Reinwardt Academy sees heritage as a value label established in interaction. As society, values and interactions change, heritage labels can be added as well as rescinded. Accordingly, all heritage is contested but some heritage more than others. We look at heritage in the broadest sense ranging from objects and places to practices and spaces. Heritage items can be old, but also quite recent in origin. For us, national museums are not more an object of study than a gay pride or a local football pitch. In our teaching, we do focus on historical and ethnographic collections, but experience museums and art institutions may equally be included. In all we do, we look at the balance and interaction between theory, practice and ethics which collectively form the basis for professionalism.

We have a core team of lecturers with a wide range of expertise. This team is supplemented with other Reinwardt Academy staff and guest lecturers. Information of our core staff you can find here.

The Fulltime and parttime master’s programme Applied Museum and Heritage Studies was accredited in 2020 by the accrediting body NVAO. It aims to give (future) museum and heritage professionals the knowledge and skills needed to help the sector, ranging from small grassroots organisations to well- established institutions, to fulfil their societal goals by means of meaningful interventions. Our graduates are to take (international) positions, as project leaders, section heads or as (independent) advisors, on the basis of their integrated vision on cultural heritage, ethics and societal issues. The intended learning outcomes, or competencies which were formulated on the basis of the Dublin descriptors, are in line with this professional profile, placing present-day societal issues at the forefront, in particular those centred around sustainability, inclusivity and digitality. Critical reflection on the role of the professional underlies all competencies, as professionals in the museum and heritage field operate in a wider societal context. The intended learning outcomes tie in with the level and (international) orientation of the programme; they are geared to the expectations of the professional field, the discipline, and international requirements. They are also distinguishable from academic master programme’s: offering knowledge and skills required for museum and heritage work with a focus on applied intervention research. For optimal teaching and learning, we expect our students to come in with work experience.

An international mind-set and orientation are quintessential to the academy’s vision on museum and heritage work. This is effectuated in various ways. The international outlook is reflected in the curriculum, which contains international case studies and policy frameworks, and a one-week international excursion. It is equally reflected in various geographic specialisations and international experiences of the core lecturers. This is supplemented by international visiting lecturers, from academia or professional institutions. Last but not least, an international orientation is achieved through the international classroom, with English as the language of instruction. The small-scale, but intense programme for annually some twenty students coming from some ten different countries creates an international dialogue, leading to the creation of new visions, understandings and insights, and an international mind-set which is everlasting. As students come from different educational and professional backgrounds this makes for an hyperdiverse classroom. In order for all students to have this stimulating educational environment, it is critical that part-time students – who are likely to be Dutch – sit in the same classroom as the full-time students – who tend to have a more international composition.

In order to realize the ultimate goal of the master’s programme – to develop students’ professionalism – various educational instruments are used: lectures, group work, individual work, field visits, individual tutoring, external advice, peer learning and peer feedback. The use of all of these teaching formats is based on the combination of practice, research and ethical reflection. In line with our vision on education, the use of new digital technologies is encouraged, both inside and outside the international classroom. The aim of teaching formats is to stimulate critical and philosophical reflection. In their teaching, all lecturers draw on professional experience and their current and relevant networks. This is supplemented with guest lectures given by professionals from the Netherlands and abroad, and visits to relevant organisations, where students can look behind the scenes and discuss museum and heritage practice with its staff.

Workshops and lectures
We prefer interactive educational formats, based on discussion and learning by doing. Frontal lectures are avoided. This can only be achieved if students come prepared and are willing, and comfortable, to participate. We thus expect students to have done the readings or other mandatory preparation when coming to class. The classroom itself is a safe space or indeed a brave space, for dialogue and exchange. Class discussion is with (guest) lecturers and peers alike, thus providing a valuable learning experience. Physical attendance is thus required.

Check-in sessions
At the start of every week time is reserved for a brief summary and reflection on the preceding week. This way loose ends and unresolved questions are identified and addressed early on. Students will not be left behind and at the same time a link can be made to the new topics of that week, which helps to create a mental state conducive to learning. At these moments, students are also encouraged to discuss current affairs in the light of heritage theory addressed in class. This is an opportunity to practice applying the Reinwardt theoretical triangles as analytical tools.

Field trips
Field trips are planned on a regular basis. Students visit museums and heritage organisations not only in Amsterdam, but also elsewhere in the Netherlands. A recurring theme is how choices concerning the treatment of cultural heritage are determined by the social, political and ideological context and how thecurrent design of museum and heritage interventions are the result of complex societal processes and ethical considerations. The programme includes a week long international excursion, organised in collaboration with one of our international partners. Students will then be able to experience and reflect on a different museum and heritage regime and share their insights with the hosts. Given these trips, we expect students to be in the possession of either a Museumkaart or an ICOM card.

Examples of past destinations in the Netherlands:

• Wereldmuseum Amsterdam
• National Heritage Agency
• Pampus Impact Island
• National Maritime Museum
• International Institute for Social History
• Imagine IC
• One Planet, Museon
• Rijksmuseum
• Portuguese synagogue
• Naturalis
• Stedelijk Museum Amsterdam
• Netherlands Institute for Sound and Vision

Presentations and feedback
In class settings as well as during excursions, students are expected to share with others what they have learnt, using different communication tools. This is an opportunity to challenge and expand their understanding of the issues at stake by having others ask questions, and to become aware of their own position in relation to others.

Peer learning and peer feedback
Peer learning is generally a very effective way of learning, particularly in the international and hyper- diverse classroom which the programme offers, given the fact that students arrive with different professional and educational backgrounds. Learning from each other as professionals and giving each other feedback are part and parcel of  both our educational activities and assessment structure.

Professional placement
The professional placement at the end of the programme gives the students an opportunity to develop their professional skills, attitude and experience and apply the theoretical knowledge that they have acquired during the programme, in a working environment. In addition, the placement is a way to build one’s network and increase access to the labour market. It differs from an internship in the sense that the student’s task at the hosting organisation is to conduct embedded research, rather than being engaged in day-to-day operations. Students who are interested in an internship can do that as an extracurricular activity, but it may cause a delay in completion of the programme, as the programme is already intense.

Self-study
Students complete a substantial part of the programme through independent study. Only part of the literature is presented to the student. Above all, students are expected to search for information themselves, using knowledge and information platforms such as byprofessional organisations and associations. They also accumulate knowledge from recent specialist literature and study material from professional practice – both case studies and policy guidelines.

All students will be assigned a tutor to help them make their way through the programme,. The tutor monitors academic progress, but can equally provide low key guidance on social issues, as well as on career development. This is particularly important for students, who do not find it easy to settle in, or need to get used to our interactive ways of teaching and learning.

An online learning environment assists education. The master AMHS uses MS Teams as its online learning environment, in which you can find module information, share and discuss related topics and submit your assignments. There is a Team for each module you are in. From there, you can easily upload class times into your Outlook agenda. In addition to the module specific Teams, there are general master and Reinwardt Teams. The occasional online meetings are held on the Teams platform and Reinwardt staff can be reached through Teams chat.

The study load is expressed in credits (EC) in accordance with the international European Credit Transfer System. One academic year (1680 study hours) corresponds to 60EC. One credit therefore equals 28 study hours. For each module, it is estimated how many hours the average student needs to completion. This is converted to the corresponding number of credits. The 60 EC AMHS programme consists of four modules and can be completed during one year of full-time study or two years of part- time study.

The master’s degree programme Applied Museum and Heritage Studies is a 60 EC programme. The structure of the programme is modular, with each module consisting of a self-contained unit of teaching, learning and assessment. The programme starts with reflecting and exploring, then expects students to start creating new interventions in groups, and concludes with independent intervention research. In the discussions, students are challenged to make connections to previous modules: from the first two modules (Researching Concepts and Engaged Professionalism), in which the common grounding is shaped, up to the group design project (Intervention Design) and the individual research project (Intervention Research). Having said that, by offering the first two modules in parallel, we are able to accommodate parttime students. Given the work experience of the part time students, they are capable of continuing to Intervention Design without Engaged Professionalism. A week-long Spring School has been added to accommodate fluctuating student learning goals, current affairs and ad hoc opportunities.

Programme build-up
Concepts discussed in Researching Concepts are studied in a practical context in Engaged Professionalism. The knowledge of theory (concepts) and practice are applied in Intervention Design, where students make collective decisions in a creative process. In the final module, Intervention Research, students will have to apply their knowledge independently and make autonomous decisions. This sequence is in line with Bloom’s taxonomy of learning objectives. In Researching Concepts and Engaged Professionalism the emphasis is on understanding, applying and analysing. In Intervention Design and Intervention Research students are to evaluate and create, the highest levels in Bloom’s taxonomy.

Researching Concepts
In conversation with academic experts, students reflect, at a conceptual level, on different academic and professional discourses about the dynamics of culture and societal change. The use and meaning(s) of key concepts such as culture, identity, heritage, sustainability, inclusivity, participation, authenticity and digitality are discussed, using concrete examples from different historical, social and spatial contexts. Students are given the tools to research these concepts. More detailed information can be found in the module summary.

Engaged Professionalism
While becoming acquainted with innovative approaches and methods in conversation with distinguished professionals and through workshops and field visits, students explore and discuss the practical and ethical challenges of museum and heritage work in direct relation to issues of sustainability, inclusivity and digitality. Part of this module are the development of intercultural and fundraising skills. Important aspects of any heritage work. More detailed information can be found in the module summary.

Intervention Design
In this module students work in groups on real issues for a real client. Every year a historic house museum will present its questions with regard to educational programming, visitor engagement, exhibition design and/or collection management. At the end of the module the groups pitch their intervention proposals to the client. Along the way, they learned about project and change management, and looked for inspiration during an international study trip. More information can be found in the module summary.

Intervention Research
During a placement students work as an embedded researcher at a museum or heritage organisation. They conduct independent research for developing, implementing or assessing an intervention in the museum or heritage field in relation to one of the topical issues: sustainability, inclusivity or digitality. This could concern any aspect of heritage work, including collection management, education, presentation or policy. Past students have conducted these placements at organisations such as Netherlands Institute for Sound and Vision, Museum van Loon, Stichting 2030, Van Gogh Museum, National Heritage Agency, Sonic Acts, National Museum of Antiquities, Meertens Institute and EuroClio. More detailed information can be found in the module summary.

Spring School
The Spring School is a week for free programming on the basis of student input. It can accommodate current topics, chance opportunities as well as particular workshops in preparation for the placement. International and interdisciplinary perspectives and encounters are actively thought. Students who are keen to take up a relevant summer school instead can apply for an exemption. More information is in the module summary.

Our approach to assessment is based on the RWA Educational Policy (2020-24) and gear to suit the goal of the programme to deliver internationally oriented, socially engaged professionals who can contribute to the future of museums and cultural heritage, in various roles and positions in organisations ranging from well-established institutes to grassroot initiatives in an intercultural society. Assessment policy should reflect our experienced student intake, our understanding of professionalism and our appreciation of diversity and inclusion.

In recognition of the diversity of backgrounds, strongpoints and possible special educational needs of our student intake, our assessment programme consists of a variety of assessment formats including oral presentations, podcasts as well as academic and non-academic written work. Peer feedback is included as the logical supplement to the peer education we promote in this hyper-diverse international classroom. Students are encouraged to also critically reflect on their own learning, just as they are encouraged to critically evaluate teaching modules and the programme as a whole. Students with special needs who may struggle with a given assignment, will be accommodated as much as possible with alternative settings or assignments, in consultation with the student guidance counsellor and the Examination Committee.

Assessment consist of both formative and summative assessment. Summative assessment is scheduled at the end of the educational activities with regard to the learning objectives to be assessed. In most cases, this is at the end of the module during a set assessment week. Formative assessment which is geared to give feedforward, is scheduled throughout each module. In the interest of student preparation and learning for some formative assessment participation is mandatory. Only Reinwardt Academy lecturers and guest lecturers, appointed by the Examination Committee, are mandated to perform assessments. Most summative assignments are assessed by two examiners. This reduces the chance of errors and bias, but also helps in calibrating standards.

Feedback and grading of assignments takes a maximum of 15 working days from the submission deadline date. All grading is accompanied by written feedback and an explanation of the grade awarded following standardized rubrics which are shared in advance. The rubrics are designed with the learning objectives in mind. Students can refer to the Education and Examination Regulations for full details of the official regulations. The assessment and grading are generally based on the Dutch system that uses grades 1 (very poor) to 10 (excellent). 5.5 is the pass mark. Minor assessments can be graded as sufficient / insufficient. In order to pass a module, no partial grade can be below 5.0, even if the weighted average for the module is above 5.5.

If an assignment is deemed insufficient, the student can resubmit it twice in the academic year at one of the dates communicated at the start of the year. Students who gained a satisfactory mark of 7.0 or below, but would like to incorporate the feedback for a higher grade, are given one opportunity to resubmit one such assignment. This way, students can deepen their learning without overly increasing the workload of staff. The final work cannot be resubmitted when deemed sufficient. Students whose final research work is graded 8 or higher, may qualify to graduate with distinction. For full details see the EER.

Artificial intelligence is becoming prevalent in society, notwithstanding professional, legal, ethical and sustainability concerns. In their work, students can make use of AI, be it with proper acknowledgement thereof and in the full understanding that they are themselves responsible of the quality work they submit.

The assessment programme is the assignment overview for the whole year in relation to the intended learning out comes. In the assessment schedule the actual assessment dates are provided.You have two resit / resubmission options in same academic year. Another two resubmission chances are provided the following academic year.

Only Intervention Research has entry requirements. You can only participate in the workshops if you have a confirmed placement provider. You can only start your placement if you have successfully completed Researching Concepts and after the approval of your research plan by Reinwardt Academy and your placement provider.

In line with our vision and ambitions, we truly value student feedback on the programme and all components thereof. We appreciate feedback at any point in time. For more formal feedback, each module is concluded with a panel discussion organised by the coordinating lecturer(s) to address mutual questions and concerns. What was appreciated? Where is room for improvement?

The coordinating lecturer drafts recommendations for improvement for the following year. In addition, we take the results of the National Students Evaluation (NSE) in close consideration. At the end of the year, the programme manager decides on possible changes in consultation with lecturers, the RWA quality assurance advisor and the Programme Committee. After completion of the programme a final Reinwardt survey is distributed among the graduates to reflect on the placement and the programme as a whole.

Mondays and occasional Fridays in Term 1 and 2.

To be able to:

• Define and discuss the core concepts used in academic and professional discourses on the dynamics of heritage;
• Define and discuss the core concepts used in academic and professional discourses on sustainability, inclusivity and digitality;
• Compare and contrast academic and professional discourses on the dynamics of heritage in relation to discourses on sustainability, inclusivity and digitality;
• Demonstrate a basic historical knowledge and a deep historical awareness in discussion of popular historical narratives. 

To be able to:

• Critically apply core concepts used in the field of ethnology and museology in relation to the dynamics of heritage making;
• Critically apply the concepts and principles regarding sustainability, inclusivity and digitality in relation to the dynamics of heritage making and museum work;
• Apply basic research strategies and methodologies.

To be able to:

• Actively and meaningfully participate in discussions about museum and heritage issues on an academic and professional level in English;
• Write a paper in professional English in accordance with academic standards.

Facilitatory Formative assessments

• Several QAQR reports on the mandatory readings, consisting of:
  1. A core Quote;
  2. A brief summary of the main Argument;
  3. Questions/comments, and
  4. It’s Relevance to the main theme of the programme;
• Paper topic and outline
• Peer-review of two reflective papers of fellow students before submission.

Summative assessments

• Podcast, in which you demonstrate a deep historical awareness in light of a popular historical narrative; In a podcast of about 10 minutes (max) you’ll discuss a national or regional popular historical narrative from your country or region of choice, and you link this narrative to a global history approach. When was the narrative constructed or written down? In what way have you been familiar with this story, and does a more ‘global’ approach to history change the meaning of this narrative? The podcast combines personal reflections (on your own historical education, national historical culture or memory), and awareness of the academic discussions on history (and memory) making.
• Reflective paper of 3-4000 words in which you critically reflect on current professional practices and instruments, in relation to issues of sustainability, inclusivity and/or digitality. The topic needs to be pre-approved with a view to safeguarding feasibility, standards and timely submission. The paper should include new primary data collected by personal research. This can be archival research, interview(s), social media study, (exhibition-) observations etc.

No additional requirements.

A sample of literature used in the past.

• Appiah, K., 2018. The Lies that Bind - Rethinking Identity. London: Profile Books. Read chapters Introduction and Classification (38 pp)
• Appiah, K. 2009. “Whose Culture Is It, Anyway?” In Cultural Heritage Issues. The Legacy of Conquest, Colonization and Commerce, edited by Nafziger, J.A. and Nicgorski, A.M., 207-222. Leiden: Brill. (15 pp.)
• Barrett, J. 2015. “Museums, Human Rights, and Universalism Reconsidered.” In Witcomb, A. and Message, K. (eds), The International Handbooks of Museum Studies. Volume 1: Museum Theory, Oxford: Wiley, 93-115. (22 pp)
• Basu, P. (ed), 2017. “The Inbetweenness of Things.” In Basu, P. (ed). The Inbetweenness of Things: Materializing Mediation and Movement between Worlds, London: Bloomsbury, 1-20. (20 pp)
• Bedford, L. The Art of Museum Exhibitions: How Story and Imagination Create Aesthetic Experiences, Routledge, 2014, chapter 6 ‘Working in the subjective mood’, pp. 91-128 (37 pp)
• Berns, S. 2015. “Considering the glass case: Material encounters between museums, visitors and religious objects”. Journal of Material Culture, 21 (2): 153-168. (15 pp)
• Buggeln, G. 2017. ‘Museum Architecture and the Sacred: Modes of Engagement’. In Religion in Museums: Global and Multidisciplinary Perspectives, edited by Gretchen Buggeln, Crispin Paine, and S. Brent Plate, 11–20. London: Bloomsbury.(9 pp)
• Chandler, E. ‘Reflections on Cripping the Arts in Canada’, Art Journal, 76:3-4 (2017) 56-59 (3 pp) www.tandfonline.com/doi/abs/10.1080/00043249.2017.1418484
• Cesari, C. di and Dimova, R., 2019. “Heritage, Gentrification, Participation: Remaking Urban Landscapes in the Name of Culture and Historic Preservation” International Journal of Heritage Studies, Vol.25, 9, 863-869. (4 pp)
• Dudley, S. H. 2012. “Encountering a Chinese horse: engaging with the thingness of things”. In Dudley, S. (ed). Museum Objects: Experiencing the Properties of Things, London: Routledge, 1-15. (14 pp)
• Flinn, A.,“Community Histories, Community Archives: Some opportunities and some challenges.” Journal of the Society of Archivists, vol. 28.2, (October 2007) 151-176. (25 pp)
• Gallo, J. 2010. ‘Doing Archival Research: How to Find a Needle in a Haystack’. In Research Confidential: Solutions to Problems Most Social Scientists Pretend They Never Have, edited by Eszter Hargittai, 262–86. Ann Arbor: University of Michigan Press. (25 pp)
• Geismar, H. 2018. Museum Object Lessons for the Digital Age. London: UCL Press. (read Chapter 2, 17 pp)
• Gunn, W., Otto, T. and Smith, R., 2013. Design Anthropology: Theory and Practice. London: Bloomsbury Publishing. Introduction.
• Harris, M., 2007. Ways of Knowing. New Approaches in the Anthropology of Experience and Learning New York, Oxford: Berghahn Books. 1-24 (23 pp)
• Hoskins, J., 2006. “Agency, Biography and Objects.” In Rowlands, M., Tilley, C. and Spyer, P., (ed). Handbook of Material Culture. New York: Sage Publications. 74-84. (10 pp)
• Hourston Hanks, L., Hale, J., MacLeod, S., ‘Introduction: Museum making: the place of narrative’, in: Suzanne MacLeod et. al. (eds.), Museum Making – Narratives, Architectures, Exhibitions. Oxford: Routledge, 2012, 19- 23 (4 pp)
• Ingold, Tim, ‘Introduction’ in Anthropology and/as Education. Londo: Routledge. 2017.
• Janes, R. R. and Richard, S. 2019. “Posterity Has Arrived: The Necessary Emergence of Museum Activism.” In Museum Activism, edited by Robert R. Janes and Richard Sandell, 1-21. London: Routledge, (22 pp)
• Janev (2020) “Ecosystem of Big Data”. In Janev, et al., (Eds) Knowledge Graphs and Big Data Processing. Lecture Notes in Computer Science, vol 12072. Springer, pp. 3-19.
• Jarness, Vegard, Modes of Consumption: from ‘what’ to ‘how’ in cultural stratification research in Poetics. 53 (2015): 65-79. dx.doi.org/10.1016/j.poetic.2015.08.002
• Jones, S. 2010. ‘Negotiating Authentic Objects and Authentic Selves: Beyond the Deconstruction of Authenticity’. Journal of Material Culture 15 (2): 181–203. (22 pp)
• Jouwe, N. and J. Tosh, ‘Introduction’, to, Amsterdam Slavery Heritage Guide mappingslavery.nl/en/community/publicaties/gids-slavernijverleden/
• Lord, B. and Maria P. eds. 2014. Manual of Museum Exhibitions. Lanham: Rowman & Littlefield. (ch. 15 Preparing the exhibition brief)
• Lorde, A. ‘There is no Hierarchy of Oppressions’, Homophobia and Education, New York: Council on Interracial Books for Children, 1983 uuliveoak.org/pdfs/worship_9-04-09_excerpts_no_hierarchy_of_oppressions.pdf (1 pp)
• Mingus, M. ‘Changing the Framework: Disability Justice. How our communities can move beyond access to wholeness’ leavingevidence.wordpress.com/2011/02/12/changing-the-framework-disability-justice/ (2 pp)
• Missonier, S. and Loufrani-Fedida, S., (2014). “Stakeholder analysis and engagement in projects: From stakeholder relational perspective to stakeholder relational ontology”. International Journal of Project Management, 32(7): 1108-1122. (14 pp)
• Navarrete Hernandez, T. and Mackenzie Owen, J., 2016. “The Museum as Information Space. Metadata and Documentation.” In Borowiecki, J., (ed.), Cultural Heritage in a Changing World. Amsterdam: Springer. link.springer.com/chapter/10.1007/978-3-319-29544-2_7 111-123 (12 pp)
• Navarrete Hernandez, T., 2016. Change in access to heritage after digitization: ethnographic collections in Wikipedia. In Cultural Trends. www.tandfonline.com/doi/full/10.1080/09548963.2016.1241342 25(4):233-248.
• Schavemaker, M. ‘Changing the Game Museum Research and the Politics of Inclusivity’, in: Kim Seong-Eun, Choi Jina, and Song Sujong eds. The Curatorial in Parallax, Seoul: National Museum of Modern and Contemporary Art (MMCA) (2018), 89–105. stedelijkstudies.com/journal/changing-the-game-museum-research-and-the-politics-of-inclusivity/ (17 pp)
• Schmidt-Lauber, B. 2012. “Seeing, Hearing, Feeling, Writing. Approaches and Methods from the Perspective of Ethnological Analysis of the Present”. In Bendix, R. and Hasan-Rokem, G., (eds). A Companion to Folklore, London: Wiley Blackwell, 559-78 (19 pp)
• Tignor, R., Worlds Together, Worlds Apart. A History of the World (2017, 5th ed.). Introduction (Our Guiding Principles + Our Major Themes): 35 – 38 (3 pp)
• Ünsal, D. 2019. ‘Positioning Museums Politically for Social Justice’. Museum Management and Curatorship34(6): 595–607. (12 pp) doi.org/10.1080/09647775.2019.1675983.
• Vrana et al., (2018) ‘A Networked Analysis of Museums on Instagram’. In Strategic Innovative Marketing and Tourism. 7 ICSIMAT proceedings. link-springer-com.eur.idm.oclc.org/book/10.1007%2F978-3-030-12453-3
• Winter, T. ‘Clarifying the critical in critical heritage studies’. International Journal of Heritage Studies, vol. 19, no. 6, 532-545. DOI 10.1080/13527258.2012.720997 (13 pp)
• Zbuchea, A., & Bira, M. (2020).”Does Stakeholder Management Contribute to a Museum’s Sustainable Development?”. Management Dynamic in the Knowledge Economy. 8(1), 95-107. DOI 10.2478/mdke-2020-0007 (12 pp)

Wednesdays and occasional Fridays in Term 1 and 2.

Knowledge & understanding

• Have knowledge and awareness of contemporary societal issues, in particular those related to the focus areas sustainability, inclusivity and digitality and how these issues impact and are impacted by museum and heritage work;
• Have a basic historical knowledge framework and is aware of the constructed nature of historical narratives.  

Apply knowledge 

• Can critically apply their knowledge and understanding of the intricate relations between societal developments and museum and heritage work in order to address the issues at hand in an ethical manner, in known and unknown professional environments, and by means of independent applied research;
• Can effectively apply principles of team, process and change management in collaborative work and in intercultural and international settings in order to accomplish organizational goals.  

Forming judgement

• Have the ability to integrate knowledge and intervene in complex museum and heritage interactions within the context of the three focal areas of sustainability, inclusivity and digitality; acting in an ethical manner while aware of the mission and mandate of the different stakeholders involved.  

Communication

• Can effectively exchange knowledge and experience in p rofessional language within the work environment through speech and writing, and the use of visual aids with the different stakeholders concerned, senior management, professional peers, clients, and/or audiences.  

Learning skills

• Can recognize and autonomously address areas for further personal professional development given tasks at hand and the ever-changing societal and organizational needs.  

To be able to:

• Demonstrate an in-depth understanding of ethical and practical dilemmas with which heritage professionals are confronted;
• Demonstrate historical knowledge and historical awareness in professional or educational context.

To be able to:

• Choose existing or develop new instruments with the aim to facilitate heritage professionals to meet ethical and practical challenges.

To be able to:

• Critically assess and evaluate ethical and practical dilemmas;
• Formulate a vision on ethical and practical dilemma’s that heritage professionals face;
• Propose to the most appropriate funder for a given museum and heritage project and justify this choice.

To be able to:

• Effectively explain the complexity of a given museum & heritage field to an intercultural audience in English.

To be able to:

• Identify personal knowledge gaps which need to be addressed in order to meet short-term professional career goals.

No additional requirements.

A sample of literature used in the past.

• Alivizatou, M. Intangible heritage and the museum: new perspectives on cultural preservation. Walnut Creek: Institute of Archeology, 2012. Ch 2
• Navarrete (2020) “Crowdscourcing the digitalization of heritage”, in Massi and Vecco (Eds.) Digitization and the Arts. Routledge.
• UNESCO World Heritage InfoKit file:///C:/Users/m.welling/Downloads/activity-567-1.pdf RCE State of Conservation Report of Kinderdijk 2020
• Albers, Fleur, Dré van Marrewijk, Cees van Rooijen, Yoran van Boheemen, Rick Lensink HUL in Holland. Implementation of the Historic Urban Landscape approach in Dutch World Heritage sites. RCE 2018
• Council of Europe, Faro Action Plan Handbook 2018-2019. www.coe.int/en/web/culture-and-heritage/faro-action-plan
• Winter, Tim (2015) Heritage diplomacy, International Journal of Heritage Studies, 21:10, 997-1015, DOI: 10.1080/13527258.2015.1041412
• Adam Hammond 2017. The Two Things You Need to Know to Make a Twine Game www.adamhammond.com/wp-content/uploads/2017/03/1_gettingstarted_twineguide2-1_hammond.pdf
• Banks, J.A. Multiculturalism’s 5 dimensions (7 pp) learner.org/wp-content/uploads/2019/02/3.Multiculturalism.pdf
• Bentley, E. and Lee, J. A. 'Performing the Archival Body: Inciting Queered Feminist (Dis)locational Rhetorics Through Place-Based Pedagogies', Peitho Journal 21.1 (2018). (29 pp)
• Chapman, M. “Managing Collections or Managing Content? The Evolution of Museum Collections Management Systems.” In The International Handbooks of Museum Studies: Museum Practice, edited by C. McCarthy, 267-292. Oxford: Wiley, 2015. (25pp). CIDOC. Statement of principles of museum documentation.
• CIDOC Documentation Standards Working Group (4pp) network.icom.museum/fileadmin/user_upload/minisites/cidoc/DocStandards/principles6_2.pdf
• Council of Europe (2014), Recognising intercultural competence: What shows that I am interculturally competent? www.coe.int/t/dg4/education/pestalozzi/Source/Documentation/ICCTool2014/ICToolGB.pdf
• Falk, John H. 2009. Identity and the Museum Visitor Experience. Walnut Creek: Left Coast Press. Chapter 7 and 9
• Hooper-Greenhill, Eilean. ‘Studying Visitors’, in Macdonald, Sharon (ed.). A Companion to Museum Studies. Oxford, Malden: Wiley-Blackwell, 2011, p. 362-376
• Kassim, S. 2017. “The museum will not be decolonised.” Last modified 15 November 2017. mediadiversified.org/2017/11/15/the-museum-will-not-be-decolonised
• Kassim, S. 2019. ‘The Museum Is the Master’s House: An Open Letter to Tristram Hunt’. Medium. 21 August 2019. medium.com/@sumayakassim/the-museum-is-the-masters-house-an-open-letter-to-tristram-hunt-e72d75a891c8
• Lehrer, E. T., and Smotrich, H. 2007. ‘Jewish? Heritage? In Poland?: A Brief Manifesto & an Ethnographic-Design Intervention into Jewish Tourism to Poland’. Bridges: A Jewish Feminist Journal 12 (2): 36–41 (5 pp) huc.edu/sites/default/files/Governance/Board-Mission-Poland-Israel/Dr.%20Erica%20T.%20Lehrer,%20Jewish%20Heritage%20Poland%20A%20Brief%20Manifesto.pdf
• Lettellier, R. Recording, Documentation, and Information Management for the Conservation of Heritage Places: Guiding Principles. Los Angeles: Getty. xv – xviii. (3 pp.) www.getty.edu/conservation/publications_resources/pdf_publications/pdf/guiding_principles.pdf
• Levin, Amy K. 'Introduction', in: Joshua G. Adair, Amy K. Levin eds. Museums, Sexuality, and Gender Activism (London 2020). 1-16 (16 pages).
• Macdonald, S. 2008. ‘Unsettling Memories: Intervention and Controversy over Difficult Public Heritage’. In Heritage and Identity: Engagement and Demission in the Contemporary World, edited by Marta Anico and Elsa Peralta, 93–104. London: Routledge. (11 pp) doi.org/10.4324/9780203886007-12.
• Meskell, L. "UNESCO’s World Heritage Convention at 40: Challenging the Economic and Political Order of International Heritage Conservation," Current Anthropology 54, no. 4 (August 2013): 483-494. (11 pp) doi.org/10.1086/671136
• Museums Association (UK). Measuring socially engaged practice: a toolkit for museums. 2018. (21 pp) www.ecsite.eu/activities-and-services/resources/measuring-socially-engaged-practice-toolkit-museums
• National Museum of World Cultures. 2019. Return of Cultural Objects: Principles and Process (12 pp) . www.tropenmuseum.nl/en/return-cultural-objects-principles-and-process
• NESTA (2019) Digital Culture, Consumer Tracking Study. Museums. www.nesta.org.uk/report/digital-culture-2019-museums/
• Rana, J., Willemsen, M. and Dibbits, H. “Moved by the tears of others.” In: International Journal for Heritage Studies. (12pp)
• Van Riel and Heijndijk (2018) Why people love museums? RSM. vangoghmuseum-assetserver.appspot.com/serve.
• Vawda, S. 2019. ‘Museums and the Epistemology of Injustice: From Colonialism to Decoloniality’. Museum International 71 (1–2): 72–79 (8 pp) doi.org/10.1080/13500775.2019.1638031.

On Mondays and the occasional Friday in Term 3. It includes a full week in Flanders in the last week of January.

Knowledge & Understanding

• Have knowledge and awareness of contemporary societal issues, in particular those related to the focus areas of sustainability, inclusivity and digitality and how these issues impact and are impacted by museum and heritage work.

Apply Knowledge

• Can effectively apply principles of team, project and change management in collaborative work and in intercultural and international settings in order to accomplish organisational goals.

Forming Judgement

• Be able to integrate knowledge and intervene in complex museum and heritage interactions within the context of the three focal areas of sustainability, inclusivity and digitality; acting in an ethical manner while being aware of the mission and mandate of the different stakeholders involved.

Communication

• Can effectively exchange knowledge and experience in professional language within the working environment through speech and writing and the use of visual aids with the different stakeholders concerned, senior management, professional peers, clients, and/or audiences.

Learning skills

• Can recognise and autonomously address areas for further personal professional development given tasks at hand and the ever-changing societal and organisational needs. 

To be able to:

• identify (conflicting) interests, stakes and emotions of involved actors with multiple backgrounds;
• discuss various approaches to, and stages in, project management;
• discuss concepts and principles of interpretation and collecting in relation to various audiences;

To be able to:

• develop, in a diverse team and in a timely and collaborative fashion, a meaningful intervention concept;

To be able to:

• design a meaningful intervention within the museum and heritage field for a given client in relation to sustainability, inclusivity and/or digitality;

To be able to

• convincingly pitch your intervention ideas in professional English;
• write a proposal which considers the client in both tone and appearance;

To be able to:

• demonstrate awareness of, and critically reflect, on their own role in a collaborative process of intervention design.

Formative assessments

• Draft Pitch with Peer feedback and feedback by lecturers on the development of the proposal.
• Intervision session on the group dynamics and performance.
• Process evaluation report outline.

Summative assessments

• Intervention proposal (group work, 75% of final mark) which addresses the issues raised by the client in a meaningful way.
• Process-evaluation report (individual work, 25% of the final mark) in which you reflect on the project process in terms of teamwork, intercultural communication, delivery and personal knowledge and skills gaps and knowledge and skills gained.
• Presentationof reflections on the international study trip. Participation will be assessed as sufficient / insufficient.

No additional requirements.

In week 14 after completion of Intervention Design.

In the Spring School there is the opportunity to address topical issues not yet addressed in the regular programme, selected on the basis of student input. The leading principles are the topics should be of intercultural and interdisciplinary nature and include as much as possible meet ups with students from other programmes.

Apply Knowledge

• Can critically apply their knowledge and understanding of the intricate relations between societal developments and museum and heritage work in order to address the issues at hand in an ethical manner, in known and unknown professional environments, and by means of independent intervention-related research.
• Can effectively apply principles of team, project and change management in collaborative work and in intercultural and international settings in order to accomplish organisational goals.

Communication

• Can effectively exchange knowledge and experience in professional language within the working environment through speech and writing and the use of visual aids with the different stakeholders concerned: senior management, professional peers, clients, and/or audiences. 

To be able to:  

• critically reflect on new museum and heritage topics in relation to societal and ethical issues;  
• effectively communicate in new intercultural and interdisciplinary settings;
• critically reflect on, and assess, their own learning in the museum  and heritage field. 

A reflective report (1000-1200 words) detailing the knowledge gained and skills learned similar to the Engaged Professionalism portfolio. The Spring School Report will be assessed as Sufficient / Insufficient.

No special requirements for AMHS students. The spring school may be open to master students from other programmes with a keen interest. An admission interview is required.

Full time students
The classes for the development of the research plan are scheduled for Wednesdays in Term 3. The embedded research will be conducted in Term 4, followed by the write up.

Part time students
The 2024 cohort conduct their embedded research in Terms 3 and 4 and the write up in the summer.

The 2025 cohort will develop the research plans in term 4. In 2026 this will be implemented in Terms 3 and 4 and the write up in the summer. 

To be able to:

• compare and contrast various research methods;
• identify, recognise and analyse (conflicting) interests, stakes and emotions of involved actors with multiple backgrounds;

To be able to:

• demonstrate historical knowledge and historical awareness within the context of intervention research.

To be able to:

• conduct independent research in the process of designing, implementing, monitoring or evaluating an intervention in a theoretically, practically and ethically substantiated manner on behalf of a client;
• design and/or implement, in co-creation, interventions around heritage objects addressing a societal issue, while acknowledging (conflicting) interests, stakes and emotions of involved actors with diverse backgrounds;

To be able to:

• demonstrate effective collaborative, project and change management skills in the process of developing, implementing, monitoring or evaluating a professional intervention in the museum or heritage field.

To be able to:

• develop meaningful and ethical recommendations for the design or implementation of a professional intervention on behalf of a client, and in relation to sustainability, inclusivity or digitality;

To be able to:

• design an appealing academic poster in professional English, and present it clearly to peers;
• listen to stakeholders and effectively communicate ideas;
• effectively communicate to senior management.
• present research data, and the discussion thereof, in writing in accordance with international standards;

To be able to:

• critically reflect on, and assess, their own role and impact as a professional active in the museum and heritage field;
• demonstrate autonomous learning of missing skills or knowledge in the course of conducting embedded research at a given organisation.

Formative assessments

• Presentation: a classroom presentation of the intended intervention research prior to formal submission of the research plan.
• Poster of the preliminary research findings.

Summative assessments

• Research plan (Sufficient / insufficient) describing the intended intervention research.
• Placement report (20%), largely consisting of a self-evaluation of professional conduct during the placement incorporating a reflection on the host’s evaluation, challenges and learning goals for the near future, and a reflection of personal growth in reference to the admission assignment.
• Research report (80%) detailing the research methods, results, analysis and the recommendations. Both reports will be subject of discussion between the student and the examiners, provided the work is deemed sufficient. Hereafter the final grade is awarded.

You can only participate in the workshops if you have a confirmed placement provider. You can only start your placement if you have successfully completed Researching Concepts and after the approval of your research plan by Reinwardt Academy and the placement provider.

• KNAW et al. 2018 Netherlands Code of Research Integrity. Den Haag: KNAW. www.knaw.nl/shared/resources/actueel/bestanden/netherlands-code-of-conduct-for-research-integrity-2018-uk
• Verhoeven, N., 2015. Doing Research. The Hows and Whys of Applied Research. Amsterdam: Boom Lemma uitgevers. 4th ed.
• Verschuren, P., Doorewaard, H., 2010. Designing a research project. Den Haag: Eleven International Publishing.

The programme coordinator Barbara Garibbo is the person to ask questions about the practicalities of your study. You can reach her by email through rwa-amhs@ahk.nl.

If you disagree with a decision made by the examination committee, you have the right to appeal to the Board of Appeal for Examinations (COBEX). Click here for more information.

Tuition
Our master Applied Museum and Heritage Studies is government funded. This means that students from the European Economic Area (EU, Iceland, Norway and Liechtenstein) who don’t have a master’s degree already can enrol in the programme for a government set tuition fee, which for 2025-2026 will be € 2601 per annum. The tuition for non-EEA students, and EEA students holding a master’s degree, is € 9808 per annum for the full-time programme. Part-time students are required to pay the lower AHK- rate, which for 2025-2026 amounts to € 7375 per annum.

Tuition can be paid in 10 instalments.

Additional Expenses
In addition to the tuition fee, please be aware of the following study related expenses, which are equally part of your investment in the master Applied Museum and Heritage Studies.

Housing
Housing in Amsterdam is very problematic and rents can be significantly high. Be aware that the school cannot help you in this regard. The AHK does not, and cannot, own student housing. We can advise on where to search for housing. It won’t be easy to find accommodation. Finding accommodation through friends and colleagues is the most effective way. Let everyone know that you are looking for accommodation. However you need to be very aware of possible scams.

• Kamernet
• Hospihousing
• AHK housing information
• Hicondo
• The Student Hotel (shortstay contract)
• Studentenwoningweb
• Lieven de Key
• Ymere
• Housing Anywhere (housing for incoming international students)
• Student Experience (housing for incoming international students)
• Via Facebook group

See also this page for all aspects of (preparing) your stay in the Netherlands.

Reception
The academy building is open during class and test weeks on Mondays, Tuesdays and Thursdays until 8 p.m., and on Wednesdays and Fridays until 6 p.m. Outside class and test weeks, the building is open until 6 p.m.. An exception applies to events.

T: 020 527 7100
E: rwa-receptie@ahk.nl

The canteen
The canteen is open daily from 9:00 am to 3:00 pm. As part of our efforts to be more sustainable, we have a “Bring Your Own” policy for coffee cups. So don't forget to bring your own cup and contribute to a greener future. 

Electronic lockers
Would you like to store your belongings safely? This is possible in the lockers at the bottom of the stairs near the large light courtyard. Hold your student card in front of the scanner and follow the instructions on the screen. Please note that the lockers reset and open every night at midnight. So do not store your belongings in a locker for more than a day. Do you need help? Then visit the caretakers. 

Caretakers
Do you have questions about the building, the emergency response plan or do you need materials? At the Reinwardt Academy, our Caretakers Maarten, Gidion and Nik are always ready to help. Whether they are walking through the building or working in our workspace on the ground floor, you can always contact them. Also feel free to email rwa-huismeesterij@ahk.nl for all your questions and requests. 

Accident, fire and the evacuation alarm
The Reinwardt Academy has an in-house emergency response team (BHV) on the basis of the Working Conditions Act. Emergency response officers take action in the event of calamities, accidents, fires and evacuation. 

In the event of an accident

• An accident must be reported immediately to reception (T: 020 527 7100) and the nearest lecturer.
• Then wait for someone from the emergency response team (BHV).
• Do not attempt to move a victim, instead ensure they are given space and keep bystanders at a distance.

In case of fire and the evacuation alarm

• Keep calm and report the fire immediately to reception (T: 020 527 7100) or use the nearest fire alarm.
• Try to extinguish the fire yourself with the fire extinguisher or the fire hose.
• If the evacuation alarm (the slow whoop) goes off, leave the building calmly, but as quickly as possible via the streetside exit (not via the garden exit). Only use the stairs, do not use the elevator.
• Always follow instructions of the emergency response officers.
• Stay away from the front door to keep the fire/police/ambulance passage clear. Wait outside for further instructions.

It is the joint responsibility of students and staff to make the Reinwardt Academy a pleasant and safe learning and working environment. The general house rules are based on the student statute of the Amsterdam University of the Arts, on the collective labour agreement for HBO and on government regulations (fire regulations, occupational health and safety, and environmental legislation).

• Everyone in the building should behave as a good and responsible user. This means that you handle the building and its inventory in a careful manner. A user of the building is expected to take other users into account and to actively identify and if possible to prevent irresponsible use by others.
• Students and employees are expected to have their student or employee pass with them.
• The smoking ban for public buildings established by Dutch law applies in and around the entire building. This also applies to the use of special smoking products such as e-cigarettes and water pipes.
• It is not allowed to eat or drink in rooms and corridors. Eating and drinking is only allowed in the canteen. The canteen users must clear up their waste and used crockery upon departure.
• Kettles, microwaves and other electrical kitchen appliances may not be placed in rooms or offices.
• The use of alcohol is only allowed during events organised by or with the permission of the Reinwardt Academy. The use of drugs is not allowed.
• Every user must familiarize himself with the evacuation plan for Hortusplantsoen 1-3 and is obliged to participate in the evacuation drills. The evacuation plan is available for inspection at the reception desk.
• It is not allowed to bring pets into the building.

Liability, Responsibility and Insurance
The management is not liable for loss, theft or damage of/to personal property belonging to students and employees. Lockers for storing personal belongings are available in the building. 

Damage
The management can hold students liable for intentionally or unintentionally damaging or incurring the loss of the academy’s possessions and property, as well as the possessions of third parties located in the building or on-site. 

Team ICTO (ICT in education) is committed to optimal ICT support for students and employees. Check the ICTO page on our intranet (MyAHK) for more information including: Teams, the student information system (Educator) and other ICTO-related topics

Contact ICTO
ICTO can be reached during workdays between 9:00 am and 5:00 pm at 020 527 7180 and by mail through rwa-icto@ahk.nl. It is also possible for students to schedule a one on one appointment using this form. Please be sure to sign in with your AHK-account.

Intranet (MyAHK) and email
At the start of your studies you received a personal login name and password for MyAHK, the student and employee intranet. Every student and staff member has a personal AHK e-mail address. This e-mail address is the only address that is used for e-mail communication between students, (guest) lecturers and employees. So you do not use your private e-mail address for school-related matters.

ICT tools
With your personal login name and password you have direct access to a number of tools:

• Teams - here you can attend online lectures and events, consult educational materials and communicate with lecturers and fellow students.
• Educator - here you can see your study results.
• MyAHK: on the intranet you can find all kinds of information about the programme, facilities you can use and regulations concerning studying at the Reinwardt.
• Outlook – the mailing programme
• AHK Timetables (app) - here you can see the current education timetable.
• Kaltura - the mediaplatform, here you can watch knowledge clips and lectures.
• The building has Wi-Fi hotspots (eduroam) where you can log in with your AHK data for free with your laptop or mobile.

Even though this document with the AMHS programme details was complied with care. It may contain errors. In case this leads to a dispute, either the Examination Board or the Reinwardt Academy Director will decide on the resolution.