COVID-19 Das Ende der Kulturlandschaft?

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ARCH & DENK NEWS 21-1

COVID-19

Das Ende der Kulturlandschaft?

Das Museum bleibt bis zum Ende des Lockdown geschlossen!

COVID-19 beDIngt können DerzeIt keIne MuseuMs- führungen stattfInDen

Diese Kultureinrichtung bleibt dauerhaft geschlossen!

Besichtigungen können auf

absehbare Zeit

nicht stattfinden

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Wir erhalten Kultur

Archäologie & Denkmalpflege Constantin Müller

- Ausgrabung &

Prospektion &

Voruntersuchung - Baubegleitung - Bauforschung - Beratung

- Fördermittelakquise - Copterfotografie &

Luftbildarchäologie

- Denkmalausstattung - Denkmalpräsentation - Inventarisierung &

Archivierung

- Schadenskartierung - Sicherheit

- Kulturvermittlung

www.archdenk.de

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Sie werden die pandemiebe- dingten Auswirkungen in Bezug auf ihre Arbeit in diesen Ländern vorstellen.

Ich wünsche Ihnen viel Vergnü- gen beim Lesen und bleiben Sie gesund.

Rettet unsere Museen (2) Quo vadis, CULTURAE? (3)

The challenges and opportunities faced by the South African Museum sector in the light of the Covid-19 Pandemic (7)

Liebe Leserinnen, liebe Leser, das Jahr 2020 wird aus unzäh- ligen Gründen in unser aller Gedächtnis bleiben. Das Vi- rus Covid-19 hat unser Leben nachhaltig verändert. Die zum Ende des Jahres aufgezogene 2.

Welle hat, von der Öffentlichkeit nur bedingt wahrgenommen, im Kultursektor die Situati- on dramatisch verschärft. Die große und vielfältige Museums- landschaft Europas erlebt durch die Pandemie eine Zäsur, deren Folgen nicht absehbar sind.

Deren erneute Schließungen, auch von anderen Kultureinrich- tungen, ist nicht nur medizinisch umstritten. Der dadurch entste- hende finanzielle Schaden, ist für die meisten Kulturbetriebe nicht auszugleichen. Fielen schon das Sommer-, und das damit verbundene Feriengeschäft, sehr mau aus, können die Einbu- ßen aus dem Weihnachtsgeschäft nun das Aus für viele Kulturein- richtungen besiegeln.

Das Titelthema dieser Ausgabe konnte daher kein anderes sein.

Daher beschäftigen sich auch sämtliche Artikel mit diesem internationalen Thema. Ich freue mich sehr, dass sich hierfür Autoren aus Deutschland und Südafrika gefunden haben.

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Was wird das für unsere Muse- umslandschaft bedeuten?

Das ursprüngliche Tourmanage- ment, wonach fest angestellte Mitarbeiter in entsprechenden, zeitlichen Abständen, oder nach vorheriger Buchung durch das Museum führen, besteht nur noch minimalst. In der Regel werden die Touren von freibe- rufliche Vertragskräften über- nommen.

Doch was kann man tun?

Nehmen Sie die Onlineange- bote der Museen an. Zeigen Sie denen, deren Jobs derzeit noch nicht gefährdet sind, dass sie für die Erhaltung unserer Museums- landschaft unersetzlich sind. Bu- chen und besuchen Sie, sobald es wieder möglich ist Museen mit einer Führung. Zwar werden die finanziellen Verluste nur schwerlich, bis gar nicht wieder wegzumachen sein, aber geben sie den Museen und den freien Kulturschaffenden eine Überle- benschance.

Rettet unsere Museen

Das Corona Virus hat nahezu die gesamte Welt fest im Griff.

Neben den zahlreichen Klein- betrieben, Selbstständigen und Freiberuflern sind besonders die Museen betroffen. Der Publi- kumsverkehr ist in fast allen bis mindestens Ende Februar einge- stellt. Eine weitere Verlängerung mehr als wahrscheinlich. Doch was bedeutet das für unsere Mu- seumslandschaft in der Zukunft?

Die staatlichen Museen haben damit begonnen ihre Samm- lungen zu digitalisieren, Onli- neführungen ins Netz zu stellen und machen alles, was im All- tagsgeschäft oft liegenbleibt.

Angst vor Kündigungen müssen die meisten Angestellten hier nicht haben. Bisher jedenfalls.

Davon ausgenommen sind die freiberuflichen Guides, die die Führungen in den meisten Mu- seen machen. Diese stehen, seit fast einem Jahr vor unüberbrüg- baren Problemen. Durch ihre Verträge werden sie pro geleiste- te Führung bezahlt. Wann dies wieder beginnen kann, steht in den Sternen.

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wird. Gerade in den Bereichen der Kunst und Kultur, wo in den letzten Monaten bewiesen wurde, dass das unter Einhaltung strenger Hygienekonzepte ein Besuch und der Konsum von Kunst und Kultur sicher durch- geführt werden konnte. Bei hun- derten von Ausstellungen und Konzerten, die seit dem ersten Lockdown stattgefunden haben, sind keine großen Infektions- herde bekannt geworden, wenn die Schutzkonzepte eingehalten wurden. Für das aktuelle kom- plette Herunterfahren der kulturellen Aktivitäten fehlt eine sta- tistische Rechtfertigung. Zumal man sich seitens der Kulturin- stitutionen zwischen den beiden Lockdows größte Mühe gegeben hat, Konzepte zu entwickeln und diese kostenintensiv umzu- setzen, um einer Ansteckung zu entgehen. Nun wird der Kultur- lockdown von Ende November bis zum 20. Dezember verlängert und es sind teilweise auch von Schließungen bis zum Frühjahr 2021 die Rede.

Der Kulturhaushalt des Bundes wird nach der neu festgelegten Verlängerung des zweiten Lockdowns deutlich gesteigert.

Insgesamt bewilligte der Haus- haltsausschuss des Bundestages QUO VADIS, CULTURAE?

Ein Kommentar von Irini Karamitrou

Seit mehreren Monaten wird unser Leben von der Pandemie bestimmt, welche die Macht hat unsere bisherigen Gewohnheiten zunehmend zu verändern. Es herrscht ein Ausnahmezustand auf unbestimmte Zeit, von dem noch niemand sagen kann oder will, wann und wie dieser wieder aufgehoben werden soll und was danach kommen wird. Social Distancing, Maskenpflicht und Lockdown haben Einzug in un- seren neuen Alltag erhalten.

Die Gesundheit wird aktuell als höchstes Gut unserer Ge- sellschaft definiert, dem sich nicht nur Wirtschaftsinteressen, sondern auch jegliche Form von selbstbestimmtem Leben unterordnen muss. Die Spitze der Maslowschen Bedürfnispy- ramide bricht zunehmend ab und bröckelt immer tiefer vor sich hin. Hier geht es insbesondere um den Werteverfall unserer kulturellen Identität. Die zuerst komplett zerstört, um nach Ende der Pandemie wieder von Neuem aufgebaut zu werden.

Dabei geht es auch um die zu- nehmende Schieflage der Kultur, die für viele von uns existenziell

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am 26.11.2020 in Berlin ein Plus von 170 Millionen Euro, somit steht für Kulturausgaben für das Jahr die Summe von circa 2,1 Milliarden Euro zur Verfügung.

Was erstmal als “Rekordsumme“

propagiert wird, wird jedoch unter allen Bundesländern verteilt und auch an die unter- schiedlichsten Sparten, die alle unter dem Oberbegriff “Kultur“

fallen, gesplittet: Dazu gehören z. B. Theater, Oper, Museen, Orchester, Ensembles, Kinos, Kulturzentren, Denkmalschutz, sogar die Berliner Clubsze- ne und weitere viele Akteuren mehr. Somit wird in Zukunft ein unerbittlicher Kampf der Förder- mittelsteller beginnen, um sich ein Stück vom großen Kuchen sichern zu können. Man kann da nur auf eine gerechte Verteilung hoffen und dass die Gelder allen Betroffenen zugutekommen werden und nicht den cleversten Antragsstellern.

Vor allem gilt jedoch die große Sorge, dass den meisten Kultur- betrieben und -akteuren nicht rechtzeitig die Hilfen zukommen werden. Denn eine Reanimie- rung von vielen Kulturinstitu- tionen und den vielen Kultur- schaffenden (ähnlich wie mit der Veranstaltungsbranche) wie zum

Beispiel der freien Szene, die seit einem dreiviertel bis zu einem Jahr händeringend versucht, sich über Wasser zu halten, sind die künftig versprochenen Hilfs- mitteln ein schwacher Trost. Da bei Vielen das Lebenswerk und die Existenz zerstört worden ist, weil man von der Regierung aber andere wichtigere Prioritäten gesetzt hat. Z. B., dass während des zweiten Lockdowns der Einzelhandel aufrechterhalten wird und die Leute - da es keine weiteren kulturellen Freizeitan- gebote gibt (außer online)- sich in den vollen Geschäften der Innenstadt aufhalten, um nach Zerstreuung zu suchen und / oder um ihre Einkäufe in der Vorweihnachtszeit zu tätigen.

Da kann man durchaus die Kritik verstehen, dass es sich parallel zum aktuellen Infektionsgesche- hen kontraproduktiv auswirkt und sich die geballte (Konsum-) Gesellschaft nicht mit kulturellen Alternativen aus dem vollen La- denlokalen entzerren lässt. Dies deutet nicht nur auf eine materia- listische Schieflage hin, sondern zeitgleich darauf, dass sich in einem Land, welches sich in der Vergangenheit über Dichter und Denker definiert hat, in der Ge- genwart, die von einer Pandemie

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beherrscht wird, dieses sich eher an der Wirtschaft als höchsten Glaubenssatz festhält, anstatt der Kultur die Wertschätzung entge- gen zu bringen, die sie verdient hätte.

Es darf nicht sein, dass während einer Krise immer die Kultur runtergefahren wird, weil jeder Mensch Kraft und Inspiration aus ihr schöpfen kann. Kultur darf nicht nur als ein Hobby degradiert werden, sondern sie ist in der DNA der Gemeinschaft ein tief verankertes Elixier. Was wäre es denn, wenn man wäh- rend des Lockdowns zu Hause keine Musik, Lyrik, keinen weitere kulturelle Inhalte mehr hät- te? Wie würde da unser Leben aussehen, wenn alles Kulturelle, was immer als selbstverständlich und abrufbar angesehen worden ist, gänzlich nicht mehr produ- ziert werden könnte?

Sind digitale Übertragungswege eine zukunftsorientierte Lösung?

Oder ist die noch nähere An- kopplung zum Bildungssektor eine weitere mögliche Alternati- ve für die vielen Einrichtungen?

Schließlich sind die meisten Ge- denk- und Bildungsstätten bun- desweit über den Teil-Lockdown weiterhin geöffnet, weil sie als Bildungsinstitutionen gelten. Es

gibt zurzeit auch viele Überle- gungen, mit den Klassenverbän- den in die Räumlichkeiten von Museen, Theatern und Konzert- häusern auszuweichen, um mehr Abstand zu erreichen. . Auch viele Intendanten sprechen sich für die Öffnung ihrer Räumlich- keiten für den Unterricht aus , um ihren Einrichtungen in dieser Zeit eine sinnvolle Daseinsbe- rechtigung zu geben, anstatt vor sich hin zu vegetieren.

Es stellt sich aber die Frage, wenn man tatsächlich den Unter- richt in die Museen und Theater verlagert, die anscheinend durch ihre Größe sichererer als norma- le Klassenräume zu sein schei- nen, warum man den normalen Ausstellungs- und Aufführungs- betrieb mit den Hygiene-Kon- zepten nicht wieder aufnehmen darf?

Wichtig ist im Moment der Politik mit aller Kraft zu signa- lisieren, welche verehrenden Auswirkungen die Entscheidung, die Kultur herunterzufahren, haben wird, und dass wir uns in Zukunft mehr mit diesen soziologisch-relevanten Spätfol- gen auseinandersetzen werden müssen.

Daher sollte man sinnbildlich, wie in der Denkmalpflege, kon-

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stant die Substanz pflegen, um weiteren Schaden zu verhindern und nicht erst alles verfallen und gar einreißen zu lassen, um dann wieder (wenn alles in Schutt und Asche liegt), von Neuem versuchen, zu rekonstruieren und aufzubauen. Die Langzeit- schäden, welche die Schließung der Kultureinrichtungen mit sich bringen, sind sogleich für die Branche und für unsere Gesell- schaft einfach unvorstellbar und nicht kalkulierbar.

Irini Karamitrou, M.A.; M.Sc.

Geschäftsführerin des Deutschen Chor- verband PUERI CANTORES, sowie freie Autorin

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This article examines the South African museum situation in the light of the Covid-19 pandemic, employing the University of Pretoria Museums as an example to illustrate the challenges and opportunities brought about in reaction to the pandemic.

Introduction

The Covid-19 pandemic has caused unforeseen challenges.

With lockdowns, self-isolation, wearing masks and social distancing as a some of the measures taken in an attempt to try and curb the spread of the virus, many countries could no longer carry on operating ‘normally’.

The heavy toll of the pandemic has been witnessed everywhere in the world not only concerning the steep infection rates and the resulting death tolls, but also with the rise of unemployment, the disruption of education and fallout on a massive socio-economic and political scale¹. Likewise, the South African museum sector was not spared.

However, even before the start of the pandemic end of March 2020, South African museums

1. Manderson – Levine 2020, 367

The challenges and oppor- tunities faced by the South African Museum sector in the light of the Covid-19 Pandemic

Abstract

All over the world, the Covid- 19 pandemic has disrupted lives and livelihoods and generated farreaching consequences. As a result of the new health and safety regulations and lockdowns set by the government, one of the economic sectors that has been hit the hardest because of Covid-19, is the tourism sector. While museums and other cultural resources such as heritage sites and monuments are in the service of society to support research and education, they also form part of the cultural resour- ce base that attracts audiences.

Having been classified as non- essential by the South African government in the face of other priorities due to the pandemic, the museum sector consequently has also suffered. Yet, despite the economic hardships with unemployment at about 30%, new opportunities and ways of working have also emerged crea- tively within the heritage sector.

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were already under social and political pressure and fraught with tensions over issues of de- colonisation and the slow transformation, and also the reduction of funds and other resources². While financial constraints are a global concern, it is especially evident within African countries, where social dilemmas are pervasive. African nations are frequently poverty stricken, with inconsistent provision of nutrition and a lack of access to clean water, sanitation, housing and education. In addition, they need to tackle problems such as gender-based violence, high crime rates, corruption and the like. Due to such inequalities evident in the global south, heritage cannot be considered as a primary concern. Therefore, governments do not view heritage and the cultural sector as a priority, as other societal needs are far greater, especially during a pandemic.

This means that museums are

“unable to function effectively because government funds are drying up by the day”, resulting in a situation where they have

2. Arinze 1998, 34-36; Abungu 2001, 16; Crooke 2005, 135; Vollgraaff 2015: 51-52; Heleta 2016, 1; Holmes – Loehwing 2016; Rall 2018, 15; Ben- neyworth – Pinto 2019, 2; Hoffmann 2019, 24

started to deteriorate³. Hence, the shortage of financial resources in many instances has led to a lack of qualified staff and capacity building, and the resulting inadequacy to train future generations of museolo- gists, as well as the questionable affordability to update museum displays, which has severely affected South African museums. It perpetuates the inability of museums to transform to become more socially rele- vant to the needs of the current society, often to the neglect of their communities⁴. Neverthe- less, Covid-19 has undoubtedly aggravated the museum situation by increasing the problems faced by an already struggling cultural sector.

Covid-19 and the lockdown in South Africa: The closure of museums

In South Africa, the first Covid- 19 infections occurred by March 2020. Harsh measures were implemented almost immediately to manage the Covid-19 pandemic and to ensure the readiness of the health system and hospitals with

3. Arinze 1998: 35

4. Arinze 1998: 34-36; Vollgraaff 2015, 44;

Hoffmann 2019

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the onslaught of infections. As a result, the government enforced a hard lockdown (Alert Level 5) to ensure that medical centres would not become overwhelmed.

Only essential services of the country were permitted to carry on working, such as the medical sector, police and military, and pharmacies and supermarkets were allowed to remain open for the supply of essential goods.

Except for indispensable wor- kers, the large majority of the population was asked to remain home, only to leave for emer- gencies such as visiting a doctor or buying medicine, food and other necessities. Kindergartens, schools and tertiary educational institutions were closed and remote learning was implemented, where possible. This meant that the tourism sector very suddenly had to shut its doors as national and provincial borders were closed and travel restrictions at a local level were implemented in addition to inbound tourism falling away. Since cultural institutions and heritage sites were classified by the SA government as “non-essential”, these esta- blishments also had to close their doors until further notice and no income was generated.

Figure 1: The Covid-19 pandemic - South African museums in lockdown (Image courtesy of the University of Pretoria Museums)

Despite the gradual relaxing of lockdown measures from Level 5 (Hard lockdown) to Level 1, the economy of the country has suffered severely⁵. With the downgrading of lockdown to Alert Level 2 in August 2020, it included the reopening of the tourism sector and museums, only somewhat. The South Afri- can public were now permitted to again travel across provincial borders, meaning that econo-

5. South African Government, 2020, https://www.

gov.za/covid-19/about/about-alert-system

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mic recovery commenced very gradually at a domestic level.

The hospitality industry was able to function again under the provision of implementing strict Covid-19 protocols. Domestic tourism was able to resume.

As was later published in the Government Gazette, both the recreational and cultural sectors were also permitted to resume their activities under the provision that “strict compliance with health protocols and social distancing” were followed⁶. Even during lifting restrictions, many museums were liquidated, museums closed down, staff were furloughed or lost their lives to Covid infections. The loss in the heritage sector is irreparable.

The museums whose doors have opened, remain quiet - footfall and interest in museums is not recovering as well as expected.

By the end of September 2020, the lockdown was lowered to Al- ert level 1 and as of 01 October international borders reopened for travel. Initially, a list of high- risk countries was published to and from which travel would not

6. Republic of South Africa, 07 October 2020, https://samuseums.co.za/news-events/government-gazette-vol-664-of-7-10-2020-permitting- museums-to-open-subject-to-covid-19-protocols, 3-4

be permitted. Many European countries were included in that list, including Germany. Ho- wever, on 11 November 2020, President Cyril Ramaphosa an- nounced that Level 1 lockdown measures would be further re- laxed due to the immense stress on the local economy. In this regard, all international travel to and from high-risk countries is allowed, upon the provision that travellers would supply proof of a negative Covid-19 test within 72 hours of their departure⁷. This means that the list of prohibi- tions of high-risk countries was removed and the tourism sector is opening up further. However, at this stage it appears the heritage sector remains in flux and unable to recover.

South African Museums during the lockdown: The example of the University of Pretoria Muse- ums

Internet connectivity remains a challenge that requires a long- term solution, as not all people and places have internet access through Internet-enabled devices

7. The Presidency, 11 November 2020, http://

www.thepresidency.gov.za/speeches/statement- president-cyril-ramaphosa-progress-national- effort-contain-covid-19-pandemic%2C-union- buildings%2C-tshwane-3

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and mobile data (costs of mobile data in South Africa are extre- mely high). This remains a grave concern for the educational sector, which required the support of the government initiatives such as the solidarity funds, and the higher educational institutions themselves to enable them to carry on learning remotely.

Internet access is not a guarantee and many people in Africa and South Africa remain ‘discon- nected’ and, as such, also cannot be reached through online museum initiatives. Internet access is not something that can be taken for granted in South Africa as a

majority of the population do not have access to smart phones.

In accordance with regulations set on hig-her education institutions, universities were closed and, as a result, university museums also closed countrywide in March 2020 (similar to all other cultural institutions and museums in the country). Museum personnel had to find new ways to engage their communities, while working remotely from home. Since it was not possible to continue working from the museum itself, the staff of the University of Pretoria (UP) Mu-

Figure 2: Work continued remotely: private/home conservation studio of the UP Mu- seums’ conservationist (Image courtesy of the University of Pretoria Museums)

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seums had to adapt to working, using their home office. Unfor- tunately, not all staff members could be provided with Internet- enabled devices and data. As a result, where possible, museum staff used their personal devices and Internet access. However, the staff of the UP Museums were fortunate in that they were mostly able to carry on working remotely. Essential staff were identified, who periodically returned to campus to verify that the museum facilities and collections were safe. Moreo- ver, the UP Museums were very fortunate that their part-time museum conservator had her private conservation studio at her home, from which she was able to continue working on artworks and the archival staff also took materials home to be able to continue with their tasks in archive preservation, sorting and cata- loguing of historical documents.

In addition to the implementation of home office, the UP Museums created a work plan based on the phased and gradual relaxing of the government measures (Lockdown Alert Levels 5 to 1, 5 being the hard lockdown and 1 the current phase of implementation and the lowest lockdown

level). Based on the declaration of comorbidities (those at high- est risk with diabetes, high blood pressure etc…) and university measures, in addition to the alert levels of lockdown, staff members were gradually able to return to work for one or two days a week in November 2020.

This ensured that not too many personnel were concentrated in a single location at one time and to ensure weekly oversight of the museum collections, exhibitions and stora-ge. Regulations for the planned reopening of the UP Museums for 2021 were also put in place. Since the University of Pretoria Museums are members of the International Council of Museums-South Africa branch (ICOM-SA) and its subcom- mittee University Museums and Collections (UMAC), the UP Museums have included their recommendations in the plan- ning initiative for the reopening of the museum with the further relaxation of lockdown as appro- ved by the Executive⁸. However, there is no guarantee, as Covid infections are increasing and 2021 may commence with a new set of regulations and lockdown.

8. ICOM, https://icom.museum/en/covid-19/resources/museums-and-end-of-lockdown-ensuring-the-safety-of-the-public-and-staff-2/

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The academic year has already been postponed to open in March 2021.

While the lockdown came with hardships such as the museums being closed to the public, and only limited work being possible remotely, the UP Museums saw the pandemic as an opportunity to accomplish behind-the-scenes tasks. These would not have been possible with the continued opening of the museum spaces to the public and other tasks, which had not been realized before due to time constraints and other ob- ligations. This included the implementation of the updating and redesign of galleries, working on projects, updating documentation and records while the museums were closed to the public.

Collections management continued and new opportunities were realized with remote access to the museum collections. This ensured the continued academic and public access to the collections via online initiatives and curatorship migrated to digital platforms, also allowing for international inclusivity with regard to the access to information about the museum’s collections.

Recently, the University of Pre- toria signed a contract with the

Google Cultural Institute which would commence a project to place the University collections

Figure 3: Digital curriculum-based museum presentation to a school class in Cape Town (Image courtesy of the University of Pretoria Museums)

onto the Google Arts & Culture platform. This global opportunity allowed for collections to be digitised and online exhibitions were also developed. Next year, when the African section of the website is launched, the collections of the UP Museums will go online.

In addition to the digitization of the muse-um collections, it was part of the long-term plan of the UP Museums to move towards an enhanced online presence through social media and the online engagement of new audiences. These plans were expedited, leading to an updated and revamped website that was

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able to draw public audiences through regular news posts geared towards the museum’s calendar and themed dates that had initially been identified for the en-gagement physical audiences, and new measures such as online puzzles¹, the artwork 4 the week, amongst others. The employment of digital and online communication tools allowed for the participation of museum staff in webinars, workshops and online discussions, some on a local level and some even at an international scale. The use of these digital communication tools allowed the UP Museums to effectively connect to their community and it enabled the reaching of new audiences. Since the public was unable to travel to the museum, the museum reached out to them virtually and offered cultural stimulation in accordance with world events, the implementation of the museum schedule/calendar online or escapism from the harsh realities by offering insight into artworks or ancient cultures. By means of the digital communication

1. Panyane, 22 May 2020, https://www.up.ac.

za/museums-collections/news/post_2897028- the-up-museums-and-javett-up-turn-iconic-pieces-from-their-collections-into-online-puzzles;

Govender, 04 June 2020, https://select.timeslive.

co.za/news/2020-06-03-the-lockdown-puzzle-national-treasures-lie-in-pieces/

technology, curriculum-based presentations were offered to school learners and an intro- ductory presentation about the UP Museums was offered to the Forum for School Museums and Archives (FSMA). In effect, the use of digital means to connect with the community allowed for the engagement of new audiences, and did not detract from people visiting the museums, as many of the audiences reached expressed an interest in visiting the museum galleries in person, once the spaces would reopen to the public.

Keeping in mind, the UP Muse- um staff contingent comprises of only nine staff members, the UP Museums also used the opportunity to collaborate with other cultural institutions and partne- ring museums.

The Javett Art Centre at the Uni- versity of Pretoria was able to reopen to the public on Heritage Day,24 September 2020, this is a private initiative based off campus, but could not allow for the UP Museums to also open their doors. While the UP Muse- ums are university museums and as such subject to the operating hours and procedures of the affiliated institution, the Javett-UP is

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a public museum, which is also open over weekends and public holidays. The UP Museums have loaned some of the university’s iconic artworks to the Javett- UP, as well as the Mapungubwe archaeological gold collection, which forms part of the National Treasures exhibition and remains open to the public.

To adhere to Covid-19 regulations, the UP Museums collabo- rated with the Javett Art Centre on another project and developed a unique new experience for the reopening of the Javett-UP, namely a drive-through exhibition with the title of “Shaping the Grain”. Eighteen wooden sculptures were exhibited in the parking garage of the Javett- UP, allowing interested visitors to explore artworks from their car window. In this way, they were socially-distanced and safe from close contact with other people in their cars, while being able to engage with art in a new manner. The exhibition was a huge success and was covered in several media reports, including a German newspaper known as the Frankfurter Rundschau². This

2. Oberholzer, 23 September 2020, https://www.

timeslive.co.za/sunday-times/lifestyle/2020-09- 23-sas-first-drive-through-sculpture-exhibit- set-to-open-at-javett-art-centre/; Frankfurter Rundschau, 28 October 2020, https://www.

exhibition was a landmark event as it was the first drive-through exhibition in South Africa.

Nonetheless, as a result of continued lockdown measures, museums internationally are under increasing financial pressure, this is particularly worse in the global south. UNESCO has estimated that roughly 13% of museums may never recover³. Following a global survey in May 2020, ICOM conducted a follow-up survey in September 2020 to determine the “evolution of the museum crisis brought about by the pandemic and its perception by museum professionals”⁴. The results of the survey also reflect the African and South African experience, where it is evident that not all museums may survive. In Africa, roughly 2.1% of museum professionals expect the closure of (their) museums. These statistics may not be as high as compared to other regions, but it shows the realistic threat that museums face. However, the percentage of

fr.de/panorama/corona-krise-kunst-durch-die-autoscheibe-mutmacher-suedafrika-90083091.html 3. UN News, 18 May 2020, https://news.un.org/

en/story/2020/05/1064362

4. ICOM, 23 November 2020, https://icom.

museum/en/news/follow-up-report-museums- covid-19/ & https://icom.museum/wp-content/

uploads/2020/11/FINAL-EN_Follow-up-survey.

pdf, 4

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uncertainty regarding the closure of museums is much higher than elsewhere (16.7%), indicating that there is a comparatively large possibility of more museums closing, as they are already struggling⁵. Not all museums have had the same resources at their disposal, some did not qua- lify for government relief funds.

The UP Museums were required to reconsider their strategic plan as a result and the effects of Co- vid as well as develop proposals for financial third-stream income

5. ICOM, 23 November 2020, https://icom.

museum/en/news/follow-up-report-museums- covid-19/ & https://icom.museum/wp-content/

uploads/2020/11/FINAL-EN_Follow-up-survey.

pdf, 14

and other revenues to ensure sustainability during an ongoing pandemic. Higher education funding cuts are expected nation- wide as the SA economy fails to recover. Many museums (private, higher education, national and provincial) have had to deal with financial difficulties aggravated by the pandemic due to a lack of income, staff working remotely from home and the lack of government funds or grants.

This means that staff were furloughed and many museums face the threat of liquidation as they were unable to continue func- tioning. Examples here include

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the District Six Museum in Cape Town and the Nelson Mande- la House Museum located in Soweto (South Western Town- ship, Johannesburg) and possibly even the closure of the Apartheid Museum⁶. Initiatives and plans were put in place to support the livelihoods of artists by the Na- tional Arts Council (an agency of the Department of Sport, Arts and Culture)⁷. However, without income and tourism, museums simply would not survive and government has made no recovery plans for museums.

Internationally, museums have had to deal with opportunistic art heists and vandalism during the Covid-19 pandemic as museums were vacant. One example would be the high-profile theft of the painting “The Parsonage Garden at Neunen in Spring” by Vincent Van Gogh from the Singer Laren Museum in Amsterdam, another

6. Molyneaux, 08 September 2020, https://www.

timeslive.co.za/news/south-africa/2020-09-08- watch--struggling-district-six-museum-starts- fundraising-to-avoid-closure/; Monama, 04 November 2020, https://www.iol.co.za/the- star/news/sowetos-tourist-attraction-mandela- house-museum-to-be-liquidated-to-pay-off- debt-746ad395-94cc-4669-9ccf-7ea63636e18e;

Ndaba, 05 November 2020, https://www.iol.

co.za/news/politics/gauteng-government-to- block-the-liquidation-of-nelson-mandelas- house-in-soweto-4e523ad5-1df1-465f-9ad4- a63fa5eb987a;

7. NAC, 2020, https://www.nac.org.za/funding- results/2019-20/.

case is the defacement of over 70 works of art and ancient artef- acts with a staining oily liquid in three of the museums on Berlin’s Museum Island, as well as the graffiti on the large granite bowl outside of the Altes Museum on the Museum Island shortly the- reafter. Similar to these events, museums in South Africa were not spared. Several thefts have occurred and the ongoing loss of heritage remains a critical concern as crime has increased ex- ponentially during the pandemic.

A break-in and attempted theft took place early in November 2020 at Museum Africa in New- town, Johannesburg, although reportedly, nothing was stolen from the museum. However, during the burglary, a pipe was damaged, possibly disrupting the robbers, which then led to significant flooding and damage to exhibitions and collections⁸. Conclusion

While South Africa is aiming for economic recovery in the face

8. Pijoos, 04 November 2020, https://www.timeslive.co.za/news/south-africa/2020-11-04-burglary-at-museum-africa-leads-to-flooding-security- to-be-beefed-up/; Ntiwane, 05 November 2020, https://www.iol.co.za/the-star/news/joburgs-hip- hop-museum-suffer-r25m-damages-after-its- vandalised-during-break-in-e1f3becd-7287-4eb8- ab8f-a05aeaefa618;

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of Covid-19, it is projected this would take a decade or more to recover. Fears are mounting in the light of a second wave of the pandemic predicted for Decem- ber 2020 all over the world that another rise in Covid-19 infections may also soon reach South Africa. New hotspots of infections are already being identified now, resulting in additional measures to be implemented in those areas⁹. A resurgence in infections may lead to the implementation of a higher Lockdown Alert Level again, halting the reopening of the economy. Thus, the recovery of the museums and cultural sector will also be halted in its tracks. Since it is possible that another implementation of a higher lockdown level is im- minent, it is still unclear when

9. The Presidency, 03 December 2020, http://

www.thepresidency.gov.za/speeches/statement- president-cyril-ramaphosa-progress-national- effort-contain-covid-19-pandemic%2C-union- buildings%2C-tshwane-4

exactly this will occur. Infection numbers are on the rise again and South Africa awaits further steps and announcements from government, while lockdown remains in place at least until 15 January 2020.

Following the academic calendar of 2020, which has been exten- ded to be completed in February 2021, the new academic year is expected to only commence in March 2021. For the time being, the University of Pretoria Mu- seums have proposed reopening their spaces to the public as of 01 February 2020 to provide a more fluid bridging of the academic calendar of the University of Pretoria. Whether this is going to be possible is rather unpredicta- ble at this stage, as there are no set plans for 2021.

Moreover, university museums in general function differently from public museums in South

Figure 4: Old Arts (left) and Old Merensky (right) museum buildings, Hatfield Cam- pus, University of Pretoria (Images courtesy of the University of Pretoria Museums)

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Africa - they adhere to the schedule, calendar and operating hours of the tertiary institution they are affiliated with. While some museums throughout South Africa have started reopening and implementing Covid-19 protocols as of September 2020, the UP Museums realized that with the end of the staff academic year (23 December 2020 until 04 January 2021) looming, it would make sense to remain closed until 01 February 2020 and to make use of the additional time in January to prepare better for the oncoming challenges. This would also give the UP Muse- ums time to complete the prepa- ration of galleries, sanitisation and compliance procedures, the installation of a new temporary exhibition to draw audiences and to finalize several phases of updating and upgrading the existing permanent gallery spaces.

It is hoped that on 1 February 2021, the UP Museums reopen to the public, providing that by that time, the country is not expe- riencing a higher alert level and thus a stricter lockdown again.

Depending on funding and the availability of grants, the plans for new galleries will continue to be implemented in 2021, but

major capital projects may be delayed. While the UP Museums previously offered free entrance and tours, they now also need to rely on new income streams to ensure their liquidity in future.

By charging entrance fees from the public, except for school learners, university students and staff, this may be achieved.

These are not the only changes brought about by the Covid-19 pandemic. It would be prudent and realistic to expect that the pandemic will have a profound, long-lasting negative effect, but it also forced South African museums to be creative in the face of hardship, to forge ahead by changing their ways of operating and to embrace the digital era.

The situation remains unpredic- table and museums need to have contingency plans in place in the event of an emergency, as most institutions were ill-prepared to deal with an unprecedented situation such as the Covid-19 pandemic.

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Nicole Beate Hoffmann, Museum Inter- pretive Officer, University of Pretoria Museums, Office of the Registrar, University of Pretoria, South Africa (Email: nicole.hoffmann@up.ac.za)

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