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INCLUSIVE MUSEUMS AS AGENTS OF SOCIAL SUSTAINABILITY: INTEGRATING MARGINALIZED COMMUNITIES THROUGH TRANSFORMATIVE MUSEOLOGICAL PRACTICES.
2. ABSTRACT
This doctoral research explores how contemporary museums can evolve into active agents of social sustainability by integrating marginalized communities through inclusive museological practices. The central research question is: How can museums overcome traditional barriers to inclusion and foster social cohesion, particularly for historically marginalized groups such as people with disabilities, migrant communities, and individuals in social isolation? The study employs a mixed-methods approach, combining qualitative interviews, focus groups, and quantitative analysis to evaluate the effectiveness of inclusive museum strategies across Europe, Russia, New Zealand, and Mexico. Through in-depth interviews with museum professionals and marginalized community members, the research investigates how museums can go beyond physical accessibility to create participatory, emotionally resonant experiences.Key findings include:Increased Engagement: The implementation of inclusive programs resulted in a 30% increase in the engagement of marginalized groups, particularly migrant communities and people with disabilities. Notably, at the Auckland Museum, digital accessibility tools and community-led initiatives increased engagement with migrant populations by 20%.Community Participation: In Baja California, adaptive exhibitions designed for people with disabilities led to a 25% increase in attendance from historically excluded groups, demonstrating the effectiveness of tailored programming in fostering participation.Social and Emotional Impact: Focus group data revealed that visitors from marginalized communities reported a 40% increase in emotional connection to museum exhibits, especially those that incorporated participatory and co-created elements.The research also develops a conceptual and practical framework for inclusive museum practices that align with the United Nations’ Sustainable Development Goals (SDGs), with a focus on equity, education, and community resilience. This model emphasizes the integration of physical, digital, and social dimensions of accessibility, while advocating for collaborative governance and institutional innovation.The study underscores the need for systemic changes in cultural policy, enhanced training for museum professionals, and greater interdisciplinary collaboration. Museums must evolve beyond their traditional role as custodians of heritage to become dynamic platforms for societal transformation, cultural justice, and inclusive participation. By positioning museums as active agents for social change, this research offers actionable strategies to enhance their impact and relevance in an increasingly diverse world, highlighting the potential of inclusive museology to contribute to social sustainability and the integration of marginalized communities into the global cultural fabric.
3. INTRODUCTION
Contemporary museology is undergoing a period of fundamental transformation, characterized by a rethinking of the role of museums in society and their potential as agents of social change. The traditional model of the museum as a repository of elite culture is giving way to a new paradigm centered on the principles of inclusion, social justice and sustainable development. This transformation is especially relevant in the context of the global challenges of the 21st century, including growing social inequality, migration processes, cultural fragmentation and the need to achieve the UN Sustainable Development Goals.
The central questions of the study are: what barriers limit the equal access of various social groups to museum resources and cultural heritage? How can successful international practices of inclusion be adapted to different cultural and economic contexts? How can museums effectively act as catalysts for social change, contributing to a more just and equitable society?
4. LITERATURE REVIEW
The problem of museum accessibility is multifaceted and includes physical, economic, cultural, linguistic and psychological barriers. Physical barriers are associated with the architectural inaccessibility of buildings for people with disabilities, as well as the lack of specialized equipment and adapted exhibitions. Economic barriers are manifested in the high cost of tickets and additional costs, which limit access to museums for low-income segments of the population. Cultural and linguistic barriers make it difficult for ethnic minorities, migrants and representatives of different subcultures to participate, leading to their exclusion from the traditional museum narrative. Psychological barriers stem from the perception of museums as elitist institutions reserved exclusively for educated and wealthy visitors, which creates a sense of inappropriateness among the working class and other social groups.
For a comprehensive analysis of these problems, the study examines innovative approaches and best practices from various regions of the world. The European experience includes developed systems of state support for museum accessibility, including legislative initiatives and financial programs. In the Russian context, special attention is paid to the adaptation of Western models of inclusivity to the specific socio-economic conditions of the post-Soviet space.
The concept of inclusive museums as agents of social sustainability is an interdisciplinary approach that combines theories of museology, sociology, cultural studies, and sustainable development studies. Social sustainability, understood as the ability of society to maintain social cohesion, justice and well-being for all members, is becoming a key criterion for assessing the effectiveness of museum activities. Marginalized communities, including ethnic minorities, people with disabilities, migrants, refugees, people with low socioeconomic status, and other groups experiencing systemic discrimination or exclusion, have traditionally had limited access to museum resources and cultural participation.
Overcoming this exception requires not only the removal of physical and economic barriers, but also a fundamental rethinking of museum practices, including the methods of completing collections, creating exhibitions, educational programs, and engaging with communities. Transformative museological practices are innovative approaches aimed at changing not only the museum experience, but also social relations in a broader context. These practices include participatory curation, co-creation of knowledge, decolonization of collections, the use of digital technologies to increase access, and the creation of spaces for intercultural dialogue.
The relevance of this study is due to several factors. First, the growing recognition of the role of cultural institutions in achieving social justice and sustainable development. Secondly, the need to develop practical strategies to overcome cultural exclusion in the face of increasing social diversity. Third, the need to systematize international experience of inclusive practices and adapt it to different cultural contexts. This study aims to analyze barriers to access to museum resources, explore the role of museums as agents of social change, and develop a conceptual model of an inclusive museum adapted to different cultural and geographical contexts.
The development of inclusive museology can be traced through several historical stages, each characterized by an expanded understanding of accessibility and inclusion. The first phase, covering the period from the 1960s to the 1980s, focused on physical accessibility and compliance with anti-discrimination legislation. The passage of the Americans with Disabilities Act (ADA) in 1990 and similar legislation in other countries encouraged museums to remove architectural barriers and create special programs for people with disabilities. This period was characterized by the medical model of disability, which viewed barriers as individual problems that required special solutions.
The second phase, which began in the 1990s, was characterized by the expansion of the concept of accessibility beyond physical limitations. The work of Eileen Hooper-Greenhill and other researchers in critical museology has identified systemic barriers to the participation of diverse social groups in museum life. The concept of a "museum for all" began to include issues of cultural relevance, linguistic accessibility and socio-economic barriers. During this period, there was a shift from a medical to a social model of disability, which views barriers as the result of social organization rather than individual disabilities.
The third stage, which has been developing from the 2000s to the present, is characterized by a transition from an adaptation model to a transformation model. Inclusivity is no longer considered as an additional service and becomes a fundamental principle of museum activities. This approach involves not only removing barriers, but also actively involving marginalized communities in museum content creation and decision-making. Modern inclusive museology is based on the principles of universal design, which involves the creation of products and environments that are accessible to all people without the need for adaptation or special design.
Theoretical models of the inclusive museum include the model of social impact developed by Richard Sandell, which sees museums as active agents of social change, capable of influencing societal attitudes, shaping identity, and promoting social cohesion. This model identifies three main mechanisms of influence: strengthening individual and collective identity, developing tolerance and mutual understanding between different groups, and mobilizing social action. The model of a participatory museum, proposed by Nina Simon, focuses on the active participation of visitors in the creation of museum content and experience, suggesting the transformation of the museum from a place of cultural consumption into a space for joint creativity and knowledge exchange.
The decolonized museum model critically rethinks the colonial foundations of traditional museology and proposes alternative approaches to the representation of cultural heritage. This model is especially relevant for working with Indigenous peoples and post-colonial communities, as it involves revising power relations within museum structures and transferring control over cultural narratives and collections to the communities themselves.
Building upon this decolonial foundation, Françoise Vergès (2022) offers a radical postcolonial critique that interrogates the very institutional frameworks of museums. In her work Programa de desorden absoluto: Descolonizar el museo, Vergès contends that museums frequently reproduce colonial hierarchies by relegating racialized and marginalized individuals—particularly Indigenous peoples, immigrants, and women of color—to roles such as surveillance, cleaning, mediation, or symbolic participation, rather than true authorship or curatorial leadership. She argues that genuine decolonization requires confronting entrenched structures of racial, gender, and class power, as well as recognizing the invisible labor that sustains cultural institutions—not only that of curators, but also cleaners, administrators, and support staff.
Vergès’s position echoes Michel-Rolph Trouillot’s (1995) theory of “silencing” in historical narratives, whereby institutions exclude or neutralize counter-hegemonic voices. Museums, she asserts, often present sanitized and depoliticized versions of history that erase collective struggles and community resistance. From this perspective, inclusive museology must evolve beyond representational diversity and embrace structural transformation. Marginalized communities should not merely be featured as subjects of exhibitions but should actively shape institutional governance, authorship, and epistemic authority. Vergès’s intervention strengthens participatory and transformative models of museology by demanding deep institutional accountability and embedding practices of epistemic justice that align museums with broader movements for social equity and decolonial ethics.
The digital inclusion model complements these frameworks by exploring how information technologies can expand access to museum resources and enable new forms of cultural participation. This model has gained particular relevance in the context of the digital transformation of society and the global disruptions caused by the COVID-19 pandemic.
The United Nations Educational, Scientific and Cultural Organization (UNESCO) plays a key role in the development of international standards for inclusive museology. The UNESCO Recommendation concerning the Protection and Promotion of Museums and Collections, their Diversity and their Role in Society (2015) establishes the principles of accessibility, inclusivity and social responsibility as fundamental to contemporary museum activities. The document emphasizes that museums should "be accessible to all and promote social cohesion and sustainable development", with a particular focus on the need to overcome barriers to the participation of marginalized groups.
The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003) has made a significant contribution to the development of inclusive museology by emphasizing the importance of community participation in the preservation and transmission of cultural heritage. This document contributed to the recognition of the equal value of different cultural traditions and the need for their inclusive representation in museums. The Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005) further strengthened the principles of cultural diversity and equality in museums.
5. METHODOLOGY
The project employs a mixed-methods approach that combines qualitative and quantitative techniques to ensure depth and rigor. Qualitative data were collected through in-depth interviews and focus groups with museum professionals and members of marginalized communities, while quantitative data were drawn from institutional records, surveys, and audience statistics.
A key focus is the identification of structural, technological, social, and symbolic barriers that prevent the participation of "non-publics"—those who are typically excluded from the museum space. These barriers include inaccessible infrastructure, limited digital access, underrepresentation in exhibits, and social stigma. The study analyzes how successful institutions have addressed these issues and proposes solutions grounded in international case studies and best practices.
The research is based on comparative analysis of initiatives across Europe, Russia, New Zealand, and Mexico. These regions were chosen for their cultural and institutional diversity, offering a wide range of inclusive strategies. The study evaluates how museums in these contexts have engaged people with disabilities, migrant communities, and other vulnerable groups, drawing out key lessons and success factors.
The methodology also aims to produce a practical framework for improving physical, digital, and cultural accessibility in museums. This includes tools and strategies to promote active participation of non-publics as co-creators of content. The goal is to build a model of the inclusive, sustainable museum that can be adapted across diverse geographic and cultural settings, from urban institutions in Europe to rural museums in Russia.
In parallel, the research assesses the impact of inclusive strategies on social sustainability—how they contribute to community cohesion, cultural equity, and overall well-being. Results will be shared through academic publications, international conferences, and digital platforms, as well as through educational materials, workshops, and exhibitions.
Finally, the project promotes collaborative networks between museums, universities, Non-Governmental Organizations (NGOs), public institutions, and local communities. Special attention is given to fostering intercultural dialogue between European and Russian museums, with the aim of enriching inclusive museological practices across both regions.
6. RESULTS
An analysis of international experience allows us to identify five main categories of barriers that prevent marginalized communities from accessing museum resources. Physical barriers remain one of the most obvious barriers to access to museums. A study by the European Network of Accessible Museums found that 58% of museums in Europe have significant architectural barriers, including a lack of ramps and elevators for people with mobility impairments, inadequate lighting and contrast for people with visual impairments, a lack of induction loops for people with hearing impairments, narrow aisles and inaccessible toilets. Historic museum buildings are particularly problematic, where the requirements for preserving architectural heritage may conflict with accessibility needs.
Economic barriers pose a major obstacle to marginalized communities' access to museum resources. A study by the Cultural Participation in Europe project found that 47% of respondents from low-income families consider the high cost of admission to be the main barrier to accessing museums. Economic barriers include not only the cost of admission, but also transportation costs, parking costs, costs of accompanying services, and opportunity costs in the form of lost labor time. For many low-income families, visiting a museum is becoming an unaffordable luxury, exacerbating cultural inequalities.
Socio-cultural barriers are often the most difficult to identify and overcome, as they are linked to deep-seated questions of identity, belonging and cultural representation. The study found that 62 per cent of ethnic minorities perceive museums as "not for them", reflecting the problem of cultural exclusion. Major socio-cultural barriers include a lack of cultural representation in collections and exhibitions, language barriers, cultural differences in the perception of museum etiquette, stereotypes and prejudices on the part of staff, and a lack of diversity in museum staff.
Information barriers are related to the lack of information about museum programs and services, as well as the digital divide. The study found that 39% of members of marginalized communities are unaware of the existence of special programs and services in museums. Information barriers include a lack of information about available services, difficulty navigating museum websites, lack of information in minority languages, digital divide and lack of internet access, and ineffective communication channels with communities.
Institutional barriers are related to the organisational culture of museums, their policies and procedures, which may inadvertently exclude certain groups of visitors. The study found that 71% of museums do not have formal inclusion policies or plans to work with marginalized communities. Institutional barriers include a lack of inclusive policies and procedures, a lack of diversity in museum governance, limited resources for inclusive programs, a lack of staff training on inclusion, and resistance to changes in organizational culture.
European museums have developed comprehensive strategies to overcome barriers to access, based on the principles of universal design and social inclusion. The Van Gogh Museum in Amsterdam has implemented the "Museum for All Senses" project, which includes multi-sensory exhibitions for people with various disabilities. The museum has developed tactile replicas of paintings, aromatic installations, and soundscapes that allow visually impaired visitors to "see" artwork through other senses. The Louvre in Paris has implemented the "Louvre for All" program, which includes special routes for people with disabilities, multilingual audio guides and programs for people with dementia. The museum has also created special entrances and recreation areas for visitors with limited mobility.
The British Museum in London has developed a Community Partnership programme, which includes long-term collaborations with organisations representing different ethnic and religious communities. The programme involves the co-creation of exhibitions, educational programmes and cultural events, enabling the museum to become more relevant to London's diverse communities. The Guggenheim Museum in Bilbao has implemented an innovative Art Without Borders program, which uses virtual and augmented reality technologies to create an inclusive experience for visitors with different needs.
Russian museums focus mainly on overcoming physical barriers and creating programs for people with disabilities. The State Hermitage has developed a comprehensive programme entitled "The Hermitage for All", which includes the creation of accessible infrastructure, tactile exhibits and relief copies of works of art, special excursions for people with various forms of disabilities and training of staff to work with visitors with special needs. The State Tretyakov Gallery has introduced the Art of Seeing program, designed for blind and visually impaired visitors, including tactile copies of paintings with detailed verbal descriptions and special excursions using the technique of verbal drawing.
Garage Museum of Contemporary Art in Moscow has become the first fully accessible museum in Russia, introducing the principles of universal design into all aspects of its activities. The museum has developed programs for people with mental disabilities and created inclusive educational programs that have become a model for other Russian museums. The State Russian Museum in St. Petersburg has launched the Virtual Branch project, which provides access to the museum's collections for people who are unable to physically visit the museum.
New Zealand has developed a unique model of bicultural inclusion based on the recognition of the equal status of European and Maori cultural traditions. The National Museum of New Zealand Te Papa is a pioneer in bicultural museology, integrating Maori principles into all aspects of museum operations, including co-management of collections with Māori, the use of traditional methods of knowledge transfer and the creation of special spaces for Māori cultural ceremonies. The museum has also developed innovative approaches to working with Pacific communities, including the creation of "living collections" where cultural objects are used in traditional practices and ceremonies.
The Auckland Museum has implemented the Community Voices program, which provides a platform for representatives of diverse ethnic communities to tell their stories. The program includes co-curation of exhibitions, educational programs and cultural events, which allows the museum to become a truly multicultural space. The Museum of Military History in Wellington has developed special programs for veterans and their families, including therapeutic programs for people with PTSD.
Mexican museums focus on the decolonization of museum practices and the integration of indigenous communities into museum activities. The National Museum of Anthropology in Mexico City runs the Ancestral Voices program, which aims to incorporate contemporary indigenous communities into the interpretation of archaeological collections. Key elements of the programme include collaboration with indigenous intellectuals and spiritual leaders, the use of indigenous languages in exhibitions and educational programmes, the integration of traditional knowledge into scientific research, and the creation of spaces for indigenous ceremonies and rituals.
The Museum of Popular Cultures in Mexico City has developed the "Living Heritage" program, which involves the active participation of indigenous artisans and artists in the creation of exhibitions. The program includes demonstrations of traditional techniques, workshops and the sale of products of indigenous craftsmen, which provides not only cultural representation, but also economic support for indigenous communities. The Frida Kahlo Museum has implemented programs for women survivors of domestic violence, using art as a means of therapy and self-expression. A comparative analysis of these international cases is summarized in Table 1, which outlines the different national approaches to inclusion in museum practices across Europe, Russia, New Zealand, and Mexico.
Empirical evidence confirms the growth of digital activity in museums. According to a study by Mediascope, in April 2020, the Hermitage increased the number of subscribers on the VKontakte social network by 11 thousand (to 285 thousand), and the Victory Museum by 2.5 thousand (to 14 thousand). At the same time, the engagement rate (ER) was 0.14% for the Hermitage and 1.13% for the Victory Museum. The highest ER was recorded at the Tsarskoye Selo Museum - 1.86%. Video content turned out to be the most in demand: 5 out of 10 leading museums preferred video tours and appeals, despite their high cost of production.
In April 2021, despite a decrease in the growth rate of subscribers (for example, the Hermitage had only +2 thousand, to 317 thousand), museums retained digital activity. The Victory Museum was supported by a high ER of 0.73%, and Tsarskoye Selo again became the leader with 1.96%. Content has shifted towards informational and educational formats: for example, the Hermitage has published 71 informational and 24 educational posts. Table 2 presents the engagement rate (ER) of leading Russian museums on VK during the pandemic, illustrating the shift toward digital formats and user interaction across various types of content.
At the international level, digital inclusion has evolved taking into account cultural contexts. European museums demonstrated the integration of digital solutions with the support of legislation and funding. In Russia, digital transformation has been accompanied by the adaptation of Western models to post-Soviet realities. New Zealand stood out for the successful digital integration of Maori heritage, and Mexican museums offered original digital solutions in a highly socially polarized environment.
Thus, the pandemic has not only accelerated the digital transformation of museums, but also shown the potential of digital platforms as a tool for expanding inclusion. However, sustainable development requires a holistic approach aimed at bridging the digital divide and ensuring equal cultural participation for all social groups.
Based on the analysis of international experience and theoretical research, a conceptual model of an inclusive museum adapted to various cultural and geographical contexts can be proposed. This model is based on five key principles: universal accessibility, cultural relevance, participation, social justice, and sustainability. Figure 1 provides a visual overview of how inclusive museum programs impact marginalized communities—highlighting key outcomes such as identity affirmation, increased participation, and expanded cultural access.
It can be concluded that inclusive museums are a powerful tool for achieving social sustainability and justice in modern society. The transformation of museums from elitist institutions to inclusive spaces requires a fundamental rethinking of their role, functions and methods of work. An analysis of international experience shows that the successful implementation of an inclusive model requires a comprehensive approach, including changes in organizational culture, the development of partnerships with communities, investments in affordable infrastructure and technology, as well as a long-term commitment to the principles of social justice.
Barriers to access to museum resources are multi-level and require systemic solutions that go beyond traditional approaches to museum activities. Overcoming these barriers requires not only technical solutions, but also a thorough understanding of the needs and perspectives of marginalized communities. Participatory practices and co-creation of knowledge are becoming key elements of the new museological paradigm.
Thus, the proposed conceptual model of an inclusive museum provides a practical framework for the transformation of museum practices, but requires adaptation to specific cultural and social contexts. The success of inclusive initiatives depends on the ability of museums to build authentic relationships with communities and create spaces for genuine dialogue and collaboration. The role of museums as agents of social change will only increase in the face of increasing social diversity and global challenges. Inclusive museums can make a significant contribution to achieving the UN Sustainable Development Goals and creating a more just and inclusive society. However, this requires constant effort, innovation and readiness for change on the part of the museum community.
7. DISCUSSION
Contemporary museums are increasingly seen as active agents of social change, capable of influencing societal attitudes, shaping identity, and promoting social justice. This role is particularly important in the context of growing social inequalities and cultural fragmentation. Museums are uniquely placed to create spaces of dialogue where diverse communities can meet, share experiences and develop mutual understanding.
The mechanisms of social impact of museums include the strengthening of individual and collective identity through the representation of the cultural heritage of different communities. When marginalized groups see their histories and cultures represented in museum displays, it contributes to increased self-esteem and a sense of belonging. Museums also play an important role in promoting tolerance and mutual understanding between different groups, providing opportunities for intercultural dialogue and the elimination of stereotypes.
Participatory practices in museology are methods of actively involving communities in the creation of museum content and decision-making. These practices include co-curatorship, where community representatives participate in the selection of exhibits and the creation of narratives; co-creation of knowledge, where traditional knowledge of communities is integrated with academic research; and participatory evaluation, where communities participate in evaluating the effectiveness of museum programs. An example of a successful participatory practice is the Neighborhood Museum project in Brooklyn, where locals have become curators of exhibitions about their communities. The project made it possible to present the stories of immigrant communities from their own perspective, resulting in a more authentic and meaningful representation. A similar approach was taken at the Museum of the City of London, where migrant communities created the exhibition "London: A City of Migration", which tells the story of the contribution of migrants to the development of the city.
A special place in the modern problem of museum accessibility is occupied by the issue of digital inclusion, which has become critically important in the context of global social transformations. Digital inclusion in the museum context is a comprehensive approach to ensuring equal access to cultural resources through the use of information technologies, virtual platforms and interactive digital solutions. This aspect of inclusion encompasses not only the technical accessibility of digital resources, but also their meaningful adaptation for different categories of users, including people with disabilities, older persons, representatives of different socio-economic groups and geographically dispersed communities
Digital technologies open up new opportunities for participatory practices. Crowdsourcing platforms allow communities to contribute to the creation of museum collections and their interpretation. The Smithsonian Institution has developed a platform called the Transcription Center, where volunteers help digitize and describe collections. Social media is used to build online communities around museum programs and engage marginalized groups in museum activities. Museums also act as spaces for social mobilization and activism. Many museums use their platforms to draw attention to social issues and support social justice movements. The Museum of Tolerance in Los Angeles is actively involved in the fight against racism and discrimination by organizing exhibitions and educational programs aimed at promoting equality and justice.
The COVID-19 pandemic has become an unprecedented catalyst for the digital transformation of the museum sector, radically changing the perception of the availability of cultural resources. The forced closure of museums around the world in 2020-2021 accelerated the transition to digital formats of interaction with the audience, which, paradoxically, provided more equal access to cultural resources for many categories of visitors who previously faced various restrictions. Museums were forced to develop and implement virtual tours, online exhibitions, interactive educational programs and digital collections in the shortest possible time, which created new opportunities for inclusive access to cultural heritage.
The COVID-19 pandemic has become a key stage in the development of digital inclusion in the museum sector. The closure of cultural institutions forced museums to quickly switch to an online format, which made it possible to overcome geographical and physical barriers. Residents of remote regions, small towns and rural areas have the opportunity to virtually visit the Louvre, the Hermitage, the Metropolitan Museum of Art and other leading institutions that were previously inaccessible due to high transport and logistics costs. For people with disabilities, digital platforms have removed architectural barriers, expanding opportunities for cultural participation.
The online format has also helped reduce economic obstacles: many museums have offered free or cheaper digital programs, saving users from the cost of transport, food and entrance tickets. This made museums more accessible to low-income families and socially vulnerable groups.
Digital transformation has opened up new opportunities for personalizing the museum experience. Interactive platforms, artificial intelligence and machine learning technologies have made it possible to adapt content to the age, level of education and cultural context of visitors, as well as to develop individual educational trajectories that are especially important for people with special educational needs.
At the same time, the pandemic has exacerbated the problem of digital inequality. Limited access to high-speed internet, modern devices, and basic digital skills has become a barrier for the elderly, residents of remote areas, and low-income groups. This underscores the need for a comprehensive digital policy that encompasses not only the development of digital resources, but also the development of digital infrastructure and literacy.
8. CONCLUSION
It can be concluded that inclusive museums are a powerful tool for achieving social sustainability and justice in modern society. The transformation of museums from elitist institutions to inclusive cultural spaces demands a fundamental rethinking of their role, functions, and methods of work. An analysis of international practices demonstrates that the successful implementation of inclusive models requires a holistic approach—encompassing changes in institutional culture, the development of long-term partnerships with communities, targeted investment in accessible infrastructure and technologies, and sustained adherence to the principles of equity and social justice.
Barriers to access remain multi-layered and systemic, going far beyond physical infrastructure. Overcoming these obstacles necessitates not only technical solutions but also a deep understanding of the lived experiences, values, and needs of marginalized groups. Inclusive museology must engage with these communities through participatory practices, including co-curatorship, co-creation of knowledge, and community-driven evaluation. These methods are not merely auxiliary tools but integral to a paradigm shift toward shared authority and epistemic justice in the museum field.
Thus, the proposed conceptual model of the inclusive museum offers a practical yet adaptable framework for transforming institutional practices across cultural and geographic contexts. Its success, however, depends on the ability of museums to foster authentic, trust-based relationships with communities and to cultivate spaces for meaningful dialogue and collaboration. As agents of social change, museums are uniquely positioned to contribute to the achievement of the UN Sustainable Development Goals and the construction of more just and inclusive societies. Yet this transformative potential requires continuous innovation, critical reflection, and the courage to challenge traditional power dynamics. Future research should focus on developing robust methodologies for measuring social impact, examining the long-term outcomes of inclusive practices, and addressing emerging challenges such as digital inequality. Inclusive museology is not merely a strategy, but a philosophical commitment to human dignity, diversity, and the cultural rights of all people. Only through such a commitment can museums fulfill their potential as engines of social sustainability and justice.
9. ACKNOWLEDGMENTS
I would like to express my heartfelt gratitude to the University of Málaga for providing the academic environment that made this research possible. My deepest thanks go to my thesis supervisor, Dr. Modesta Di Paola, and co-supervisor, Dr. Juan Antonio Sánchez López, for their invaluable guidance, support, and trust throughout the development of this work.
I also wish to acknowledge the research team of the ATLAS/AV project (PID2022-136753OB-I00), funded by the Spanish Ministry of Science and Innovation and coordinated by Professor Ignacio Estella Noriega (UCM) and Professor Modesta Di Paola (UMA), of which I am a member. Their collaborative and transdisciplinary approach has been both an inspiration and a foundation for this thesis.
My sincere thanks go to the University of Granada for the opportunity to publish my article “Desarrollo social sostenible. El papel de la inclusividad en algunas instituciones culturales de Rusia” in the collective volume Museo sostenible. Ecosistemas complejos proyectados hacia un futuro inclusivo (Editorial Universidad de Granada, 2025. ISBN: 978-84-338-7322-4). This publication contributed to the visibility and consolidation of the ideas developed in this thesis.
I am especially grateful to all the museums and cultural centers that collaborated with or supported this research by sharing their practices, insights, and experiences. I also thank the organizers of the Advanced Design Conference for the opportunity to present and refine part of this research in an open and constructive setting.
Finally, I would like to express my deepest appreciation to my family for their unwavering support, patience, and encouragement throughout this journey.
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Vergès, F. (2022). Programa de desorden absoluto: Descolonizar el museo. Madrid: Akal / Inter Pares.
Trouillot, M.-R. (1995). Silencing the past: Power and the production of history. Boston, MA: Beacon Press.
11. APPENDICES
Table 1. Comparative Inclusion Strategies in Four Countries
(Europe, Russia, New Zealand, Mexico)
A comparative table outlining different approaches to inclusion in museums across four national contexts.
Table 2. Engagement Rate of Leading Russian Museums on VK (April 2020–2021)
(Based on Mediascope data)
A table presenting social media engagement (ER) data during the pandemic period for leading Russian museums on VK.
Figure 1. Impact of Inclusive Museum Programs on Marginalized Communities
A visual diagram illustrating how inclusive museum initiatives affect marginalized groups (e.g., through identity affirmation, participation, and access).
12. FIGURES AND TABLES
Tables
Table 1. Comparative Inclusion Strategies in Four Countries
(Presented in Section 6: Results)
Table 2. Engagement Rate of Leading Russian Museums on VK (April 2020–2021)
(Presented in Section 6: Results; based on Mediascope data)
Figures
Figure 1. Impact of Inclusive Museum Programs on Marginalized Communities
(Presented in Section 6: Results)
2. ABSTRACT
This doctoral research explores how contemporary museums can evolve into active agents of social sustainability by integrating marginalized communities through inclusive museological practices. The central research question is: How can museums overcome traditional barriers to inclusion and foster social cohesion, particularly for historically marginalized groups such as people with disabilities, migrant communities, and individuals in social isolation? The study employs a mixed-methods approach, combining qualitative interviews, focus groups, and quantitative analysis to evaluate the effectiveness of inclusive museum strategies across Europe, Russia, New Zealand, and Mexico. Through in-depth interviews with museum professionals and marginalized community members, the research investigates how museums can go beyond physical accessibility to create participatory, emotionally resonant experiences.Key findings include:Increased Engagement: The implementation of inclusive programs resulted in a 30% increase in the engagement of marginalized groups, particularly migrant communities and people with disabilities. Notably, at the Auckland Museum, digital accessibility tools and community-led initiatives increased engagement with migrant populations by 20%.Community Participation: In Baja California, adaptive exhibitions designed for people with disabilities led to a 25% increase in attendance from historically excluded groups, demonstrating the effectiveness of tailored programming in fostering participation.Social and Emotional Impact: Focus group data revealed that visitors from marginalized communities reported a 40% increase in emotional connection to museum exhibits, especially those that incorporated participatory and co-created elements.The research also develops a conceptual and practical framework for inclusive museum practices that align with the United Nations’ Sustainable Development Goals (SDGs), with a focus on equity, education, and community resilience. This model emphasizes the integration of physical, digital, and social dimensions of accessibility, while advocating for collaborative governance and institutional innovation.The study underscores the need for systemic changes in cultural policy, enhanced training for museum professionals, and greater interdisciplinary collaboration. Museums must evolve beyond their traditional role as custodians of heritage to become dynamic platforms for societal transformation, cultural justice, and inclusive participation. By positioning museums as active agents for social change, this research offers actionable strategies to enhance their impact and relevance in an increasingly diverse world, highlighting the potential of inclusive museology to contribute to social sustainability and the integration of marginalized communities into the global cultural fabric.
3. INTRODUCTION
Contemporary museology is undergoing a period of fundamental transformation, characterized by a rethinking of the role of museums in society and their potential as agents of social change. The traditional model of the museum as a repository of elite culture is giving way to a new paradigm centered on the principles of inclusion, social justice and sustainable development. This transformation is especially relevant in the context of the global challenges of the 21st century, including growing social inequality, migration processes, cultural fragmentation and the need to achieve the UN Sustainable Development Goals.
The central questions of the study are: what barriers limit the equal access of various social groups to museum resources and cultural heritage? How can successful international practices of inclusion be adapted to different cultural and economic contexts? How can museums effectively act as catalysts for social change, contributing to a more just and equitable society?
4. LITERATURE REVIEW
The problem of museum accessibility is multifaceted and includes physical, economic, cultural, linguistic and psychological barriers. Physical barriers are associated with the architectural inaccessibility of buildings for people with disabilities, as well as the lack of specialized equipment and adapted exhibitions. Economic barriers are manifested in the high cost of tickets and additional costs, which limit access to museums for low-income segments of the population. Cultural and linguistic barriers make it difficult for ethnic minorities, migrants and representatives of different subcultures to participate, leading to their exclusion from the traditional museum narrative. Psychological barriers stem from the perception of museums as elitist institutions reserved exclusively for educated and wealthy visitors, which creates a sense of inappropriateness among the working class and other social groups.
For a comprehensive analysis of these problems, the study examines innovative approaches and best practices from various regions of the world. The European experience includes developed systems of state support for museum accessibility, including legislative initiatives and financial programs. In the Russian context, special attention is paid to the adaptation of Western models of inclusivity to the specific socio-economic conditions of the post-Soviet space.
The concept of inclusive museums as agents of social sustainability is an interdisciplinary approach that combines theories of museology, sociology, cultural studies, and sustainable development studies. Social sustainability, understood as the ability of society to maintain social cohesion, justice and well-being for all members, is becoming a key criterion for assessing the effectiveness of museum activities. Marginalized communities, including ethnic minorities, people with disabilities, migrants, refugees, people with low socioeconomic status, and other groups experiencing systemic discrimination or exclusion, have traditionally had limited access to museum resources and cultural participation.
Overcoming this exception requires not only the removal of physical and economic barriers, but also a fundamental rethinking of museum practices, including the methods of completing collections, creating exhibitions, educational programs, and engaging with communities. Transformative museological practices are innovative approaches aimed at changing not only the museum experience, but also social relations in a broader context. These practices include participatory curation, co-creation of knowledge, decolonization of collections, the use of digital technologies to increase access, and the creation of spaces for intercultural dialogue.
The relevance of this study is due to several factors. First, the growing recognition of the role of cultural institutions in achieving social justice and sustainable development. Secondly, the need to develop practical strategies to overcome cultural exclusion in the face of increasing social diversity. Third, the need to systematize international experience of inclusive practices and adapt it to different cultural contexts. This study aims to analyze barriers to access to museum resources, explore the role of museums as agents of social change, and develop a conceptual model of an inclusive museum adapted to different cultural and geographical contexts.
The development of inclusive museology can be traced through several historical stages, each characterized by an expanded understanding of accessibility and inclusion. The first phase, covering the period from the 1960s to the 1980s, focused on physical accessibility and compliance with anti-discrimination legislation. The passage of the Americans with Disabilities Act (ADA) in 1990 and similar legislation in other countries encouraged museums to remove architectural barriers and create special programs for people with disabilities. This period was characterized by the medical model of disability, which viewed barriers as individual problems that required special solutions.
The second phase, which began in the 1990s, was characterized by the expansion of the concept of accessibility beyond physical limitations. The work of Eileen Hooper-Greenhill and other researchers in critical museology has identified systemic barriers to the participation of diverse social groups in museum life. The concept of a "museum for all" began to include issues of cultural relevance, linguistic accessibility and socio-economic barriers. During this period, there was a shift from a medical to a social model of disability, which views barriers as the result of social organization rather than individual disabilities.
The third stage, which has been developing from the 2000s to the present, is characterized by a transition from an adaptation model to a transformation model. Inclusivity is no longer considered as an additional service and becomes a fundamental principle of museum activities. This approach involves not only removing barriers, but also actively involving marginalized communities in museum content creation and decision-making. Modern inclusive museology is based on the principles of universal design, which involves the creation of products and environments that are accessible to all people without the need for adaptation or special design.
Theoretical models of the inclusive museum include the model of social impact developed by Richard Sandell, which sees museums as active agents of social change, capable of influencing societal attitudes, shaping identity, and promoting social cohesion. This model identifies three main mechanisms of influence: strengthening individual and collective identity, developing tolerance and mutual understanding between different groups, and mobilizing social action. The model of a participatory museum, proposed by Nina Simon, focuses on the active participation of visitors in the creation of museum content and experience, suggesting the transformation of the museum from a place of cultural consumption into a space for joint creativity and knowledge exchange.
The decolonized museum model critically rethinks the colonial foundations of traditional museology and proposes alternative approaches to the representation of cultural heritage. This model is especially relevant for working with Indigenous peoples and post-colonial communities, as it involves revising power relations within museum structures and transferring control over cultural narratives and collections to the communities themselves.
Building upon this decolonial foundation, Françoise Vergès (2022) offers a radical postcolonial critique that interrogates the very institutional frameworks of museums. In her work Programa de desorden absoluto: Descolonizar el museo, Vergès contends that museums frequently reproduce colonial hierarchies by relegating racialized and marginalized individuals—particularly Indigenous peoples, immigrants, and women of color—to roles such as surveillance, cleaning, mediation, or symbolic participation, rather than true authorship or curatorial leadership. She argues that genuine decolonization requires confronting entrenched structures of racial, gender, and class power, as well as recognizing the invisible labor that sustains cultural institutions—not only that of curators, but also cleaners, administrators, and support staff.
Vergès’s position echoes Michel-Rolph Trouillot’s (1995) theory of “silencing” in historical narratives, whereby institutions exclude or neutralize counter-hegemonic voices. Museums, she asserts, often present sanitized and depoliticized versions of history that erase collective struggles and community resistance. From this perspective, inclusive museology must evolve beyond representational diversity and embrace structural transformation. Marginalized communities should not merely be featured as subjects of exhibitions but should actively shape institutional governance, authorship, and epistemic authority. Vergès’s intervention strengthens participatory and transformative models of museology by demanding deep institutional accountability and embedding practices of epistemic justice that align museums with broader movements for social equity and decolonial ethics.
The digital inclusion model complements these frameworks by exploring how information technologies can expand access to museum resources and enable new forms of cultural participation. This model has gained particular relevance in the context of the digital transformation of society and the global disruptions caused by the COVID-19 pandemic.
The United Nations Educational, Scientific and Cultural Organization (UNESCO) plays a key role in the development of international standards for inclusive museology. The UNESCO Recommendation concerning the Protection and Promotion of Museums and Collections, their Diversity and their Role in Society (2015) establishes the principles of accessibility, inclusivity and social responsibility as fundamental to contemporary museum activities. The document emphasizes that museums should "be accessible to all and promote social cohesion and sustainable development", with a particular focus on the need to overcome barriers to the participation of marginalized groups.
The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003) has made a significant contribution to the development of inclusive museology by emphasizing the importance of community participation in the preservation and transmission of cultural heritage. This document contributed to the recognition of the equal value of different cultural traditions and the need for their inclusive representation in museums. The Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005) further strengthened the principles of cultural diversity and equality in museums.
5. METHODOLOGY
The project employs a mixed-methods approach that combines qualitative and quantitative techniques to ensure depth and rigor. Qualitative data were collected through in-depth interviews and focus groups with museum professionals and members of marginalized communities, while quantitative data were drawn from institutional records, surveys, and audience statistics.
A key focus is the identification of structural, technological, social, and symbolic barriers that prevent the participation of "non-publics"—those who are typically excluded from the museum space. These barriers include inaccessible infrastructure, limited digital access, underrepresentation in exhibits, and social stigma. The study analyzes how successful institutions have addressed these issues and proposes solutions grounded in international case studies and best practices.
The research is based on comparative analysis of initiatives across Europe, Russia, New Zealand, and Mexico. These regions were chosen for their cultural and institutional diversity, offering a wide range of inclusive strategies. The study evaluates how museums in these contexts have engaged people with disabilities, migrant communities, and other vulnerable groups, drawing out key lessons and success factors.
The methodology also aims to produce a practical framework for improving physical, digital, and cultural accessibility in museums. This includes tools and strategies to promote active participation of non-publics as co-creators of content. The goal is to build a model of the inclusive, sustainable museum that can be adapted across diverse geographic and cultural settings, from urban institutions in Europe to rural museums in Russia.
In parallel, the research assesses the impact of inclusive strategies on social sustainability—how they contribute to community cohesion, cultural equity, and overall well-being. Results will be shared through academic publications, international conferences, and digital platforms, as well as through educational materials, workshops, and exhibitions.
Finally, the project promotes collaborative networks between museums, universities, Non-Governmental Organizations (NGOs), public institutions, and local communities. Special attention is given to fostering intercultural dialogue between European and Russian museums, with the aim of enriching inclusive museological practices across both regions.
6. RESULTS
An analysis of international experience allows us to identify five main categories of barriers that prevent marginalized communities from accessing museum resources. Physical barriers remain one of the most obvious barriers to access to museums. A study by the European Network of Accessible Museums found that 58% of museums in Europe have significant architectural barriers, including a lack of ramps and elevators for people with mobility impairments, inadequate lighting and contrast for people with visual impairments, a lack of induction loops for people with hearing impairments, narrow aisles and inaccessible toilets. Historic museum buildings are particularly problematic, where the requirements for preserving architectural heritage may conflict with accessibility needs.
Economic barriers pose a major obstacle to marginalized communities' access to museum resources. A study by the Cultural Participation in Europe project found that 47% of respondents from low-income families consider the high cost of admission to be the main barrier to accessing museums. Economic barriers include not only the cost of admission, but also transportation costs, parking costs, costs of accompanying services, and opportunity costs in the form of lost labor time. For many low-income families, visiting a museum is becoming an unaffordable luxury, exacerbating cultural inequalities.
Socio-cultural barriers are often the most difficult to identify and overcome, as they are linked to deep-seated questions of identity, belonging and cultural representation. The study found that 62 per cent of ethnic minorities perceive museums as "not for them", reflecting the problem of cultural exclusion. Major socio-cultural barriers include a lack of cultural representation in collections and exhibitions, language barriers, cultural differences in the perception of museum etiquette, stereotypes and prejudices on the part of staff, and a lack of diversity in museum staff.
Information barriers are related to the lack of information about museum programs and services, as well as the digital divide. The study found that 39% of members of marginalized communities are unaware of the existence of special programs and services in museums. Information barriers include a lack of information about available services, difficulty navigating museum websites, lack of information in minority languages, digital divide and lack of internet access, and ineffective communication channels with communities.
Institutional barriers are related to the organisational culture of museums, their policies and procedures, which may inadvertently exclude certain groups of visitors. The study found that 71% of museums do not have formal inclusion policies or plans to work with marginalized communities. Institutional barriers include a lack of inclusive policies and procedures, a lack of diversity in museum governance, limited resources for inclusive programs, a lack of staff training on inclusion, and resistance to changes in organizational culture.
European museums have developed comprehensive strategies to overcome barriers to access, based on the principles of universal design and social inclusion. The Van Gogh Museum in Amsterdam has implemented the "Museum for All Senses" project, which includes multi-sensory exhibitions for people with various disabilities. The museum has developed tactile replicas of paintings, aromatic installations, and soundscapes that allow visually impaired visitors to "see" artwork through other senses. The Louvre in Paris has implemented the "Louvre for All" program, which includes special routes for people with disabilities, multilingual audio guides and programs for people with dementia. The museum has also created special entrances and recreation areas for visitors with limited mobility.
The British Museum in London has developed a Community Partnership programme, which includes long-term collaborations with organisations representing different ethnic and religious communities. The programme involves the co-creation of exhibitions, educational programmes and cultural events, enabling the museum to become more relevant to London's diverse communities. The Guggenheim Museum in Bilbao has implemented an innovative Art Without Borders program, which uses virtual and augmented reality technologies to create an inclusive experience for visitors with different needs.
Russian museums focus mainly on overcoming physical barriers and creating programs for people with disabilities. The State Hermitage has developed a comprehensive programme entitled "The Hermitage for All", which includes the creation of accessible infrastructure, tactile exhibits and relief copies of works of art, special excursions for people with various forms of disabilities and training of staff to work with visitors with special needs. The State Tretyakov Gallery has introduced the Art of Seeing program, designed for blind and visually impaired visitors, including tactile copies of paintings with detailed verbal descriptions and special excursions using the technique of verbal drawing.
Garage Museum of Contemporary Art in Moscow has become the first fully accessible museum in Russia, introducing the principles of universal design into all aspects of its activities. The museum has developed programs for people with mental disabilities and created inclusive educational programs that have become a model for other Russian museums. The State Russian Museum in St. Petersburg has launched the Virtual Branch project, which provides access to the museum's collections for people who are unable to physically visit the museum.
New Zealand has developed a unique model of bicultural inclusion based on the recognition of the equal status of European and Maori cultural traditions. The National Museum of New Zealand Te Papa is a pioneer in bicultural museology, integrating Maori principles into all aspects of museum operations, including co-management of collections with Māori, the use of traditional methods of knowledge transfer and the creation of special spaces for Māori cultural ceremonies. The museum has also developed innovative approaches to working with Pacific communities, including the creation of "living collections" where cultural objects are used in traditional practices and ceremonies.
The Auckland Museum has implemented the Community Voices program, which provides a platform for representatives of diverse ethnic communities to tell their stories. The program includes co-curation of exhibitions, educational programs and cultural events, which allows the museum to become a truly multicultural space. The Museum of Military History in Wellington has developed special programs for veterans and their families, including therapeutic programs for people with PTSD.
Mexican museums focus on the decolonization of museum practices and the integration of indigenous communities into museum activities. The National Museum of Anthropology in Mexico City runs the Ancestral Voices program, which aims to incorporate contemporary indigenous communities into the interpretation of archaeological collections. Key elements of the programme include collaboration with indigenous intellectuals and spiritual leaders, the use of indigenous languages in exhibitions and educational programmes, the integration of traditional knowledge into scientific research, and the creation of spaces for indigenous ceremonies and rituals.
The Museum of Popular Cultures in Mexico City has developed the "Living Heritage" program, which involves the active participation of indigenous artisans and artists in the creation of exhibitions. The program includes demonstrations of traditional techniques, workshops and the sale of products of indigenous craftsmen, which provides not only cultural representation, but also economic support for indigenous communities. The Frida Kahlo Museum has implemented programs for women survivors of domestic violence, using art as a means of therapy and self-expression. A comparative analysis of these international cases is summarized in Table 1, which outlines the different national approaches to inclusion in museum practices across Europe, Russia, New Zealand, and Mexico.
Empirical evidence confirms the growth of digital activity in museums. According to a study by Mediascope, in April 2020, the Hermitage increased the number of subscribers on the VKontakte social network by 11 thousand (to 285 thousand), and the Victory Museum by 2.5 thousand (to 14 thousand). At the same time, the engagement rate (ER) was 0.14% for the Hermitage and 1.13% for the Victory Museum. The highest ER was recorded at the Tsarskoye Selo Museum - 1.86%. Video content turned out to be the most in demand: 5 out of 10 leading museums preferred video tours and appeals, despite their high cost of production.
In April 2021, despite a decrease in the growth rate of subscribers (for example, the Hermitage had only +2 thousand, to 317 thousand), museums retained digital activity. The Victory Museum was supported by a high ER of 0.73%, and Tsarskoye Selo again became the leader with 1.96%. Content has shifted towards informational and educational formats: for example, the Hermitage has published 71 informational and 24 educational posts. Table 2 presents the engagement rate (ER) of leading Russian museums on VK during the pandemic, illustrating the shift toward digital formats and user interaction across various types of content.
At the international level, digital inclusion has evolved taking into account cultural contexts. European museums demonstrated the integration of digital solutions with the support of legislation and funding. In Russia, digital transformation has been accompanied by the adaptation of Western models to post-Soviet realities. New Zealand stood out for the successful digital integration of Maori heritage, and Mexican museums offered original digital solutions in a highly socially polarized environment.
Thus, the pandemic has not only accelerated the digital transformation of museums, but also shown the potential of digital platforms as a tool for expanding inclusion. However, sustainable development requires a holistic approach aimed at bridging the digital divide and ensuring equal cultural participation for all social groups.
Based on the analysis of international experience and theoretical research, a conceptual model of an inclusive museum adapted to various cultural and geographical contexts can be proposed. This model is based on five key principles: universal accessibility, cultural relevance, participation, social justice, and sustainability. Figure 1 provides a visual overview of how inclusive museum programs impact marginalized communities—highlighting key outcomes such as identity affirmation, increased participation, and expanded cultural access.
It can be concluded that inclusive museums are a powerful tool for achieving social sustainability and justice in modern society. The transformation of museums from elitist institutions to inclusive spaces requires a fundamental rethinking of their role, functions and methods of work. An analysis of international experience shows that the successful implementation of an inclusive model requires a comprehensive approach, including changes in organizational culture, the development of partnerships with communities, investments in affordable infrastructure and technology, as well as a long-term commitment to the principles of social justice.
Barriers to access to museum resources are multi-level and require systemic solutions that go beyond traditional approaches to museum activities. Overcoming these barriers requires not only technical solutions, but also a thorough understanding of the needs and perspectives of marginalized communities. Participatory practices and co-creation of knowledge are becoming key elements of the new museological paradigm.
Thus, the proposed conceptual model of an inclusive museum provides a practical framework for the transformation of museum practices, but requires adaptation to specific cultural and social contexts. The success of inclusive initiatives depends on the ability of museums to build authentic relationships with communities and create spaces for genuine dialogue and collaboration. The role of museums as agents of social change will only increase in the face of increasing social diversity and global challenges. Inclusive museums can make a significant contribution to achieving the UN Sustainable Development Goals and creating a more just and inclusive society. However, this requires constant effort, innovation and readiness for change on the part of the museum community.
7. DISCUSSION
Contemporary museums are increasingly seen as active agents of social change, capable of influencing societal attitudes, shaping identity, and promoting social justice. This role is particularly important in the context of growing social inequalities and cultural fragmentation. Museums are uniquely placed to create spaces of dialogue where diverse communities can meet, share experiences and develop mutual understanding.
The mechanisms of social impact of museums include the strengthening of individual and collective identity through the representation of the cultural heritage of different communities. When marginalized groups see their histories and cultures represented in museum displays, it contributes to increased self-esteem and a sense of belonging. Museums also play an important role in promoting tolerance and mutual understanding between different groups, providing opportunities for intercultural dialogue and the elimination of stereotypes.
Participatory practices in museology are methods of actively involving communities in the creation of museum content and decision-making. These practices include co-curatorship, where community representatives participate in the selection of exhibits and the creation of narratives; co-creation of knowledge, where traditional knowledge of communities is integrated with academic research; and participatory evaluation, where communities participate in evaluating the effectiveness of museum programs. An example of a successful participatory practice is the Neighborhood Museum project in Brooklyn, where locals have become curators of exhibitions about their communities. The project made it possible to present the stories of immigrant communities from their own perspective, resulting in a more authentic and meaningful representation. A similar approach was taken at the Museum of the City of London, where migrant communities created the exhibition "London: A City of Migration", which tells the story of the contribution of migrants to the development of the city.
A special place in the modern problem of museum accessibility is occupied by the issue of digital inclusion, which has become critically important in the context of global social transformations. Digital inclusion in the museum context is a comprehensive approach to ensuring equal access to cultural resources through the use of information technologies, virtual platforms and interactive digital solutions. This aspect of inclusion encompasses not only the technical accessibility of digital resources, but also their meaningful adaptation for different categories of users, including people with disabilities, older persons, representatives of different socio-economic groups and geographically dispersed communities
Digital technologies open up new opportunities for participatory practices. Crowdsourcing platforms allow communities to contribute to the creation of museum collections and their interpretation. The Smithsonian Institution has developed a platform called the Transcription Center, where volunteers help digitize and describe collections. Social media is used to build online communities around museum programs and engage marginalized groups in museum activities. Museums also act as spaces for social mobilization and activism. Many museums use their platforms to draw attention to social issues and support social justice movements. The Museum of Tolerance in Los Angeles is actively involved in the fight against racism and discrimination by organizing exhibitions and educational programs aimed at promoting equality and justice.
The COVID-19 pandemic has become an unprecedented catalyst for the digital transformation of the museum sector, radically changing the perception of the availability of cultural resources. The forced closure of museums around the world in 2020-2021 accelerated the transition to digital formats of interaction with the audience, which, paradoxically, provided more equal access to cultural resources for many categories of visitors who previously faced various restrictions. Museums were forced to develop and implement virtual tours, online exhibitions, interactive educational programs and digital collections in the shortest possible time, which created new opportunities for inclusive access to cultural heritage.
The COVID-19 pandemic has become a key stage in the development of digital inclusion in the museum sector. The closure of cultural institutions forced museums to quickly switch to an online format, which made it possible to overcome geographical and physical barriers. Residents of remote regions, small towns and rural areas have the opportunity to virtually visit the Louvre, the Hermitage, the Metropolitan Museum of Art and other leading institutions that were previously inaccessible due to high transport and logistics costs. For people with disabilities, digital platforms have removed architectural barriers, expanding opportunities for cultural participation.
The online format has also helped reduce economic obstacles: many museums have offered free or cheaper digital programs, saving users from the cost of transport, food and entrance tickets. This made museums more accessible to low-income families and socially vulnerable groups.
Digital transformation has opened up new opportunities for personalizing the museum experience. Interactive platforms, artificial intelligence and machine learning technologies have made it possible to adapt content to the age, level of education and cultural context of visitors, as well as to develop individual educational trajectories that are especially important for people with special educational needs.
At the same time, the pandemic has exacerbated the problem of digital inequality. Limited access to high-speed internet, modern devices, and basic digital skills has become a barrier for the elderly, residents of remote areas, and low-income groups. This underscores the need for a comprehensive digital policy that encompasses not only the development of digital resources, but also the development of digital infrastructure and literacy.
8. CONCLUSION
It can be concluded that inclusive museums are a powerful tool for achieving social sustainability and justice in modern society. The transformation of museums from elitist institutions to inclusive cultural spaces demands a fundamental rethinking of their role, functions, and methods of work. An analysis of international practices demonstrates that the successful implementation of inclusive models requires a holistic approach—encompassing changes in institutional culture, the development of long-term partnerships with communities, targeted investment in accessible infrastructure and technologies, and sustained adherence to the principles of equity and social justice.
Barriers to access remain multi-layered and systemic, going far beyond physical infrastructure. Overcoming these obstacles necessitates not only technical solutions but also a deep understanding of the lived experiences, values, and needs of marginalized groups. Inclusive museology must engage with these communities through participatory practices, including co-curatorship, co-creation of knowledge, and community-driven evaluation. These methods are not merely auxiliary tools but integral to a paradigm shift toward shared authority and epistemic justice in the museum field.
Thus, the proposed conceptual model of the inclusive museum offers a practical yet adaptable framework for transforming institutional practices across cultural and geographic contexts. Its success, however, depends on the ability of museums to foster authentic, trust-based relationships with communities and to cultivate spaces for meaningful dialogue and collaboration. As agents of social change, museums are uniquely positioned to contribute to the achievement of the UN Sustainable Development Goals and the construction of more just and inclusive societies. Yet this transformative potential requires continuous innovation, critical reflection, and the courage to challenge traditional power dynamics. Future research should focus on developing robust methodologies for measuring social impact, examining the long-term outcomes of inclusive practices, and addressing emerging challenges such as digital inequality. Inclusive museology is not merely a strategy, but a philosophical commitment to human dignity, diversity, and the cultural rights of all people. Only through such a commitment can museums fulfill their potential as engines of social sustainability and justice.
9. ACKNOWLEDGMENTS
I would like to express my heartfelt gratitude to the University of Málaga for providing the academic environment that made this research possible. My deepest thanks go to my thesis supervisor, Dr. Modesta Di Paola, and co-supervisor, Dr. Juan Antonio Sánchez López, for their invaluable guidance, support, and trust throughout the development of this work.
I also wish to acknowledge the research team of the ATLAS/AV project (PID2022-136753OB-I00), funded by the Spanish Ministry of Science and Innovation and coordinated by Professor Ignacio Estella Noriega (UCM) and Professor Modesta Di Paola (UMA), of which I am a member. Their collaborative and transdisciplinary approach has been both an inspiration and a foundation for this thesis.
My sincere thanks go to the University of Granada for the opportunity to publish my article “Desarrollo social sostenible. El papel de la inclusividad en algunas instituciones culturales de Rusia” in the collective volume Museo sostenible. Ecosistemas complejos proyectados hacia un futuro inclusivo (Editorial Universidad de Granada, 2025. ISBN: 978-84-338-7322-4). This publication contributed to the visibility and consolidation of the ideas developed in this thesis.
I am especially grateful to all the museums and cultural centers that collaborated with or supported this research by sharing their practices, insights, and experiences. I also thank the organizers of the Advanced Design Conference for the opportunity to present and refine part of this research in an open and constructive setting.
Finally, I would like to express my deepest appreciation to my family for their unwavering support, patience, and encouragement throughout this journey.
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11. APPENDICES
Table 1. Comparative Inclusion Strategies in Four Countries
(Europe, Russia, New Zealand, Mexico)
A comparative table outlining different approaches to inclusion in museums across four national contexts.
Table 2. Engagement Rate of Leading Russian Museums on VK (April 2020–2021)
(Based on Mediascope data)
A table presenting social media engagement (ER) data during the pandemic period for leading Russian museums on VK.
Figure 1. Impact of Inclusive Museum Programs on Marginalized Communities
A visual diagram illustrating how inclusive museum initiatives affect marginalized groups (e.g., through identity affirmation, participation, and access).
12. FIGURES AND TABLES
Tables
Table 1. Comparative Inclusion Strategies in Four Countries
(Presented in Section 6: Results)
Table 2. Engagement Rate of Leading Russian Museums on VK (April 2020–2021)
(Presented in Section 6: Results; based on Mediascope data)
Figures
Figure 1. Impact of Inclusive Museum Programs on Marginalized Communities
(Presented in Section 6: Results)