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Online/Digital cultural heritage platforms have the potential to serve as empowering sites and tools for democratic participation, and for promoting social cohesion, acting as convergence points for diverse societal groups. They enable the gathering of multiple voices, including those of minorities and groups often marginalised in mainstream cultural heritage documentation. This research paper examines the ways in which these aspirations of cultural heritage platforms as meeting, learning and dialogic spaces for connecting and empowering online communities have been realised.

Using a qualitative design, interviews were conducted with users of New Zealand’s Auckland War Memorial Museum’s Online Cenotaph. Participants shared their experiences with the platform, perceptions of it as a collective social history resource and views on its role as a participatory space for online communities. They also discussed their expectations for its development as an online space for collective memorialisation.

Interviews revealed that users value Online Cenotaph for placing personal, publicly contributed memories and narratives alongside primary military sources. Participants expressed feelings of civic responsibility, social awareness and a sense of identity and connection through their use and contribution to this online commemorative space. The shift from a one-way flow of information from the Museum towards embracing public contribution embodying a high-trust approach, was a notable finding.

This research underscores the evolving role of museums and other GLAM institutions in recognising the importance of inclusivity, diversity and community participation. It provides insights into how digital cultural heritage social platforms can contribute towards these goals and promote social cohesion. This research is also a starting point for further studies on crowdsourcing and social Web activities on digital cultural heritage platforms as sites of community building through public participation and engagement in historical/cultural heritage narratives.

The COVID-19 pandemic and its related economic meltdown and social unrest severely challenged most countries, their societies, economies, organizations, and individual citizens. Focusing on both more and less successful country-specific initiatives to fight the pandemic and its multitude of related consequences, this chapter explores implications for leadership and effective action at the individual, organizational, and societal levels. As international management scholars and consultants, the authors document actions taken and their wide-ranging consequences in a diverse set of countries, including countries that have been more or less successful in fighting the pandemic, are geographically larger and smaller, are located in each region of the world, are economically advanced and economically developing, and that chose unique strategies versus strategies more similar to those of their neighbors. Cultural influences on leadership, strategy, and outcomes are described for 19 countries. Informed by a cross-cultural lens, the authors explore such urgent questions as: What is most important for leaders, scholars, and organizations to learn from critical, life-threatening, society-encompassing crises and grand challenges? How do leaders build and maintain trust? What types of communication are most effective at various stages of a crisis? How can we accelerate learning processes globally? How does cultural resilience emerge within rapidly changing environments of fear, shifting cultural norms, and profound challenges to core identity and meaning? This chapter invites readers and authors alike to learn from each other and to begin to discover novel and more successful approaches to tackling grand challenges. It is not definitive; we are all still learning.

The purpose of this study is to propose a set of design recommendations for crowdsourcing platforms with a focus on user engagement. A sample of New Zealand (NZ) cultural heritage institutions (CHIs) crowdsourcing platforms were assessed, with the aim of offering insights into how they have been designed to encourage dialogue and engagement and to sustain participation.

The design recommendations were derived from a review of related works. Following this, 12 crowdsourcing projects overseen by libraries, museums and an archive in NZ were assessed against the recommendations through content analysis.

The recommendations were classified into four main categories. These were promote ease of use, attract and sustain user interest, foster a community of users and show users that their work is contributing to the institution and society. The findings indicated that the sample of crowdsourcing projects assessed were generally successful at displaying the credibility and significance of their projects, and promoting their crowdsourced collections. Many of the projects could nevertheless benefit from providing further support to promoting dialogues and engagement with their users and contributors and sustaining offline community interaction.

The content analysis conducted was focused on the functionality of design elements of the crowdsourcing platforms. The design recommendations derived from the analysis were intended as a starting point for discussion and they would need to be validated in further studies. Other relevant project information such as funding and staffing, promotion and outreach efforts were not solicited in this study. Such information could provide important contextualisation. Future research could take the form of in-depth case studies, including surveying those involved in the projects and stakeholders to investigate such contextual aspects of crowdsourcing projects.

Previous research on crowdsourcing in NZ CHIs consisted of single case studies. This study provides a wider snapshot and insights into digital crowdsourcing platforms from public NZ CHIs. The study findings have practical implications for project managers and Web designers involved in crowdsourcing projects, particularly those in the cultural heritage sector.

The relatively under-documented “dark side” of participatory activities facilitated by memory institutions through social media is examined in this study. The purpose of this paper is to investigate the risks and perception of risks resulting from using social media for public engagement and participation.

Semi-structured interviews were conducted with fourteen representatives from the New Zealand information and cultural heritage sector who at the time of the study were holding the main responsibilities of overseeing the social media and participatory activities of the institutions they represented.

It is not evident that the growth of social web has significantly changed the way the heritage sector seeks participation. Only a small minority of the sample institutions appear to be using social web tools to build community and to enhance their heritage collections. For the majority, institutional use of social media is for creating a “chattering space”. The main concerns identified by interviewees were reputation management and the risk management process followed by most institutions appeared to be reactive, responding to problems as and when they occurred, rather than proactive about risk identification and avoidance.

Findings are not generalisable as the sample size of thirteen institutions is relatively small and is limited to one national context.

Findings provide insight into largely unexplored issues relating to the development of participatory cultures by memory institutions. The paper highlights a key area where further research is needed, namely to explore whether participatory heritage should primarily be about curated viewpoints or whether it should encompass capturing living dialogues, even when conversations are potentially offensive.

This chapter presents an innovative learning opportunity for tourism students, International Tourism and Hospitality Academy at Sea, that has been in operation for the last 10 years. The program could render itself as a case study of Kolb’s experiential learning theory according to which knowledge is created by transforming experience. Its uniqueness and complexity lie in its diversity. This program has involved between 80 and 130 tourism students yearly from four to six institutions from different countries participating in new scholarly inputs by non-resident professors and instructors.

THE following abstract in tabular form has been prepared by some junior members of the Islington Public Libraries staff for the use of candidates in Section V. of the Library Association Examination. It does not pretend to do more than set out the chief provisions of the various Public Libraries Acts in a clear manner, as an aid to the memorization of the principal powers and duties conferred upon library authorities. The whole of the Acts can be purchased through any bookseller for 1s. 4½d., and every student of librarianship is advised to procure them.