Anthony Bou Kabalan Geagea | Conservation Architect | DGA Inventory Officer, Lebanon

Which workshops did you attend?

I participated in the summer school program “Digital Tools for Cultural Heritage Management, 2025” focused on QGIS, laser scanning, and photogrammetry; a combination of tools essential for heritage documentation and spatial data analysis. When I first enrolled, I expected to gain technical knowledge and practical skills. What I didn’t expect was how transformative the experience would be, not only for my projects but also for my personal and professional growth.

Was the training an opportunity to enhance your connection with your peers?

Absolutely. One of the most enriching aspects of the program was the diversity of its participants. Coming from different disciplines and countries, we brought varied perspectives to the table, fostering dynamic discussions and collaborative learning. These interactions extended well beyond the classroom and helped create a network of peers with whom I continue to exchange ideas and expertise.

Has the training contributed towards the improvement of your career?

Without a doubt, the training was exceptionally well designed and directly aligned with the needs of my field. As someone working in heritage documentation, the sessions on GIS tools, 3D modeling, and field-based data collection were immediately applicable to my day-to-day responsibilities. The curriculum struck an effective balance between theoretical foundations and hands-on practice, strengthening my professional profile and deepening my technical expertise.

The skills and knowledge I gained through the summer school have been especially valuable in my current role as Inventory Officer at the Directorate General of Antiquities (DGA) in Lebanon. In this position, I support the research and integration of geographic data and heritage descriptions into a comprehensive geospatial inventory of endangered sites in South Lebanon, many of which are currently at risk due to the ongoing war in the region. The use of QGIS, central to both the training and my present work, plays a crucial role in enabling the DGA to maintain an up-to-date, accurate, and accessible database of the region’s vulnerable cultural heritage assets.

Do you feel that your ability to perform relevant tasks has improved?

Yes. My ability to handle spatial data, conduct field surveys, and perform digital documentation tasks has improved significantly. Thanks to the course, I now confidently apply advanced QGIS techniques and photogrammetric workflows in my professional practice. What made this particularly impactful was the dedication of Dr. Cornelis, whose passion and continuous availability ensured that every participant gained clarity and support throughout the entire program.

Following the completion of the training, has your project benefited? How?

My current work involves documenting and managing cultural heritage assets using digital tools and spatial analysis. Since completing the training, the improvements in my workflow have been substantial.

• Field sites that were once captured using basic documentation methods are now rendered with much higher precision.
• The enhanced accuracy and detail have improved analysis, interpretation, and communication with stakeholders.
• Whether for internal reports, presentations, or long-term archiving, the quality of my project outputs has increased noticeably.

This training has directly strengthened the reliability and depth of the heritage documentation work I produce, ultimately benefiting the organizations and communities that depend on this data.

Would you recommend this training to others?

I totally recommend this program to heritage professionals, archaeologists, and anyone involved in spatial analysis or digital documentation. The training is rigorous, practical, and deeply relevant, offering not just technical skills but also a supportive and inspiring learning community. It is a meaningful opportunity to grow both professionally and personally while contributing to the preservation and understanding of our shared cultural heritage.

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Peter Adewale Jegede  | Consultant Curator and Heritage Researcher, Olusegun Obasanjo Presidential  Library, Nigeria  & 4th Cohort of Case Study Researcher, Open Restitution Africa 

Which workshop(s) did you attend? 

I have participated in several HERITΛGE programmes, including Engaging Communities in  Cultural Heritage, Temporary Exhibition and Touring Strategies, Conservation I, Conservation II, and I will complete Conservation III in November. 

Was the training an opportunity to enhance your connection with your peers? 

Yes. The workshops created a space where practitioners across Africa and beyond could exchange ideas and challenges. These connections have proved valuable in  my ongoing work with communities affected by restitution. 

Has the training contributed towards the improvement of your career? 

Absolutely.The courses strengthened my curatorial and research practice, especially in community engagement, preventive conservation, and exhibition  development. They also expanded my professional visibility in discussions around restitution in Nigeria. 

Do you feel that your ability to perform relevant tasks has improved? 

Yes. I now approach community-focused heritage work with clearer methods and greater confidence. The HERITΛGE training refined my skills in co-creation,  documentation, and culturally sensitive interpretation, all of which I apply directly in  my restitution engagements. 

Following the completion of the training, has your project benefited? How? 

My work at the Olusegun Obasanjo Presidential Library, Open Restitution Africa and  my broader engagements in Nigeria and beyond have benefited significantly. The training has helped me design community-centred dialogues following  restitution, such as the Restitution 101 Screening and Case Study Discussions that  attracted about ninety participants. It shaped the way I facilitated conversations with  descendant communities, allowing them to reflect on memory, trauma, and healing  from their own perspective. 

It has also strengthened my collaboration with communities in Ile-Ife, who are now  exploring opportunities for a similar programme. The knowledge gained from HERITΛGE directly informed how I approached these discussions, ensuring that community  voices remain central in post-restitution interpretation and planning. 

Would you recommend this training to others? 

Yes, without hesitation. The workshops are practical, engaging, and transformative. Anyone working in heritage, particularly those involved in archaeological work,  preservation of heritage sites, collection management, exhibition, restitution or community engagement, will find them invaluable.

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Khaulah Abdulkadir | Project Coordinator: The Urban Heritage Regeneration Accelerator, Kenya

Which workshop(s) did you attend?

Conservation Workshop I & II, and Digital Tools for Heritage Management.

Was the training an opportunity to enhance your connection with your peers?

Yes. I met inspiring professionals who not only guided me throughout the course discussions but also introduced me to membership in key heritage organizations I hadn’t known about before. I also built lasting bonds, a professional with restoration experience will visit Lamu [island in Kenya]soon to support my project. He has been instrumental in amplifying my work and helping me refine my research writing. 

Has the training contributed towards the improvement of your career?

The conservation training taught me to frame a clear restoration mission, highlight Lamu Old Town’s significance, and communicate its conservation infrastructure effectively. With the guidance and trust of my team, I successfully applied to and was selected for the Urban Heritage Regeneration Accelerator initiative, which I now coordinate. I am also honored to be selected for support from the Stavros Niarchos Foundation Scholarship Program for Heritage Managers in Africa, through which I hope to continue learning and achieve even greater impact in heritage conservation.

Do you feel that your ability to perform relevant tasks has improved?

Yes. I gained skills in assessing and articulating heritage values & significance, addressing authenticity issues, aligning with international charters, and developing a documentation strategy for Lamu’s buildings. Presenting my project during the workshops, and receiving strong peer support and selection as a case study, greatly boosted my confidence. This encouragement motivated me to explore the historic urban landscape approach further, which strengthened my case study presentation at the UNESCO Headquarters and enabled meaningful engagement in the forum.

Following the completion of the training, has your project benefited?

Absolutely yes. The final assignment of Conservation I provided the framework to clearly communicate the project’s mission, global significance and the urgent need to conserve the Lamu Old Town, which I believe contributed to its selection into the Accelerator initiative. Furthermore, it has helped me and my team in identifying the necessary kind of resources for its success and is now seeking support for that. It also helped me identify the most suitable communication strategies and the right organizations to partner with, strengthening support.

Would you recommend this training to others?

Definitely! The trainings are ideal for emerging professionals seeking foundational knowledge and opportunities to grow in the heritage field. Engaging sessions and supportive lecturers and organizers further fuel passion, build expertise, and deepen understanding of heritage conservation practices.

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Photo: Manor Magazine

18 Heritage professionals from 13 countries joined us for the online workshop ‘Organising Temporary Exhibitions from your Collections and Touring Strategies’. The programme was led by Sophia Handaka, Co-Founder and Host of the CoMuseum International Conference and Curator of World Cultures at the Benaki Museum, Dr Evangelos Kyriakidis, Director of the Heritage Management Organization, and Dana Andrew, an independent museum consultant specialising in touring exhibitions and international projects.

Dr Kyriakidis opened the workshop with a discussion on the values that shape cultural institutions and how exhibitions can fulfil their missions. Participants reflected on their organisation’s purpose, the types of exhibitions that align with that purpose, and the impact of local, national, and international partnerships. Sophia Handaka then led a session on exhibition creation strategies, focusing on the practical aspects of planning and developing engaging exhibitions. She emphasised the role of storytelling, interpretation, and the importance of accessibility to ensure exhibitions cater to all audiences.

I have gained valuable networks that I plan on utilizing to get advice and feedback on how to refine my exhibition to make it more successful.

Priscilla Mungoma,  Head of Commission for Museum Development Creative at Institution of Umukuuka Inzu Ya Masaaba

The second day featured guest speakers who shared their curatorial experiences. Alison Moloney presented her Fashion Accounts exhibition, which explored memory, resistance, and colonial legacies through clothing. Eileen Musundi from the National Museums of Kenya introduced the Kanga Stories travelling exhibition, which celebrates the cultural significance of Kanga cloth from Eastern Africa, demonstrating the power of community collaboration in exhibition design.

On the final day, Dana Andrew focused on strategies for touring exhibitions, both nationally and internationally. She highlighted the importance of aligning a touring strategy with an institution’s overall mission and shared case studies from the V&A Museum and other UK institutions. Andrew also stressed the importance of integrating evaluation into the early stages of exhibition planning to ensure long-term success and impact.

I really enjoyed how the course connected theory with practical experience. It was great to work on real-world projects, and I learned a lot through collaboration with workshop-mates.

Peter Jegede, Curator at On Your Mark

The workshop provided participants with valuable insights and practical tools to enhance their exhibition projects. “I’ve gained valuable insights on the best practices on curating a temporary exhibition. I have ained Knowledge from experts. U have gained valuable networks that I plan on utilising to get advice and feedback on how to refine my exhibition to make it more successful,” said Pricilla Mungoma, Head of  Commission for Museum Development at Institution of Umukuuka Inzu Ya Masaaba.

The workshops also emphasised the need for strategic planning, creative storytelling, and effective audience engagement, and elicited enthusiasm from participants. “I really enjoyed how the course connected theory with practical experience. It was great to work on real-world projects, and I learned a lot through collaboration with workshop-mates,” said Peter Jegede, Curator at On Your Mark. “Participating in this course will help me apply new ideas and techniques to my projects, especially in curating and exhibition planning. I’ll be able to approach my work with a broader perspective, improve my skills, and create more impactful and engaging exhibitions.”

To read more about our upcoming workshops, click here. 

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