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The concept of sustainable development is now widely accepted as a means of protecting natural resources and cultural heritage. One approach to ensuring sustainability, especially in relation to cultural tourism, is the ecomuseum. Turkey has considerable potential to develop ecomuseological models to encourage local sustainable development. The purpose of this paper is to explore the development of ecomuseums in Turkey by analysing the recent implementation of the concept in Hüsamettindere and Bogatepe villages. Current practices at these two sites are evaluated in comparison with the basic principles of ecomuseum theory.

This paper explores local community involvement in two emerging ecomuseums in Turkey based on several years of participant action research by the author; it describes the nature of the two ecomuseums based on that experience. In addition an in-depth survey was carried out between February and April 2013 by Canakkale Onsekiz Mart University when 45 local participants were interviewed for their views on the ecomuseum developments, using the MACDAB method (Borrelli et al., 2008) as a guide.

Even though the two implementations in Turkey have different features deriving from their local dynamics, they have had a similar experience in terms of the development process. Both began with a volunteer movement, the organisation of the local community, the formation of civil initiatives, a joint decision-making processes and the existence of participation and consensus. This process conforms to the basic principles of ecomuseology. The ecomuseums have also raised concerns about the loss of rural heritage and the mechanisms for conserving it within the model of the “living” ecomuseum. The most significant fact to emerge from this initial review of the two ecomuseums is that it is not necessarily their ability to conserve fragments of tangible and intangible heritage that is paramount in Turkey, but their importance in providing employment opportunities in rural areas.

Ecomuseum movement is a very important and practical model for sustainable development and tourism. Ecomuseums can also be functional tools for protecting of cultural heritage and developing of local areas. Even though Turkey has got many cultural heritage sources, they are not used productively for local sustainable development. The two implementations will be sample to all natural and cultural heritage areas of Turkey for sustainable development.

The purpose of this paper is to discuss the role of ALM organizations within a Nordic model of the public sphere.

This is a conceptual paper discussing the role of archives, libraries and museums in light of a societal model of the Nordic public sphere. Throughout the discussions, the author draw on empirical and theoretical research from sociology, political science, media studies, cultural policy studies, archival science, museology, and library and information science to help advance our understanding of these organizations in a wider societal context.

The paper shows that ALM organizations play an important role for the infrastructure of a civil public sphere. Seen as a cluster, these organizations are providers of information that can be employed in deliberative activities in mediated public spheres, as well as training arenas for citizens to use prior to entering such spheres. Furthermore, ALM organizations are themselves public spheres, as they can serve specific communities and help create and maintain identities, and solidarities, all of which are important parts of a civil public sphere.

Future research should investigate whether these roles are an important part of ALM organizations contribution to public spheres in other regions of the world.

Through introducing a theoretical model developed within sociology and connecting it to ongoing research in archival science, museology, and library and information science, the author connects the societal role of archives, libraries, and museums to broader discussions within the social sciences.

The Birmingham Black Radio Museum (BBRM) is a community museum and archives located in Birmingham, Alabama (USA) dedicated to preserving and presenting the history of Black radio. The BBRM fulfills this mission through educational programming, providing access to physical and digital materials and supporting emerging curatorial professionals. Through a reflective analysis of the BBRM, the authors discuss the relationship between preservation, public programming and professional outreach, the partnerships that enable these functions and how conceptions of community responsibility have informed the organization’s management strategy. The BBRM provides a context for isolating the factors which inform the emergence of community memory institutions, the challenges associated with managing decentralized information environments and considers how mentorship can operate as a form of capacity building. An examination of the BBRM provides a view of one institution’s approach to engaging community partners and audiences in achieving its primary goal of documentary preservation.

This analysis is informed by historical, case study and autoethnographic methods. Emphasis is placed on examining BBRM’s historical origins, primary functions and community mandates. Specific attention is given to examining operations, resources and strategies. Commentary and discussion are grounded by the professional experiences of BBRM staff and collaborators.

The operations of the BBRM, and the experiences reported by BBRM staff, are similar to those documented by findings in the community archives and museums literatures. Community mandates and institutional identify have strongly informed the BBRM’s mandates, strategies for engaging the public and establishment of strategic partnerships.

This reflective analysis documents the operations of one specific community memory institution. Though the experiences documented in this paper are common to many community archives and museums, this study contributes an additional data point, further contributing to the body of evidence necessary to support a more nuanced understanding of the role and function of community memory institutions and their management.

The purpose of this paper is to examine the relationship between the ecomuseum and solidarity tourism and to measure their impact on community development.

The study presented here adopts two methods for collecting qualitative data: in-depth interviews and observations. The total number of village households was 42 and the number of households that hosted tourists in their home was 20. Due to the exploratory nature of this study, qualitative methods were employed in the form of lengthy interviews with 13 residents.

The findings indicate that tourism for the Bogatepe Village ecomuseum has focused on a solidarity perspective which has provided significant benefits to the community ensuring local sustainable development. The ecomuseum as a concept and a destination has helped to control tourism and strengthened the impact of solidarity tourism on the local community.

The research presented here must be seen as exploratory. More generally, further research is needed to look at the possibility of developing this type of tourism in other rural areas and similar regions of Turkey (covering both small and large areas) with an important cultural heritage.

The combination of the ecomuseum and solidarity tourism can provide a sustainable solution for tourism in rural areas and provide a model in the development of tourism to other villages in Turkey. The question is whether it could also be used in larger rural areas. The study underlines that Bogatepe is certainly worthy of future study.

This paper aims to address the issue of the conservation and management of rural cultural heritage, with the aim being to gain an understanding of current problems and needs through a participatory approach, in recognition of the uniqueness of the relationship between nature, humankind and the built environment as an area of study. To this end, a comprehensive case study – Kemer Village in Turkey – focusing on the social sustainability and participatory approaches for the sustainable development of rural settlements is given. Accordingly, possible conservation, management and sustainability strategies are put forward considering the priorities and perspectives of different stakeholders.

This paper approaches the subject of rural heritage conservation and management from a social sustainability standpoint, involving an on-site investigation to understand the physical and social context of Kemer Village in Turkey, which has links to different periods in history, and contains significant examples of vernacular architecture and that has maintained its cultural characteristics. Tools and criteria for participatory planning approach were applied ensuring the involvement of the local community and stakeholders.

The findings of the present study reveal rural settlements to be important factors in the cultural heritage conservation and indicate the importance of prescient management and the adoption of a sustainable development model. Achieving the desired level of sustainability in historical villages through conservation of the built environment with the involvement of the local community is possible, as can be seen in the case of Kemer Village in Turkey, where the villagers and the local authorities worked in cooperation to ensure the preservation of the village's integrity.

This study will describe possible long-term strategies and actions aimed at involving the local community in the sustainable conservation of the rural cultural heritage while also embracing change. It is important that the concept of sustainability is realized with participatory planning methods. In addition to that, rural heritage and social sustainability together incorporate a widespread but rarely considered set of issues addressing local needs in conservation.

The study builds on the multi-stakeholder perspective and applies the DART model to frame and explore barriers to value co-creation in the museum context.

The empirical research followed a multiple case study design, based on six cases selected in accordance with a maximum variation strategy. The analysis of the data gathered from multiple primary and secondary sources was guided by the qualitative content analysis approach and the pattern-matching technique for a multiple case study.

The findings reveal a largely convergent understanding of value co-creation that relates to the social integration of the intrinsic value of museums. The main barriers to value co-creation were identified at both organizational and personal levels, yet important context-bound differences were found regarding the scope and impact of those barriers across defined museum activity areas.

The study enriches literature and museum management by identifying and synthesizing barriers, offering insights for overcoming them through DART model modifications. These insights extend beyond museums, emphasizing stakeholder identification, recognizing activity-specific barriers, understanding interdependence and considering external factors like the pandemic. Managers can leverage this knowledge for informed decisions and interventions.

This paper aims to summarize the conditions under which participatory art museums and local commercial traditions can have positive and sustained interactions.

The methods include studying the quantity and content of exhibitions in the four cities of the Bay Area, Guangzhou, Shenzhen, Hong Kong and Shunde, to compare their academic positioning and influence on local commercial production. Through interviewing curators, artists and university scholars who are active in the Bay Area and are invited by the museums on a regular basis, it will let us understand the attitudes from the government, public and capital towards the regional art museums and how these attitudes influence the choice of theme in the participatory art museum practice.

To summarize the findings, the author concludes that a participatory art gallery with commercial production in the Bay Area requires the following: a long tradition of local business and wealth accumulation; a local area is of a size where the community of acquaintances can interact on a regular basis; continued interest of a diverse local elite, including a mix of businessmen and gentry, government officials and various sectors of the public; and museums serving as intermediaries to coordinate the effective integration of the commercial and traditional resources.

Participatory approaches and their impacts are a shared area of interest across urban planning, heritage studies and the creative arts. Crucially, solely relying on either the Latin bottom-up community-oriented approach (Barnes, 2003) or the British top-down policy-oriented approach (Heijnen, 2010) did not maximize benefits, though these distinctive two approaches were convinced that museums should play a larger role in becoming agents of contemporary social change. By contrast, in focusing on Chinese Art Museums, this study will explore participatory practice in the Asian context. In doing so, it will not only diversify the emerging literature on the social and economic impacts of arts and heritage organizations but also challenge the Western lens through which participatory approaches are viewed in the interdisciplinary literature. As Lefebvre acknowledged his lack of non-Western regions in his research, this study will offer new perspectives on museology and its contributions to the Production of Space.

This paper aims to explore the Google Arts and Culture platform in terms of parameters used for categorizing the digital collections by it; the total number of items and their types; top contributing artists; top ten historical events and figures; and the top ten countries having maximum artworks.

An online method was used to collect the relevant data for achieving the objectives of the study. Data were harvested from the official website of Google Arts and Culture (https://artsandculture.google.com/) during the period of 15 May to 31 May 2018, and the same was tabulated in MS Excel for analysis and interpretation.

The findings revealed that Google Arts and Culture includes a total of 6,272 artists, 228 media and 121 art movements. Moreover, there are a total of 641 historical movements; 6,250 historical figures; 9,692 places; 3,226 museum views; 1,702 zoom views; 39,607 featured videos; and 5,528 featured stories; 122 items organized by color and 954 organized by time.

The present study is first of its kind that focuses on exploration of diverse arts and cultural heritages of different countries and by diverse artists made visible by Google Arts and Culture initiative. It will significantly reinforce the art and cultural heritage lovers to acquire the knowledge pertinent to various types of arts and cultures that prevailed in antiquity across the globe and also make aware the conservators about how to use digital technologies for efficient preservation and visibility of unique artworks, artists and the places whom they belong.

This paper aims to study possible differences between the Outstanding Universal Value (OUV) defined in the designation of Cuenca as a World Heritage (WH) site and its inhabitants' perceptions of heritage value. The study is based on research conducted in the historic centre of Cuenca in Ecuador, which was accorded WH status in 1999.

The research employs both quantitative and qualitative methodologies, providing a complementary approach to the research subject. Quantitative research involved a probability survey of 400 informants randomly selected from the population of the canton of Cuenca, while qualitative research included 40 semi-structured interviews with residents and traders in the historic centre and 150 further written consultations with residents of the city.

Following the introduction, methodology and description, the paper presents the data gathered from the survey and interviews. These indicate inhabitants' perceptions of the meaning, values, and uses of WH in Cuenca and reveal differences between their perceptions and those of the official OUV.

Although there are several studies on WH residents' perceptions of UNESCO OUV, few highlight the mismatch between local community views of heritage and those established by UNESCO. This study reflects critically on the concept of OUV, which is based on technical and political criteria rather than social participation. The study employs methodologies that could be applied in other case studies and used to improve heritage management. This is the only study on local perceptions of Cuenca's OUV.

China has been going through a “museum boom” paralleling the domestic tourism boom since 2000; such growth changed the cultural landscape; museums became a vital characteristic of some Chinese cities for both residents and tourists. Encouraged by this growth, the more ambitious “All-for-one Museum (全域博物馆)” was proposed. The physical boundary between museums and living spaces is infinite ambiguity, challenging the idea of museums as “heterotopias.” This study aims to explore the musealization of urban spaces in the context of anthropology and museology, scrutinizing the cultural-political intentions and meanings of these developments, and seeks to ignite further investigation into the reconstruction of historical imaginaries for tourists and urban populations across related disciplines.

This paper examines two cases in Chinese metropolises, Beijing and Shanghai, to illustrate this development of musealization, that is, how the cities actively leverage museological values and methods to connect with their past. In the Beijing case, the authors explore how the local government is leading the effort to musealize the city; in the Shanghai case, they will see how tourists, especially dweller-tourists, navigate through a curated past story in the city and connect their own experience, memory and identity with the place.

The all-for-one museum creates a museal layer projected onto the bigger urban space, even though the authenticity of the “past” is challenged by the modernization development of the city. The authors also find out that for some tourists (especially dweller-tourists), an existential sense of authenticity plays a more significant role as they not only seek to sightsee the past of the city but also to take part in its creation.

This paper discusses two kinds of musealization in cosmopolitan cities of Beijing and Shanghai: top-down and bottom-up. It approaches questions about the musealization of urban spaces from the perspectives of anthropology and museology, and discusses musealization in the specific historical context of China’s modernization process.