The Museum Beyond the Museum

Risa Wahlang, Independent Researcher, Cultural Practitioner

Museums have evolved from being stagnant cabinets of curiosities, where objects were left to gather dust, into dynamic institutions of creativity, education, and innovation. Today, museums are increasingly community-oriented, participatory, and inclusive. Curation is more intentional, with a focus on engagement. This prospect of what a museum can be has been central to envisioning Meghalaya’s Ever Living Museum. Built over many years through the dedication of one man, it is one of the state’s most notable ethnographic museums. Located in a suburban area, it is surrounded by a garden and attracts visitors and children from the neighbourhood who come to spend time there. At first, it looks like a typical museum with objects in glass cabinets; however, what makes it special is the passion behind it. Unlike many state-run museums, this space feels personal. It is one of the few spaces where heritage feels democratised rather than elite, as is the case with many similar institutions. This uniqueness has also facilitated collaborations with organisations such as the India Foundation for the Arts. Through the Foundation’s Museums and Archives programme, I worked with the museum as a project coordinator for 18 months. This experience helped me see the museum as a dynamic space for learning and creativity. I had the freedom to design outreach programmes. These included workshops on nature–culture linkages, traditional musical instruments, and textile processes. Students engaged directly with the collections through these sessions. In this way, even though the museum may appear to follow a typical glass-cabinet display format, it became a space that allowed for change and engagement.

The Idea of a Museum in a Box

Even so, this experience still felt insufficient. I kept returning to a question asked during my interview for the programme: how can we make this museum more inclusive? This led me to think about the politics of who gets to experience a museum. Museums are often influenced by those who financially support them, which in turn shapes whose stories are presented and who feels welcome. As a result, access is not equal, and certain groups are left out. This raises a contradiction: even though this museum is not elite in its setting or ethos, the politics of representation can still operate within it. This created an opportunity to truly democratise the museum and make it inclusive. Building on this, I began to consider students with disabilities and how this outreach could extend into their curriculum. This proved to be a particularly challenging task. To address this, I collaborated with the State Resource Centre on Disability Affairs. Engaging with them was important, as it meant involving people who understood the needs of children with disabilities. They did not see them as a burden, but as individuals with a rightful place in society. During our discussions on creating tactile experiences, we initially considered allowing children to handle the objects directly. However, this raised concerns, as the objects are precious and could be damaged. The next challenge was accessibility. Children with locomotor disabilities

would not be able to climb the stairs to reach the museum, and with a limited budget, changing the infrastructure was not feasible. In response, the idea of a “museum in a box” was developed, inspired by the “Museum on Wheels” initiative by the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya. While not original, this approach was relatively new in Shillong.

Executing the Idea

Once the idea was in place, the planning commenced. While planning, I didn’t want this to be seen as just an appendage of the museum. As someone from a community that has experienced marginalisation, I was conscious of not further marginalising those who are already excluded. In Shillong, where the heritage sector is still flourishing, museums are just starting to become more engaging, and accessibility is treated as an afterthought. This reflects a divide between the abled and the disabled, which continues to shape how such spaces are designed. Further, it highlights a significant gap in our public infrastructure, where basic provisions, such as those enabling wheelchair access, are poorly designed and difficult to use. This project attempted to challenge that divide by placing children with disabilities at the centre of its design. The idea was that if their needs are meaningfully addressed, the space would become accessible to everyone. Even while working within a limited budget and with no full-time staff, the planning remained true to the spirit of the museum. Much of the work depended on the support of friends and family. The aim was to create something that would spark curiosity while also recognising that children often have short attention spans. Hence, instead of a single large box, the idea was to use multiple boxes so that children could engage with them one at a time. The collection was divided into four boxes, which can be used depending on time and interest. One of the central curatorial ideas was the “social life of objects”, as these are not relics of the past but an active part of living heritage. Many of the items on display are still made, worn, and used today, though sparingly. It was therefore important to present their continuing cultural significance. To enable this engagement, small-scale models were used to allow children to closely interact with the objects. For example, jewellery was not shown only as an adornment, but explained through how, when, and by whom it is worn. Everyday items like pots, loofahs, and soap nuts were included to demonstrate their continued use. A floor loom was used to explain weaving, and musical instruments were introduced through their rhythms and meanings. Traditional huts and basketry helped explain the purpose behind their designs. Seeds were used to show processes like winnowing, and small dolls demonstrated how objects such as traditional umbrellas are used. To support engagement with the objects, QR codes were included on each box. When children scan the code, they are directed to videos that guide them through the activity. In these videos, the instructor first encourages them to observe the object, to touch and smell it where needed, before any explanation is provided.

This approach was important because the staff was limited. Since the boxes travel to different places, it is not always possible to have facilitators present. Digital tools offer a practical solution. The QR- enabled videos act as portable guides, so the boxes can be used anywhere – whether in classrooms or at home. Along with the objects and QR videos, each box also includes an instruction booklet. It explains how to use, handle, and store the materials, and includes activities that help children connect the objects to their own experiences. The aim is to nurture archiving and remembrance, especially in a world where objects are easily disposable. For instance, in the Create Your Own Mini-Museum activity, children choose objects from their home that remind them of something handmade or something used during special occasions. When kept together in a shoebox or pouch, these objects become memories and constitute a part of their identity. The weaving activity lets children learn by doing. Using simple materials, they make a small cardboard loom and understand how weaving works. They also gain familiarity with what it feels like to create something with their own hands. The finished piece can be added to their mini museum. The Huts Then & Now activity encourages children to visit traditional huts in nearby villages and observe them closely. By drawing or taking photos, they can notice different materials and designs. They then compare these huts with their own homes and reflect on the similarities and differences. Their drawings or photos can also be added to the mini museum. The Guess the Drum Beats game allows an exploration of sound. Children are also encouraged to attend Shad Suk Mynsiem, an indigenous festival, and experience these rhythms in person. After this activity, they are encouraged to write about their favourite beat, take photos, and add these to their mini museum. These activities are also designed to let children create their own souvenir instead of buying one. This DIY keepsake becomes a memory of their museum-in-a-box experience. It is also a form of museum merchandise. Instead of being a generic souvenir, it is closely connected to the museum experience, unlike items found in common tourist shops. Although this approach may seem complex, it grew out of a pilot workshop at a special needs school, where the children’s perceptiveness challenged assumptions about their ability to engage and think. Launched in February 2026, the “museum in a box” is still evolving, with scope to improve accessibility and expand its collection. It reflects resilience and experimentation and could become a model for accessibility and engagement. Taken forward by the Ever Living Museum team, I hope it continues to develop and grow. If a small private museum with limited resources can make such an attempt, the question arises: what possibilities exist for larger public museums with greater institutional support and funding?

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