 My name is Farah Nurgay and I belong to the Municipal Institute for People with Disabilities. That is an algorithm that is in the Barcelona city council. And here today I'm going to present you something that we, in the team that we work on inclusion in the museums, the Municipal Institute for People with Disabilities. We have the aim of changing the total inclusion of people with disabilities in the whole social areas that happen in Barcelona. And this time that Yolanda, Yisrael and myself, we are on to the inclusion in museums. And we wanted to present you today something that is quite special because it's one of the most inclusive museums that we have right now here in the city. I'm here even though I don't work in the Royal Ministry of Federal Justice. I'm here then, in behalf of some colleagues, I mentioned already Yolanda, but I will also mention Ana Castellanos and Gemma Burnett, who actually did good work in this monastery. But well, we accorded that, that was the one who was going to explain it. So, and it's part of this coordinated work that we would like to show, to share with you. And just to say I'm not going to present any research, academic research or not on a specific inclusion program. I'm going to talk about, and that's why I think it's interesting to share it with you, what has been a change in the policy of inclusion in a specific monastery, but this is an example of what is happening within Barcelona for the last years. So, just to clarify it already, just a brief story of this museum, in case you don't know, this is, you can see the museum here, the monastery actually, this was founded in the 14th century, and it was practically inhabited until our days, I think to the end of the 20th century. And it was in the 1983 that it became a museum, and so the noons don't live there anymore. And so they, I think they live very close to the monastery, and as I said, it has lately became a reference for the inclusion policies in museums, and I'll try to explain it why. Of course this museum has many goals, I won't go into this, I'm not in charge of the museum, but attending to this inclusion thing we're talking about this evening, one of the goals is obviously that the museum wants to become an open space for all audiences. And here people with disabilities, that is the collective that we work with, mainly has a central role here. And so if you want to include people with disabilities, apart from other communities as well, and this is only impossible if we adapt the space where the museum is located, as well as, and this is important again, the activities that are done, and for the different special needs that the society shows to us. So this monastery had obviously some special and quite difficult challenges to all the community. But one is the one I mentioned already, this monastery is located up in the periphery of Barcelona. So this is a related to mobility, it's quite a handy gap I'd say for some people to get there. And apart from that, obviously it's a very interesting and very precious heritage building with a high number of physical barriers that cannot simply be removed, just more or less like what we saw before in other, like in Montserrat San Cogat. So you cannot just take them away. Even though these difficulties were so permanent and so clear, we think that the museum could overcome these difficulties, and this is mainly due to a change in its perspective, and this is the main passage that I would like to show to you today, and to share with you today. And they change it, and that's what we're seeing, that's what's happening in all of the museums as well. This is from a reactive warden, so you change because some people are coming to you and they have special needs, and you adapt what you already have, and they change that, or what I would say is a proactive will, so we've seen in the whole people from the very beginning. And I'll show you how this has changed even the shape of the same, this monastery and this museum. Sorry, in this, I put these two pictures to show you how to read this idea. You can see here this ramp, for example, it's a reactive ward, just because they had some problems with people to get inside and to enjoy the monastery and the museum, so they had to do something to just go by. And here there's another solution that is integrated, and it suits actually with the overall museum. I won't go very to the past, just to have a brief idea on how this inclusion on demand started to be an issue for this museum. In 2006 or 2009, there were two exhibitions that took place in the museum that had the special effect on people that became so many people in this place that they were not supposed to be, it wasn't enough for them to say, okay? So what the museum had to do was to change and try to give an answer after the exhibition was already done. After that, there was a turning point in Barcelona Municipal Museum, and this happened between 2009 and 2012, and there was a diagnosis carried out by IMPD, where I worked, and also the club, which is the Municipal Institute for Culture. There was an accessibility diagnosis, and from that moment, there was the accessibility and the inclusion became a strategic issue for the whole museums in the city. This had a special effect, of course, in all museums, but talking about the Montserrat Palgraves, they did their own job. They started doing their own accessibility study, and from that moment, they had clear and specific guidelines on how to work for the inclusion of people with disabilities. At the same time, and this is very interesting, you can see why, they started a network of collaboration with other actors, and what is called the actors. This is the IMPD. We work with people with disabilities, so we know how to deal with them more or less. Apart from that, they started participating in accessibility board museums, where they actually participated in too. This is a board where they share the ideas and the projects with other museums of Barcelona and also from museums outside Barcelona, close to Barcelona. Then the work they started to do with the NGOs. All this came into a new methodology of work. The main thing is that the main issues on accessibility have to be taken into account, as I said, from the beginning. They have to be taken into account in all ordinary projects. It's not just that when someone comes and has a problem in getting into the exhibition that you have to make a change. You have to think about inclusion from the very beginning. This also concerns the external workers, not only the people working in the museum, but also when you order an exhibition to someone from outside. Then they started to work with and have vices and trials with NGOs on specific matters. For example, you can see here in this picture, this is Tom. I will talk about this later. This lady is mine and she is trying this model that we ordered. From her advice, this model could be changed. This is the kind of work that we are trying to implement in our daily work. Then, as I said, they started to coordinate work with other actors that deal openly with people with disabilities. This gives some of the ideas that came in the previous part of the session that you need to be in touch or talking with people that work every day with people with disabilities. They know how to work with them and what are their needs. As I said, all this changed the shape of the monastery. The first thing is that physically the monastery has changed completely through the suppression of the physical barriers or reversible or definitive solutions. I told you about this already. These days, the museum is mostly accessible for physical impaired people. From this work as well, clear and specific criteria on accessibility concerning permanent temporary exhibition in elements such as illumination, height, approach, etc. Every time there's a new exhibition, there's specific criteria that the exhibitors have to follow. Then there's an overall policy on communication that takes into account the special needs on this issue. You can see here a model, for example, or a brochure. All the communication problems and issues are taken into account from the very beginning as well. As I said, the main change that you can see in this museum is the fact that all these issues are incorporated from the very beginning of the project. So, accessibility has to be taken into account in the same way that is taken into account communication policies, for example, or pedagogical programs, etc. This is how this museum has changed mainly. This is the daily work, more or less, I'd say. I would like to show you now very briefly four different examples that show us a step beyond, I would say, something that changes not only the usual things that we take into account for inclusion, but going a little bit further. I will talk to you about four different examples. First one is the new elements that are being incorporated in the museum. Then all that has to do with accessibility on the contents and there are two projects here linked. And then the last one is about the medieval garden that I love this project and I would like to just briefly explain to you what is it about. I didn't say that this monastery was founded by Queen Lisenda. That's a long time ago. She is actually buried in the monastery and her tomb has a particularity that has two sides. You can see here one of the sides of the tomb. Obviously people with light or visual impairments they cannot approach this place and they cannot touch it. So we thought on ordering a new model and you can see here that has a particularity that has both sides all together. So what we are planning to have and this is going to happen in autumn probably is that this new model will be available for everyone and there is a new perspective and that's why I say this is thought from the accessibility perspective. It's a new perspective because thinking on people with disabilities everyone will enjoy something that we'll never enjoy that is seeing both sides together. You can see here this is the base where the model is going to be. We thought on everyone and because this model is so high people will not reach the top of it so we planned to have this articulated base that lives up and down and turns around. So children as well people using wheelchairs and so people with low height could reach all the different parts of the model. Talking about the contents just briefly the visits are adapted for people with intellectual disabilities as well as well as for blind people, deaf people and so on so we are adapting the visits for learning our communication difficulties and here I'll link it to Alena's presentation and we wanted to go a step beyond and we knew about this project that Alena explained to you before and it's not only who visits but who explains this visit. So we are planning to have in the next autumn people that are the same like Alena told you before people with Asperger's syndrome that's going to be doing the guides and explaining to the people so having people with disabilities inside the museum and this links me to the last project this is a medieval garden as you know the monasteries used to have their own garden and grow their own crops and the direction of the museum is planning to rebuild the garden that used to be in the museum or in the monastery sorry and it's interesting because they're going to use the old crops in the medieval ages the nuns used before I won't get into the ecological parts or historical parts of this project which is very interesting I'm interested in the social dimension of this project for the ruling of this garden we are planning to have people with disabilities inside the project so people with disabilities from the surroundings will take part of this project and plan the crops themselves as well as someone said and this is interesting this project as well as the ones before show us that we are not opening to the community we have the community inside and this is what probably will happen that's the change of the shape that I was talking about people with disabilities used to be an outsider used to have an outside role and instead of that right now it's being a central role in the ruling of the museum and more or less the museum