Contemporary heritage interpretation rests on the conviction that the past is best engaged through multiple voices, open dialogue, and inclusive narratives. But what becomes of this vision in an authoritarian state, where engagement with history is treated as a strictly controlled political resource?

This article examines how the Belarusian regime under Alexander Lukashenko has, over three decades, turned the history classroom into an instrument of authoritarian survival. Drawing on a longitudinal discourse analysis of four state-mandated history textbooks published between 2006 and 2019, it traces how heritage interpretation can be inverted: instead of opening the past to dialogue, it is sealed off to silence dissent.

Three mechanisms stand out.

First, the textbooks rely on strategic lacunae (gaps). Stalinist repressions are paradoxically depoliticised. The famine of the 1930s is erased. The democratic transition of 1991–1994, including Lukashenko’s contested rise to power, simply disappears: the 1994 Constitution appears out of nowhere, and his rule begins as a natural, uncontested historical destiny. Through such omissions, the curriculum purges the past of any element that might suggest alternative political possibilities.

Second, the textbooks weaponise heritage symbols against contemporary opposition. The white-red-white flag and the ‘Pahonia’ coat of arms — historic Belarusian emblems and banners of political resistance — are systematically linked in textbooks to Nazi collaboration. The educational narrative laid the legal and moral groundwork for the regime’s later official ban of these symbols as ‘extremist’. Heritage is reframed not as inheritance, but as evidence in a political trial.

Third, the regime extends this work from the printed page into physical space. ‘Lessons in a museum’, and the spatial organisation of state exhibitions constructs what may be called a ‘route of loyalty’: a curated pathway dictating the boundaries of acceptable memory. Classrooms and museums cease to function as sites of inquiry and become sites of loyalty enforcement.

Yet this monopoly carries its own vulnerability. The unprecedented civic protests of 2020 — in which the ‘Pahonia’ and the white-red-white flag returned as symbols of mass resistance — revealed that a narrative stripped of trauma, complexity, and citizen agency cannot indefinitely contain the lived reality of those it claims to represent.

For heritage interpreters, the Belarusian case is a cautionary one. Multiperspectivity, plural memory, and dialogic interpretation are the practical safeguards against the political capture of the past.

Nikolai Shpilkov is an independent journalist and historian. A former PhD student in Russia, he left the country in 2022 and is now completing an MA at the University of Siena, Italy, while seeking a PhD position to continue his research on Belarusian memory politics. Nickolai can be contacted at: nickolay.rayskiy@outlook.com. 

This article is a summary of a longer paper, which was presented at the Interpret Europe online symposium, The role of narratives in 21st century heritage interpretation. The full paper can be found in the proceedings: https://interpret-europe.net/wp-content/uploads/2026/06/ie_online_symposium_2026_proceedings_2nd_ed_compressed.pdf

To cite this article: Shpilkov, Nikolai  (2026) “Weaponising the past in Belarusian schools”, Interpret Europe Newsletter Summer 2026, pp. 29–30. Available online: Interpret Europe Newsletter Summer 2026.

The Beļava Manor House is a mid-18th-century Baroque monument of national importance located in north-east Latvia. After losing its function in 2019, the manor was left without active management, raising an important question: How can a heritage site regain functionality, meaning, visibility, and a sustainable role in contemporary community life?

In 2025, local visioners – Ilze Vanaga, Herta Pugača and Laura Vecmane-Bārtleta – initiated activities aimed at building a new heritage community for the manor, identifying the site’s values, strengthening public awareness, and developing meaningful interpretation. A development workshop, concerts, lectures, poetry events, pottery workshops, and other activities helped reactivate the site while also testing its possible future uses.

The case of the Beļava Manor demonstrates how a values-based heritage approach can go beyond the preservation of physical fabric alone. It highlights a broader understanding of heritage by recognising historical, aesthetic, social, spiritual, ecological, and economic values that were attributed to the site by different stakeholders. At the centre of this process were people — residents, former users, heritage and tourism specialists, and community leaders — whose knowledge, memories, and expectations helped to shape the future of the site.

The value mapping process revealed both tangible and intangible elements that were highlighted by different interest groups: the manor’s park and old trees, its historical landscape, Baroque architecture and interior details, authentic elements, and the strong emotional connection of the former school community. From this process emerged two interpretation directions – Magnetic Authenticity and Contemporary Enlightenment. The mapping process revealed a strong presence of shared values, namely, different interest groups expressed similar views, memories and visions about the site and its future uses. This significantly facilitates the process of its interpretation and development in the future. 

Rather than remaining a museum-like monument, Beļava Manor is imagined as a dynamic place for community events, festivals, children’s camps, residencies, restoration activities, and tourism. The case also underlines the importance of keeping the property in municipal ownership to protect its public value and support long-term, inclusive development. It offers an inspiring example of how heritage can be reactivated through shared values, participation, and imaginative interpretation.

[This article was submitted in response to the IE Learning Landscapes online symposium held in February 2026.]

Ilze Vanaga is a life-long learning and heritage projects coordinator based in Gulbene county, Latvia. She is open for collaboration in the field of manor heritage, and can be contacted at: ilze.vanaga@gulbene.lv.  

To cite this article: Vanaga, Ilze (2026) “Reimagining Beļava Manor through shared values”, Interpret Europe Newsletter Summer 2026, pp. 28–29. Available online: Interpret Europe Newsletter Summer 2026.

Heritage interpretation often reaches schools through museums and organised visits to monuments, where students encounter interpretations prepared by others. This project began closer to home: in Tavros, a neighbourhood of Athens shaped by refugee settlement, industrial activity and social housing. Working within the Greek Skills Workshops curriculum, Grade 9 students of the 1st Junior High School of Tavros were invited to explore the stories of their neighbourhood and transform their own interpretations into a podcast.

“Boring”, “ugly”, “a place everyone wants to leave”: this was where the project actually began. Most students’ first reactions revealed distance rather than connection. Instead of seeing this as a problem, we treated it as a call for interpretation. Could heritage interpretation help students connect with places they passed every day but had never really noticed?

Students explored archival material and oral-history testimonies related to local landmarks. They investigated stories of migration and urban change, and imagined the experiences of people who had lived and worked in the neighbourhood at different moments in time. Most importantly, they were encouraged to reflect on how these stories related to their own lives.

Gradually, familiar places began to look different. Apartment blocks, busy streets and public spaces started to carry memories, experiences and meanings. In classroom discussions, students negotiated different perspectives and constructed a shared narrative about the place they inhabit.

The process culminated in the creation of a student podcast, A Neighbourhood Unfolding, shared through the European School Radio network. Using voice, music and sound, students communicated their own interpretation of Tavros beyond the classroom, reaching both the local community and a wider audience. In doing so, they contributed to how their neighbourhood is perceived. The podcast was also recognised through the European School Radio contest process.

Seen through the lens of the Faro Convention, the project opens up a broader question about the place of heritage interpretation in formal education. Faro reminds us that heritage is shaped by the meanings people attach to places, stories and experiences (Council of Europe 2005). From this perspective, schools can become spaces where young people learn to recognise these meanings, connect them with wider stories and communicate their own perspectives.

In our project, heritage interpretation supported key learning skills: students worked critically with sources, but also imaginatively with stories. They collaborated to shape a shared narrative and then communicated it to audiences beyond the classroom. In this sense, when students are given opportunities to inquire, interpret and create, heritage interpretation becomes both a way of engaging with heritage and a way of learning.

This article is a summary of a presentation given at the Interpret Europe Conference 2026. The full paper with references can be read in the conference proceedings, available soon on the IE website: https://interpret-europe.net/material/ 

References:

• Council of Europe 2005, Council of Europe Framework Convention on the Value of Cultural Heritage for Society (CETS No. 199), Council of Europe, viewed 31 May 2026, https://rm.coe.int/1680083746.
• A Neighbourhood Unfolding, European School Radio,  can be accessed here: https://europeanschoolradio.eu/episode/13362.

Evgenia Stavraki teaches mathematics at the 1st Junior High School of Tavros, Athens, Greece. She holds an MA in Museum Studies and an MA in New Technologies in Education, with a focus on STEAM education. Her interests lie in bridging heritage interpretation and formal education, exploring how culture and community can become creative spaces for communication and learning. She can be contacted at: eugenia.stav@gmail.com.

To cite this article: Stavraki, Evgenia (2026) “When heritage interpretation enters the classroom”, Interpret Europe Newsletter Summer 2026, pp. 26–27. Available online: Interpret Europe Newsletter Summer 2026.

For more than 25 years, I have worked in environmental education in Albania. In the early years, whenever we designed a project, donors would ask the same question: What will be the outcome?

The answer is not always easy to measure. How do you measure a child’s first understanding that a wetland is alive? How do you measure a teacher who begins to include nature in a lesson plan? How do you measure the moment when a young person stops seeing a protected area as empty land and starts seeing it as heritage, responsibility and identity?
Today, on the streets of Albania, I feel I am finally seeing one of those outcomes.

In recent days, young people, many of them belonging to Albania’s Gen Z, have joined public protests in defence of protected areas, especially around the Vjosa-Narta landscape and the planned luxury tourism development near the sensitive coastal wetlands. The flamingo has become one of the symbols of the protest. Pink inflatable birds, handmade posters and sharp, simple messages have filled the streets. Behind the humour and colour, there is a serious demand: Protected areas must remain protected.

This is not only an environmental protest. It is also a civic lesson taking place in a public space.
Albania has made important progress in recognising its natural heritage. Areas such as Vjosa, Narta, Divjaka-Karavasta, Prespa and many others are not just beautiful landscapes. They are living classrooms, migration routes, habitats, and memory places. They connect biodiversity with local communities, stories, livelihoods and culture.

But protected areas in Albania are now under pressure. Amendments to the Law on Protected Areas, approved in 2024, have been strongly criticised by environmental organisations because they open the door to large-scale development inside areas that were previously intended to benefit from stronger protection. Conservation groups have warned that projects in sensitive zones, including the Vjosa-Narta area, could damage habitats for flamingos, sea turtles, monk seals and many bird species. International attention has also grown, with concerns linked to Albania’s path toward alignment with EU environmental standards.

For me, the most powerful part of this moment is not only the legal debate. It is the faces of the young people in the crowd. Many of them were born after the first wave of environmental education projects began in Albania. They grew up with recycling days at school, nature clubs, field visits, campaigns, posters, clean-ups, biodiversity lessons and outdoor activities led by teachers and civil society organisations. Some of these activities were small. Some lasted only a few months. Some were funded by donors who needed indicators, reports and final evaluations.

But something remained.

A vocabulary remained. A sense of care remained. A belief persisted that nature is not a luxury and that development cannot mean sacrificing everything that makes a place unique.

This is why I see the current protests as more than resistance. I see them as interpretation in action. Interpretation is not only what happens at a visitor centre, in a museum, on a trail or beside a monument. Interpretation also happens when people connect meaning with place. It happens when a flamingo is no longer just a bird, but a messenger. It happens when a wetland is no longer just a map category, but part of a shared future. It happens when young people take scientific facts, personal emotion and civic courage and turn them into a public voice.

For many years, environmental educators in Albania have tried to help people understand that protected areas are not barriers to development. They are a different model of development. They protect water, soil, birds, landscapes, local economies and cultural identity. They give communities the chance to build tourism that respects place, rather than consuming it.

The young people in the streets seem to understand this very clearly. They are not against Albania’s progress; they are asking what kind of progress we want. They are not against tourism; they are asking whether tourism should destroy the very nature that attracts people here. They are not speaking only for birds and wetlands; they are speaking for public trust, transparency and the right of future generations to inherit more than concrete.

As someone who has spent more than a quarter of a century working in environmental education, I feel pride, but also responsibility. Pride, because I can see that education has roots. Responsibility, because this moment reminds us that education must not stop at awareness. It must grow into participation.

The lesson from Albania today is simple and deeply important for all of us working in heritage interpretation: When people truly understand the value of a place, they are more likely to defend it. For years, we planted small seeds in classrooms, youth camps, teacher trainings, and community projects. Now, some of those seeds are standing in the streets, holding flamingos above their heads. And for the first time in a long while, amid all the concern, I feel hope.

Daniela Ruçi has worked for many years as an environmental education expert for sustainable development, and she is passionate about the effective use of heritage interpretation to engage the next generations. Daniela is Interpret Europe’s Social Media and Design Officer. She can be contacted at: daniela.ruci@interpret-europe.net.

To cite this article: Ruçi, Daniela (2026) “When flamingos took to the Albanian streets”, Interpret Europe Newsletter Summer 2026, pp. 24–25. Available online: Interpret Europe Newsletter Summer 2026.

[Submitted in response to the Learning Landscape initiative online symposium]

Forest bathing, or shinrin-yoku, is often described as a wellbeing practice, an immersion in the sensory atmosphere of the forest. Rather than offering a structured story, it offers a space where participants slow down, notice more, and connect with the diverse narratives present in a natural landscape. In this way, forest bathing aligns with the wider shift in interpretation toward dialogue, reflection and personal meaning-making.

The forest is an ideal setting for exploring the question, Whose stories are told? While many heritage sites still emphasise dominant historical or cultural narratives, natural landscapes hold a multiplicity of simultaneous narratives – ecological, cultural, scientific, spiritual and personal. Forest bathing does not prioritise one over the other. Instead, it invites participants to recognise that their own presence becomes part of the place’s evolving story. Gentle prompts, such as “Notice what draws your attention”, help individuals uncover personal memories, associations, and emotions, addressing the question, How can people become aware of their own narratives?

This approach also helps address another challenge: How do we balance factual accuracy with narrative richness? Forest bathing does not contradict scientific knowledge; instead, it places it in context. A guide may share ecological perspectives, but these serve as invitations rather than explanations. Participants are encouraged to sense, reflect, and co-create meaning from their encounters. Forest bathing shows that facts can be offered not as directives, but as invitations to reflection. Emotional engagement becomes a pathway to critical thinking and self-reflection, rather than conflicting with evidence-based understanding.

Most importantly, forest bathing highlights how the interpretive profession is evolving, responding to the question, How is the interpretive profession adapting for the future? Guides become facilitators, mediators, and co-creators of meaning rather than solely conveyors of knowledge. Shared silence, sensory invitations and reflective circles enable participants to contribute their own perspectives, showing that heritage interpretation can trigger experiences rather than only deliver information. Such experiences can support dialogue, help manage narrative tension and foster social cohesion.
In a time of ecological crisis, forest bathing offers a gentle yet profound method for shaping new narratives, ones rooted in presence, reflection, and co-creation. After all, heritage is not just what we preserve, but how we relate to the world.

Georgia Pyriovolis is an English teacher, certified tour leader and mountain guide, as well as a pioneer of Forest Bathing practice in Greece, recognising the profound link that nature plays in cultivating health and wellness. She facilitates nature-based experiences that foster reflection, dialogue and meaningful connection with place. You can get in touch with her at: gpyriov@gmail.com.

To cite this article: Pyriovolis, Georgia (2026) “Listening to forest narratives”, Interpret Europe Newsletter Spring 2026, p. 20.
Available online: Interpret Europe Newsletter Spring 2026.

The Living Images project at the Zagreb City Museum represents an innovative museological interpretation model based on the method of living history, which was the first of its kind in Croatia. Launched in 2000, this programme was designed as a platform for interactive and personally narrated presentations of history through the roles of curators, who assume the personas of historical figures closest to their interests and expertise. Over the years, the project has developed and attracted external participants, including colleagues from other museums, public institutions, friends, and family members. Individuals could choose characters and roles from history or everyday life, allowing visitors to gain a deeper, more personal experience of history. It is much easier to remember a personal conversation with the Black Queen – Barbara Celjska or Ban Jelačić than a traditional guided tour with standard data and facts.

The advantage of the Living Images approach is that interpretation is human-centered, emphasising the human dimension of history, daily life, customs, misconceptions, triumphs, and struggles of the characters that curators and collaborators interpret. This approach engages visitors on both an emotional and intellectual level. Living Images is the first official example at the Zagreb City Museum of applying living history methods in interpretation, thereby encouraging new approaches in museum presentation and interpretation.

Living Images mainly encourages participatory and experiential methods in museums, emphasising authenticity and context. Through this project, the local community engages with history personally and directly, turning the Zagreb City Museum into a modern space for connection, reflection, and identity. It also underscores the importance of the human element in interpreting cultural heritage. As a result, this project acts as a bridge between traditional museums and contemporary interpretive methods, offering a meaningful experience that can be expanded or tailored to meet community needs and preferences.

In recent years, the Museum has also begun collaborating with city residents who have expressed interest in cooperation, making Living Images a bridge between experts and laypeople. This provides additional opportunities for residents to participate in education and the interpretation of history. On its 25th anniversary, Living Images remains faithful to its tradition but is also open to change and breaking down walls between worlds. 

Due to the popularity, tradition, and high professional standards, the Zagreb City Museum has protected ‘Living Images’ under the Copyright Law. This in itself stands as a sign of a good interpretive programme.

Aleksandra Berberih Slana is a museum director, cultural historian and museologist with extensive experience in museum interpretation and educational programmes, specialising in innovative methods of engaging the public with cultural heritage. Aleksandra can be contacted at: abslana@mgz.hr.

To cite this article: Berberih Slana, Aleksandra (2025) ‘Living Images: A Creative Tool for Interpreters of History’ in Interpret Europe Newsletter 4‑2025, p. 21–22.
Available online: Newsletter winter 2025

Rooted in hands-on engagement and value-based storytelling, the programme that brought this site to life during the summer months invited participants not just to learn about history, but to step into it.

Over several days, participants engaged in the reconstruction and playing of Roman board games, handled replicas of ancient arms, and embodied citizens of Stobi by dressing in Roman clothing. These activities transformed archaeology from abstract knowledge into a lived, emotional experience.

The workshops were designed by archaeologist and IE Certified Interpretive Trainer Vasilka Dimitrovska, and coordinated by HAEMUS – Centre for Scientific Research and Promotion of Culture, in collaboration with Ivan Ilić, archaeologist and historical reenactor from Serbia, and Damjan Serafimovski, interpreter and ethnologist at the Museum of the City of Skopje. Together they brought academic research into dialogue with public engagement, bridging the gap between science, education, and community.

A special focus was placed on mentoring young interpreters. By guiding them to take on the roles of Roman citizens, the project not only deepened authenticity but also gave a new generation the confidence to embody heritage and connect it with contemporary audiences.

The interpretive framework combined experiential learning with live interpretation and historical reenactment. Rather than presenting archaeology as distant, the approach encouraged participants to touch, play, and interact, turning passive observation into active meaning-making.

Elements of the programme are already being woven into the wider Storytelling Macedonia platform, which promotes narrative-based, site-specific interpretation across North Macedonia. The long-term vision is to continue developing activities that reinforce the bond between archaeology, education, and the public, while highlighting heritage as a shared value.

This initiative at Stobi demonstrates how live interpretation can transform archaeological sites into participatory spaces, where the past is not only studied, but felt, embodied, and re-imagined in ways that matter today.

Vasilka Dimitrovska is an IE certified interpretive trainer. She is director of HAEMUS – Center for Scientific Research and Promotion of Culture, and founder of Storytelling Skopje and Storytelling Macedonia. She can be contacted at: dimitrovska@haemus.org.mk.

To cite this article: Dimitrovska, Vasilka (2025) ‘Hands-on with the Romans: Re-imagining Stobi through live interpretation’ in Interpret Europe Newsletter 3-2025, p. 17.
Available online: Newsletter autumn 2025

The ‘Meet, See, Do – Museum Trends’ conference, which was organised by the Balkan Museum Network in partnership with Zagreb City Museum and NEMO – Network of European Museum Organisations, took place in Zagreb on April 28-29. It brought together museum and heritage professionals to explore emerging trends in the sector. 

Over the course of two full days, participants engaged in thought-provoking discussions, practical workshops, and networking opportunities, sparking new ideas and fostering meaningful collaboration. 

Interpret Europe Croatia participated in two slots. IE certified trainer Ivana Jagić Boljat gave a workshop on value-based heritage interpretation, offering participants the chance to explore how values can enrich interpretation and deepen participants’ engagement. The session illustrated how the IE training programme has evolved to incorporate values-based interpretation and what this means for the roles of guides, writers, and planners. 

In the second slot, Irina Ban, IE Country Coordinator Croatia, introduced the Interpret Europe association, its goals, membership benefits and activities of the association. 

It was great to represent IE and reach a wide network of other HI professionals from across the Balkans.

Irina Ban is IE’s Country Coordinator Croatia. She can be contacted at: irina.ban@interpret-europe,net. 

To cite this article: Ban, Irina (2025)  ‘Representation in the Balkans‘  in Interpret Europe Newsletter 2-2025, pg.22.
Available online: Newsletter summer 2025

Durres, one of Albania’s most ancient and historically rich cities, is undergoing a remarkable cultural revival thanks to a year-long collaboration between Durresi Aktiv and MuZEH Lab, supported by the EU4Culture initiative. This comprehensive project is dedicated to raising awareness, fostering education, and promoting sustainable cultural tourism at some of the city’s most emblematic heritage sites, including the Venetian Tower and the historic Hamam. The initiative seeks to deepen both local and visitor engagement with Durres’ rich history, ensuring that its cultural treasures are not only preserved but also celebrated and passed on to future generations.

A key part of the project has been the organisation of vibrant cultural events held at key heritage sites. One standout occasion was the Cultural Night at Hammam of Durrës, an Ottoman era bathhouse transformed into a lively cultural venue. This event combined classical music performances, visual projections of historical artifacts, and artisan exhibitions, to create a multisensory experience that illuminated the history and significance of the site. Such events serve as dynamic platforms for heritage interpretation by engaging audiences emotionally and intellectually, helping them to see historical places not just as relics of the past but as living spaces filled with stories and creative energy. By showcasing local artists and cultural practitioners, these events also foster community involvement and contribute to the sustainable use of heritage spaces.

The project also emphasises professional development and capacity building through specialised training sessions held at MuZEH Lab. These workshops equip museum professionals, educators, and cultural workers with advanced skills in heritage interpretation and storytelling, enabling them to communicate Durres’ history in ways that resonate with diverse audiences. Special attention is given to promoting social inclusion by actively involving women, youth, minorities, and disadvantaged people in both training and cultural activities. This inclusive approach not only enriches the cultural dialogue but also ensures that the benefits of heritage preservation are shared widely across the community.

Importantly, this project builds on the success of the previous EU4Culture funded Old Doors Trail initiative (https://theolddoorstrail.com/), aiming to extend and deepen socio-economic opportunities by linking cultural heritage with sustainable tourism and local employment. By fostering collaboration between civil society organisations, cultural operators, and public institutions, the project creates synergies that strengthen the cultural sector and promote environmentally responsible tourism. The use of eco-friendly materials and sustainable artistic production throughout the project reflects a strong commitment to minimising environmental impact, demonstrating that heritage conservation and sustainability can go hand-in-hand.

The immediate impact of these combined efforts is evident in the heightened awareness and appreciation of Durres’ cultural heritage among both locals and tourists. Through engaging performances and educational workshops, participants gain a deeper understanding of the historical significance of sites like the Venetian Tower and the Hamam, while also developing skills related to heritage preservation and sustainable tourism. Over the longer term, the project aspires to foster sustained socio-economic growth by leveraging cultural heritage as a driver for tourism, employment, and community empowerment. The creation of lasting partnerships among cultural practitioners, public institutions, and local communities is a key part of this vision, ensuring that Durres’ heritage is protected and promoted for generations to come.

This approach, combining education, cultural programming, professional training, and community engagement, offers a valuable model for heritage interpreters and cultural professionals. It highlights the power of collaborative efforts to make history accessible, relevant, and inspiring, demonstrating that cultural heritage is not just about preserving the past but about enriching the present and shaping the future.

Following the rich cultural activities and professional development efforts, the project has also created an innovative educational tool aimed at younger generations: the Discover Durrës board game. This interactive game is designed for children aged 7 to 12, inviting them to explore Durres’ heritage in a playful yet meaningful way. Players take on roles such as Traveler, Archaeologist, Artist, or Artisan, each linked to various landmarks, artists, and craftsmen important in the city’s history. Moving through a large game board representing Durres, children encounter illustrated cards that tell fascinating stories about each site or figure, combining visual engagement with storytelling to help children absorb historical knowledge naturally and enjoyably. This playful learning approach helps build a strong connection between young learners and their city’s past, encouraging pride and awareness while fostering creativity and critical thinking.

Inesa Sulaj is a cultural heritage expert and museologist. She is IE’s office manager and can be contacted at: inesa.sulaj@interpret-europe.net 

To cite this article: Sulaj, Inesa (2025)  ‘Revitalizing Durres’ heritage‘  in Interpret Europe Newsletter 2-2025, pg.20-21
Available online: Newsletter summer 2025

In the last decade, heritage interpretation has gained visibility as a method that not only conveys facts but invites connection, collaboration, and co-creation. But what happens when academic disciplines—traditionally focused on research—begin to adopt interpretive thinking? The Prometheus Project offers an inspiring answer.

Funded by the Creative Europe Programme, PROMETHEUS – Promoting Universal Values through Digital Epigraphy and Cultural Heritage – brings together five leading institutions from North Macedonia, Bulgaria, and Serbia. The project is coordinated by the Archaeological Museum of North Macedonia, in partnership with the Faculty of Philosophy at the University of Belgrade, the Institute for Balkan Studies of the Serbian Academy of Sciences and Arts, St. Kliment Ohridski University of Sofia, and Ss. Cyril and Methodius University in Skopje—all prominent academic and research institutions across the region.

Their shared goal is to digitise and reinterpret ancient inscriptions from across the region, building an open-access epigraphic corpus. Yet beyond the technology, something more transformative is unfolding—a shift within the academic world toward meaningful public engagement.

This change is most visible in how the project moves beyond mere digitisation. Prometheus doesn’t just catalogue inscriptions; it reimagines them as stories worth telling. Drawing on interdisciplinary input from scholars, archaeologists, and—critically—heritage interpreters, the project breathes new life into stone-carved words that have long remained silent to most museum and site visitors.

Through workshops, public talks, and experimental formats, epigraphy has been brought into dialogue with contemporary audiences. As a heritage interpreter, I had the opportunity to contribute by designing a tailor-made gamified experience in Skopje for participants of the second Prometheus workshop. The feedback from scholars was deeply encouraging: curiosity was sparked, minds opened, and the wall between scientific knowledge and emotional engagement began to dissolve.

This is where Prometheus becomes a symbol of something greater. For years, the gap between academic heritage research and public understanding has felt insurmountable. Now, with interpretation as a bridge, we are beginning to see what it looks like when academic institutions step outside the ivory tower—embracing storytelling, digital tools, and inclusive methodologies to connect with people where they are.

At its heart, Prometheus is not just about preserving the past—it’s about giving it a voice. A voice that speaks not only to scholars, but also to schoolchildren, tourists, gamers, and curious wanderers in museum corridors and at archaeological sites. It is a testament to the idea that ancient science can still stir emotion, spark imagination, and carry meaning into the present.

Vasilka Dimitrovska is the IE Country Coordinator North Macedonia and is an IE certified interpretive trainer. She is the director of HAEMUS – the Center for Scientific Research and Promotion of Culture (www.haemus.org.mk), and the owner of Storytelling Skopje (www.storytelling-skopje.com) and Storytelling Macedonia ((http://www.storytelling-macedonia.com/). She can be contacted at: dimitrovska@haemus.org.mk.

To cite this article: Dimitrovska, Vasilka (2025)  ‘Bringing ancient inscriptions to life: The Prometheus Project‘  in Interpret Europe Newsletter 2-2025, pg.19.
Available online: Newsletter summer 2025