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Evangelia Valliou

Museography and scenography: Enhancing inclusion in museums

Updated: Oct 2

Written by Evangelia Valliou


groups of people in the museum foyer of the Met in New York
Photo by Tomas Eidsvold on Unsplash

Museums have long been considered guardians of culture, history, and art, offering a unique space for education, reflection, and inspiration. However, the traditional museum experience has not always been accessible or engaging for everyone. In recent years, museography and scenography have emerged as transformative tools that not only enhance the aesthetic and educational quality of museum exhibits, but also significantly contribute to the inclusivity of these cultural spaces. By focusing on the design and presentation of exhibitions, these disciplines play a crucial role in making museums more welcoming and accessible to diverse audiences.

 

Before proceeding with the analysis of how these two disciplines can contribute to the inclusion of people with lived experience of invisible illnesses and disabilities, we must define the terms, and that is no easy task. Indeed, scenography and museography are two disciplines that are often conflated, and yet their objectives and application are not the same. As a result of this confusion, various studies have been conducted to clarify these very meanings. In an attempt to describe museography, the International Committee for Museology (ICOFOM), the primary global forum for debates on museology, refers to the practical aspects of museum work as museography. According to the definition provided by André Desvallées, a museologist and honorary general curator of heritage, museography emerged in the 18th century and encompasses the techniques required to fulfill museum functions, particularly those related to museum layout, conservation, restoration, security, and exhibition. Another interesting point of view is that of Jérôme Glicenstein, a professor of Fine Arts, who considers museographers as the authors of exhibitions and asserts that museography involves different approaches in terms of space design, circulation and presentation of works, public reception, and communication. On the other hand, according to Serge Chaumier, a cultural sociologist specializing in museology, and Agnès Levillain, a museographer, the work of museographers is to maintain a constant focus on objects. Museographers would then, according to this definition, focus on conservation needs, such as lighting, security, contamination risks, and the need for possible restoration. 

 

In addition to these technical aspects, museographers are in charge of managing knowledge production within exhibitions. The process of selecting and interpreting objects makes them responsible for designing the overall narrative. They select the content, prioritize and organize it based on the various sources of information available, to convey the message of the exhibition, whether through texts, audiovisual media, or documents. Despite these attempts at defining what museography is, the role of the museographer remains somewhat unclear. An example that highlights this ambiguity is Chaumier and Levillain’s second attempt to define the term museographer by describing their own role within museums and in the organization of exhibitions. The two researchers emphasize that there are still issues in clarifying the term museographer which, according to them, might be compared with—or perhaps even replaced by—the term expographer, as advocated by André Desvallées, or the term curator, long associated with the arts and now extending to other domains.

Let's now move on to the definition of the scenographer, who is responsible for putting into practice the research carried out by the museographers of an exhibition. Scenography has its etymological origins in ancient Greek theatre (skênê = tent, a rough shelter built on the stage of Greek theatres) and is defined as ‘the art of representing in perspective’. Scenographers focus on the transmission of content and question the psycho-cognitive functioning of visitors. Their aim is to take into account different functions such as attention span, perception, and memory. Their role should not be confused with that of the set designer. A set designer is responsible for creating the physical environment in which a performance (a film or a play) takes place. Their role involves designing and constructing sets that reflect the story's setting, mood, and themes, using materials, architecture, and space creatively. They work closely with directors, lighting designers, and costume designers to ensure the set supports the overall vision of the production. A scenographer, on the other hand, takes a more holistic approach to designing the visual and sensory experience of a performance or a museum exhibition. Scenography encompasses not just the physical set but also elements like lighting, sound, and spatial dynamics, creating an integrated atmosphere. 

As each exhibition is unique and requires a dialogue between its content and the appropriate museographic media to effectively convey its message, scenographers are faced with the challenge of designing a space that respects both the research of the museographers and the vision of the museum's scientific team, while making the exhibitions accessible to a wide audience. One example of the role of scenography can be observed in the redesign of the Impressionist galleries at the Musée d’Orsay. In this renovation, scenography was employed to craft an environment that mirrors the light and color integral to the Impressionist paintings. The walls were painted in lighter, softer tones, while the lighting was meticulously calibrated to replicate the effects of natural daylight, a crucial element that influenced the Impressionist movement. Additionally, the gallery’s layout was designed to facilitate fluid movement, fostering a seamless sense of continuity as visitors navigate the space. This scenographic approach significantly enhances the viewer's engagement with the art, immersing them in the aesthetic world of the artists rather than merely presenting the works in isolation.

 

Museography and scenography have the power to promote and enhance inclusion in museums by significantly improving physical and sensory accessibility. A key approach is the application of universal design principles. Universal Design principles are a set of guidelines aimed at creating environments, products, and systems that are accessible and usable by as many people as possible, regardless of age, ability, or other factors. These principles focus on inclusivity, ensuring that designs meet the needs of a diverse range of users. Sheryl Burgstahler’s work on Universal Design (UD), particularly in the context of education and technology, can be effectively extended to museums, where accessibility and inclusion are critical. When applied to museums, this approach can revolutionize how exhibitions are designed, how content is delivered, and how visitors engage with the museum’s resources.

 

Let’s return to the museum space. The persistent phenomenon of exhibit labels and panels inundated with excessive details remains a common issue in museums and galleries around the world; but it’s not just visually unpleasant, it’s also an accessibility issue. Rather than enhancing the visitor's understanding, these overly verbose descriptions often overwhelm and exhaust the audience, leading to a diminished engagement with the artwork or exhibit itself. As a result, visitors may become disinterested in the exhibit, thereby undermining the primary function of the label. Instead of serving as an informative tool, labels can become a source of alienation, distancing the visitor from the intended experience and detracting from the overall educational value of the exhibition. By prioritizing accessible design features such as accessible labels, museums are creating spaces where everyone can comfortably navigate and fully participate.

 

Let’s talk about another accessibility issue relevant to museographers and scenographers: overstimulation. In museums, managing overstimulation requires thoughtful design and accessibility measures. Some visitors can be sensitive to noise, and they may find certain sound or light levels overwhelming or disorienting. Overstimulation can occur due to excessive visual information, loud interactive displays, or crowded spaces. Scenography plays a vital role in creating environments that consider sensory sensitivities, fostering inclusivity. By monitoring light levels to prevent overstimulation, setting quiet hours for noise-sensitive individuals, and selecting fonts, colors, and design elements that are easy to process, scenography can help create spaces that are both visually engaging and accessible. This balance between aesthetics and functionality ensures that diverse audiences feel welcome and comfortable in the space.

 

While overstimulation can be an issue, the use of the senses can be an accessibility solution when used well. Multi-sensory elements such as tactile surfaces, varied textures, and audio descriptions can transform the museum experience. For example, touchable replicas of objects and Braille labels provide visually impaired visitors with a more inclusive and engaging way to interact with the exhibits. Clear signage, multilingual and sign language content further enhance accessibility by providing information in a variety of languages and formats, including large print and Braille, ensuring that as many visitors as possible can have a meaningful experience in the museum. These accessibility options and policies should be easy to access from the onset and to understand so that visitors know what resources are available to them. 

 

Finally – and especially relevant to The Lyme Museum – many disabilities are not visible and despite increasing research, conferences and academic work on invisible illnesses, many individuals still do not feel represented both in museum displays and in accessibility provisions. Scenography and museography have the power to shape not just how we experience exhibits, but who gets to experience them fully. When we consider invisible illnesses and disabilities, it's clear that current design practices often fail to account for the needs of people with energy-limiting conditions or sensory sensitivities. The relaxed space in our 2022 TLM exhibition in Leicester, with sofas for breaks and reading material written by disabled and chronically ill authors, exemplified how intentional design can make a profound difference. Yet, this kind of accessibility is rarely the norm. The removal of seating in many museums is an example of how these spaces can alienate visitors with chronic illnesses and disabilities who require rest breaks. It's not just about physical spaces, but about designing an experience that acknowledges invisible challenges.

 

Perhaps what's really missing is more people with invisible illnesses and disabilities working in museography and scenography. When accessibility isn't an afterthought but a core part of the design process, these spaces become more inclusive by default. Instead of retrofitting solutions, we should be embedding accessibility into the very foundation of these experiences.

 

As museums continue to evolve, the thoughtful combination of museography and scenography can reinforce their role as inclusive institutions, but to also requires a deep commitment to accessibility, collaboration, and ethical representation in all aspects of museum practice. Despite growing awareness of accessibility and inclusion, too many museums still treat these basic principles as optional rather than fundamental to their mission. Often, the unspoken assumption is that museums must first appeal to a broad, "general public," with accessible features being an afterthought for the chronically ill and disabled. This mindset fails to recognize that people with disabilities and people with chronic conditions are a significant segment of the population. 

 

One of the most problematic aspects of this approach is the misconception that accessibility can be reduced to a tick-box exercise, where the addition of a ramp or a single accessible toilet is seen as sufficient. True accessibility, however, is not static—it's an ever-evolving, ongoing process. There is a variety of individual needs that are continuously changing, and technology and evolving perspectives regularly present new ways to make participation more inclusive. It's crucial for museums to understand that accessibility isn't about meeting a basic standard and moving on. It's about continuously learning, adapting, and refining spaces so that everyone—regardless of ability—can fully participate in the cultural experience. We should not forget that embracing inclusivity enriches the museum experience for everyone, breaking down barriers and opening up cultural spaces to all.

 

In fact, when museums approach inclusion with creativity rather than conformity, they can improve the experience for all visitors. When designed with accessibility in mind, museography and scenography open up opportunities to rethink how stories are told. Beyond simple wall labels, these creative solutions can enrich the sensory, intellectual, and emotional engagement of exhibits. Who doesn't want a creative experience that brings history, art or science to life in a lively, imaginative way?


 

SOURCES :

 

American Alliance for Museums, Tips for Creating Accessible Museums: Universal Design and Universal Design for Learning https://www.aam-us.org/2023/11/27/tips-for-creating-accessible-museums-universal-design-and-universal-design-for-learning/

 

Chaumier, Serge et Levillain, Agnès, « Qu’est-ce qu’un muséographe ? », in La Lettre de l’OCIM, n.107, 2007, p. 13-18.

 

Chaumier, Serge et Levillain, Agnès, « Qu’est-ce qu’un muséographe ? » : dix ans après… », in La Lettre de l’OCIM, n. 185, 2019.

 

Claus, Ch., The Major Obstacles to Digital Inclusion & Accessibility Faced by the d/Deaf Communityhttps://www.inclusionhub.com/articles/obstacles-to-digital-inclusion-deaf-community

 

 

Desvallées, Andrée « Cent quarante termes muséologiques ou petit glossaire de l’exposition », in Manuel de muséographie. Petit guide à l’usage des responsables de musée, M.-O. de Bary, J.-M. Tobelem(dir.), Séguier, Option culture, 1998.

 

Glicenstein, Jérôme, L’art : Une histoire d’expositions, Paris, Presses Universitaires de France, 2009.

 

Lebat, Cindy, « Une muséologie du sensible :enjeux et conséquences pour les visiteurs déficients visuels », in Les Cahiers de Muséologie, n. 2, 2022, p. 8-22.


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