ID: 145



María Mata Caravaca has been the Archivist of ICCROM (The International Centre for the Study of the Preservation and Restoration of Cultural Property) since 2002.

She graduated in Fine Arts at the University of Granada, Spain. She also trained in conservation and restoration in Florence and at ICCROM in Rome. She received her professional archival degree from the Paleography, Diplomatics and Archives School of the Vatican City; and she specialized in Archives and Library Science at the ‘Scuola di Specializzazione in Beni Archivistici e Librari’, University Roma La Sapienza.

She has participated at the international research project InterPARES 3 TEAM Italy (International Research on Permanent Authentic Records in Electronic Systems) from 2008 to 2012, and she is also involved in the new international project InterPARES Trust from 2013.


Hilke Arijs studied Audiovisual Techniques and obtained a Master’s degree in Art Sciences at the Vrije Universiteit Brussel. She has been working for the Belgian Royal Institute for Cultural Heritage (KIK-IRPA) since 2007, where she coordinated several conservation and digitization campaigns and is responsible for KIK-IRPA’s collection of photographic materials. Since 2008, she has been specializing in preventive conservation of photographic and audio-visual collections. Hilke also operates on a regular basis as a consultant for other institutions such as archives and museums. She teaches several workshops on the conservation and management of photographic collections and has published several articles on these topics.

In 2011, Hilke participated in the ICCROM course on Safeguarding Sound and Image Collections (SOIMA) held at Riga (Latvia) and Vilnius (Lithuania). In 2013 she participated, this time as a tutor, in ICCROM's SOIMA 2013 course in Nairobi, Kenya.


Working at ICCROM since 2004, Aparna has led the SOIMA-Sound and Image Collections Conservation programme since its inception in 2006. She has also led international training on First Aid to Cultural Heritage in Times of Conflict and has contributed to the planning and implementation of Teamwork for Integrated Emergency Management, a collaborative training initiative of ICCROM.

 Aparna holds an MA in Art Conservation and has received advanced level training in Paper Conservation from the Straus Center for Conservation, Harvard University Art Museums, USA. In 2001-2002 she was the Fulbright Arts Fellow at Preservation Directorate of the Library of Congress in Washington, D.C., and then a Conservation Guest Scholar at the Getty Conservation Institute, Los Angles, USA. From 1998 to 2004, Aparna was the Curator-Conservator at the Amar Mahal Museum and Library in Jammu & Kashmir, India.


Learning and networking: Preservation Planning for audiovisual collections

Brief summary:

Based on two case examples i.e. of ICCROM archive and IRPA's photographic collection, this paper discusses the implementation of preservation planning for mixed audiovisual collections. It also outlines the interactive and problem-based approach that ICCROM has adopted in training professionals through its audiovisual conservation programme SOIMA. 


In the first section of the paper, two case examples introduce the concept and significance of Preservation Planning for audiovisual collections.

The Archive of ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property) set out a preservation plan by making a condition assessment survey and summarizing findings in a written report, which identified short-, medium- and long-term priorities. The paper describes the challenges encountered during the digitization phase, in particular the identification of metadata and file formats for videos, and the need for large and sustainable digital storage. The paper remarks how networking was fundamental to reach solutions.

Following an in-depth collection analysis, IRPA (Royal Institute for Cultural Heritage, Belgium) designed a 5 year collection plan. Although many conservation strategies have been developed, the success of a preservation plan relies heavily on its institutional support. This paper illustrates the need for a creative communication to make such a support happen. Also, this paper will highlight the importance of finding a common language and assessment methodology within a cross institutional context.

The second section focuses on ICCROM’s international capacity building programme SOIMA (Sound and Image Collections Conservation) aimed at promoting preservation of audiovisual heritage. This section outlines how case examples are innovatively used in SOIMA courses to enhance the knowledge of professionals entrusted with the care of AV heritage in diverse institutional contexts. It also illustrates the collective experience of implementing a Preservation Planning framework and recommends strategies for promoting its wider use.

Scientific contribution:

Preservation of audiovisual materials is highly specialized and requires technical know-how, nonetheless the process of making choices for preservation has cultural and social implications and therefore requires additional knowledge and skills such as management, networking, communication, cultural sensitivity, etc. Through the description of case examples and the SOIMA training strategy, this paper will highlight the above aspects. Moreover, it will emphasize how professional training can be made effective by capturing real experiences and how by doing so it can improve practice in the field.


Preservation planning; Audiovisual; Management; Condition Assessment; Obsolescence; Digitization; File formats; Metadata; Networking; Risk Assessment; Collection Survey Methodology, Communication.