are open to the public as exhibition contents. It is very experimental and interesting attempt to make the museum into an underwater excavation site. Asian Civilizations Museum in Singapore The Asian Civilizations Museum (ACM, established in 1993) is located on the beautiful seaside of the port city-state of Singapore. ‘Understanding Asia Through Singapore’ is the motto promoted by the Museum of Asian Civilizations, implicitly containing the identity of the museum. It focuses not only on the history of the port city of Singapore, but also on Asian culture, civilization, and globalization. The iconic collection of the Asian Civilizations Museum is the Belitung shipwreck artifact. In the permanent exhibition room no. 1 is an exhibition with the theme of ‘Maritime Trade’. 2 �Museums of Underwater Archeology in Europe Mary Rose Museum in England While, in the UK, there are several maritime museums such as the National Maritime Museum, the Cornwall Maritime Museum, and the Mary Rose Museum. The Mary Rose Museum is about underwater archaeology. The Mary Rose Museum (established in 1982) is located in the Portsmouth Historic Dockyard in Portsmouth, County Hampshire, England. Mary Rose is a warship from the time of King Henry VIII (1509-1547) of the Tudor dynasty in England in the sixteenth century. The museum exhibits remaining restored hull and artifacts. The narrative of Mary Rose begins from the time the ship was built (1509-1511). Henry VIII built the Mary Rose as a product of Tudor naval power and the product of Renaissance science. The Mary Rose was sunk in the Strait of the Solent in 1545 during a battle with a French fleet after 30 years of active service. The narrative of the Mary Rose could be restored with vivid marine paintings and records drawn by court painters at the time The entire journey of Mary Rose, including voyage, sinking, discovery, excavation, preservation, research, and opening to the public, is a historical narrative and exhibition content. The exhibition at the Mary Rose Museum is characterized by the arrangement of a 1:1 scale artifact exhibition space next to Mary Rose. Through this, the exhibition line of movement was directed as if the visitors were active inside the ship.To ensure that visitors and the local community can feel the image of ‘eternal treasure Mary Rose’ rather than a battleship of misfortune, online and offline exhibition techniques with various ideas are being developed. Vasa Museum in Sweden Sweden's representative underwater archaeological museums include the Vasa Museum and the Maritime Museum Stockholm. Along with the Mary Rose Museum, it is one of the European leading underwater archaeological museums. Sunk in Stockholm in 1628 and excavated 300 years later, Vasa is the best-preserved seventeenth century warship in the world. Its artifacts are on display. A total of 64 cannons were installed on the ship, of which only three were found. The Vasa Museum is working on a project to find the remaining cannons by 2028, the 400th anniversary of the sinking. Like the Mary Rose Museum in England, the exhibition is structured to tell the story of the entire journey of Vasa, including voyage, sinking, discovery, excavation, preservation, research, and opening to the public. The narrative of Vasa was introduced along with historical information such as Swedish naval power and shipbuilding in the seventeenth century. Visitors can see the keel at the bottom of Vasa, the interior space, and the end of the stern while moving through a total of six floors. Copenhagen National Museum in Denmark In Northern Europe are many underwater archaeological and shipwreck museum. Shipwreck museums include the Copenhagen National Museum in Denmark and the Viking Ship Museum in Norway, both of which have Viking ships as an exhibition theme. Norway's Viking Museum focused on presenting three Viking shipwrecks: Oseberg, Gokstad, and Tune rather than narrative exhibitions. The National Museum in Copenhagen, Denmark, mainly presents narrative and dynamic exhibitions using various convergence production techniques. The highlight is the Viking exhibition among them. Once active as warriors and raiders on the seas between continental Europe and Britain, the Vikings have historically been both respected and despised. The National Museum of Copenhagen introduces one Viking shipwreck and hundreds of historical artifacts. Although only a small part of the Viking shipwreck was excavated, the narrative of the Vikings was expressed through various exhibition techniques such as restoration frames of the shape of a ship and large-scale videos. 3 �The National Museum in Copenhagen is planning three-series exhibitions with a Viking theme. In 2023, the second special exhibition ‘Join the Viking – on Raid’ is being held. In this exhibition, visitors can encounter the world of Vikings and the rarest treasures of the Viking Age, and experience the journey of joining the Vikings in an epic film. An archaeologist-turned-screenwriter maximized the narrativity of the exhibition by participating in this work. Figure 1. Restoration frames and video display technique of Viking shipwreck Figure 2. A Viking warrior in the animation THE 700-YEAR JOURNEY AND EXHIBITION REALIZATION OF THE EAST ASIAN MEDIEVAL TRADING SHIP, SINAN SHIPWRECK Narrativity of time and space Sinan shipwreck marks the beginning of underwater archeology in Korea. Even now, 50 years after the underwater excavation, it is a representative underwater excavation achievement not only in Korea but also in Asia. Like shipwrecks in many countries around the world, Sinan shipwreck has a journey of about 700 years from voyage to sinking, discovery, excavation, preservation, research, and opening to the public. Sinan shipwreck narrative is a merchant ship that departed from Ningbo, Fujian Province, China in 1323 and sailed to Fukuoka and Tokyo, Japan. It also has the narrative that it was sunk through a marine accident in the process of voyage. In the 700-year long journey and time and space, there are cultural properties excavated underwater and numerous people, including fishermen in the Sinan fishing village who accidentally discovered the Sinan shipwreck, and an investigation group who devoted their passion for about 10 years, and researchers of preservation and recovery of Sinan shipwreck over the 20 years. All of these tangible and intangible records and data were used as exhibition contents for the 40 years of the Sinan Shipwreck Exhibition. Composition of the exhibition The underwater archeology museum, which mainly exhibits the Sinan shipwreck, is the Mokpo Maritime Artifacts Exhibition Hall (Asian Maritime Exchange Room) of the NRIMCH. In addition, the National Museum of Korea (World Culture Center) and the National Gwangju Museum (Asian Ceramic Culture Room) introduce their main collections in their permanent exhibitions. Exhibition of Sinan shipwreck at the National Museum is a comprehensive museum focused on ceramics, especially art history. Unlike this, the Mokpo Maritime Artifacts Museum, an underwater archeology museum, organizes exhibitions focusing on the 700-year journey of the Sinan shipwreck and time and space: Part 1 ' Sinan Shipwreck, Awakening the Underwater Treasure Ship’, Part 2 'Secrets of the Sea, Navigating the Maritime Silk Road', Part 3 'Cultural Exchanges through the Sea Route in Medieval Asia', and Part 4 'Sinan Shipwreck, Opening the Treasure House under the Sea'. The exhibition scenario is developed in the order of discovery (1975 CE) and excavation (1976-1981 CE) of the Sinan shipwreck, voyage (1323), enjoyment of medieval culture and maritime exchange (the fourteenth century), and opening (present). 4 �Convergent time-space restoration and exhibition technique of Sinan shipwreck Most of the underwater archaeological museums examined until now open the restoration process of shipwrecks to visitors, and even utilize the work of the staff as an element of the exhibition. At this point, in addition to the exhibition planner, experts in visual and interior architectural design, conservation science, shipping company, and ship engineering participate together to create a convergence exhibition, empirically restore the wreck, create a safe preservation exhibition environment, and finally visualize the exhibition space, completing comprehensive space curating. No. Country 1 Korea 2 China 3 Denmark 4 Sweden 5 Germany 6 United Kingdom Table 1. Processes of combining restoration and display of shipwrecks Museum Shipwreck Display methods designations Mokpo National Maritime Sinan - display of restoration process Museum of the NRIMCH shipwreck - restoration of hull shape (metal frame) - production of multiple mapping panorama Maritime Silk Road Museum of Nanhai I - display of processes of outdoor archaeological Guangdong excavation for the first time around the world National Museum of Denmark Viking - restoration of hull shape (metal frame) shipwreck - production of multiple mapping panorama Vasa Museum Vasa - display of processes of conservation and restoration International Maritime Museum Bremen cog - display of processes of conservation and restoration Mary Rose Museum Mary Rose - display of processes of restoration The shipwreck exhibition is largely divided twofold: 1) ship structure with frames of the shape of a ship and restoration of lost hulls, and 2) introduction of digital, model, and lighting exhibition directing techniques. Both Viking shipwreck from the National Museum of Denmark and Sinan shipwreck from the Mokpo Maritime Artifacts Museum in Korea introduced both of them. The restoration frame of Viking shipwreck expresses the structural characteristics of the ship and the magnificent yet elegant shape well, and the appropriate lighting directing allows visitors to feel the majesty of the Viking shipwreck. In particular, the animated panoramic video makes it possible for people to understand the dramatic historical story emotionally. The exhibition space was brought back to the dynamic Viking era with the technique of mapping videos on multiple screens. As for the convergent restoration of space and time of Sinan shipwreck since 1994, new attempts have been applied to depending changes in exhibition techniques and technologies. In addition to restoration frames of the shape of a ship, animations and panoramic images were directed, and the audience's immersion was enhanced by maximizing the impression of the images through music direction. CONCLUSIONS The environment for underwater cultural properties includes the sea, rivers, and lakes, and most of them are the sea. As the sea is a space separated from the land, it is an unknown world from ancient times, a subject of fear, challenge, and overcoming, and a space where life and death coexist. This perception of ours is generally overlapped with the gaze of looking at underwater cultural properties. If ship’s voyage and maritime activity had been successful, there would have been no unfortunate archaeological artifacts. This study examined how the narrativity of underwater cultural properties is realized in exhibitions in museums. Through the cases of major underwater archaeological museums and shipwreck museums in the world, it was found that there is a common journey and narrative from sailing -> sinking -> discovery -> excavation -> preservation -> research -> exhibition. Each museum is reducing the distance between the audience and the exhibition contents and expanding the direct or emotional participation of the audience by organizing the exhibition through storytelling of its shipwreck’s narrative. Above all, it was found that the value of underwater cultural properties was being recreated through convergence with 5 �various fields, and museum exhibition techniques were also greatly changed and developed according to the paradigm of the digital age. The basic condition of the exhibition is to make the audience immersed in the time and space through interaction with the exhibits. Narrativity, that is, an exhibition based on storytelling, draws empathy and immersion. The long journey from the narrative and the long journey from sinking to the exhibition of underwater cultural properties is being reinterpreted and reconstructed through the exhibition methodology and is open to the public. This is the reason narrative exhibition techniques and space curating are needed to draw sympathy and emotion in line with the public's gaze on not only the brilliant history and culture, but also cultural properties. This study considered that there is a limit to comprehensively grasping the narrative exhibition techniques and trends of the underwater archaeological museum, as it is limited to the analysis of limited museums and exhibition cases. The Maritime Artifacts Exhibition Hall of the NRIMCH has exhibited several ancient shipwrecks and has been using and attempting various exhibition contents. However, there is still a challenge of how to proceed as a museum specializing in underwater archeology. Bibliography Asian Civilizations Museum Singapore (https://www.nhb.gov.sg/acm). China Yangjiang Maritime Silk Road Museum (https://www.msrmuseum.com). National Museum of Denmark (https://www.natmus.dk). National Research Institute of (https://www.seamuse.go.kr/mokpo). Maritime Cultural Heritage Mary Rose Museum, UK (https://www.maryrose.org). Swedish Vasa Museum (https://www.vasamuseet.se). 6 Mokpo Maritime Artifacts Exhibition Hall � 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 2023 Session 20: Effective Ways to Deliver Maritime and Underwater Cultural Heritage Subject The topic of the resource Session 20 papers Description An account of the resource Papers presented at Session 20 of the 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage 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 November 2023 Rights Information about rights held in and over the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage 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 A Study on the Narrative Display Technique of the Underwater Archaeological Museum: Focusing on Shipwrecks and Underwater Cultural Assets Description An account of the resource The underwater archeology museum mainly deals with archaeological and historical shipwrecks and artifacts from ancient times to modern times as old as the history of marine activities of mankind, and has been operated with the participation and efforts of many experts for a long time, from underwater excavation to preservation and exhibition. Unlike general archaeological artifacts, underwater cultural properties require sufficient preservation treatment, as they are in a waterlogged environment. In particular, shipwrecks, which are submerged timber cultural assets, should be displayed in a sustainable manner while considering the preservation environment, and there is a need to explore how to effectively introduce the remaining hulls to visitors. The museum's exhibition can be said to be a fact-based narrative realization activity. In particular, a shipwreck that sank at a specific time has a narrative like a ‘time capsule’. In order to examine the narrative display techniques of underwater archaeological museums, this study is conducted as follows: 1) analyzing the shipwreck exhibition cases in Korea and the world to organize the differences of other maritime museums, 2) identifying convergence characteristics such as viewing environment-preservation-restoration strategies, tasks, and issues for effective exhibition of shipwrecks and underwater cultural properties, and presents exhibition directions, and 3) suggesting an exhibition technique to effectively convey the ‘narrative’ and value of shipwrecks and underwater cultural assets. From 1994 to the present, the author has been exhibiting several ancient shipwrecks at the Maritime Artifacts Exhibition Hall of the National Research Institute of Maritime Cultural Heritage (NRIMCH), and has tried various display techniques for them. This study is expected to be the data to think about how spatial curation, which visualizes and spatializes 'time and space of the past' through encounters with convergent exhibition techniques, is carried out. Creator An entity primarily responsible for making the resource Ye-ree Park 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 2023 Language A language of the resource English Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Park, Ye-ree. 2023. “A Study on the Narrative Display Technique of the Underwater Archaeological Museum: Focusing on Shipwrecks and Underwater Cultural Assets.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Juhee Kim. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1968 Asia-Pac Session 20 2023 https://apconf-much.org/proceedings/files/original/28b0d3ebe859f5999438bd9b383aee33.pdf 81ff082f50b6c3769f249d86aadd1a36 PDF Text Text Education on Maritime Cultural Heritage for Children with Disabilities: Focusing on Education Program Developed by the National Research Institute of Maritime Cultural Heritage in 2022 for Children with Developmental Disability Yun Bo-rum (Curator of Exhibition & Education Division, the National Research Institute of Maritime Cultural Heritage) ABSTRACT This paper shares the Mokpo Maritime Museum outcome of the 2022 program developed for children with disabilities experience underwater cultural heritage (UCH). Materials on maritime exchanges between Asia and Korea and history of ships are displayed. For example, the hull of Sinan shipwreck excavated between 1976 and 1984 CE was treated for conservation and displayed at the center of exhibition hall 2. Other major exhibition items include jounseon1 and ceramics excavated from the west and south sea of Korean Peninsula and weapons, which are the traces of war that took place on the Korean Peninsula about 400 years ago. We have tried many things to deliver UCH effectively to various groups with different ages and characteristics. For example, we published a maritime cultural heritage braille comic book for the visually impaired in 2021, and on-site experience program for children with developmental disabilities in 2022. Here we discuss the development and utilization of on-site experience program for children with developmental disabilities developed by the Mokpo Maritime Museum. First, the cases of cultural heritage exhibition and education cases for domestic and overseas children with disabilities are examined for this study. Second, the exhibition items and exhibition environment of the Mokpo Maritime Museum are identified. Lastly, this paper shares the design of the program ‘Maritime Cultural Heritage Experience Program for Children with Developmental Disabilities’ and results of pilot operation. We discuss the environmental factors that need to be considered upon production of experience programs that target children with developmental disabilities, to thus design programs depending on disability type and response of participants. Keywords: children with developmental disabilities, education on maritime cultural heritage, Sinan shipwreck, Mado no. 1 shipwreck List of Tables and Figures: Table 1 Education program for people with disabilities provided by institutions that belong to Cultural Heritage Administration (2023) Table 2 Overview of express delivery of dolphins of Goryeo Trading Company! Figure 1 Exhibition of hull of Sinan Ship (exhibition room 2) Figure 2 Educational material (sticker) DOMESTIC AND INTERNATIONAL CASES OF DISPLAY OF CULTURAL HERITAGE AND EDUCATION FOR CHILDREN WITH DISABLITIES The right to enjoy culture for children with disabilities According to the Act on the Special Education for the Disabled Persons in Korea, the types of children with disabilities include visual and hearing impairments, physical disability, emotional behavior disorder, autistic disorder, communication disorder, learning disability, health disorder, developmental delay, and other disabilities prescribed by Presidential Decree.2 In Article 24 (Prohibition of Discrimination in Cultural and Artistic Activities of the Act on the Prohibition of Discrimination Against Persons with Disabilities and Remedy Against Infringement of Their Rights) in terms of the right to enjoy culture of the people with disabilities3, it is stated that ‘the 1 Tax transporting vessel 2 Act on the Special Education for the Disabled Persons (http://www.law.go.kr/Act/, Act on the Special Education for the Disabled Persons), accessed at. May 3, 2023. 3 Act on the Prohibition of Discrimination Against Persons with Disabilities and Remedy Against Infringement of Their Rights (http://www.law.go.kr/Act/Act on the Prohibition of Discrimination Against Persons with Disabilities and Remedy 1 �state, local governments and cultural and art business operators should provide legitimate convenience to people with disabilities to participate in cultural and art activities’ and ‘the state and local governments should come up with measures necessary for the people with disabilities to use cultural and art facilities and engage in cultural and art activities actively. In addition, according to the Article 30 (1) and 30 (5) of the Convention on the Rights of Persons with Disabilities4, prevention of discrimination against people with disabilities for cultural and sports activities and duties to improve environment are stipulated. It shows that the right to enjoy culture and art is included in the basic rights of people with disabilities in the enactment of laws (Lee and Park 2019, 42). However, according to the ‘Study on the Current Status of Cultural and Leisure Activities of People with Disabilities’, it was found that the overall cultural experience of people with disabilities was insufficient and especially the experience of enjoying culture was scarce. In general, the percentage of enjoying movie was relatively high as it has easy accessibility but the percentage of enjoying culture at theaters or art galleries was very limited, indicating that people with disabilities in Korea had very insufficient access to cultural and leisure activities5 (Oh and Gu 2019, 6-12). Institutions that exhibit cultural heritage have a distinctive and important role in realizing right to enjoy culture for people with disabilities. Institutions such as museums and exhibition halls that collect, research, and preserve cultural properties also serve as educational institutions for children. Museums for children, such as the Victorian & Albert Museum of Childhood, have been established for children's education, and studies that emphasize the role of museums as spaces for experiences and interactions prove this (Kirk and Buckingham 2018)6. On the other hand, Object Based Learning based on exhibition items is an element that differentiates exhibition halls and museums from other educational institutions. Exhibits-based education plays a multifaceted role in education through exploration based on exhibits and interaction with exhibits in the area that formal education such as school education cannot fill in the complex modern society (Kang 2011, 15-47). Cases of exhibition of cultural heritage and education for children with disabilities Recently, cultural heritage exhibition institutions in Korea are actively making efforts for the cultural enjoyment of the disabled. This includes exhibition space creation using tactile models, information using Braille boards, and voice guidance for the visually impaired. For example, since 2013, the National Museum of Korea has placed touchable exhibits in the exhibition hall for the visually impaired, and Seoul Museum of Craft Art, which opened in 2021. Here we produce miniatures of artifacts, allowing people to experience the exhibits through tactile senses (Lee 2022). Also, the National Research Institute of Maritime Cultural Heritage (NRIMCH) made the braille book, Is there a treasure under the sea?, and tactile teaching aids in 2021. These were distributed to students of schools for visually impaired across the nation (408 people, 1 book per student) and other relevant institutions. Tokyo National Museum of Japan helps children with visual impairment to participate in experience exhibition by providing printmaking process in braille guidebooks at the Ukiyo-e making experience in the Japanese Culture Plaza7. Against Infringement of Their Rights), accessed at. May 1, 2023. 4 Convention on the Rights of Persons with Disabilities (https://ko.wikisource.org/wiki/Convention on the Rights of Persons with Disabilities), accessed at. May 1. 2023. 5 The raw data for 4,214 people was analyzed utilizing the raw data of the second survey of the second way of employment panel survey conducted by Korea Employment Agency for Persons with Disabilities in 2017, and the cultural experience for the past year of people with disabilities showed: 1) watching a movie (45 per cent), 2) watching performance at a theater (play, music concert, musical, opera, etc.; 9.9 per cent), 3) museum, exhibition, art gallery, zoo and theme park (12.8 per cent). 6 Although this book discusses children's experiences in natural history museums, the same applies to exhibits such as history, art history, and literature. 7 The on-site survey on the experience exhibition for children with visual impairment by Tokyo National Museum was conducted by the author in April 2023 (Experience exhibition at Tokyo National Museum: https://www.tnm.jp/modules/r_free_page/index.php?id=2137). 2 �A representative service for the hearing impaired is a sign language exhibition commentary. Efforts are being made to expand the cultural enjoyment of the hearing-impaired, such as providing sign language video services by attaching QR codes to experience information boards in children's experience spaces, or providing sign language services for avatars using AI. In addition, the Cultural Heritage Administration is conducting face-to-face and non-face-to-face education for the disabled in 2023 (Table 1). Through non-face-to-face education, opportunities are provided to children who cannot visit the exhibition hall to experience cultural heritage, and face-toface education allows children who visit the exhibition hall to experience the exhibits more effectively8. Table 1. Education program for people with disabilities provided by institutions that belong to Cultural Heritage Administration (2023) Name of material Animals in the museum Go, go, go into the royal rites (non-face-toface) Palace story Institution National Palace Museum of Korea City Seoul Journey into the palace forest Goryeo Trading Company – Express delivery of dolphins! NRIMCH Target Special classes at elementary and middle schools Special classes at elementary and middle schools The visually impaired Mokpo Kindergarten for the hearing impaired and school for deaf mutism (the first and second grades of elementary school) Special classes at elementary and middle schools Details A class to understand royal culture through animals in museum artifacts A class comparing our lives with the culture of the Joseon Dynasty Audio commentary + 3D Gyeongbokgung Palace Learning royal culture through tactile models Providing experience kits with sign language videos, educational contents based on the flowers and trees of Changdeokgung Palace Finding relics with the help of video + treasure hunt map EXHIBITION ENVIRONMENT FACTORS OF THE NRIMCH The NRIMCH, located in Mokpo-si, Jeollanam-do, South Korea, is the only institution in Korea that discovers, researches, exhibits, preserves, and educates underwater cultural properties. In 1981, the Mokpo Conservation Center of the Cultural Heritage Administration was opened to preserve the hull of the Sinan shipwreck excavated between 1976 and 1984, and in 1994, the National Maritime Art Museum was opened. At the exhibition center, permanent and special exhibitions are prepared under the theme of ‘seapeople-culture-exchange-history’. There are four rooms for permanent exhibitions composed of exhibition room 1- Korea Maritime Exchange Hall, exhibition room 2- Asia Maritime Exchange Hall, exhibition room 3- Korea Underwater Excavation and exhibition room 4- Traditional Korean Ships to display the materials related to maritime exchanges between Korea and Asia, underwater excavation and history of ships. 8 For the education of children with disabilities, videos, tactile teaching aids, audio commentaries, sign language videos, and experience kits were used. 3 �The exhibition environment of the Mokpo Maritime Museum is dark compared to general exhibition halls, and the plane inside the exhibition hall is atypical. In particular, in the case of the Sinan shipwreck in the exhibition hall 2, the height of the exhibition space is high because the hull is high, and the exhibition hall is created using uphill and downhill roads. Figure 1. Exhibition of hull of Sinan Ship (exhibition room 2) In addition, videos using images of marine artifacts and the sea maximize the exhibition effect inside the exhibition room and are also used as a photo spot for the audience. Such images of dark environment and strong stimuli were pointed out by experts when producing programs for children with developmental disabilities. DESIGNING EDUCATION PROGRAM FOR CHILDREN WITH DEVELOPMENTAL DISABLITIES The Act on Guarantee of Rights of and Support for Persons with Development Disabilities (hereinafter referred to as the Act on Persons with Developmental Disabilities) was passed in the National Assembly and enforced on November 21, 2015. It is the first law enacted for those with certain disabilities. Under this act persons with disabilities refer to people with intellectual disabilities and people with autism (Kim and Kim 2016, 3). According to Ministry of Education 2022 statistics, out of the total number of persons eligible for special education (103,695 persons), 70,742 persons (intellectual disability: 53,718 persons, autism: 17,024 persons), or approximately 68.2 per cent had developmental disabilities, (Ministry of Education press release, November 28, 2022)9. In fact, they account for high proportion in the elementary and middle school special classes. Table 2. Overview of express delivery of dolphins of Goryeo Trading Company! ○ Education title: Education program for children with developmental disabilities ‘Dolphinss’ Express Delivery of Goryeo Trading Company!’ (Developed in 2022) ○ Education target: Students from special classes of elementary and middle schools ○ Education objectives: 1) Providing education where students with developmental disabilities have interest in and enjoy the Mokpo Maritime Museum actively 2) Providing opportunity to students with developmental disabilities to make them have interest in maritime cultural heritage and enjoy exhibition hall ○ Education time:1 hour and 40 minutes ○ Education composition: orientation → treasure hunting at the exhibition hall → making educational materials No. Activity Time Place Education details required 1 Orientation 20 minutes Video room at Watching animation and exhibition hall pre-education 2 Treasure hunt 1 hour Exhibition hall 1 Treasure hunting at the and 2 exhibition hall 3 Making educational 20 minutes Video room at Coloring pottery-shaped materials exhibition hall balloon ○ Education material: Video, treasure map booklet, exhibit stickers (4 types), crafting tools (pottery-shaped balloons), video QR code sticker 9 Fulfilling the national responsibilities for special education by providing education customized to students with disabilities (https://www.korea.kr/briefing/pressReleaseView.do?newsId=156539165 ), November 28, 2022, Ministry of Education 4 �This program is an exhibition hall experience program designed for children with developmental disabilities. It was created to provide opportunities for children with developmental disabilities to experience an educational program that allows them to view the exhibition hall in an interesting and active way to have an opportunity to become interested in maritime cultural heritage and enjoy the exhibition hall fully. To this end, students explore the exhibition hall and search for treasure. They get information on exhibition items (4 items) subject to treasure hunt while watching a video clip and look for treasures in the exhibition hall while holding mission booklet made on the concept of treasure map. When they find an artifact, they receive an educational material (sticker) of the picture of the artifact they found and attach it to the treasure map. In addition, they can watch the video on the stories about the artifacts they found through QR code. After going through this process, the program is finished if they finally color the pottery-shaped balloon (Table 2). Figure 2 Educational material (sticker) An imaginary “Goryeo trading company” was assumed to explain the concept of “Maritime Transportation and Trade in the Goryeo Dynasty,” which is the main keyword of the learning objective. The story went on with the simulation concept of filling out an order form and shipping it by sea. Dolphin characters appear, and students check the order (wooden plate) and make decision on packaging and delivery by using the image of delivery companies familiar to children with developmental disabilities like “Coupang” and “SSG Delivery”. The program was designed to make students understand the concept of artifacts with the concept in the real life while checking the purpose of the relics. In the video, international trade (Sinan shipwreck) and domestic delivery (Mado no. 1 shipwreck) were conducted at the Goryeo trading company, an imaginary company and four artifacts at the exhibition hall: 1) Salted mackerel jar (Goryeo; 1207-1208, Taean Mado no. 1), 2) Celadon mandarin duck-shaped incense burner lid (Goryeo; the twelfth to thirteenth centuries, waters of Jindo Myeongryangdaecheop), 3) Peony pattern vase (Chinese Yuan; the first half of the fourteenth century, Sinan Jeungdo underwater), 4) Black teacup (Chinese Yuan; the first half of the fourteenth century, Sinan Jeungdo underwater) were used to make a story based on historical facts to make children with developmental disabilities understand UCH in a friendly way. For example, stories such as production site of salted mackerel, delivery using pottery upon maritime transportation, existence of secondhand products produced in Southern Song Dynasty among black teacups recovered from Sinan shipwreck are delivered through interesting stories. In other words, the difficult concept of maritime cultural heritage is explained with things encountered in daily life and historical facts are conveyed through interesting stories. In addition, the content of the video is composed of easy language and short sentences at the Literacy 2 level and the name of the artifact used in the video and educational materials (treasure search map and artifact stickers), artifact and image are unified. By doing so, children with developmental disabilities, who take longer to adapt to change than the general public, can experience marine cultural heritage safely. Pilot operation was conducted targeting 13 students from special classes of Gwangju Shinyong Elementary School on Dec. 5, 2022 in order to execute the program effectively. The number of students to be educated was set at around 15, considering the number of teachers per student. Prior to the pilot operation, special classes were contacted to check 1) the number of teachers, 2) special attention required for each student 3) the environment of the exhibition hall and 4) survey was shared with the school so that children with developmental disabilities can experience UCH while they were ready. 5 �Bibliography Cultural Heritage Administration of the Ministry of Culture and Public Information, Wando Underwater Artifacts: Excavation Report. Mokpo: Cultural Heritage Administration, 1985 (In Korean). Joo, Chan-mee. A Study on OBL Program Development Plan for People with Developmental Disabilities in the Museum: Focusing on Housing Life Objects in National Folk Museum of Korea, Master’s Thesis, Graduate School of Education Kyunghee University, 2018 (In Korean). Kang, Jae-young. “A Proposal for Inclusive Museum Considering Disabled Children: Focus on the Cases of 'Another Way of Seeing'.” Journal of Children and Museums 17 (2020): 9-34(In Korean). Kang, In-ae. “Alternative Ways of Education at School: Learning Based on Exhibit through Museum Education.” In Possibility of Museum Education, edited by Kang, In-ae, Seoul: Munemsa, (2011): 15-47 (In Korean). Kim, Sanseop. Na, Gyeong-eun, and Kim, Ki-ryong. Understanding Developmental Disability. Seoul: Hakjisa, 2016 (In Korean). Kirk, Elee. And Buckingham, Will. Snapshot of Museum Experience: Understanding Child Visitors through Photography. London and New York: Routledge, 2018. Lee, Yeon-soo, Park, Seon-yeong. “A Case Study on the Visually Impaired People for Museum Visits.” Journal of Children and Museums 16 (2019): 41-66 (In Korean). NRIMCH. Report on Conservation and Restoration of Dalido Shipwreck. Mokpo: The National Research Institute of Maritime Cultural Heritage, 2012 (In Korean). NRIMCH. Special Exhibition of the 40th Anniversary of Underwater Excavation in Korea. Mokpo: The National Research Institute of Maritime Cultural Heritage, 2017 (In Korean). NRIMCH, A Study on Restoration of Original Shape of Sinan Shipwreck. Mokpo: National Research Institute of Maritime Cultural Heritage, 2018 (In Korean). NRIMCH, A Study on Restoration of Original Shape of Sibidongpado Shipwreck. Mokpo: National Research Institute of Maritime Cultural Heritage, 2023 (In Korean). Oh, Soo-kyeong. And Koo, Bo-kyeong. “A Study on Current Status of Cultural and Leisure Activities of People with Disabilities.” Korean Journal of Culture and Arts Education Studies 17 (2019): 1-17 (In Korean). Internet sources Disability Discrimination Act (http://www.law.go.kr/) Declaration on the Rights of Disabled Persons (https://ko.wikisource.org/wiki/) To Build a museum for all by Seoul Museum of Craft Art (http://museumnews.kr/309column/) Tokyo National Museum (https://www.tnm.jp/modules/r_free_page/index.php?id=2137) Special Education Laws for Persons with Disabilities and Others (http://www.law.go.kr/). https://www.korea.kr/briefing/pressReleaseView.do?newsId=156539165 6 � 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 2023 Session 20: Effective Ways to Deliver Maritime and Underwater Cultural Heritage Subject The topic of the resource Session 20 papers Description An account of the resource Papers presented at Session 20 of the 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage 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 November 2023 Rights Information about rights held in and over the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage 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 Education on Maritime Cultural Heritage for Children with Disabilities: Focusing on Education Program Developed by the National Research Institute of Maritime Cultural Heritage in 2022 for Children with Developmental Disability Description An account of the resource This paper shares the Mokpo Maritime Museum outcome of the 2022 program developed for children with disabilities experience underwater cultural heritage (UCH). Materials on maritime exchanges between Asia and Korea and history of ships are displayed. For example, the hull of Sinan shipwreck excavated between 1976 and 1984 CE was treated for conservation and displayed at the center of exhibition hall 2. Other major exhibition items include jounseon1 and ceramics excavated from the west and south sea of Korean Peninsula and weapons, which are the traces of war that took place on the Korean Peninsula about 400 years ago. We have tried many things to deliver UCH effectively to various groups with different ages and characteristics. For example, we published a maritime cultural heritage braille comic book for the visually impaired in 2021, and on-site experience program for children with developmental disabilities in 2022. Here we discuss the development and utilization of on-site experience program for children with developmental disabilities developed by the Mokpo Maritime Museum. First, the cases of cultural heritage exhibition and education cases for domestic and overseas children with disabilities are examined for this study. Second, the exhibition items and exhibition environment of the Mokpo Maritime Museum are identified. Lastly, this paper shares the design of the program ‘Maritime Cultural Heritage Experience Program for Children with Developmental Disabilities’ and results of pilot operation. We discuss the environmental factors that need to be considered upon production of experience programs that target children with developmental disabilities, to thus design programs depending on disability type and response of participants. Creator An entity primarily responsible for making the resource Yun Bo-rum 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 2023 Language A language of the resource English Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Yun, Bo Rum. 2023. “Education on Maritime Cultural Heritage for Children with Disabilities: Focusing on Education Program Developed by the National Research Institute of Maritime Cultural Heritage in 2022 for Children with Developmental Disability.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Juhee Kim. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1969 Asia-Pac Session 20 2023 https://apconf-much.org/proceedings/files/original/ab98b9028ff6033a29cc8ba493b4838a.pdf 4449d3da0d6f136e9acdac64d5d33dad PDF Text Text Development and Implementation of Media Exhibition on Underwater Excavation Sites Yuri Choi (National Research Institute of Maritime Cultural Heritage, Curator) ABSTRACT This paper’s theme fits the underwater excavation sites into media exhibition and implement of such exhibition. Underwater excavation in Korea has a long history of over 40 years with the start of Sinan shipwreck excavation in 1976 but it is still recognized as an unfamiliar and strange field. The National Maritime Museum has been in operation to improve the public understanding but it has limitation to make the public understand underwater excavation as the exhibition focuses on recovered maritime cultural heritage. Accordingly, exhibition contents were developed for two years from 2021. Basic design started in 2022 and was placed in exhibition room 3 of the National Maritime Museum. The exhibition was designed as immersive. Content introduces digital technology in line with the latest exhibition trend. We included a Sinan shipwreck model, with a similar ratio size to that of the actual site. Unique experience elements were also added. The process started with the classification of underwater excavation process. This exhibition was divided into three spaces: (1) archaeology program ship, which is the starting point of underwater excavation and the last space above water; (2) transfer space to enter the underwater excavation site from the surface; and (3) the space that embodies the underwater excavation site. In order to implement the activities conducted in each space, video content recorded on the underwater excavation site was analyzed and reviewed by those involved in underwater excavation in order to realize characters close to reality. Thanks to the development and implementation of media exhibition on underwater excavation site, audiences are able to feel and experience underwater excavation, which is recognized as strange and unfamiliar field in person. Keywords: underwater excavation, media exhibition List of Figures Figure 1 Mind map of underwater archaeology Figure 2 Interactive exhibitions Figure 3 Immersive video contents of underwater excavation site INTRODUCTION Underwater excavation in Korea has a 40-year history. It began with the excavation of Sinan shipwreck in 1976 but only the National Research Institute of Maritime Cultural Heritage (NRIMCH) can conduct underwater excavation in Korea and as the site is located underwater unlike land one, accessibility to the site by the public is significantly low. Therefore, this field is still recognized as strange and unfamiliar except for experts. The NRIMCH operates two exhibition halls in Mokpo in Jeonnam and Taean in Chungnam to promote maritime cultural heritage and most of the exhibitions focus on excavated artifacts. Photos and videos of the sites are being displayed and played in the exhibition space. We recognize limitations in understanding the process of underwater excavations and their artifacts, which have their own characteristics and features. It is hard for non-experts to understand the background. Therefore, it was planned to reshape the exhibition room 3 into the exhibition titled ‘Underwater Excavation in Korea’ in Mokpo Maritime Museum, to promote information on underwater excavation in a more systematic and active way. Preparation was done for two years from 2021 to 2022. Currently the exhibition hall is in operation. In order to turn the underwater excavation into an exhibition, work was done in three broad steps. First, various information on underwater excavation such as theory of underwater excavation and appearance of the site was collected and reviewed. Second, the way to deliver the information most effectively in the exhibition room was reviewed. Third, exhibition items were selected and video and experience content were made to ensure professional information is received in an easy and interesting manner. 1 �This paper contributes as the theme ‘development of underwater excavation process into exhibition and implementation’ session 20 ‘effective delivery of underwater cultural heritage (UCH).’ PLANNING UNDERWATER EXCAVATION EXHIBITION Selection of exhibition content First, various information on underwater excavation such as theory of underwater excavation and appearance of the site was collected and information to be delivered in the exhibition was reviewed. Direction of exhibition was set, mind map to plan content was prepared and raw data on the theme was analyzed to select the exhibition content. Establishing the direction of exhibition The purpose of this exhibition is easy access to the general public of underwater excavation, which is conducted only by the NRIMCH. Therefore, the direction was set to compose an exhibition to make sure that audiences enjoy and understand various information on underwater excavation. Mind map To select exhibition content, it was necessary to organize overall information on the overall process of underwater excavation. To approach it systematically, a mind map was created with the definition of underwater archaeology, classification, history of development, process, equipment of underwater excavation, UCH and overseas cases centering around underwater archaeology. Figure 1. Mind map of underwater archaeology 2 �Collection of raw data Collection and analysis of raw data were conducted based on the mind map. The data on the definition and characteristics of underwater archaeology, applicable laws, factors that hamper UCH, other basic matters of underwater archaeology, global history of underwater excavation, underwater excavation process and cases of similar organizations (overseas) was collected and organized. Selection of exhibition content As it is not possible to include all information on underwater excavation, the information that is representative and essential and audience interest was selected as exhibition content. Along with providing basic information on underwater excavation, equipment used in actual sites such as wet suits and exploration equipment were introduced, and contents for experiencing underwater excavation sites were selected. 1. Basic information In order to make the public understand underwater excavation, it is necessary to provide basic information. The start and history of underwater excavation, current state of underwater excavation in Korea and underwater excavation process are the most essential information. The minimum information is organized in an easy way. 2. Equipment used on site Introduction on suit and equipment used on site was necessary. It was decided to give the realistic feeling of the site by displaying the outfit and excavation equipment used on site as they are not easy to see in daily lives. Excavation devices are expensive and it is difficult to purchase, so equipment not used anymore was selected for exhibition. It was decided to display Global Positioning System (GPS) that confirms the location of underwater excavation, Side Scan Sonar, which is a representative equipment for underwater exploration, and Sub-Bottom Profiler that can identify underwater strata and anomalies and Underwater Photography Equipment to make record of excavation site. It was also decided to give more realistic feeling by reproducing the actual site such as excavated artifacts and excavation grid. 3. Reproduction of the underwater excavation site The exhibition begins with the control room of an archaeology program ship. In professional practice this is often limited to a number of people within limited period for various reasons such as safety and security. Underwater sites are generally inaccessible to the general public so it was determined to compose the exhibition to make sure that people can experience underwater excavation from the control room. Composition of underwater excavation exhibition Exhibition was organized to show the selected exhibition content most effectively. It attempted to improve the immersion of indirect experience by showing the information such as history at the beginning, organizing items in the order of time and space allowed audience to understand underwater excavation easily. The exhibition is composed of three parts. The first part deals with the start and development of underwater excavation in Korea. The second part handles underwater exploration and excavation and the third part deals with underwater shipwreck excavation site. Start and development of underwater excavation in Korea In ‘Part 1. Start and development of underwater excavation in Korea’ is composed of information starting with the pledge to protect UCH made before starting underwater excavation, history of underwater excavation, current state of underwater excavation in Korea, and experience of control room in archaeology program ship. This shows the history and present of the underwater excavation and indirect experience of the archaeology program ship. 3 �Underwater exploration and excavation In ‘Part 2. Underwater exploration and excavation’, exhibition is composed of the introduction of underwater exploration devices, introduction and experience of wet suit and process of underwater excavation. People have a chance to see and experience the outfit and exploration equipment used in the excavation. Underwater shipwreck excavation site In ‘Part 3. Underwater shipwreck excavation site’, it is attempted to reproduce the excavation site as much as possible in the exhibition space to provide realistic experience of visiting the excavation site to the audience. The excavation site was reproduced close to the actual size, and the exhibition space was filled with realistic images and the excavation process, so that the underwater scene could be vividly experienced. DEVELOPMENT AND IMPLEMENTATION OF MEDIA EXHIBITION Review on media exhibition method and planning Recently, exhibition methods have been diversified to give more realistic experience along with the advancement of media. Unlike existing exhibition based on one-way communication, the trend is to utilize interactive exhibition where audience participate in the exhibition directly. This exhibition is intended to introduce various media exhibition techniques based on the site where underwater excavation is conducted to make the audience understand underwater excavation in an easy and fun way. The media exhibition techniques introduced to this exhibition are as follows. Interactive exhibition with engagement of audience Instead of making the audience accept the information on underwater excavation that could be hard or boring, the exhibition was designed to make the audiences select and accept the information they want. For the history of underwater excavation and underwater excavation process, media wall was utilized and digital archive utilizing media table provide detailed information on the status of underwater excavation. Media wall (excavation process) Figure 2. Interactive exhibitions Digital archive (excavation archive) Immersive video to give more realistic feeling on the site The four sides of the exhibition space were filled with immersive video, which is used frequently in recent exhibitions to give more vivid and realistic feeling on the excavation site. Three kinds of videos were developed: place above the sea, entering into the sea, and activities in underwater excavation site. In addition, it was designed to be more immersive by installing the model shipwreck with similar ratio 4 �size of the Sinan site. Development and implementation of immersive video content A series of underwater excavation processes were produced as immersive images. In order to realize underwater excavation as a video, video content recorded on the underwater excavation site were analyzed and reviewed by experts to implement the characters closest to the actual site. However, it was hard to produce image on the west sea of Korea as it was hard to secure visibility due to water’s high turbidity, so video was produced based on the excavation environment of Shinchang-ri, Jeju. Analysis on the work of underwater excavation site The basic background and characters of the three immersive videos were made to have unity. The basic characters of divers and sailors were set based on the clothes and equipment worn in the field, and all elements inserted into the video, such as probes, exploration equipment, marine plants and creatures, were produced based on facts. Control room in archaeology program ship The video on the control room of archaeology program ship was created from imagery through the window of the control room and landscape of the sea. In addition, monitor images of exploration equipment such as side scan sonar and scanning sonar are on top of the basic image, and images communicating with the underwater site can be played with by visitors, so that they can experience the role of the control room. Images of the actual excavation site are also displayed with buttons. It is configured so that you can check it by pressing. The video on communication with underwater site was made with four themes of diving, discovery of artifacts, problem and ascending, which may occur on the underwater excavation site. Transfer space into the sea A video of diving into the sea was prepared to heighten the expectations of the visitors, and to smooth the connection between the control room on the sea and the underwater excavation site. The video was designed to show the start of diving into the sea from the above the sea and connect the scene to the excavation site. Underwater excavation site The underwater excavation site was prepared as the most important space for the exhibition. The audience can feel they are in the sea. Divers show each underwater excavation process introduced in the previous exhibition space and exploration equipment introduced with actual equipment used is also seen in the video. By installing a model that reproduces the excavation site people can have more realistic experience and have experience in artifacts excavation indirectly. Control room for underwater Transfer space into the sea excavation Figure 3. Immersive video contents of underwater excavation site 5 Underwater excavation site �CONCLUSIONS This exhibition was planned to give indirect experience in underwater excavation to improve the understanding on the maritime cultural heritage of the audience. Various data on underwater excavation was collected and the data was used to develop media exhibition in an easy to understand and fun way to meet the needs of the audience. Making underwater excavation video has been tried continuously but with the development of media production technology, audiences have higher expectation. This exhibition tries to deliver the circumstances of excavation site as objectively as possible. The exhibition was designed to give a realistic feeling about the underwater excavation site. It is also designed to give more realistic and lively feeling by including a correct ratio shipwreck model together with excavation experience. I hope this exhibition serves as an opportunity for the audience who once use to feel underwater excavation difficult and unfamiliar, to now understand the subject in an easy and fun way. Bibliography NRIMCH. Taean Mado Shipwreck No. 1 Underwater Excavation, Series of Research Report of NRIMCH 20. Mokpo: MRIMCH, 2010 (In Korean). NRIMCH. Taean Mado Shipwreck No. 2 Underwater Excavation, Series of Research Report of NRIMCH 22. Mokpo: NRIMCH: Mokpo, 2011 (In Korean). NRIMCH. Taean Mado Shipwreck No. 3 Underwater Excavation, Series of Research Report of NRIMCH 27. Mokpo: The NRIMCH, 2012 (In Korean). NRIMCH. Waters off the Jindo Myeongnyangdaecheop-ro [Ave.] Underwater Excavation I, Series of Research Report of NRIMCH 39. Mokpo: NRIMCH, 2015 (In Korean). NRIMCH. Underwater Archaeology in Korea. Seoul: GongMyeong, 2018 (In Korean). Nautical Archaeology Society. Underwater Archaeology: The NAS Guide to Principles and Practice. Oxford: Blackwell Publishing, 2009. 6 � 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 2023 Session 20: Effective Ways to Deliver Maritime and Underwater Cultural Heritage Subject The topic of the resource Session 20 papers Description An account of the resource Papers presented at Session 20 of the 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage 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 November 2023 Rights Information about rights held in and over the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage 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 Development and Implementation of Media Exhibition on Underwater Excavation Sites Description An account of the resource This paper’s theme fits the underwater excavation sites into media exhibition and implement of such exhibition. Underwater excavation in Korea has a long history of over 40 years with the start of Sinan shipwreck excavation in 1976 but it is still recognized as an unfamiliar and strange field. The National Maritime Museum has been in operation to improve the public understanding but it has limitation to make the public understand underwater excavation as the exhibition focuses on recovered maritime cultural heritage. Accordingly, exhibition contents were developed for two years from 2021. Basic design started in 2022 and was placed in exhibition room 3 of the National Maritime Museum. The exhibition was designed as immersive. Content introduces digital technology in line with the latest exhibition trend. We included a Sinan shipwreck model, with a similar ratio size to that of the actual site. Unique experience elements were also added. The process started with the classification of underwater excavation process. This exhibition was divided into three spaces: (1) archaeology program ship, which is the starting point of underwater excavation and the last space above water; (2) transfer space to enter the underwater excavation site from the surface; and (3) the space that embodies the underwater excavation site. In order to implement the activities conducted in each space, video content recorded on the underwater excavation site was analyzed and reviewed by those involved in underwater excavation in order to realize characters close to reality. Thanks to the development and implementation of media exhibition on underwater excavation site, audiences are able to feel and experience underwater excavation, which is recognized as strange and unfamiliar field in person. Creator An entity primarily responsible for making the resource Yuri Choi 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 2023 Language A language of the resource English Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Choi, Yuri . 2023. “Development and Implementation of Media Exhibition on Underwater Excavation Sites.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Juhee Kim. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1970 Asia-Pac Session 20 2023