MANAGING ART COLLECTIONS: from ancient to contemporary Interdisciplinary approaches for museum professionals from the Mediterranean and Africa IV EDITION – 2026
Table of contents The Programme Online Training In-Presence Workshop in Rome Professional Residencies in Italian Host Museums Residency Projects in Italian Host Museums Participants’ Professional Profiles Geographical Overview: Projects and Participants 4 5 7 8 9 16 40
International School of Cultural Heritage 4 The Programme The IV edition of the International School of Cultural Heritage (ISCH), an initiative of the Scuola nazionale del patrimonio e delle attività culturali and the Directorate-General for European and International Affairs of the Italian Ministry of Culture, is an advanced international training programme for museum and cultural heritage professionals from Africa and the Mediterranean region. The 2026 edition, entitled Managing Art Collections: from ancient to contemporary. Interdisciplinary approaches for museum professionals from the Mediterranean and Africa, addresses collection management from an interdisciplinary perspective. It fosters dialogue between archaeological heritage and contemporary art, and between curatorial approaches related to conservation, research, interpretation, and audience engagement. The programme brings together 22 curators, museum directors, conservators, and heritage professionals from 12 African countries. The programme is articulated in three complementary modules: 1. Online training: five webinars designed to establish a shared conceptual framework and initiate exchange among participants and partner institutions; 2. In presence workshop in Rome: a one-week intensive course dedicated to methodological development and collaborative design; 3. Residency Projects in Italian host Museums: a one-month placement in six Italian institutions, during which participants work alongside museum professionals on co-designed heritage initiatives. ISCH functions as a platform for international training and cooperation, aimed at fostering a community of practice, facilitating the exchange of expertise, and exploring innovative approaches to the interpretation and enhancement of cultural heritage.
5 MANAGING ART COLLECTIONS: from ancient to contemporary Online Training The online training of ISCH IV Edition, delivered through five webinars between February and April 2026, marked the opening of the programme and represented the first opportunity for exchange among participants. Ahead of the in-person workshop in Rome and the subsequent residencies at Italian institutions, it provided a shared space for reflection in which participants began to build professional dialogue, became familiar with the participating institutions, and engaged with key questions shaping contemporary museum practice. Designed as both a preparatory and formative component, the online sessions combined lectures, discussions, and case studies to introduce the main themes running throughout the programme. They provided participants with critical tools to reflect on the evolving role of cultural institutions and on how diverse forms of heritage are interpreted, preserved, and communicated to audiences. A central focus of the discussion was how the museum itself is defined and understood. Rather than being approached as a fixed or universal category, the museum was considered an evolving and negotiated construct, shaped by international frameworks, institutional contexts, and local cultural conditions. Within this perspective, participants were encouraged to examine how museums engage with increasingly heterogeneous forms of heritage, questioning established distinctions such as ancient and contemporary, tangible and intangible, or archaeological, ethnographic, and artistic objects. Particular emphasis was placed on interdisciplinary and cross-cultural approaches to collections research and management. Through selected case studies and examples, the sessions explored howmuseum practice increasingly relies on dialogue between disciplines and across cultural perspectives. In this context, archaeology was also reconsidered as a field of practice that connects past realities with present-day questions, contributing to the development of new heritage narratives and interpretations. The sessions were designed to foster critical reflection on issues such as absence and reconstruction in the interpretation of objects, the development of plural and inclusive museum narratives, and the role of cultural institutions in connecting different heritages, communities, and cultural environments. The programme brought together a group of leading international experts, including Thomas Thondhlana (Great Zimbabwe University); Bruno Brulon Soares (University of St Andrews), member of the ICOM committee contributing to the ongoing revision of the museum definition; Muthoni Thang’wa, heritage advisor and Chair of ICOM Kenya; Terry Little (Ahmadu Bello University) ,member of the ICOM-CC board; Francesca Fabiani, curator at the Central Institute for Catalogue and Documentation (ICCD), Italian Ministry of Culture; and Stefania Siano, Archaeologist at the Directorate-General for European and International Affairs, Italian Ministry of Culture.
International School of Cultural Heritage 6 Overall, the online training phase had a dual objective: to offer participants an initial forum for exchange on key contemporary issues in museum practice, and to initiate dialogue between participants and host institutions, thereby laying the groundwork for the in-person workshop in Rome and the subsequent residencies.
7 MANAGING ART COLLECTIONS: from ancient to contemporary In-Presence Workshop in Rome The in-person workshop, held in Rome from 20 to 24 April 2026 at the Scuola nazionale del patrimonio e delle attività culturali, constituted the core component of the training programme. During this phase, participants and representatives of the host institutions worked closely, combining theoretical reflection, methodological exchange, and the initial development of projects that were further advanced during the residency period. The workshop was conceived as a shared working space for programme participants and officers from the Italian partner institutions, with the aim of establishing the conditions for the collaborative work developed during the residencies. Through hands-on sessions, lectures, and case studies, the week addressed key issues for contemporary museums, including the relationship between collections and institutional mandate, different approaches to interpreting and exhibiting heritage, the role of conservation in shaping cultural value, and the forms of engagement that museums develop today with artists, research centres, communities, and local contexts. A substantial part of the workshop was devoted to collaborative sessions, conceived as spaces for joint work and discussion among participants. These activities allowed the group to progressively develop shared languages, references, and working approaches, both among the African professionals involved and in dialogue with their Italian counterparts. In this sense, the workshop functioned as an initial co-design phase, helping to outline conceptual frameworks and lines of work that will be further developed during the residencies at the host institutions. Theoretical lectures and case studies presented throughout the week provide additional perspectives for bringing into dialogue experiences, collections, and professional practices from different cultural contexts. Invited speakers included Lorenza Baroncelli, MAXXI Architecture and Contemporary Design Director, MAXXI Museum – National Museum of XXI Century Arts; Cristiana Perrella, Director of MACRO – Museum of Contemporary Art of Rome; Franck Ogou, Director of the École du Patrimoine Africain; Laura Barreca, Director of the Civic Museum of Castelbuono; Silvia La Pergola, architect, MAXXI Museum; Max Magaldi, artist; Alessia Cemmi e Marta Chinnici, scientists from ENEA – the Italian National Agency for New Technologies, Energy and Sustainable Economic Development; and Sara Chiesa, curator at MUDEC – Museum of Cultures in Milan. The programme was further enriched by study visits to MAXXI – National Museum of XXI Century Arts and MACRO – Museum of Contemporary Art of Rome, offering participants direct engagement with leading institutions in the field of contemporary art. Overall, the workshop was conceived as an intensive space for exchange and inspiration, aimed at strengthening professional relationships, sharing methodologies and preparing the development of projects during the residency phase.
International School of Cultural Heritage 8 Professional Residencies in Italian Host Museums The residency phase took place between 27 April and 21 May 2026. During this period, participants worked in small groups with the host institutions, collaborating on the development of curatorial, interpretative, educational, and heritage enhancement projects. The residencies were hosted by six Italian cultural institutions of the Ministry of Culture: → Museum of Civilizations (MUCIV), Rome → Archaeological Museums and Parks of Praeneste and Gabii, Rome → National Archaeological Museum of Taranto (MArTA) → National Archaeological Museum of Naples (MANN) → National Archaeological Museum of Reggio Calabria (MArRC) → National Archaeological Museum of the Agro Falisco and Forte Sangallo, Civita Castellana (Regional Directorate of National Museums of Lazio) Over the four weeks of residency, participants were engaged in collection study activities, meetings with museum teams, curatorial research, the development of interpretative content, the design of public programmes, and experimentation with tools for cultural communication and mediation. Each group works on a dedicated project developed in close collaboration with the host institution.
9 MANAGING ART COLLECTIONS: from ancient to contemporary Residency Projects in Italian Host Museums
International School of Cultural Heritage 10 ARCHAEOLOGICAL MUSEUMS AND PARKS OF PRAENESTE AND GABII Participants Soufiane Er-Rahoui, Director of the National Museum of Photography, National Foundation of Museums (Morocco) Myriam Mahmoudi, Curator and Heritage Advisor, Bardo National Museum / National Heritage Institute – INP (Tunisia) Islam Ahmed Ghareeb Ahmed Farrag, Cultural Heritage Expert, Ministry of Tourism and Antiquities – ICOMOS (Egypt) Kasim Osumanu Mireku, Cultural Administrator, Centre for National Culture, Western Region (Ghana) Abstract The project explores an experimental approach to interpreting the archaeological site of Gabii through photography, poetic writing, and geolocated soundbased storytelling. Led by Mediterranean photographer and poet Marianne Catzaras, participants will work in the field to identify meaningful locations within the site and produce visual materials, texts, and audio recordings that will be integrated into a digital narrative map. The project will result in a first version of a web app combining images, words, and sound to offer new ways of reading and experiencing the archaeological landscape. Output Production of photographs, poetic texts, and audio recordings in collaboration with the artist Workshop with artist Marianne Catzaras Development of a geolocated narrative map of the archaeological site First prototype of a web app for site interpretation Definition of a replicable heritage storytelling methodology Gabii Listening Map – Geolocated Photography and Poetry Storytelling Project for Heritage Interpretation
11 MANAGING ART COLLECTIONS: from ancient to contemporary NATIONAL ARCHAEOLOGICAL MUSEUM OF THE AGRO FALISCO AND FORTE SANGALLO – CIVITA CASTELLANA Regional Directorate of National Museums of Lazio Participants Ana Soraya R. C. Marques, Director of the National Museum of Natural History of Angola (Angola) Gon Emile Gueu, Researcher, INSAAC / Museum of Civilizations of Ivory Coast (Ivory Coast) Celestino Siane, Curator, Matola Memorial Museum (Mozambique) Lucy Herbert Mlangwa, Officer, African Liberation Heritage Center (Tanzania) Abstract The project is developed around the Berman Collection, a heterogeneous assemblage held by the museum, comprising archaeological artefacts, ethnographic objects from different parts of the world — particularly from Africa — and materials related to natural history. During the residency, participants will work closely with museum staff to examine the origin of the objects, the histories of collecting practices, and the ways in which these materials have been interpreted and presented within the museum context. The work will lead to the development of a shared curatorial concept for a thematic exhibition reinterpreting the collection from an intercultural perspective, alongside interpretative texts, exhibition design hypotheses, and digital materials documenting the research process. Output Curatorial concept for a thematic exhibition on the Berman Collection Selection and interpretation of objects from the Berman Collection Production of interpretative texts and communication materials Audio-visual documentation of the research process and international collaboration Reframing Objects: Intercultural Narratives from the Berman Collection
International School of Cultural Heritage 12 NATIONAL ARCHAEOLOGICAL MUSEUM OF REGGIO CALABRIA – MARRC Participants Hafsa El Hassani, Curator, Directorate of Cultural Heritage (Morocco) Yanick Fredmard Mopango Etou, Officer, Directorate General of Heritage and Archives, Ministry of Cultural, Tourism, Artistic and Leisure Industries (Republic of the Congo) Aliou Ndiaye, Head of the Division of Museums and Intangible Cultural Heritage, Directorate of Cultural Heritage (Senegal) Khadija Twahir, Archivist and Libriarian, National Museums of Kenya – Lamu Museum (Kenya) Abstract The project explores the notion of alterity in representations of the ancient world and in contemporary interpretations of cultural heritage. Through the study of a selected group of objects from the museum collections, participants will examine how cultural, social, and symbolic differences have been represented in the past and how they can be reinterpreted today. The work will lead to the development of a smallscale thematic exhibition, alongside the production of interpretative and multimedia materials and a set of public engagement activities involving local communities. Output Concept for a small-scale thematic exhibition on representations of alterity Production of interpretative panels and multimedia content Public engagement activities involving local communities Audio-visual documentation of the project Inheriting Alterity: Materiality and Ideas from the Ancient World to the Modern
13 MANAGING ART COLLECTIONS: from ancient to contemporary NATIONAL ARCHAEOLOGICAL MUSEUM OF TARANTO – MARTA Participants Enas Ibrahim Ahmed Karim, Head of the Education Section, Grand Egyptian Museum (Egypt) Zayd Ouakrim, Conservator, Museum of Moroccan Football, National Foundation of Museums (Morocco) Daniel Haruni Chilonzi, Cultural Officer, Ministry of Information, Culture, Arts and Sports (Tanzania) Nour El Houda Ajili Ep Arfaoui, Curator, National Heritage Institute – INP (Tunisia) Abstract The project is part of the cultural programme linked to the Taranto 2026 Mediterranean Games and contributes to the development of an exhibition section dedicated to the theme of sport from antiquity to the present day. During the residency, participants will work alongside museum curators, conservators, and education staff to identify materials, themes, and connections between archaeological heritage and sporting traditions across the different cultural contexts represented. The project will contribute to the development of exhibition content, accessible interpretative pathways, educational activities, and communication materials related to both the exhibition and the museum’s wider public programme. Output Curatorial contribution to the exhibition section dedicated to sport Development of educational pathways and public programmes Production of interpretative content and communication materials Potential scholarly contributions to the exhibition catalogue Sports from antiquity to the present: a perspective on the Mediterranean and beyond
International School of Cultural Heritage 14 MUSEUM OF CIVILIZATIONS – MUCIV Participants El Hadji Malick Ndiaye, Director and Curator, IFAN / Théodore Monod African Art Museum (Senegal) Edna Bettencourt Neto, Curator and Project Manager NESR Art Foundation (Angola) Grace Jessica Moyongo, Head of Archives and Documentation, National Museum of Brazzaville (Republic of the Congo) Abubakari Iddrisu Saeed, Regional Director, Centre for National Culture, Tamale (Ghana) Abstract The residency is dedicated to the study of African collections held at the Museo delle Civiltà, as well as the archives documenting their formation history. Through seminars and professional meetings focused on African collections, participants will explore different methodologies for researching and reinterpreting these holdings. They will also take part in a dedicated study day and contribute to the production of a special issue of the museum’s online journal ConTradizioni, focused on the activities carried out during the residency. The journal includes multimedia content such as video interviews and scholarly articles. Output Seminars and professional meetings dedicated to African collections Production of editorial and digital materials related to the residency Contributions to the museum’s online journal ConTradizioni Strengthening of scientific collaboration between the participating institutions Open Dialogues – African Collections between Archives, Storage, and Contemporary Museum Practices
15 MANAGING ART COLLECTIONS: from ancient to contemporary NATIONAL ARCHAEOLOGICAL MUSEUM OF NAPLES – MANN Participants Roza Taane, Head of the Department of Inventory, Conservation and Restoration of Cultural Property, National Museum of Antiquities and Islamic Arts, Ministry of Culture and the Arts (Algeria) Nagwa Abdelzaher Mohamed Bakr, Museum and Intangible Cultural Heritage Specialist, National Museum of Egyptian Civilization (Egypt) Abstract The project focuses on the co-design of a thematic pathway through the collections of the National Archaeological Museum of Naples, aimed at highlighting historical and cultural connections across the Mediterranean region. Working in close collaboration with the museum’s curators, participants will select objects and develop new interpretative frameworks, reconstructing the “biographies” of the objects and their historical and cultural contexts. The project will lead to the development of interpretative and mediation tools—including texts, labels, information materials, and educational activities—and will culminate in a public pilot of the pathway through a thematic guided tour. Output Design of a thematic pathway within the museum collections Production of interpretative materials (labels, brochures, digital content) Public testing of the pathway through guided tours Development of educational and cultural mediation activities SEA-EMPATHY. Alternative Narratives of a Shared Mediterranean Cultural Heritage
International School of Cultural Heritage 16 Participants’ Professional Profiles
17 MANAGING ART COLLECTIONS: from ancient to contemporary ALGERIA Roza Taane Ms. Roza Taane, is currently Head of the Department of Inventory, Conservation, and Restoration of Cultural Property at the National Museum of Antiquities and Islamic Arts, under the Ministry of Culture and the Arts of Algeria. She is in the final stages of her doctoral studies in Archaeology, after obtaining a Magister degree in Archaeology with a specialization in Museology from the University of Algiers. Over the past thirteen years, she has built a professional career dedicated to the preservation, study, and promotion of Algeria’s cultural heritage. In her current role, she over sees the documentation and restoration of museum collections, carries out expert evaluations of seized cultural objects, and collaborates with national institutions on heritage protection and museum development. She has also organized exhibitions and led training workshops on museum practices and the legal protection of cultural property. Actively involved in research and professional development, she has contributed to national projects on museum innovation, traditional costume heritage, and the preservation of crafts, and has presented her work at conferences on fire risk management in museums, reserve reorganization, and ancient North African mosaics. By participating in the ISCH IV Programme, she seeks to deepen her expertise, share experiences with peers, and engage in dialogue with host institutions on current challenges in the heritage field. The collection she is working with consists mainly of archaeological antiquities, including sculptures and mosaics. It encompasses a wide range of materials such as marble, stone, and ceramics. Chronologically, the collection spans from the Punic and Roman periods to the early Islamic era. Geographically, it reflects the rich cultural heritage of Algeria and the wider Mediterranean region. Head of the Department of Inventory, Conservation, and Restoration of Cultural Property at the National Museum of Antiquities and Islamic Arts, Ministry of Culture and the Arts of Algeria, Algiers, Algeria
International School of Cultural Heritage 18 ANGOLA Ana Soraya R.C. Marques Ms. Ana Soraya R.C.Marques, is an Angolan biologist and early-career paleontologist whose work sits at the intersection of scientific research, museology, and science communication. Since May 2025, she has served as Director of the National Museum of Natural History of Angola, where she is involved in the institution’s ongoing strategic, scientific, and educational development, including collections management, exhibition planning, international collaboration, and public outreach. She holds a master’s degree in Paleontology from NOVA University Lisbon (2024), with research focused on the anatomical description and phylogenetic assessment of a dicynodont specimen from the K5 Formation of the Metangula Graben, Mozambique. She also holds an undergraduation in Biology from the University of Évora(2020) and a bachelor’s degree in Environment and Land Management from the Methodist University of Angola (2012). In 2013 she attended the Evolutionary Sciences course at the Turkana Basin Institute, Kenya. Since 2012, she collaborates with the Paleo Angola Project, participating in fossil prospecting and excavation in several Angolan provinces and contributing to the preparation of exhibitions, such as the Sea Monsters Unearthed - Life in Angola’s Ancient Seas at the Smithsonian Institution. She is also currently involved in the Mosasaurus 3D Project with the Naturalis in the Netherlands, which explored the use of CT scanning and 3D printing in fossil reconstruction. The 11-meter replica resulted from this project is on its way to Angola to be later exhibited at the National Museum of Natural History. Her professional experience includes fossil preparation and laboratory work, training in natural history collections and museum practices, and participation in scientific meetings and outreach activities. At an early stage of her scientific career,she remains committed to learning, collaboration, and to the long-term development and international visibility of Angolan paleontology. The collection she is working with consists mainly of fossil collections, taxidermy collections, wet collections. Director of the National Museum of Natural history of Angola
19 MANAGING ART COLLECTIONS: from ancient to contemporary ANGOLA Edna Bettencourt Neto Ms. Edna Neto is an independent Angolan curator, recognized for her significant contributions to the contemporary African art scene, particularly in Angola. She holds a Bachelor of Arts Honours in History from the University of Western Cape in Cape Town (South Africa) and graduated in Administration and Translation from the University of Aveiro in Aveiro (Portugal). Edna is currently the Project Manager for The NESR Art Foundation, where she coordinates the residency and public programme and manages the Foundation’s collection. Her expansive experience and passion for empowering artists and strengthening artistic ecosystems continue to shape the cultural landscape of Angola and contributes to broader conversations o contemporary African art. Edna lives and work in Luanda, Angola. The collection she is working with at the NESR Art Foundation consists of a growing collection dedicated to contemporary art from Angola and the broader Lusophone and African regions. The holdings encompass a range of media, including painting, works on paper, photography, sculpture, installation, and mixed media. Chronologically, the collection spans from the early 2000s to the present, reflecting the emergence of new artistic languages, material experimentation, and critical narratives within and beyond the Angolan context. Project Manager, Curator at the NESR Art Foundation, Luanda, Angola
International School of Cultural Heritage 20 REPUBLIC OF THE CONGO Grace Jessica Moyongo Ms. Grace Jessica Moyongo is a museum professional based in the Republic of Congo, currently working at the National Museum of Brazzaville as a documentation and archives officer. She is responsible for the documentation, archiving, and organization of museum collections, contributing to the preservation and transmission of cultural heritage, with a particular interest in contemporary Congolese art. Her work focuses on managing archival and documentary materials related to artworks, collections, and exhibitions, and supporting research and public access to museum collections. Through collaboration with curators, conservators, and cultural professionals, she contributes to mediation, knowledge sharing, and institutional memory. She is particularly interested in the relationship between contemporary artistic creation and traditional cultural heritage, and in the role of documentation in preserving living heritage. She is especially motivated by issues related to the preservation, promotion, and international visibility of African contemporary art. Committed to professional development, she seeks to strengthen her skills through training and international exchange programs. Her goal is to contribute to innovative museum practices that enhance documentation, improve access to collections, and encourage dialogue between cultures. The collection she is working with includes contemporary Congolese artworks characterized by a wide diversity of materials and related conservation and exhibition challenges. Office Manager at the National Museum, Brazzaville, Republic of the Congo
21 MANAGING ART COLLECTIONS: from ancient to contemporary REPUBLIC OF THE CONGO Yanick Fredmard Mopango Etou Mr. Yanick Fredmard Mopango Etou, 36 years old, started his career in 2013 as a civil servant at Ministry of Cultural, Tourist, Artistic and Leisure Industries, as senior special officer of second category, and currently works at the Central secretariat of the Directorate General of Heritage and Archive at the Administrative and Financial Department of Ministry of Cultural, Tourism, Artistic and Leisure Industries. He obtained a B.A in finance and banking in 2011, at the International Institute of management. In 2024 he participated in capacity building seminars on the preservation and development of intangible cultural heritage for French speaking countries. He is very motivated in his work, cultivates his interests in reading, art, culture and discovery in the domain of art and culture and is eager to contribute to the development of his country in these sectors. He is interested in the study and enhancement of artifacts such as traditional Congolese masks, whose conservation and enhancement, both in relation to their materiality and to the irritual use and significance for national identity, are strategic for the institution he works for. Central secretariat of the Directorate General of Heritage and Archive, Ministry of Cultural, Tourism, Artistic and Leisure Industries Brazzavile, Republic of the Congo
International School of Cultural Heritage 22 EGYPT Nagwa Abdelzaher Mohamed Bakr Dr. Nagwa Abdelzaher Mohamed Bakr is an Egyptian museum professional, anthropologist, and heritage researcher with more than twenty years of experience in museums, community engagement, and intangible cultural heritage documentation. She currently serves a director of the Training Center at the National Museum of Egyptian Civilization (NMEC), where she previously worked as a curator and community exhibition and women’s programs officer. She holds a PhD in Museums and Heritage Studies from Helwan University, with a research focus on representing women’s heritage in Egyptian museums from an ethnographic perspective. Her academic background also includes degrees in Museum Studies, Cultural Anthropology, and Egyptology. Dr. Bakr has led and contributed to numerous national and international projects documenting living heritage, oral history, and traditional practices, particularly related to women, food heritage, palm-related crafts, and religious journeys. She has participated in and presented research at major international forums, including ICOM, WAC, and conferences in Europe and Africa, and has received prestigious fellowships from institutions such as DAAD, the British Museum, UNESCO, and the Smithsonian. Her work bridges museums, communities, and academia, emphasizing inclusive interpretation, gender perspectives, and safeguarding intangible cultural heritage. The NMEC presents several permanent collections to the public. The main gallery showcases key artifacts reflecting Egypt’s history from prehistoric to modern times, including traditional folk culture. The Textile Hall displays around 600 pieces tracing Egypt’s textile evolution, with royal garments and jewelry.The Royal Mummies Hall features 20 mummies of ancient kings and queens in a setting inspired by the Valley of the Kings. The museum also houses a rare Fatimid-era dye house, offering insight into medieval Cairo’s vibrant textile dyeing industry. Museum and Intangible Cultural Heritage Specialist at the National Museum of Egyptian Civilization (NMEC), Cairo, Egypt
23 MANAGING ART COLLECTIONS: from ancient to contemporary EGYPT Enas Ibrahim Ahmed Karim Dr. Enas Ibrahim Ahmed Karim is a museum professional with over 15 years of experience in museum education, audience development, and cultural heritage management. She currently serves as Head of the Education Section at the Grand Egyptian Museum (GEM), where she leads the design and implementation of inclusive, innovative educational programs that connect diverse audiences with Egypt’s cultural heritage. Her work spans children, adults, seniors, and people with disabilities, with a strong focus on accessibility, participation, and learning through creative practices. Enas holds a PhD in Heritage and Museum Studies fromHelwan University, with research focused on developing educational programs for senior visitors in Egyptian museums. She also earned an MA in Museum Studies and a BA in Egyptology, grounding her practice in both academic research and field experience. Her professional background includes work as an Inspector of Antiquities with the Ministry of Tourism and Antiquities and extensive involvement in exhibition-related education, community outreach, and heritage documentation. Internationally, Enas has participated in programs such as the Museums Lab, International seminar on museummanagement capacity building (China), and conferences including CRE, WAC, CIPEG, and AAM. She is an active member of ICOM and is committed to advancing inclusive, socially engaged museum practices locally and globally. The collection of the Grand Egyptian Museum (GEM), which houses the world’s most extensive assemblage of ancient Egyptian artifacts. The collection comprises over 100,000 objects spanning from prehistoric times through the Greco-Roman period. It includes a wide range of materials such as stone, wood, metal, faience, textiles, papyrus, and organic materials. Notably, GEM is home to the complete funerary collection of Tutankhamun, featuring over 5,000 objects. The artifacts originate from across Egypt, reflecting the country’s rich and diverse regional heritage. Head of the Education Section at the Grand Egyptian Museum (GEM), Giza, Egypt
International School of Cultural Heritage 24 EGYPT Islam Ahmed Ghareeb Ahmed Farrag Mr. Islam Ahmed Ghareeb Ahmed Farrag is a prominent cultural heritage and project management expert with over 13 years of international experience, served as the Heritage Sites Development Manager at the Ministry of Tourism and Antiquities in Egypt. He is pursuing a PhD in Heritage Management and Museum Studies at the University of Helwan, complemented by a Master’s degree from the University of Paris 1 – Panthéon Sorbonne. In his role at the Ministry, Islam plays a pivotal part in strategic planning, stakeholder engagement, and implementing sustainable development initiatives for heritage sites. He excels in visitor management, exhibition development, and enhancing cultural interpretation, ensuring enriching experiences for visitors. As an ICOMOS expert, he has led numerous conservation projects and managed over 16 complex heritage initiatives. His work includes conducting Heritage Impact Assessments (HIA) and Environmental & Social Impact Assessments (ESIA), safeguarding cultural assets in large infrastructure developments. His notable achievements include the successful delisting of Abo Mina from UNESCO’s In Danger list and driving site exhibition initiatives in Historic Cairo. Islam is dedicated to aligning conservation strategies with international standards, promoting both heritage preservation and local economic growth. He works with the collections of the Imam Al-Shafi‘i Exhibition and Visitor Center, which presents a diverse range of cultural artifacts dating from the 8th century onward, and the Islamic Medicine Exhibition, which displays artifacts and documentary materials related to the history of medicine in Islamic civilization, featuring a comprehensive collection of medical instruments and covering key developments from the 9th to the 15th century. Built Heritage Expert at the Ministry of Tourism and Antiquties of Egypt – ICOMOS; Cairo, Egypt
25 MANAGING ART COLLECTIONS: from ancient to contemporary GHANA Abubakari Iddrisu Saeed Mr. Abubakari Iddrisu Saeed was engaged as a Cultural Assistant Grade I in 1989 as the Acting District Cultural Officer responsible to preserve, promote, develop and disseminate the cultural heritage of Zabzugu District. He obtained his First Degree in 1987 at the University of Ghana and transferred to the Northern Regional Directorate, Tamale and promoted to the grade of Senior Cultural Officer and designated Acting Regional Administrative Officer and Research Officer among others. He was promoted to the grade of Principal Cultural Officer in 2010 and subsequently pursued Master of Science degree in Development Management at the University for Development Studies and graduated in 2015, after which he was promoted to the grade of Deputy Director in 2017, as Acting Regional Director in 2019 and to the grade of Regional Director for Northern Region in 2021.He is also a Board Member of Red Clay, Savannah Centre for Contemporary Arts (SCCA) and Nkrumah Volni (allin Tamale). He is good team player and passionate to learn new things and promote and protect both tangible and intangible heritage. He participated in the UNESCO-Cooperative Integrated Project on Savannah Eco-Systems of Ghana (CIPSEG) Project in Northern Region on the use of the belief and indigenous knowledge systems to rejuvenate degraded lands. He works with tangible and intangible cultural heritage of the people of Northern Region engaging as well in activities related to the enhancement and exhibition of culinary culture, clothing and crafts. Regional Director at the Centre for National Culture, Tamale, Ghana
International School of Cultural Heritage 26 GHANA Kasim Osumanu Mireku Mr. Kasim Osumanu Mireku is a dedicated arts and culture professional with extensive experience in theatre, event management, and cultural administration. He currently serves as the Acting Regional Director of the Centre for National Culture,Western Region(CNC-WR),where he plays a key role in advancing Ghana’s cultural development agenda. Trained in Theatre Arts and Brand Communication, Kasim combines artistic expertise with strategic communication skills to promote and preserve Ghana’s rich and diverse cultural heritage.His professional practice is rooted in his commitment to nurturing appreciation for indigenous arts and creative expressions, particularly within the context of national identity and development. He has contributed significantly to the planning, coordination, and execution of major national festivals, cultural exhibitions, and creative arts programmes.Through these initiatives, he has helped enhance the visibility of Ghanaian arts, strengthen stakeholder engagement, and created platforms for artists, cultural practitioners, and communities to thrive. Kasim is passionate about positioning the creative sector as a catalyst for socio-economic growth, youth empowerment, and sustainable national development. He sees culture, not only as heritage to be preserved, but as a dynamic force for innovation, cohesion, and progress in contemporary Ghana. The Commission is responsible for the exhibition and promotion of art works of various kind that are peculiar to the Region, including the organization of exhibitions to promote local artists and heritage sites as well as strengthening the preservation interpretation and enhancement of traditional and indigenous material and intangible cultural heritage. Cultural Administrator, Regional Director at the Centre for National Culture, Western Region, Sekondi Takoradi, Ghana
27 MANAGING ART COLLECTIONS: from ancient to contemporary IVORY COAST Gon Emile Gueu Dr. Gon Emile Gueuis is Teacher of English as Foreign Language (TEFL), and lecturer in Cultural Heritage and Museum Studies at Institut National Supérieur des Arts et de l’Action Culturelle (INSAAC) in Ivory Coast. He closely collaborates with the local heritage institutions of the country, namely the Musée des Civilisations de Ivory Coast (MCCI) over collections management, research on multilingualism and heritage democratisation, and the training of museum professionals. Seeking for international academic experience, he studied a second MA programme as a Chevening scholar and qualified (with distinction) in Cultural Heritage and Museum Studies from the University of East Anglia (UEA), UK in the academic year 2022/23. He is back at INSAAC where he currently lectures. Drawing on his experience as amuseologist, a lecturer and a researcher, as well as his academic and professional networks at the local and international levels, he dreams of both creating an ethnographic museum in his native region, the Tonkpi, and opening a Department of Heritage, Museology, and Tourism at the region’s university, the University of Man. At the MCCI he works with collections presenting ethnographic, archaeological, historical, artistic, musical, and photographic objects.They are about 15,210 authentic objects originating from the four cultural areas of the country (Akan, Krou, Gur, Mandé areas) ranging from the Upper Palaeolithic Age (~10,000B.C.) to the 21st Century. Wood is the dominant material used in 60 % of the pieces devoted to masks and statuettes. Then metals (gold, bronze, brass, pewter, copper, and aluminium) are used for cast statues and jewellery which represent 15% of the collections. Textiles, terracotta, and clay come with 25% of the artefacts. Lecturer in Cultural Heritage and Museum Studies at the Institut National Supérieur des Arts et de l’Action Culturelle (INSAAC) - Museum of Civilizations of Côte d’Ivoire (MCCI), Abidjan, Ivory Coast
International School of Cultural Heritage 28 KENYA Khadija Twahir Ms. Khadija Twahir, is a Lamu resident and a professional archivist currently working as aLibrarian at National Museums of Kenya, Lamu Fort Library. She is pursuing a Master degree in Record Management and Archive Administration. She has participated in documentary heritage survey and was able to collect a number of 19th and 20th century Islamic manuscripts for MprinT@EastAfrica digitalization project. She has also host Modern Endangered Archives programme (UMADA Project) that involved the digitalization of flat materials and audio cassettes of Lamu Prominent Muslim scholar known as Ustadh Mau. Khadija is a member of ICA. She has participated in the Regional Emergency Response and documentary heritage held in Pretoria, in South Africa in 2024. She has also participated in Disaster Risk management initiatives for cultural heritage in Lamu, particular Lamu Museum. She has contributed in Preservation of Lamu Indigenous knowledge in Elimu Asilia Project by Goethe Institute. Khadija is a co-founder of Lamu Maktabaya Sanaa (Library of Art and Culture). Khadija has over 20 years’ experience as Librarian/archivist in National Museums of Kenya. She works with collections including 19th-20th Islamic Manuscripts, Business transactions since East Africa time and colonial time, Poems, Sermon of Lamu scholar both flats and audio cassette materials since 1960, old Lamu Photographs since 1900, and contributes to research dissertation and research projects of Lamu Culture, Historical Books of Lamu, Kenya and Islamic local published booklets. Archivist / Librarian at the National Museums of Kenya, Lamu Museum, Lamu, Kenya
29 MANAGING ART COLLECTIONS: from ancient to contemporary MOROCCO Hafsa El Hassani Mrs. Hafsa El Hassani is a curator and archaeological PhD holder from Paris IV–Sorbonne University, specializing in Roman and Islamic glass in Morocco, and a laureate of the National Institute of Archaeological Sciences and Heritage (INSAP) in Rabat. She began her career at the Dar Jamaï Museum in Meknes, where she served as Assistant Curator and later Chief Curator for five years. She subsequently held the position of Curator of the archaeological Al-Mansour Palace in Meknes until 2021.Throughout her professional career, she contributed to approximately twenty archaeological and ethnographic exhibitions at both national and international levels. She is currently working at the Directorate of Cultural Heritage in Rabat. She has conducted research on several elements of Intangible Cultural Heritage and have prepared nomination files for their inscription with ICESCO and UNESCO. Additionally, she is a member of the scientific committee for heritage exhibitions organized by the Directorate of Cultural Heritage in Rabat over the past three years. She works with living cultural elements as practices, expressions, knowledge and skills that communities recognize as part of their cultural heritage, including: oral traditions and expressions, performing arts, traditional craftsmanship, knowledge and practices concerning nature and the universe, cultural spaces and environments. Curator Directorate of Cultural Heritage, Rabat, Morocco
International School of Cultural Heritage 30 MOROCCO Soufiane Er-Rahoui Mr. Soufiane Er-Rahoui, Museum curator and exhibition commissioner based in Rabat, Morocco, with ten years of experience in the cultural and museum sector. Since 2020, he has served as Chief Curator of the National Museum of Photography, where he leads curatorial strategy, exhibition programming, collection development, scenography, and international cooperation. He has curated and co-curated numerous national and international exhibitions, including Regards sur la jeune scène photographique marocaine, Storytellers, Entre temps et espaces, Bamako Dreams 30, and L’Odyssée contemporaine de Reza. He is also the co-curator of the inaugural exhibition of the new Museum of the African Continent in Rabat. Actively involved in the renewal of Morocco’s museum landscape, his practice explores the intersections of contemporary artistic practices, heritage, and critical narratives, with a strong focus on inclusive mediation, education, and audience engagement. He has established long-termpartnerships with major international platforms such as BienalSur, the Bamako Encounters – African Biennale of Photography, and Les Ateliers de Reza, and served as a member of the Curatorial Committee of the 2024 Bamako Biennale of Photography. Alongside his professional practice, Soufiane Er-Rahoui is a PhD candidate whose research, grounded in anthropological and museological approaches, explores inclusive articulations between African heritages and modern and contemporary artistic practices. At the Museum of Photography, the collection comprises contemporary photography as an art medium, in both digital and analog formats, including small, medium, and large-scale works, featuring a broad range of processes and materials, from fine art prints to experimental techniques, with works by Moroccan and international artists from the late 20th century to today. In parallel, the collection of the upcoming Museum of the African Continent is being built, bringing together archaeological, ethnographic, and modern and contemporary art objects. Director of the National Museum of Photography, National Foundation of Museums, Morocco
31 MANAGING ART COLLECTIONS: from ancient to contemporary MOROCCO Zayd Ouakrim Mr. Zayd Ouakrim holds a baccalaureate in physical sciences and pursued his higher education at the National Institute of Archaeological Sciences and Heritage (INSAP), where he earned a bachelor’s degree in archaeological sciences followed by a master’s degree in the history and archaeology of the Western Mediterranean. Before joining the National Foundation of Museums in December 2021, he took part in several major national and international archaeological research programs, contributing to projects of significant scholarly scope. In 2024, Zayd Ouakrim gained increased visibility with the inauguration of the Moroccan Football Museum, the first museum institution in the Kingdom dedicated to a sporting discipline. He was appointed General Coordinator and later Curator of this project. He also served as interim Director of the Mohammed VI Museum of Modern and Contemporary Art. At the Moroccan Football Museum, the collection traces the history of football in Morocco from the early 20th century to the present day. The oldest item dates back to the 1920s. The museum houses a collection of over 1,000 objects, including historic cups and trophies, medals, archival documents, jerseys and clothing, vintage photographs and videos, as well as various other memorabilia. At the Mohammed VI Museum of Modern and Contemporary Art, the collection consists primarily of paintings and sculptures that chronicle the development of modern and contemporary art in Morocco from the 1920s to the present day. Conservator, Museum of Moroccan Football, National Foundation of Museums, Salé, Morocco
International School of Cultural Heritage 32 MOZAMBIQUE Celestino Siane Mr. Celestino Siane, is a senior professional at the Ministry of Education and Culture of the Republic of Mozambique, currently working at the Matola Raid Memorial Museum. With over 10 years of experience cultural heritage, he previously served as Head of the Museums Department at the National Directorate for Cultural Heritage. In this role he contributed to the preservation of Mozambique Island World Heritage Site, contributing to mobilizing funds and coordinating training activities and local community involvement in conservation efforts.From 2010 to 2012 he was a part of the technical drafting the Memorandum of Understanding between Mozambique and South Africa, which lead to the regarding the conceptualization and development of the Matola Raid Memorial Project in Matola, Mozambique. After the Museum construction he was appointed Managing Director and Curator, until 2024. Currently, as senior curator at the Matola Raid Memorial Museum, Mr. Siane oversees the curative and preventive maintenance of the collections, the conservation and interpretation of artifacts, and the organization of museum activities. His responsibilities also include guiding local and international visitors, engaging with schools and local communities, and promoting heritage preservation through educational programs. He works closely with local and international institutions to organize exhibitions, workshops, and share best practices in museology. Mr. Siane is deeply passionate about cultural heritage, museums,and art history, and he works to foster greater understanding and appreciation of Mozambique’s rich cultural legacy. The collections of the Matola Memorial Museum includes sound and written archives, audiovisuals, iconographic archives, touch screens, and photographic materials. Senior Curator - General of the Matola Memorial Museum Maputo, Mozambique
33 MANAGING ART COLLECTIONS: from ancient to contemporary SENEGAL Aliou Ndiaye Mr. Aliou Ndiaye is a visual art curator and researcher of African artistic creations in the context of transnational mobility. His last research turned across six European countries, in 2018. This fieldwork research observes the evolutions of contemporary African art in the context of globalization, migrations, and cultural diversities. Ndiaye received his Bachelor’s degree at the National School of Arts of Senegalin 2001, a Master’s degree at «Université deLille SHS», on Migrations Studies, in 2018, and an Advanced Master’s in Intercultural Communication (Lugano University, Switzerland), in 2014. His last curatorial project, titled «Black Requiem», in March 2024, is a visual art exhibition at National Gallery of Art in Senegal. He directed, as curator, the last RIPO #4 visual arts event, the International Biennial paintings of Ouagadougou, in Burkina Faso, and contributed to many more cultural events around West and Central Africa in Bamako (photography Biennial 2012), Brazzaville (Lecturer for RIAC 2014), etc. and is curator of several artistic projects. In February 2022, he curated an exhibition about West African Heritage artefacts with the scientific collaboration of URICA research laboratory at Cheikh Anta Diop University (Senegal) and Goldsmiths University (London). He lives and works, as heritage officer, in Senegal. The Directorate of Cultural Heritage is dealing with contemporary visual art paintings or sculptures and with archeological objects in situ. Chief divison of Museums and ICH at Directorate of Cultural Heritage, Senegal
International School of Cultural Heritage 34 SENEGAL El Hadji Malick Ndiaye Mr. El Hadji Malick Ndiaye holds a PhD in Art History from the University of Rennes II. He is also a graduate of the Institut National du Patrimoine (Paris), an alumnus of the Yale Institute for the Preservation of Cultural Heritage, and a resident of the Villa Albertine (2023). He was a fellow at the Institut National d’Histoire de l’Art in Paris, a postdoctoral researcher at the Laboratoire d’excellence Création, Artset Patrimoines (Labex CAP) and the Centre de Recherches sur les Arts et le Langage (EHESS/ CNRS). He is currently a senior researcher at IFAN/Ch. A. Diop, where he is head of the Museums Department and curator of the Théodore Monod Museum of African Art. Artistic director of the 14th edition of the Dakar Biennale of Contemporary African Art (2022), he is curator of Picasso in Dakar 1972-2022 (Museum of Black Civilizations, 2022), Sur le fil: broderie et tissage (Theodore Monod Museum, 2023), Pays Bassari (Musée Dauphinois, 2024) and Roisetreines d’Afrique. Forms and Figures of Power (Louvre Abu Dhabi, 2025), among other exhibitions. He teaches art history, museum studies and cultural heritage. His research focuses on modern/contemporary art, cultural policies and African museum institutions. The Théodore Monod Museum of African Arthasa collection of around 10,000 works from some 20 African countries. The collection includes masks, statuettes, textiles, leather goods, basketry, ceramics, and countless mixed media pieces. The museum develops several international programs with a variety of partners, lends its collections, and coorganizes a series of exhibitions throughout the year. In order to enrichits collection, the institution promotes ongoing dialogue between contemporary art and historical heritage through its Creation/Heritage program, which has hosted several contemporary artists in residence. Art & Cultural Heritage Expert, Théodore Monod Museum of African Art. IFAN. Cheikh Anta Diop University, Dakar, Senegal
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