From needles to mummies: A museologist’s quest to assemble history

Life of a museologist often takes one to strange zones. The objects, from a tiny needle to ancient bones and mummies, bring in different perspectives about the time and the way people lived. When museologist Vinod Daniel first saw the tiny (foldable) bed believed to have been used by King Tutankhamun, a pharaoh who ruled today’s Egypt more than 3300 years ago, it was a powerful reminder for him that this great figure in history was just a small boy. Reassembling the remnants of Rajiv Gandhi’s torn kurta-pyjama that the former Prime Minister wore when he was assassinated on May 21, 1991 for the Indira Gandhi Memorial Museum in New Delhi was a moment filled with emotion and respect. Handing over the first inert gas display case to preserve India’s original Constitution in 1997 was another significant moment in Vinod’s career.

Vinod, who was born in Virudhunagar and grew up in Chennai, has had the privilege of visiting more than 3,000 museums in 60 countries. As a museologist, he has worked with more than 100 museums around the world and in India he has been closely involved with many great museums including the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS) in Mumbai. The museums in India have ancient objects in abundance but they lack the skill when it comes to display and administration.

“There is a dearth of specialised training in all aspects of museums, including exhibition design and curation in India. There is also very limited attention to audience engagement and analysis of visitor needs. The bigger challenge that is emerging is this great fascination for use of technology without understanding that technology just needs to be a tool for interpretation and not an end in itself,” said Vinod, who is chairman of AusHeritage, a network of Australian cultural heritage management organisations, established by the Australian government in 1996.

However, there is hope, as governments in various states are beginning to realise the importance of museums in showcasing their local cultures as well as being an integral part of tourism. “I am optimistic. There will be a visible change in museums over the coming decade,” he added.

Indian museums, according to Vinod, are no doubt at a critical juncture. Several museums have made great progress, both in the public sector such as CSMVS (formerly Prince of Wales Museum) in Mumbai or the Bihar Museum in Patna, and in the private sector such as the Museum of Art and Photography (MAP) in Bengaluru or the Partition Museum in Amritsar.

“All museums are interested in modernising, especially when it comes to using technology. India’s potential is immense. Its rich cultural heritage and centuries-old artefacts and collections are indeed a great asset whose potential is yet to be fully realised. Three aspects that we need to start focusing on for the next decade is developing programs to meet the specialised human resource needs, getting more consultants who bid for projects to have a better understanding of museology and audience engagement, and a longer 15-year perspective from the government to make this possible through a clear strategy and funding,” he said.

For Vinod, it has been a rewarding experience working across the four corners of the globe and being able to do his bit for museums and their preservation. Each museum, no doubt, brings in their own challenges and opportunities. Vinod has been fortunate to have worked with the most modern art-based museums in Europe, to ancient heritage site museums in Egypt, Jordan and India as well as the community-based museums in islands such as Vanuatu and Fiji in the Pacific. With his continuous association with various museums in the world, he learnt the importance of cultural sensitivity, tailoring museum practices to local needs.

It was while pursuing his bachelor’s in chemical engineering at IIT Delhi that Vinod developed a broader perspective on life. It was followed by a master's degree at IIT Madras. A turn towards museums, however, started when he was hired by the Los Angeles-based Getty Trust as a chemical engineer to develop new methods for preservation of cultural collections. It was a rare opportunity for a chemical engineer.

Vinod’s first few projects included designing new display cases for Egyptian Mummies to minimise deterioration as well as finding new solutions for pest treatment in museums that will not damage objects and are friendly to humans and the environment. “It was an amazing start to a career as a conservation scientist to ultimately be involved in all aspects of museums, including collection management, education, outreach and public programs (including exhibitions). I am still enjoying and learning the science and art and living culture aspects. Museums offer immense potential to not only delve into our past but also to preserve the present for posterity, acting as cultural custodians,” said Vinod. After completing his assignment with the Getty Trust, he moved to Australia to join the Australian Museum. “I currently divide my time between Australia and India. I have been fortunate to work on projects in over 60 countries. As they say, travel broadens your mind and I cannot agree more,” said the 62-year-old.

India is home to some of the great museums that stand out for their collections, curation, and visitor experience. CSMVS (Mumbai), Victoria Memorial Hall and Indian Museum (Kolkata), Salar Jung Museum (Hyderabad) and National Museum (New Delhi) are some of Vinod’s favourite museums in the country. Being an ardent fan of painter Raja Ravi Varma (1848-1906), he often visits the Ravi Varma Art Gallery on the premises of the Napier Museum in Thiruvananthapuram. Opened in 2023, the gallery maintains the largest collection of paintings done by Ravi Varma.

“I’ve had the privilege of working with more than 100 museums around the world. In India, my journey has been particularly meaningful. For over two decades, I’ve been closely involved with the CSMVS in Mumbai, where I currently serve as an adviser,” he said.

Vinod has also been part of the advisory board for MAP Bangalore and contributed to various projects at Victoria Memorial Hall and Indian Museum in Kolkata, the National Museum in Delhi, and Napier Museum in Thiruvananthapuram. He was also involved in the restoration projects at Indira Gandhi Memorial Museum in Delhi. What do Indian museums lack?

“I think a majority of museums in India need better support, especially in terms of collection security or ways to minimise degradation, preventing impact from disasters such as fire or earthquake or floods. It is important to also note that over 90% of collections would be in places outside museums such as temples and private hands that would also need some urgent support,” he said.

Many ancient (smuggled) idols and sculptures of India have been returned to the country, thanks to the hard work and devotion shown by some heritage enthusiasts and organisations. As a museologist, how does he look at the incidents of smuggling and looting of ancient artefacts? “Smuggling and the illegal trade in stolen objects is a matter of serious concern. The collection acquisition process in museums globally have had a serious rethink and more rigorous, which I am confident will weed out any objects that have been taken out illegally. Many museums still have collections that are questionable and should be returned to India. I am aware that many museums are internally doing audits on their Indian collections with a view to returning the ones that don’t comply with their legal requirements,” said Vinod.

Preservation of mummies is an art in itself. Even though Vinod’s career as a museologist started with designing new display cases for Egyptian mummies, he moved to other core projects later. But in India, he got an opportunity to assist with the preservation of the mummy at the State Museum in Hyderabad eight years ago. How was his encounter with mummies?

“Mummification involved removing the internal organs, drying the human remains using special solutions and using special tapes, clothing and preservatives. All organic material would degrade with time and so do mummies. I had an opportunity to assist with the preservation of the mummy at the State Museum in Hyderabad. This involved redoing the support structure for the human remains and having a new inert gas (nitrogen) filled display case,” he said. Vinod, however, doesn’t know the status of it as mummies need proper maintenance and care. “I understand there are possibly six other mummies in various museums in India.”

Museums play a major role when it comes to the social and cultural understanding of a person. Years ago, Vinod had a very touching experience in Vanuatu, an island country in Melanesia in the South Pacific Ocean. “There wasn’t even a single trained conservator in Vanuatu. But teaching the basics of collection care there and seeing the pride in people’s eyes as they realised they were helping to preserve their nation’s heritage was incredibly moving,” he said.

From one museum to the other, Vinod’s journey never ends. With decades of involvement with museums, he realised one thing: the importance of vision. In 2011, he launched India Vision Institute (IVI), a registered trust, through which he spends time pro bono in philanthropic work. The IVI has undertaken meaningful and impactful work in 23 states across India. “More than 200 million people in India, mostly in the urban areas, need access to a pair of spectacles but don’t have access because of lack of awareness or access. As of now, we have provided primary vision care to 1.32 million adults and children across India, enabling children to study better, adults to be more productive and earn better, and have fewer accidents,” said Vinod.