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In 2007, "intangible cultural heritage" (ICH) was included in the definition of the concept museum by International Council of Museums (ICOM). In addition to tangible cultural heritage safeguarding, it was deemed necessary for museums to engage in research and implement activities that enhance society's cultural and educational understanding of intangible cultural heritage (ICH). According to the ICH Convention, museum education activities related to ICH are important for safeguarding and sustainability of heritage. However, how are educational activities related to ICH implemented in museums? Is the ICH Convention considered while these activities are being carried out? How are articles of the ICH Convention supported? How have the aims of the ICH Convention supported the aims of educational activities of toy museums in Türkiye? The aim of this study is to examine the educational activities of toy museums in Turkey in relation to principles of the ICH Convention. In this article, literature review and interview methods were used. It is determined that educational activities of ICH are carried out at toy museums in Türkiye, but they are limited. It is identified that museums have activities related "to safeguard for ICH" and "to raise awareness at local, national, international levels ICH's importance, ensuring mutual appreciation thereof" from ICH Convention's purposes. It is considered essential to conduct museum education studies that aim to achieve two main purposes: firstly, to ensure respect for the intangible cultural heritage (ICH) of communities, groups, and individuals involved; and secondly, to facilitate international cooperation and assistance. These studies should be developed in accordance with the articles and implementation guidelines outlined in the ICH Convention, enabling toy museums to align themselves with the principles set forth in supporting the ICH Convention. [ABSTRACT FROM AUTHOR]

This article concerns the development of archaeology and museology, in the Ottoman Empire, Turkey, and Greece, through the life and career of Théodore Macridy. Macridy participated in knowledge transfer in more than one discipline and more than one country. Through his links with Western academic circles in archaeology and museology, he made a significant contribution to their development in the Ottoman Empire, Turkey, and Greece. Living between the Ottoman and Greek epistemic communities as an Ottoman citizen of Greek origin, he excavated numerous sites of the Ottoman Empire, worked at the Ottoman Imperial Museum, and contributed to the foundation of the Benaki Museum in Athens at the end of his career. This makes him a good example of an Ottoman Greek scholar whose liminal identity led to his relative neglect in both Greek and Turkish archaeology and museology. [ABSTRACT FROM AUTHOR]

Dolls, artificial dolls/folkloric doll products, which are among the products exhibited in ethnography and especially in toy museums, are important cultural heritage products in terms of displaying local clothes and representing the features of region. The sustainability and the introduction of this tradition to new generations can be achieved by protecting these products and prolonging their life span. For this reason, it is important for sustainability to carry out conservation and restoration studies on products in museums and private collections. Ankara Toy Museum, with over 6000 objects, consists of traditional toys made in Turkey and abroad, as well as industrial toys produced in Turkey and various countries abroad. The museum compiles many traditional toys from various provinces and districts, villages and rural areas of Turkey; Fatos brand toys etc. Museum collection includes important samples such as traditional gum tragacanth dolls, wooden spoon dolls, knitted dolls, corncob dolls, Ardahan Damal dolls, Kapadokya Soğanlı dolls, and various porcelain dolls. In this study, conservation studies applied to dolls in the Ankara Toy Museum collection are included. Conservation studies were carried out for 21 dolls in the museum collection which are displayed currently. One gum tragacanth doll, one plastic doll and two Fatoş dolls, whose heads are plastic and whose bodies are filled with textiles and fibers, are presented as a case study. Status scanning, documentation studies, detection of deterioration, cleaning process stages for dolls are presented through photography and conservation practices applied to dolls are given step by step in the study. [ABSTRACT FROM AUTHOR]

Turkey incorporates museum education in its culture and education strategies in accordance with new approaches to museology. Under the "museum education" cooperation protocol signed between the Ministry of National Education and the Ministry of Culture and Tourism, the "Museum Education Certification Programme" was launched by the Directorate-General for Teacher Training and Improvement with the aim of allowing teachers to employ museums as learning environments, supporting in-class learning with out-of-school environments notably including museums, and consolidating their learning outcomes in awareness, consciousness, and skills by carrying their in-class learning to more permanent learning environments. The cooperation protocol executed with the Department of Museum Education at Ankara University culminated in the preparation of training and sctivity books on museum education for teachers to incorporate in their curricula. Delivered to 630 teachers, the training programmes offered theoretical information and examples on the concepts of cultural heritage; approaches to museology and techniques employed in museum education; approaches for the development of museum programmes; and the use of technologies in museums, as well as relevant data on measurement and assessment. The study explains the process implemented for courses with examples and presents the monitoring results concerning the practices undertaken by participating teachers after the training. [ABSTRACT FROM AUTHOR]

The beginning of activities about museology in the modern sense in Turkey began in the middle of the 19th century. The institution generally called as Müze-i Hümâyun carried out its activities under the Ministry of General Education. The struggle of the European states in the Ottoman lands to dominate the antiquities which reached the level of cultural plunder was tried to be prevented by the works of Müze-i Hümâyun. After the first three directors who were foreign nationals, important changes in this institution by an Ottoman director began in 1881. Philipp Anton Dethier, the last foreign director, and Osman Hamdi Bey, the first Ottoman director carried out the works of Müze-i Hümâyun. The differences between the periods of these two directors in physical condition as the building of institution, in the legal area as the Antiquities Regulations, in practice as the archaeological excavations can be evaluated. The comparison of the functioning and practices of these two directors of the Museum with almost similar qualifications shows the success of the Ottoman institution under the management of an Ottoman director. [ABSTRACT FROM AUTHOR]

Westernization in Turkey is still one of the most contested issues highlighting the conflict among different cultural ideologies. Dissenting voices against state sponsored westernized culture necessitate the decoding of cultural objects from the lost Ottoman heritage. Stories of ordinary people and their struggle to define cultural sensibility are retold to resurrect everyday material objects representing forgotten culture. Inherent cultural indigenousness of these objects is highlighted in the times 'when it is abolished from communal memory by republican propaganda. The Museum of Innocence is a love story set in Istanbul during the eighth and ninth decade of twentieth century-when Turkey, 'with the emergence of pro-European upper middle class, had convincingly inherited the spirit of east-west duality. The collaboration of objects with culturalfragmentation and forgetting lends this novel a unique place in the history of modern Turkish novel. Pamuk reverses the role of object through memory and nostalgia for lost love and documents the cultural complexity in Istanbul to initiate the social management of cultural memory where unnoticed and unqualified objects interpret the new cultural mores. This paper aims at pinpointing the social and personal implication of collecting the objects and how it transpires into the sufficiency of defining mitigated cultural space in the backdrop of a disastrous love story. [ABSTRACT FROM AUTHOR]

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For the establishment of an open-air folklore museum there seems to be two possible methods. The material in display can be displaced from their original environments and relocated on a constructed site; or they can be kept at their original places to be converted into "museum objects". It is the claim of this paper that the method applied would change neither the end product nor its interpretations. The total displacement of an object from its "original context" is not only a necessity, but also an inherited characteristic for the exhibitions of folklore museums. In the context of an open-air folklore museum, where the "environment" becomes the actual space of museum, the demarcation line between the door and the display case, the furniture and the building, and the landscape and the museum space becomes obscure. The redefinition of objects in museums as context-free, autonomous artefacts is an inevitable condition of their institutionalization - this autonomy being required for their displacement and relocation to different museum settings. A redefinition and decontextualization process can be used as a tool to shift attention from the ideological significance of cultural objects to their material and documentary qualities. [ABSTRACT FROM AUTHOR]