Originating from the territory of today’s Switzerland, the dynasty of the Habsburg has been present in many different countries, and its members have been associated with a variety of historical events that have left their traces in our collective memories. By means of this international cooperation project, we intend to tell the story of the Habsburg from the point of view of the various populations concerned. Putting the different memories side by side, we want to seize the occasion to reconnect on a different level, leaving the Habsburg family tree and the world it stands for behind us.

Project teams in several countries create artistic (and possibly participatory) coverage of the perceptions of the Habsburg in their respective country. The resulting creations (presentable on a screen) would then be integrated in a website and included in installations to be displayed at Habsburg memory sites in the participating countries, juxtaposing the different perspectives in a modular fashion. An additional module could be dedicated to a participatory project involving people from all participating countries, taking the history of the Habsburg as a starting point to think about how peoples and nations would live with each other in an ideal, utopian world.

The idea is to start with sub-projects in México (Chapultepec Castle), Switzerland (Sempach battle site), Austria (various sites), and Bosnia (Sarajevo site of the assassination of Archduke Ferdinand). Further countries and memory sites could be added as the project evolves.

Current State of Advancement (September 2024)

Pilot Project in Mexico

A student group at Benemérita Universidad Autónoma de Puebla (BUAP)^[1] has implemented a pilot project for México. In parallel, it is planning to reach out to Chapultepec Castle (residence of Emperor Maximilian and his wife Charlotte) and another Habsburg memory site in México.

• Short animation film: Memories of Habsburg (presented on 5 Sept. 2024)
• Short animation film: Reflections on the “making of” (presented on 5 Sept. 2024)  

Projects in Switzerland, Austria, Bosnia, etc.

We are looking for cooperation partners in various countries who would be interested in developing an artistic and/or participatory project in relation to a Habsburg memory site in their country and in connecting with the other partners on an international level.

Switzerland

Habsburg Memory Sites

• Habsburg Castle (built: ca. 1020)
• Muri Abbey (founded: 1027)
• Königsfelden Monastery (founded: 1308)
• Morgarten (1315) Battle Sites
• Sempach (1386) Battle Site
• Empress Elisabeth of Austria (Sissi) - Assassination (1898) Site in Geneva / Statue

See also:

• Kauf Luzerns durch Habsburg, 16. April 1291 (Staatsarchiv des Kantons Luzern)
• Hugener, Rainer (2012): Erinnerungsort im Wandel. Das Sempacher Schlachtgedenken im Mittelalter und in der Frühen Neuzeit. In: Der Geschichtsfreund. Zeitschrift des Historischen Vereins Zentralschweiz, Jg. 165 (2012), S. 135–171.
• Elsasser, Kilian, T. (2015): Die Geschichte der Alten Eidgenossenschaft in neuen Schläuchen – eine Ausstellungskritik. In: Nike-Bulletin, 2015(3), S. 8-10.
• Neue Sicht(en) auf Morgarten 1315?, Der Geschichtsfreund. Zeitschrift des Historischen Vereins Zentralschweiz, Jg. 168 (2015). 
• Niederstätter, Alois (2015): Das Morgarten-Geschehen aus österreichischer Sicht : Erinnerung und Historiographie. In: Der Geschichtsfreund. Zeitschrift des Historischen Vereins Zentralschweiz, Jg. 168 (2015), S. 45-56.
• “Die Eidgenossen kommen! Geschichten zum Aargauer Schicksalsjahr 1415 erleben (Kanton Aargau, 2024)
• Zeitgeist um 1900: Ein Rundgang durch Luzern (Kurt Messmer, Blog Schweizerisches Nationalmuseum, 2024)

International Project

The international project needs to be further specified. Several funding avenues have been identified that need to be evaluated.

Contact Persons

If you would like to cooperate and implement the project in your own country, please get in touch:

• Sandra Palacios (sandra.palaciosg at correo.buap.mx)
• Beat Estermann (beat.estermann at opendata.ch)

[1] As part of the CultureFLOW programme implemented in cooperation between BUAP and Opendata.ch in the context of the Swiss GLAMhack 2024.

Artifacts in ethnographic collections are approached through an artistic and/or participatory approach. To the extent possible, they involve and give the word to the communities concerned by the artifacts.

Currently, student groups at Benemérita Universidad Autónoma de Puebla (BUAP)^[1] are working on two such projects:

• “La Mujer Lipan” is a stop-motion/live-action short film project centering around a statue of a Lipan woman in the collection of the ethnographic museum in Geneva. It aims to dive into the collective memory of the Lipan people (the south-easternmost Apache tribe living across the border between Texas and Mexico). For this purpose, the project team is planning to travel to the border region in order to meet representatives of the tribe. In parallel, the museum has been approached with a request for cooperation.Video about the project, presented at the GLAM Night, on 5 September in Lucerne: 

4.Mujer Lipan Presentación (EngSub).mp4

• The second project centers around Mexican masks in the exhibition of Museum Schloss Burgdorf (Burgdorf Castle Museum). The museum has suggested that the students produce a short video about objects in the museum’s exhibition giving their (the local, Mexican) perspective on it. The idea is to include the video in a video station in the museum, which will include other people’s perspectives on museum objects. The content of the video station will also be available on the web.

                Video about the project, presented at the GLAM Night, on 5 September in Lucerne:                1.MexicanMasks.mp4

Further contributions may center around other artifacts or the topic may be approached on a meta level:

• How could / should such artistic and/or participatory projects around objects in ethnographic collections be documented and presented?
• To what extent would it make sense to present such projects and their outputs on a common webpage, thus creating another link between the museums, the artifacts, the artists, and the people concerned?  

Participants:   

Focus on Mexico:

• Sandra Palacios (BUAP)
• Beat Estermann (Opendata.ch)

• Various students’ groups at BUAP (approx. 25 persons).

Focus on Eastern Africa

• Sandra Becker (Wikimedia CH)
• Yara Schaub (Wikimedia CH)

Documentation:

GLAMhack 2024:

https://docs.google.com/presentation/d/1PcG10bAUCcD6dqs6rwyuRriiqWgYpGla77rH_WhSpaQ/edit?usp=sharing

[1] As part of the CultureFLOW programme implemented in cooperation between BUAP and Opendata.ch in the context of the Swiss GLAMhack 2024.

Institutions holding artifacts from Mesoamerica are being approached in order to ask them to make their collections accessible online: their catalogs, photographs of the artifacts, etc. In line with the OpenGLAM Principles^[1], they are asked to make their catalogs available in a machine-readable format, and – to the extent possible – to make the photographs available for reuse by uploading them to Wikimedia Commons. Progress of the project will be documented on Meta Wiki.

So far, this project has been pursued by Opendata.ch as a pilot project in cooperation with the Benemérita Universidad de Puebla (BUAP), focusing on ethnographic collections in Switzerland. In a next step, this project could be extended to Mexican institutions, before extending it to institutions in further countries. Reaching out to the different museums and convincing them to open up their collections requires a long-term outreach effort that is ideally coupled with a GLAM hackathon, a university class, or a Wikipedia edit-a-thon, in order to provide the institutions with concrete examples of data reuse. Ideally, a broader form of cooperation with the museums that goes beyond the mere publication of data evolves over time.

In the context of the Swiss GLAMhack, we are looking for Swiss partner institutions who are willing to support us in our endeavor.

To spur the creation of artistic projects based on Mexico-related heritage collections in Switzerland, Opendata.ch has teamed up with BUAP. Together, we have implemented a novel method (termed “CultureFLOW”) for the facilitation of artistic creative processes that engage with collective memories, in the form both of heritage artifacts and of living memories. A pilot project has been implemented that involves students in visual arts from Mexico as well as Mexico-related heritage collections in Switzerland. Three artistic projects that have arisen from this cooperation will be presented at the Open GLAM Night on 5 September 2024 in Lucerne.  

As a next step, BUAP is planning to hold a GLAM hackathon in Puebla, México, in 2025, where the datasets / collections pertaining to Mesoamerican cultures will again be promoted and where their usage will be encouraged. Another avenue to facilitate the (re)use of these datasets / collections is the planned creation of a Wikipedia/Wikimedia Club at the university.

Making Collections Accessible Online: A Step-by-Step Guide

Making heritage collections accessible online is a step-by-step process (see figure 1). In this section, we summarize the insights gathered in the course of the Swiss pilot project in 2024, with a focus on ethnographic collections^[2]. With regard to some aspects, earlier experiences with natural history collections are taken into account as well.

Figure 1: Making Collections Accessible Online in Three Phases

Phase 1: Laying the Foundations

There are two important first steps that need to be accomplished before collections can be made available online:

1. Existing collection catalogs, finding aids, etc. need to be digitized. In some cases, a central collection catalog will need to be created from scratch, based on existing documents or the physical organization of the collection (no. 1 in the figure).

Best Practice:Digitize existing (analog) catalogs in order to be able to link the entries in the digital catalog to earlier versions of the catalog (sources). Example: Collection catalog of the Musée d’ethnographie de Genève (see the links to the historical catalogs at the bottom of the page).

1. Given the fact that catalogs of ethnographic collections often contain only very little information about the artifacts and the information available may be of dubious quality, it is important to provide photographs of collection artifacts alongside the catalog information. Consequently, existing photographs need to be digitized or new photographs need to be taken (no. 2).

Best Practice:

When taking new photographs of artifacts, make sure to secure sufficient usage rights to the photographs to (later) be able to release the high-resolution images online under a free copyright license.(provide a sample contract…) 

Phase 2: Facilitating Access

An important next step is to make the collection catalog available online (no. 3). Depending on the maturity level of the database, this can be done in various forms. As a rule, it is more useful to make the existing catalog available online now than to wait until it can be done in the perfect format .

Thus, for example, the publication of the catalog in PDF format as an intermediate solution (example: Inventory Lists of Museum der Kulturen Basel) provides for better online access than would the decision not to publish exports from the current collection database and to wait for the acquisition and roll-out of an online collection database instead.

Best Practices:

• Provide images alongside the text information contained in the collection database.
• The images should have the highest resolution (legally) possible, in order to maximize their usefulness.
• The entry for each artifact should have its own persistent identifier; persistent identifiers should be dereferenceable (i.e. an URI consisting of a standard path and the persistent identifier should return the description of the artifact in the online catalog).
• Artifacts should be findable in the collection database when a user enters the persistent identifier in the search interface.
• The landing page of the catalog should be referenced in Wikidata by means of a P8768 (online catalog URL) statement. 

In addition, the institution should signal its readiness to respond to and to engage with potential re-users of the data. This can be done by different means, e.g.:

• Indicate an address and a method by which high-resolution images of collection artifacts can be obtained and ensure an efficient process for doing so.
• Advertise the catalog and digital images in the context of hackathons to encourage their re-use.
• Advertise the catalog, digital images, and further information about the collection in the context of a Wikipedia edit-a-thon.

Best Practices:

• Provide pointers to competent experts that can provide potential re-users of the data with additional information about the collection or individual artifacts.

Example Case: Musée d’ethnographie de Genève

Phase 3: Facilitating Re-use

Re-use of data and digitized artifacts can be facilitated using several strategies:

1. If the rights situation (copyright, personal rights, collective rights of the communities concerned) allows for it, digitized artifacts should be made available online under a free copyright license in the highest quality possible. To facilitate their reuse in the context of Wikipedia and elsewhere, the high-resolution images can be uploaded to Wikimedia Commons, alongside their metadata.

Best Practices:

• To facilitate the interlinking of collections, collection items should be described on Wikidata. If no high-resolution image can be uploaded to Wikimedia Commons for legal reasons, Wikidata entries could point to the respective entry in the online catalog.
• If the detailed description of individual artifacts in Wikidata seems too onerous, object collections can be referenced by means of the method described at the WikiProject “Heritage Collections” in order to improve their discoverability in the future.  

Example Case: Museum Rietberg… 

1. Data re-use can be proactively promoted and facilitated by an institution's active involvement in hackathons, edit-a-thons, or other participatory formats in the role of a data provider, challenge owner, and/or (co-)organizer, and/or by having its staff members participate actively in such events as resource persons, facilitators, or regular participants working alongside other participants.Example Case: Museum Schloss Burgdorf… 
2. To enhance their impact and visibility, third party contributions, such as new creations based on the data provided, improvements to the data, or linkages to other collections, can be fed back into the collection (or the collection database) and/or given some visibility within an institution’s exhibition(s).Example Case: Museum Schloss Burgdorf…     

Make Sensible Use of Participatory / Crowdsourcing Approaches (All Phases)

Under development; cf. Oomen / Arroyo (2011): Crowdsourcing in the Cultural Heritage Domain: Opportunities and Challenges.

Example Cases (under development)

Museum Schloss Burgdorf

• Opendata.ch contacted the museum in early 2024
• …

From the Pilot Project to a Global Cooperation Project

The following approaches have been suggested to move from the pilot project to a global cooperation project:

1. Roll the project out for other countries / geographical regions, adapting it to the local situation:

1. Guatemala (as a part of Mesoamerica), via OKFN
2. East Africa, via WMCH (currently in focus, as of Sept. 2024)
3. Nepal (regional scope to be defined: e.g. India & Nepal), Open Knowledge Nepal
4. India (regional scope to be defined: e.g. India & Nepal), partner organization to be defined / freelancer
5. Ghana (regional scope to be defined), Open Knowledge Ghana
6. Tanzania (regional scope to be defined), Open Knowledge Tanzania (in the process of being established)
7. Finland (focus to be specified: incoming/outgoing), Avoin GLAM
8. United Kingdom (focus: incoming; focusing on Mesoamerica in a first phase), Wikimedia UK
9. Armenia (collaborate with Armenian ethnographic museums / Swiss institutions), Wikimedia Armenia
10. Brazil - reach out to partners at the University of Sao Paulo (the university has its own ethnographic museum)
11. Austria (focus: incoming; regional focus to be specified) - reach out to Wikimedia AT. 

                Research Question: 

• What are possible models and the required framework conditions to roll out the project in another country / another geographical region?

        Inputs / Ideas regarding further focus areas / cooperation partners in Switzerland

1. Peru / Abegg-Stiftung (old textiles of Peru)Unfortunately there are almost no images of the special exhibition about old textiles of Peru on the website of the Abegg-Stiftung.

Here the archive page of the exhibition.

According to the press release, the textile are the property of the Abegg foundation, acquired by Werner Abegg between 1930 and 1933: 

«Die frühperuanischen Textilien in der Abegg-Stiftung stammen fast alle aus der privaten Sammlung von Werner Abegg (1903–1984). Den grössten Teil davon erwarb er bereits am Anfang seiner Sammlungstätigkeit, zwischen 1930 und 1933.»

         Exhibition catalogue: “Textilien aus dem alten Peru” (in German)Co-Produktion der Abegg-Stiftung und des Museums Rietberg, Zürich | 288 S., 250 Abb., 68 Zeichnungen, leinengeb., 23 x 31 cm, 2007, ISBN 978-3-905014-32-7

https://abegg-stiftung.ch/publikation/textilien/ 

1. Focus also on access to scientific publications: The Open Access policies in the Global North have led to the establishment of funding models relying on Open Access Publication Charges which make it increasingly harder for researchers in the Global South to get papers published in established journals. The field of ethnographic studies could be used as one example field that is being analyzed from this point of view, with the perspective of improving the situation (alongside other fields, such as health, climate, etc.).Key cooperation partner: Budapest Open Access Initiative (in the process of being converted into an organization).

1. Reference Research Expeditions on Wikidata to connect artifacts in different collections - see WikiProject Research Expeditions. 

Contact:

• Sandra Palacios (sandra.palaciosg at correo.buap.mx)
• Beat Estermann (beat.estermann at opendata.ch)

Participants:

• Joris Burla (Museum Rietberg, Zürich)
• Sandra Becker (Wikimedia CH)
• Yara Schaub (Wikimedia CH)
• Flor Méchain (Wikimedia CH)
• Rose Mwikali

[1] https://openglam.org/principles/ 

[2] See also: Mexico-related ethnographic collections in Switzerland