2. LAURAEDYTHE COLEMAN DECEMBER 5, 2012 THE INFLUENCE OF SOCIAL INCLUSION THEORY UPON THE MUSEUM PRACTICE OF THE ULSTER MUSEUM OF NORTHERN IRELAND: A MIXED METHODS RESEARCH DESIGN “The Culture Bunker”

3. SOCIAL INCLUSION

4. The Inclusive MuseumThe Museum as Agent of Social Regeneration The Museum as Vehicle for Broad Social Change Goal To achieve cultural inclusion To improve individuals’ quality of life To influence society/instigate positive social change Achieved through- Representation of and participation and access for those excluded Initiatives which seek to alleviate disadvantage/encourage personal development Providing a forum for public debate, education and persuasion Exclusion is tackled within- The cultural dimensionThe economic, social, political and cultural dimensions Social problems associated with exclusion Might be addressed indirectly *provide the rationale behind initiatives *might be directly expressed within the museum’s goals *provide the rationale behind initiatives *might be directly expressed within the museum’s goals

5. Counties of Ireland : 26 Irish Republic, 6 Northern Ireland

6. THE “TROUBLES”

7. HOW TO REPRESENT THE PAST?

8. PROBLEM STATEMENT Social inclusion theory has influenced museum practices in Northern Ireland. How well museums address the history of conflict in Northern Ireland thru social inclusion will impact the peace and reconciliation process.

9. EXPERIMENT An experiment design to evaluate the relationship between the presence of community outreach officers in museums and the inclusion of conflict related objects in exhibits.

10. SIGNIFICANCE OF RESEARCH This study will examine the social inclusivity of the Ulster Museum through its collection and exhibition practices. This study will inform museums of the significance of their role in reconciliation in a measurable way: Exhibition of conflict related objects and the corresponding curatorial roles. The study of museums in Northern Ireland may answer questions regarding social inclusion, and insights into the peace process. A working model.

11. SPECIFIC QUESTION OF RESEARCH The problem of understanding social inclusion in museum practice promotes the asking of a specific research question, and two sub-questions, in the context of the Ulster Museum in Northern Ireland: Has the introduction of social inclusion theory in the museum community led to a change in the museum practices of the Ulster Museum in Northern Ireland?

12. SUB-QUESTIONS Quantitative: How has the introduction of social inclusion theory in the Ulster Museum altered collection of conflict related items in a quantitative nature? Qualitative:How has the introduction of social inclusion theory in the Ulster Museum changed the tone of curatorial voice in conflict related exhibits?

13. HYPOTHESIS The introduction of Social Inclusion theory in the museum community has led to a change in conflict related item collection and an alteration of curatorial voice in the creation of conflict related exhibits in the Ulster Museum of Northern Ireland.

14. METHODOLOGY Mixed Methods Sequential Explanatory Design Quantitative: Unobtrusive Historical Comparative Qualitative: Intensive-Interviews Participant List: The Ulster Museum

15. PARTICIPANTS The Ulster Museum has been chosen for participation in this study as it meets several criteria: it is a national museum of Northern Ireland it is subject to the mandates of the Department of Culture, Arts, and Leisure concerning social inclusion (Department of Culture, 2011, p.3) it has a collection of conflict related items catalogued by the HTR database it has attempted to create exhibits concerning the Troubles; It has received both criticism and praise for varying attempts to portray the Troubles (Meredith, 2009, October 24).

16. STUDY DIAGRAM

17. QUANTITATIVE UNOBTRUSIVE HISTORICAL COMPARATIVE DESIGN Step 1: Creation of a Timeline 1990-2012

18. STEP 2 Obtain permissions Obtain Museum & Gallery Catalogues for 1990-2012

19. STEP 3 Enter Information into Database Institution Name, Type, Location Artifact Name, Description, Date of Collection, Dates of Exhibition, and Status in the HTR Database

20. QUANTITATIVE DATA ENTRY

21. STEP 4 Data Analysis Compare Collection and & Exhibition Numbers with Important points on the Timeline.

22. QUANTITATIVE DATA TO QUESTIONS Quantitative Data Analysis now influences: The creation of questions. The selection of curators.

23. QUALITATIVE PHASE

24. PERSONAL PREPARATION Arrive Early Dressed Appropriately Arrange Interview Area Test Recording Equipment Have Note taking materials

25. PROTOCOL Interview Protocol for asking questions & recording answers Heading Instructions Questions Probes Blank Space Thank You ( Cresswell, date, p.)

26. DEMOGRAPHIC INFORMATION Descriptive Notes Participant Portrait Reflective Notes Researcher Portrait

27. DYNAMICS OF DIALOGUE Listening requires your undivided attention, without interrupting. Do not change the subject unnecessarily. Listen to the bass line of what is being said. Listen to what people are NOT saying and respect that choice. Listen to the body language and the silences. In responding- use questions to prompt, link, and explore. (Kavanagh, 2000, pp. 87- 97)

28. THE INTERVIEW Build Rapport “Grand Tour Question” (Schutt, 2009, p.341) Patience, Prompts, and Probes

29. GRAND TOUR QUESTIONS Grand Tour Questions: In the designing Troubles exhibits for the Ulster Museum, what has been your role? What, in your own words, is the policy concerning social inclusion within an exhibit? How have you incorporated social inclusion theory into the creation of the Troubles exhibit? Have you perceived a difference in the understandings of social inclusion amongst the curators on the Ulster Museum?

30. PRESENTATION Responses in relation to Research Question Reconstruction of the Interview scenario Reflect on Researcher bias, prejudices, attitudes Report the Interaction Provide selection criteria Protect confidentiality

31. LIMITATIONS Generalizability Replication Ability Reliability Validity Not designed to determine the definitive indicator that a museum is socially inclusive

32. ETHICAL CONSIDERATIONS Permissions Issues of Funding Voluntary Participation Subject Well-being Identity Disclosure Confidentiality Appropriate Boundaries Researcher Safety

33. INTERPRETATION Merging of Quantitative & Qualitative Data Create a Holistic Picture of conflict related exhibits at the Ulster Museum of Northern Ireland. Create guidelines for transferability & generalizability for a Social Inclusion Model.

34. BROUGHT TO YOU BY THE LETTER http://www.youtube.com/watch?v=Vin6X14kp7s