Opportunities for mid-career museum professionals in India remain constrained within the domestic landscape. Museum and library professionals rely on training programs offered by Western universities, museums, and art institutions which highlights a gap in the programs back home and is also a sign that we haven’t overcome our colonial favouritism. This situation is exacerbated by inadequate institutional funding and a lack of systematic planning, which limits access to such facilities and exposure. As a result, these opportunities are often restricted to a small group of professionals, leaving a significant portion of the workforce underserved. Thus, as professionals working in Indian museums, we are still dependent on international workshops and training sessions conducted by the International Council of Museums (ICOM); the International Council on Monuments and Sites (ICOMOS); International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) on various aspects of cultural heritage management, conservation and research and the International Training Programme (ITP) by the British Museum, among others.
Isn't it vital for everyone to have access to museum training? Such opportunities can profoundly enrich our understanding and appreciation of our vibrant cultural heritage. I believe that museum training is a valuable opportunity that should be accessible to everyone, rather than merely a prerequisite for a select few.
Museum professionals face diverse challenges, which could be addressed through effective policy making. A discourse must be initiated to focus on and resolve the leadership crisis affecting museums and cultural institutions, examining the underlying factors contributing to this situation. Additionally, it is essential to discuss the socio-economic conditions of museum professionals in India, highlighting the challenges and opportunities within the field.
Here are some key challenges I have identified, along with some proposed solutions:
Firstly, there are diverse opportunities for research, fieldwork and publication in academia. However, it is interesting to note that curators, who often hold advanced degrees and come from strong academic backgrounds, are not given the same chance to thrive. While universities offer grants for faculty to develop research skills and provide financial assistance for participation in international conferences or seminars, government schemes for capacity building do not include these provisions. It limits the opportunities for
curators to explore programs, resources, and career development at all stages. As Indian museum professionals, we remain reliant on travel grants provided by international organisations and universities, as we lack internal funding options. Offering grant writing training to museum curators can greatly enhance a curators’ abilities to secure external funding for museum operations.
Secondly, the disparity in job descriptions for curatorial positions in the government and private sectors is a significant issue. Private museums and art galleries emphasise hiring curators with diverse skill sets. In contrast, government museums still adhere to outdated hiring practices, focusing on higher academic degrees without updating them to align with global trends. To achieve contemporary goals, such as enhancing visitor experience and fostering community engagement, government museums must adopt a holistic, multidisciplinary approach that brings together professionals with diverse expertise. Traditionally, subject experts from the history, archaeology, literature and anthropology background have been considered for curating successful exhibitions, keeping in mind the historical nature of the collection. However, the interpretation of objects and storytelling can also benefit from the perspective of a museum educator. Additionally, the presentation of exhibitions is a creative process that requires collaboration among skilled designers, architects, and the technical team of conservators. While existing government museums have positions available for professionals from these varied backgrounds, many of these individuals are not acquainted with current knowledge and practices, as they continue to operate based on outdated methods. Conversely, private sector museums are rapidly evolving, offering opportunities for young professionals and creating engaging experiential spaces that utilise artistic displays and digital technology, which in turn attract visitors.
Due to the changing job descriptions and institutional restructuring worldwide, museum training programs for current professionals could help bridge this gap and promote a more cohesive working environment. If we look at it from a global perspective there is an increasing demand for curators with diverse skill sets. At present, museum curators are coming from diverse academic backgrounds and possess a wide range of knowledge. They have the potential and skills to interpret and curate collections in distinct ways, but there is a need for a formal
emphasis on core values. Similarly, many museums are situated in remote areas across the country, upholding treasures of history and indigenous community memories and the respective curatorial staff are well aware of the local culture and communities, but they lack the exposure to the changing museum practices, the advanced technological and scientific methodology, and the powerful tool of social media, which could bring their collection to the centerstage. However, a national-level training program can offer invaluable opportunities to build networks, share ideas, and establish friendships with colleagues from across India and even beyond. The increasing importance of peer-to-peer exchange and mentorship in this creative field can be recognised and integrated into this intensive initiative.
Lastly, Museums have traditionally served as custodians of cultural heritage and history. However, bridging the gap between scientific inquiry and historical preservation is imperative today. This can be achieved through an interdisciplinary framework within museum training programs. The advent of artificial intelligence presents a transformative potential for curatorial practices. It can facilitate advanced analyses of collections and inspire innovative exhibition concepts. Integrating scientific methodologies can significantly enhance museum management, marketing strategies, and visitor engagement metrics. Moreover, the proliferation of digital technologies—such as photogrammetry, holography, rotoscoping, interactive displays augmented by augmented reality (AR) and virtual reality (VR)—has surged, particularly following the COVID-19 pandemic. Nevertheless, the challenge lies in aligning these technological innovations with the narratives of the museum. This necessitates a comprehensive understanding of the underpinning methodologies by curators to harness these tools effectively. Intensive training programs for museum professionals are essential to ensure the mindful implementation of these technologies. This approach will empower curators with the knowledge to incorporate advanced technologies into their practices, enriching the museum experience while maintaining historical integrity. In addition, developing workshops that focus on designing and managing collaborations, fostering meaningful partnerships, handling knowledge and content, and creating effective social media strategies is essential.
At present, various institutions currently offer training and diplomas in heritage and museum management. However, the concept of a comprehensive training program for mid-career museum curators remains unaddressed. Some of the institutions are- the Centre for Heritage Management, Ahmedabad University; the Centre for Heritage
Conservation (CHC), CEPT University, Ahmedabad; the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai; the Indian Heritage Institute (IIH), Noida; the Bhau Daji Lad Museum, Mumbai; the Indira Gandhi Centre for Arts (IGNCA), New Delhi; the Indian National Trust for Art and Cultural Heritage (INTACH), Heritage Academy, New Delhi; Indian Institute of Management (IIM – Ahmedabad, Bengaluru); Indira Gandhi National Open University (IGNOU), New Delhi; the Kolkata Centre for Creativity, Kolkata; the Mehrangarh Art Conservation Centre (Mehrangarh Museum Trust), Jodhpur, among others.
A solution can be achieved by joining forces and bringing these institutions together to create a national-level model. This exchange of ideas can be facilitated within India, allowing curators from different museums to travel and learn from one another through Memoranda of Understanding (MOUs) between these institutions. Additionally, the Cultural Exchange Programme (CEP) can serve as an effective means to establish connections with international museums and universities. The CEP enhances and strengthens bilateral cultural relations with various countries. To effectively implement the signed CEPs, multiple divisions of the Ministry of Culture collaborate with their counterparts in foreign nations through diplomatic channels. The primary objectives of this initiative include strengthening cultural ties with other countries, fostering bilateral cultural interactions, showcasing India's cultural identity on the global stage, and promoting inbound tourism. The same approach could be applied to develop a museum training scheme. According to a recently published Press Information Bureau (PIB) report in March 2025, the Ministry of Culture currently has valid CEPs with 88 countries, and negotiations are ongoing for CEPs with 102 countries. From 2024 to now, CEPs with 12 countries have been signed.
These valuable resources could be activated and fully utilized through collaborative efforts to develop a methodology for museum training. For example- the role and contributions of the Indian Council for Cultural Relations (ICCR), an autonomous organization under the Ministry of External Affairs (MEA), can be explored and incorporated in the museum training field. The ICCR has been unwavering in its dedication to promote Indian culture across the globe, utilising its missions, posts, and cultural centres abroad to share the beauty and vibrancy of our heritage with the world.
In addition, factors such as Public-Private Partnerships (PPPs) and corporate social responsibility (CSR) can be explored and utilised to support new methodologies of learning in the museum field, focusing on capacity building and addressing employment gaps. Implementing inclusive policies addressing the needs of the hour could positively impact society. Currently, CSR initiatives support emerging, underrepresented, and neglected artistic practices within theatre, music, and dance. They also contribute to the conservation of built heritage, art, and film, emphasising the training of conservators and enhancing preservation practices. Similarly, Public-Private Partnerships have become increasingly important in the museum sector by combining the strengths of both public and private entities. Through PPPs, private organisations provide essential financial support for the operation and management of museums, heritage monuments, and sites. Furthermore, the scope of these economic activities could be expanded to create models supporting museum professionals attending conferences and seminars.
In summary, despite ongoing challenges due to the various communication channels, and existing policies across institutions, museums must organise regular training sessions, capacity-building initiatives, and educational programs for mid-career museum professionals. There is an urgent need to improve the human resources in Indian museums to broaden their vision and enhance their skills and leadership qualities to meet international standards. It is high time we recognise and acknowledge that museums are not simply repositories of antiquities that link the past to the present; rather, they are vital centres for culture and education that influence all aspects of human life.
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Originally published in Museum Mosaic 2024, published May 2025.
Part of our annual review. Descriptions reflect the publication’s reporting period.
