Why Do We Need Water Museums?

What comes to your mind when you hear about a “water museum”?

Most people don’t know how to answer. And maybe that’s the point!

In this episode of the H2Know, we begin with a simple question and end up somewhere far deeper. We speak to people from different walks of life, then sit down with the Global Network of Water Museums to ask:

What does it mean to remember water? Whose stories are being forgotten? And how can museums become places that hold not just the past, but the hopes of communities living along rivers, lakes, and shorelines?

This is an episode about memory, loss, belonging, and why the way we remember water can help shape a more just future.

🎧 Tune in Now!

Note: The host on this episode is Omnia Shawkat

Transcript

Transcription is available in English, Arabic and Amharic.
For Arabic and Amharic swipe down.

• English 

Why Do We Need Water Museums?

Omnia: Welcome to the fourth series of the H2Know podcast. I’m your host, Omnia Shawkat, and I’m so glad you’re here with us today to journey into the world of Water Museum Making, where memory, heritage, and storytelling come together to shape more just and inclusive water futures.

Omnia:  Let’s start with a question: What comes to your mind when you hear the words “water museum”? Is it pipes and pumps? Ancient wells? Or… do you pause.. Unsure?

Audio Pop 1: A museum of old water tools?

Audio Pop 2: Like an aquarium?

Audio Pop 3:  I’ve never heard of that.

Omnia: That’s exactly where we begin today. Because sometimes the most powerful ideas are the ones we’ve never had to name before.

Think about it. The rivers we grew up beside, the wells our grandparents dug, the floods we lived through, the rituals, the stories, the songs. All of it shapes who we are. But when those memories fade… something bigger disappears too.

That’s where water museums come in. And that's why we’re speaking today with someone who’s been at the heart of this global movement, helping communities protect their water memories and turn them into living, breathing spaces of learning and healing. 

We’re joined today by Professor Eddy Moors, the president of the Global Network of Water Museums and the Rector of IHE Delft Institute for Water Education. He also holds the position of Water and Climate professor at Vrije Universiteit in the Netherlands. He will help us understand what it really means to preserve water memory in our rapidly changing world. Welcome, Professor Eddy!

Professor Eddy: Thank you very much. And I'm really happy that I have the possibility to say a few words about water museums, especially also because for me, what is important is this link to different positions that I have where water is the binding element. And I think that directly also tells a little bit about why water museums are so important and why I think they are important. Water museums can be there in different shapes, but I think the common element that they all have in them is the fact that they are all working on how to create a stronger binding between yourself being a visitor of a water museum and water. So I think that's the important and most important element of water museums.

Omnia: Well, we’re so glad to have you join us today, and I really like how you described water museums as spaces that build a bond between people and water. 

Well, we just heard some spontaneous guesses from people hearing about “water museums”, some thought of “aquariums,” and others said “old tools.” That gap in awareness says something. So, let’s begin with the basics. What exactly is a water museum?

Professor Eddy:  So water museum is not the strict definition that you see, for example, for an art museum. So, like what I said, a water museum is more about how we can create a bond between people and water. The reason why we find it so important is that we see a bigger and bigger challenge of how to share water in a good way. So how can we comply with the human rights, as well as to sanitation? And we think that if we want to achieve that human rights and this sustainable development goal about water, the value of water should be increased. And I think we can do that in a very good way through the water museums. And creating this bonding between people and water can be done in different ways. So water museums, there's not a strict definition in there, but they have this bonding element in there. They have this backward-looking in there. There should be facilities that are open to people to come there.

And they should also be forward-looking because we also would like people to think about their future, and among others, about the water that they want and the water that we need and how they can work on that. 

But we would like to strengthen this feeling by also looking backwards. So, looking at the historical part, where is the water coming from? Where are cultures based on water thinking about? And where do you see the strength in there? And that's among others, by also physical elements like old pumps and technical sites. But it could also be about different cultures. 

So, for example, for me, a nice institution is in the market of Valencia, where every Thursday on the marketplace, there is a court coming together where the judges of the court decide on the partitioning of water on the upstream part between the different farmers. That's stemming from the 1300s. So it's been there already for a long time. So that's more of a governance system. And at the same time, you also have very old technical setups where you may have a look at what people did hundreds of years ago on ensuring that water is coming into the city.

A nice example there are the aqueducts in Rome. But also the underground canals that have been dug all across the world, especially in the Mediterranean areas where there is a lack of water. So there are a number of different ways how a water museum can be defined. But all of them should have those three components in there. So it's about open accessibility. It should be about water and looking backwards. But also it should be about looking forward about the water that we want. 

Omnia: So there’s no strict definition, but what you’re saying is they’re about connection, about looking back and forward at the same time. I find that fascinating, because it means they’re not only about history, they’re about shaping the future too.

So, why do you think most people haven’t heard of water museums? And why does that matter?

Professor Eddy: So the museums that I was talking about are, in most cases, relatively small museums.

They establish and show something that is also in real life. So often those museums are located at the places where those different techniques or different say relationships or arts are also being practised. Although nowadays digital museums are also coming up and they are a little bit more easily acceptable and accessible from different places, among others, from where we're sitting at the moment. But in most cases, like I said, those museums are quite small. And that means that small groups are coming there. Very often, they are also visited by schools.

So I do think that the relationship with schools in the surroundings of a museum is quite important. Why I think it's a pity that there are not more than we have, although I think they're growing still, is that the issue of water and the partitioning of water is such an important topic and becoming more and more in topic every day. I think we need a better understanding of why water is so important, also growing more rapidly than we're doing. So I think I would be very happy if we were able to extend and interest to more places where people are interested to show people, tell people about the value of water. And I think binding them with the past, with traditions and religions, but also arts can create quite a strong emotional binding. So I see a very nice way of creating this emotional value of water through those water museums in different places.

Omnia: That makes sense.. small, often local spaces, but with such a big role in creating emotional bonds with water. So, let’s dig deeper into the emotional core of this idea. What kinds of memories or stories do water museums try to protect? Can you share a moment or example that’s stayed with you from your work?

Professor Eddy: Yes, so I think we're talking about bindings between different generations. So if you talk about historical techniques and then you're binding actually what has been done sometimes thousands of years ago, maybe by your own family members or at least people that lived in the same region, actually to safeguard water or to work on how to make water easily available or how to assure that there is clean water available. So that's in time, but also you have that in location. So for me, a very nice example is if you're looking at shared waters, so that means that it's waters that cross off the administrative boundaries and that can be at the sub-national level, but it can also be the national level or the international level.

And a very strong example there is, for example, the Nile River, but also the Tigris or other big rivers that are shared between countries. And what you see that in those river systems, there is often a common interest, but that common interest is not always easily acknowledged. And so creating a dam in one country may influence the water availability in another country.

So a very nice example for me was an occasion where here at the IHE Delft, the institute that I'm working, where we created a session where different people from the different countries of the Nile actually sung and read out poems from their childhood time about water. And what's nice to hear is that all those songs, they actually value the water. And people appreciating the songs, but also appreciating the fact that it's the same water that they're thinking about and singing about. And I think that created such a bond between the people, also saying in space that I found that a very emotional moment to be present at. 

Omnia: There’s something deeply moving in that. I love that example of people from across the Nile countries sharing songs and poems from childhood. But I want to ask the harder question now. Why does memory matter in a time of crisis? When the world is facing floods, droughts, and displacement, why should we care about remembering water stories?

Professor Eddy: Yeah, because floods and droughts are not necessarily something that have not existed. The only thing that's happening at the moment for partly caused by population density growth, but also by climate change is that we see more frequent and more severe floods and droughts. So the intensity is increasing, but we can also learn from the past how our ancestors actually were dealing with those situations. And especially in certain areas where there is a shortage of water, you see what people have been doing for techniques to actually overcome that. And I think the biggest interest in there is not the real technical part, but I think the more governmental part and the governance side of water.

So what I think is very interesting and to hear and read about is that also at those times, communities were able to come together and to come to a way to divide water between each other. And I think that's what we need even more seriously than in the past. I think we are coming out of a period where people thought that technique could solve all the problems. And I think we're now realising that's to a certain extent true, but to another extent, not really true. And so you have to think in a different way. And I think that's something we can learn also from the past, how people were dealing with the different conditions at that time, but still, how they were dealing with partitioning water in a good way between one another.

And I think we need that because in this era, not only of climate change, but I think also of increasing conflicts that we're facing at the moment. Water can also be the bonding element in there. So, looking for collaboration, looking for ways how you can divide water in a good way, sometimes it is even bigger than water alone.

It also offers possibilities for further collaboration between different people across administrative and national boundaries. 

Omnia: That’s really insightful! You know what’s fascinating is that many water museums in your network aren’t traditional buildings; they’re digital, community-based, and even mobile. Why is it so important that water museums exist beyond walls? 

Professor Eddy: So, because what you see is that not everybody is able to go to a physical museum, especially the digital museums are offering a very nice possibility for people that are not able to travel far to visit that. But I think another very nice part of that is that people from different countries can also have a look at how things are going and where working in the different areas. And by that learning also that there are different ways of looking at problems. And I think by looking at those problems in a different way, you will also find different ways of looking at solutions. And I think perceptions that people have about certain issues are playing a very important role in overcoming certain struggles that you may face if you're trying to come to an agreement. So I think that by opening up this nice collection of items, but also of stories, of arts, of songs, also in a digital way, enables people to have a larger feeling of what is important for water from all sides of the world.

Omnia: I see.. it’s about access and perspective. And the digital spaces let people learn from each other’s stories across borders, which could be as powerful as visiting in person.

Now, stepping back a bit. What role does the Global Network of Water Museums (WAMUNET) play in all of this? How are you helping these museums grow and connect globally?

Professor Eddy: So what's helping there is that the Water Museum Network started actually in 2018 as a recognition by UNESCO. It then became a flagship project of UNESCO within the Intergovernmental Hydrology Programme. And that recognition is then also sometimes helpful for museums that want to become a water museum and are part of this global network to also show their importance in a certain area.

Because, of course, being a water museum or being a museum in general always requires funding. And finding that funding is sometimes made a bit easier by this UNESCO recognition. But I think that another important part in there that is, I think, coming along is that within this network, we're trying to also collaborate and develop together exhibitions that also have contests available to interest youngsters, actually, to be more interested in water and making it possible for schools to participate in those contests. 

And what we do hope is that by having more and more members that are also able to interest museums in areas where they do not exist at the moment. So we're trying to link and couple museums from different countries together so that they can collaborate and see how they can also develop a water museum in their own city or in their own country. 

Omnia: You work across many regions and even continents: Asia, Africa, Europe.. That’s a wide range of water cultures. What have you learned about how different communities relate to water and to memory? Are there common threads?

Professor Eddy:  That's an intriguing question. And I've been thinking about that a little bit. So I do think that for me, what I already said a bit before is that I do see a common interest of people in water. And maybe that also has to do with the fact that, of course, we ourselves, our body, they all consist of a very large amount of water. And I think by that, people make a very easy connection to water.

I also think that in some cases, some of the water museums are really focusing on very young children. And I think what you see there also as a general thread, is that water invites children to play. And so I think the element of water for children is also something they easily find something they like.

And by that, I think water museums are and have an element of potential interest for everybody. And I think that's also a common understanding. Sometimes, because of the different shapes of water museums, the entry point is not that easy for everybody. Sometimes it's super easy. And the non-easy part is, I think, more in the traditional museum structure that we have. Where you are more or less going inside in a sort of official standing.

But I do think that in the unofficial ones, like the one that I gave as an example for Valencia, where you just go to the market and you can witness such an event taking place. I think those have a very low boundary to go in and to participate in there. And the same, of course, is where water museums combine actually the heritage part with arts and music. I think that's also a very easy way of finding and binding people. And there I also see a common understanding all over the different museums that use those techniques.

Omnia: Truly inspiring! And something that really stands out in your approach is power: whose stories get told, and whose don’t. How do water museums challenge traditional power structures, especially in representing indigenous voices, oral traditions, and communities often left out of environmental spaces?

Professor Eddy: Yeah, I think that's one of the roles of museums in general, but also of water museums in particular, is what you would like to exhibit is actually the differences. So what you're interested in is the parts that stand out in society. So not the general things too much, but also the outliers there. And there I think museums are seriously, and I think they should do that. But I'm also convinced that they are looking for that. So they're looking for those differences and their traditions, but also minorities and other ways of looking at things are of interest of museums to exhibit, because one of the aims of museums is that they want to trigger people to think. And I think you do that if in your exhibition and expressions that you do as a museum, you showcase those different traditions there as much as possible. So I think museums are a real nice entity to also let the voice heard of groups or people or traditions that are not commonly known by people.

Omnia: That’s powerful, seeing museums as spaces that amplify the differences, and the voices that often go unheard. And that in itself can spark change. Before we close, I’d love to ask you this: What do you hope someone feels or understands after experiencing a water museum, whether it's physical or digital?

Professor Eddy:  What I really hope for is that somebody entering a water museum, and for example, I just was not caring too much where to throw away litter. After entering the museum, I think, hey, maybe I should be a bit more careful about that. Or also that people appreciate it actually and then start looking around if they just walk outside after visiting a museum.

Hey, the water in my surroundings is arranged in this way. And now I understand why I should be careful about the amount of water that I use. So I should not keep my tap open or I should not just throw away oil or other contaminants in a certain place, but I should be careful about that not coming into the water. So I think it's general care and what I think is emotional value for water. If that increases, I would be super happy if visitors of the water museum would take a part or spark of that wisdom home.

Omnia: I love that! Visitors walking away with more care for water, more awareness of their impact. Even small changes, like thinking twice before wasting or polluting, can grow into something much bigger. 

So, what we have just heard paints a clear picture: water museums are not just about nostalgia, they’re about reconnection. They remind us that water is more than something we consume or control. It’s something we carry. Something we’ve inherited. And something we must pass on carefully.

Omnia: Thanks for tuning in to the H2Know podcast, brought to you by SciComm X, part of the AQUAMUSE Project, and funded by the Water and Development Partnership Programme at IHE Delft Institute. 

If this episode has sparked a passion within you, join our growing community. Follow us on social media platforms, and share this episode with your network. And don’t miss our next episode, where we explore together real-world water museums and learn how these spaces bring water stories to life.

See you next episode!

• Arabic

لماذا نحتاج إلى متاحف المياه؟

أمنية: مرحبًا بكم في السلسلة الرابعة من بودكاست H2Know. معكم أمنية شوكت، ويسعدني أن ترافقونا اليوم في رحلة إلى عالم متاحف المياه، حيث تلتقي الذاكرة بالتراث والسرد لتشكيل مستقبل مائي أكثر عدلًا وشمولية.

لنبدأ بسؤال: ماذا يخطر ببالكم عندما تسمعون عبارة "متحف المياه"؟ أنابيب ومضخات؟ آبار قديمة؟ أم تتوقفون للحظة متسائلين عمّا تعنيه؟

صوت 1: متحف لأدوات المياه القديمة؟
 صوت 2: حوض للأحياء المائية؟
 صوت 3: لم أسمع بذلك من قبل!

أمنية: وهذا بالضبط ما ننطلق منه اليوم! فكروا في الأمر: الأنهار التي نشأنا بجوارها، والآبار التي حفرها أجدادنا، والفيضانات التي عايشناها، والطقوس، والحكايات، والأغاني. كل ذلك يُشكِّل هويتنا. لكن عندما تتلاشى هذه الذكريات، يضيع معها شيء أكبر. وهنا يأتي دور متاحف المياه! 

ولهذا نتحدث اليوم مع شخصية كانت في قلب هذا الحِراك، تعمل مع المجتمعات لحماية ذاكرتها المائية وتحويلها إلى مساحات حيّة للتعلّم والتجدد.

يسعدنا أن نستضيف البروفيسور إدي مورز، رئيس الشبكة العالمية لمتاحف المياه وعميد معهد IHE Delft للتعليم المائي، وأستاذ المياه والمناخ في جامعة Vrije Universiteit في هولندا. سيساعدنا بروفيسور إدي على فهم المعنى الحقيقي للحفاظ على ذاكرة المياه في عالم سريع التغير. أهلًا بك بروفيسور إدي!

بروفيسور إدي: شكرًا جزيلًا، ويسعدني أن أشارككم الحديث عن متاحف المياه، خاصةً لأن ما يهمني هو الرابط بينها وبين المناصب التي أشغلها، حيث تبقى المياه العنصر الجامع بينها جميعًا. وأعتقد أن هذا وحده يكشف لماذا تعتبر متاحف المياه ضرورية.  قد تأخذ متاحف المياه أشكالًا مختلفة، لكن ما يجمعها جميعًا هو الهدف في خلق ارتباط أعمق بين الزائر والمياه. وأرى أن هذا هو جوهرها.

أمنية: نحن سعداء بوجودك معنا اليوم، وأعجبني وصفك لمتاحف المياه كمساحات تُعيد بناء العلاقة بين الإنسان والمياه.

لقد استمعنا قبل قليل إلى بعض التخمينات العفوية من أشخاص سمعوا عبارة "متحف المياه"؛ بعضهم ظنها أحواضًا مائية، وآخرون قالوا أدوات قديمة. هذه الفجوة في الوعي تخبئ الكثير. فلنبدأ من الأساس: ما هو متحف المياه؟

بروفيسور إدي: متحف المياه ليس له تعريف صارم كما هو الحال مع متحف الفن مثلًا. كما ذكرت، هو بالأساس وسيلة لخلق رابطة بين الناس والمياه.

نعتبره مهمًا لأننا نواجه تحديًا متزايدًا: كيف نتقاسم المياه بطريقة عادلة؟ كيف نضمن الحق الإنساني في المياه؟ إذا أردنا تحقيق هذا الحق الإنساني والهدف المرتبط بالمياه ضمن أهداف التنمية المستدامة، فلا بد من رفع قيمة المياه. وأعتقد أن متاحف المياه وسيلة مؤثرة لتحقيق ذلك.

هذه الرابطة يُمكِن أن تُبنَى بطرق متعددة. فمتحف المياه يحمل دائمًا عنصر الذاكرة، وينبغي أن يكون متاحًا للجميع. لكنه في الوقت نفسه مُوجَّه إلى المستقبل، وإلى نوعية المياه التي نريدها، والمياه التي نحتاج إليها، وكيف نعمل من أجلها.

النظر إلى الماضي جزء أساسي أيضًا، فمن أين جاء الماء؟ كيف نظرت الثقافات التي تأسست حوله إليه؟ وأين تكمن القوة في ذلك؟ يشمل ذلك عناصر مادية مثل المضخات القديمة والمواقع التقنية، لكنه قد يتضمن أيضًا ممارسات ثقافية متنوعة.

على سبيل المثال، في سوق فالنسيا، يجتمع كل خميس قضاة "محكمة المياه" ليقرروا كيفية توزيع المياه بين المزارعين. هذا النظام قائم منذ القرن الرابع عشر. هذا شكل من أشكال الحَوكمة، إلى جانب الأنظمة التقنية القديمة مثل القنوات الجوفية المنتشرة في مناطق البحر الأبيض المتوسط حيث الندرة المائية.

إذن، متحف المياه قد يُعرّف بطرق مختلفة، لكن لا بد أن يحتوي على ثلاثة عناصر أساسية: أن يكون مفتوحًا للناس، وأن يرتبط بالمياه والذاكرة التاريخية، وأن يُوجِّه النظر أيضًا إلى المستقبل والمياه التي نريد.

أمنية: إذن لا يوجد تعريف صارم، لكن الفكرة الأساسية أن متاحف المياه تُعيد بناء الصلة مع الماء، عبر الماضي والمستقبل معًا. هذا مثير للاهتمام، لأنها لا ترتبط بالتاريخ وحده، بل أيضًا برسم ملامح المستقبل.

برأيك، لماذا لم يسمع معظم الناس عن متاحف المياه؟ ولماذا يهم ذلك؟

بروفيسور إدي: في معظم الحالات، فإن هذه المتاحف تكون صغيرة نسبيًا، وغالبًا تُنشأ حيث توجد تقنيات أو ممارسات أو فنون متصلة بالماء. لكن، مؤخرًا ظهرت متاحف رقمية، وهي أكثر سهولة في الوصول إليها من أي مكان، بما في ذلك من حيث نجلس الآن.

لكن بما أنها متاحف صغيرة، يقتصر جمهورها عادةً على مجموعات محدودة، وغالبًا المدارس القريبة منها. لذلك أرى أن العلاقة مع المدارس المحلية أساسية جدًا. 

ما أراه مؤسفًا هو أن عدد هذه المتاحف ما زال محدودًا رغم نموها المستمر. نحن بحاجة إلى فهم أعمق لقيمة المياه بوتيرة أسرع من وتيرة عملنا الحالية. سأكون سعيدًا لو استطعنا توسيع الاهتمام وإيجاد مزيد من المساحات التي تُمكِّن الناس من رؤية قيمة المياه وتقديرها.

وأعتقد أن ربط المياه بالماضي، وبالتقاليد والأديان، والفنون أيضًا، يُمكِن أن يخلق ارتباطًا عاطفيًا قويًا. لذلك أرى أن متاحف المياه وسيلة فريدة لإبراز القيمة العاطفية للمياه في مجتمعات مختلفة.

أمنية: هذا منطقي. مساحات صغيرة، وغالبًا محلية، لكنها تفتح أبوابًا واسعة أمام بناء روابط عاطفية مع المياه. دعنا نغوص أكثر في هذا البعد العاطفي. ما نوع الذكريات أو القصص التي تسعى متاحف المياه لحمايتها؟ هل يمكنك مشاركتنا مثال بقي عالقًا معك من عملك؟

بروفيسور إدي: نعم، أعتقد أننا نتحدث هنا عن روابط بين أجيال مختلفة. عندما نتحدث عن تقنيات تاريخية، فنحن نربط بين ما أُنجِز قبل آلاف السنين، ربما على يد أفراد من عائلتك أو أشخاص عاشوا في منطقتك، وكانوا يعملون على حماية المياه أو تسهيل الوصول إليها أو ضمان توفرها نظيفة. هذا من منظور الزمن، لكن هناك أيضًا منظور المكان.

مثال جميل بالنسبة لي هو حين نتحدث عن المياه المشتركة، أي المياه العابرة للحدود الإدارية، سواء كانت محلية أو وطنية أو دولية. ومن أبرز الأمثلة نهر النيل، وكذلك نهر دجلة وغيرهما من الأنهار الكبرى التي تتقاسمها عدة دول. في هذه الأنهار مصلحة مشتركة، لكنها ليست دائمًا معترفًا بها بسهولة. فبناء سد في دولة ما قد يؤثِّر بشكل مباشر على توافر المياه في دولة أخرى.

ومن التجارب المؤثرة بالنسبة لي، ما حدث هنا في معهد IHE Delft حيث أعمل، عندما نظمنا جلسة جمعت أشخاصًا من دول مختلفة تطل على نهر النيل. قاموا بالغناء وإلقاء قصائد من طفولتهم عن المياه. اللافت أن جميع الأغاني كانت تحتفي بالمياه، وأن المشاركين قدّروا الأغاني كما قدّروا حقيقة أنهم جميعًا يتحدثون عن نفس المياه ويفكرون فيها ويغنون لها. أعتقد أن تلك اللحظة خلقت رابطًا عاطفيًا قويًا بينهم، وكانت بالنسبة لي تجربة مؤثرة للغاية.

أمنية: هناك شيء عميق ومؤثر في ذلك. أعجبتني فكرة أن يشارك أشخاص من دول حوض النيل أغاني وقصائد من طفولتهم عن المياه. لكن أود أن أطرح سؤالًا أصعب: لماذا تهم الذاكرة في زمن الأزمات؟ عندما يواجه العالم فيضانات وجفافًا ونزوحًا، لماذا علينا أن نهتم بحكايات المياه؟

بروفيسور إدي: لأن الفيضانات والجفاف لم تغب يومًا عن حياة البشر. الجديد الآن، بسبب الكثافة السكانية المتزايدة وتغير المناخ، هو أننا نشهد فيضانات وجفافًا أكثر تكرارًا وأشد حدة. الشدة تتصاعد، لكن يمكننا أن نتعلم من الماضي كيف تعامل أجدادنا مع مثل هذه الظروف. خصوصًا في المناطق الشحيحة بالمياه، نرى كيف طوّر الناس تقنيات للتغلب على ذلك. لكن الأهم ليس الجانب التقني وحده، بل جانب الحَوكمة وإدارة المياه.

من المثير أن نقرأ ونسمع كيف كانت المجتمعات قديمًا تجتمع وتجد طرقًا لتقسيم المياه فيما بينها. اليوم نحن بحاجة لذلك أكثر من أي وقت مضى. لقد خرجنا من فترة كان يُعتقد فيها أن التقنية قادرة على حل كل المشكلات، لكننا ندرك الآن أن هذا صحيح جزئيًا فقط. لذلك نحن بحاجة إلى التفكير بطريقة مختلفة، وأن نتعلم من الماضي كيف كان الناس يتعاملون مع التحديات ويجدون حلولًا عادلة لتقاسم المياه.

نحتاج ذلك اليوم لأننا نعيش في عصر يشهد تغيرًا مناخيًا وصراعات متزايدة، والمياه يمكن أن تكون عنصرًا رابطًا بينها. البحث عن التعاون وإيجاد طرق عادلة لتقاسم المياه قد يتجاوز مسألة المياه نفسها، ويفتح المجال لتعاون أوسع بين شعوب عبر حدود محلية ووطنية.

أمنية: من المثير للاهتمام أن كثيرًا من متاحف المياه في شبكتكم ليست مباني تقليدية، بل رقمية أو حتى مجتمعية أو متنقلة. لماذا من المهم أن توجد متاحف المياه خارج جدران المتاحف التقليدية؟

بروفيسور إدي: لأننا ندرك أن ليس كل شخص قادرًا على زيارة متحف مادي. المتاحف الرقمية توفر فرصة ممتازة لمن لا يستطيعون السفر بعيدًا. والجميل أيضًا أن أشخاصًا من بلدان مختلفة يمكنهم الاطلاع على ما يحدث في أماكن أخرى وكيف تُدار قضايا المياه هناك. ومن خلال ذلك يتعلمون أن هناك طرقًا متعددة للنظر إلى المشكلات، وأن تعدد وجهات النظر يؤدي إلى حلول متنوعة.

تلعب التصورات التي يحملها الناس دورًا مهمًا جدًا في تجاوز العقبات عند السعي إلى اتفاقات. لذلك أرى أن إتاحة هذه المجموعة الغنية من المعروضات والقصص والفنون والأغاني، حتى رقميًا، يمنح الناس فهمًا أوسع لأهمية المياه من زوايا مختلفة حول العالم.

أمنية: فهمت! الأمر يتعلق بإتاحة الوصول وتبادل وجهات النظر، والمساحات الرقمية تمكّن الناس من التعلم من تجارب بعضهم عبر الحدود، وقد تكون مؤثرة مثل الزيارة الميدانية. دعنا نعود خطوة إلى الوراء. ما الدور الذي تلعبه الشبكة العالمية لمتاحف المياه (WAMUNET) في هذا كله؟ وكيف تساعدون المتاحف على النمو والتواصل عالميًا؟

بروفيسور إدي: ما ساعدنا كثيرًا هو أن شبكة متاحف المياه تأسست عام 2018 باعتراف من اليونسكو، ثم أصبحت مشروعًا رائدًا ضمن البرنامج الحكومي الدولي للهيدرولوجيا. هذا الاعتراف يمنح المتاحف الراغبة في الانضمام للشبكة شرعية أكبر في مناطقها.

لأن أي متحف، سواء للمياه أو لغيرها، يحتاج دائمًا إلى تمويل، وهذا الاعتراف يسهل أحيانًا عملية الحصول على التمويل. وهناك جانب آخر مهم، وهو أننا داخل الشبكة نعمل على التعاون وتطوير معارض مشتركة، تشمل مسابقات تشجع الشباب على الاهتمام بالمياه، وتمكّن المدارس من المشاركة فيها.

ونأمل مع زيادة الأعضاء أن نستطيع جذب متاحف جديدة في مناطق لا يوجد فيها هذا النوع من المؤسسات حاليًا. نحن نعمل على ربط المتاحف من دول مختلفة ببعضها لتمكينها من التعاون، ورؤية كيف يمكنها أيضًا تطوير متحف للمياه في مدينتها أو بلدها.

أمنية: رائع! أنت تعمل عبر مناطق وقارات مختلفة: آسيا، وإفريقيا، وأوروبا. هذا نطاق واسع من ثقافات المياه. ما الذي تعلمته عن كيفية ارتباط المجتمعات بالماء والذاكرة؟ وهل هناك قواسم مشتركة؟

بروفيسور إدي: سؤال مهم. ما ألاحظه هو وجود ارتباط مشترك بالمياه. ربما يعود ذلك إلى أننا نحن أنفسنا تتكوّن أجسامنا بنسبة كبيرة من المياه، مما يخلق رابطًا طبيعيًا وسهلًا معه.

في كثير من المتاحف المائية يكون التركيز على الأطفال؛ فالماء بطبيعته يجذبهم للّعب والفضول. لذلك تحمل المتاحف المائية عنصر جذب للجميع، لكن طرق المشاركة تختلف. أحيانًا تكون سهلة ومباشرة، وأحيانًا أخرى أقل سهولة في المتاحف التقليدية ذات الطابع الرسمي.

أما المتاحف غير التقليدية، مثل التجربة في فالنسيا حيث يجتمع الناس في السوق لحضور فعالية مرتبطة بالماء، فهي متاحة للجميع. ونفس الشيء يحدث عندما تمتزج المتاحف مع الفنون والموسيقى والذاكرة الشعبية. هذا الخليط يفتح الباب بسهولة أمام الناس، وأراه قاسمًا مشتركًا عبر الثقافات.

أمنية: هذل ملهم حقًا، ومما يلفت النظر في حديثك هو مسألة السلطة: من تُروى قصته ومن يُستثنى؟ كيف تتحدى المتاحف المائية البُنى التقليدية للسلطة، خصوصًا في تمثيل أصوات السكان الأصليين، والتقاليد الشفوية، والمجتمعات المهمشة في النقاشات البيئية؟

بروفيسور إدي: هذا أحد أهم أدوار المتاحف؛ فما يُعرض فيها يجب أن يبرز الاختلافات، لا أن يقتصر على السرديات العامة. المتاحف مطالبة بتسليط الضوء على الأصوات الأقل حضورًا.

المتاحف بطبيعتها تهدف إلى دفع الزائر للتفكير، وهذا يحدث عندما تعرض تقاليد وممارسات الأقليات أو المجموعات التي غالبًا ما تُهمّش. وبهذا، فالمتاحف مساحة قوية لإسماع أصوات لم تُسمع من قبل.

أمنية: جميل أن تصبح المتاحف مساحات تُبرز الأصوات التي اعتدنا تجاهلها. وهذا وحده قادر على بدء التغيير. قبل أن ننهي، أود أن أسألك: ما الذي تأمل أن يشعر به أو يدركه الزائر بعد تجربة متحف مائي، سواء كان ماديًا أو رقميًا؟

بروفيسور إدي: أتمنى أن يغادر الزائر بتقدير أكبر للماء. مثلًا، قد يدخل دون أن يهتم أين يضع نفاياته، ثم يخرج وهو يفكر: ربما عليّ أن أكون أكثر حرصًا. أو يبدأ بملاحظة كيف يُدار الماء من حوله ويدرك أهمية عدم إهداره أو تلويثه.

إذا استطاع المتحف أن يزرع قيمة عاطفية أعمق للماء داخل الزائر، فسأكون سعيدًا جدًا.

أمنية: أعجبني ذلك كثيرًا. أن يغادر الزوار بوعي أكبر للماء، وأن يدركوا أثر أفعالهم. تغييرات صغيرة، مثل التفكير مرتين قبل التلويث أو الهدر، قد تكبر لتصنع فارقًا.

ما سمعناه اليوم يوضح أن المتاحف المائية ليست مجرد حنين إلى الماضي، بل هي إعادة اتصال؛ حيث تذكرنا أن الماء ليس شيئًا نستهلكه أو نتحكم فيه، بل إرث نحمله، وعلينا أن نورثه للأجيال القادمة بمسؤولية.

أمنية: شكرًا لاستماعكم إلى بودكاست H2Know، برعاية SciComm X، كجزء من مشروع AQUAMUSE، والمدعوم من برنامج الشراكة بين المياه والتنمية IHE Delft.

إذا أثرت هذه المحادثة فيكم، لا تدعوها تتوقف هنا، تابعونا على وسائل التواصل الاجتماعي، وشاركوا هذه الحلقة على أوسع نطاق. ولا تفوتوا حلقتنا القادمة حيث نزور متاحف المياه على أرض الواقع ونتعرف كيف تُحيي هذه المساحات قصص الماء.

نلتقي في الحلقة المقبلة!

• Amharic

የውሃ ሙዚየም ለምን ያስፈልገናል?

ኦምኒአ (Omnia)፡ እንኳን ወደ አራተኛው H2Know ፖድካስት ተከታታይ ክፍል በደህና መጡ፡፡ እኔ ኦምኒ ሻውካት አብሪያቹ የምቆይ ይሆናል፡፡ ትውስታዎች፣ ቅርስ እንዲሁም ታሪኮችን በአንድነት ፍትሀዊ እና አካታች የሆነ የወደፊት የውሃ እጣፋንታ በምንቀርፅበት በዚህ የውሃ ሙዚየምን በምንሰራበት ጉዞ ላይ ስለተቀላቀሉን ደስ ብሎኛል፡፡ 

ኦምኒአ (Omnia)፡ የውሃ ሙዚየም የሚለውን ስትሰሙ ወደ ጭንቅላታቹ ምን አይነት ሀሳብ ይመጣል? የውሀ ማስተላለፊያ ቱቦዎች እና ፓምፖች ናቸው? የጥንት ጉድጓዶች ናቸው? ወይስ አናውቅም? ከሚለው ጥያቄ አንጀምር፡፡

ድምፅ 1 (Audio Pop 1): የድሮ የውሃ ​​መሳሪያዎች?

ድምፅ 2 (Audio Pop 2): ልክ እንደ አኮርየም ነው?

ድምፅ 3 (Audio Pop 3): ሰምቼው አላቅም፡፡

ኦምኒአ (Omnia): ዛሬ የምንጀምረው በዚሁ ሀሳብ ላይ ተመርኩዘን ነው፡፡ ምክንያቱም አንዳንዴ በጣም ድንቅ የሆኑ ሃሳቦች ከዚህ በፊት ሰምተን የማናውቃቸው ናቸው፡፡

አስቡት እስኪ እያየነው ያደግነው ወንዝ፣ አያቶቻችን የቆፈሩት ጉድጓዶች፣ ያሳለፍነው ጎርፍ፣ አምልኮዎች፣ ታሪኮች እና ሙዚቃዎች ሁሉ አሁን ያለንበትን ማንነት ቀርፀዋል፡፡ ነገር ግን አነዚህ ትውስታዎች ሲረሱ ብዙ ነገሮች አብረው ይጠፋሉ፡፡

ለዚህም ነው የውሃ ሙዚየም አስፈላጊ የሆነው፡፡ እናም ዛሬ ከአንድ ሰው ጋር ቆይታ ይኖረናል። ይህም ሰው የዚህ አለምአቀፍ እንቅስቃሴ መሪ በመሆን ማህበረሰቦች ውሃቸውን እንዲጠብቁ በማገዝ የውሃ ትዝታዎችን ወደ ህይወት ያለው የመማሪያ እና ሀሳብ የመለዋወጫ ቦታዎች ይቀይሯቸዋል።

ከፕሮፊሰር ኢዲይ ሞኦርስ (Professor Eddy Moors) ጋር ቆይታ ይኖረናል፡፡ የ Global Network of Water Museums ፕሬዝዳንት እና የ IHE Delft Institute for Water Education አስተዳዳሪ ናቸው፡፡ እንዲሁም ኒዘርላንዲ በሚገኘው ቭሪጅ ዩኒቨርስቲ በውሃና አየር ንብረት ዘርፍ ፕሮፊሰር ናቸው፡፡በፍጥነት በሚለዋወጠው ዓለማችን የውሃ ማህደረ ትውስታን መጠበቅ ምን ማለት እንደሆነ ያስረዱናል፡፡ እንኳን ደህና መጡ ፕሮፊሰር ኢዲይ!

ፕሮፊሰር ኢዲይ (Professor Eddy): በጣም አመሰግናለሁ፡፡ ስለ ውሃ ሙዚየሞች ጥቂት ለመናገር እድሉን በማግኘቴ በጣም ደስተኛ ነኝ፡፡ ብዙ ስራዎቼ ከውሃ ጋር የተገናኙ ናቸው፡፡  ይህም የውሃ ሙዚየም ለምን አስፈላጊ እንደሆነ እና እኔም አስፈላጊ ነው ለምን እንዳልኩ በጥቂቱ ያስረዳል ብዪ አስባለሁ፡፡ የውሃ ሙዚየም በተለያየ መልኩ ሊቀርብ ይችላል ነገር ግን ሁሉንም አንድ የሚያረጋቸው ነገር ሁሉም የውሃ ሙዚየሙን በሚመለከተው ሰው እና በውሀው መካከል ጠንካራ ትስስር ለመፍጠር ይሰራሉ፡፡ ይህም የውሃ ሙዚየሞች አስፈላጊ አካል ነው ብዪ አምናሁ።

ኦምኒአ (Omnia): ዛሬ አብራቹን ስለምትቆዩ በጣም ደስተኛ ነኝ፡፡ የውሃ ሙዚየሞች በሰዎች እና በውሃ መካከል ግንኙነትን የሚገነቡ ስለመሆናቸው የገለፁበትን መንገድ ወድጀዋለሁ፡፡ 

ስለ “የውሃ ሙዚየሞች” ከሚሰሙት ሰዎች አንዳንድ ግምቶችን አሉ፣ አንዳንዶቹ ስለ “aquariums” ያስባሉ፣ ሌሎች ደግሞ “ጥንታዊ ቁሳቁሶች” ናቸው ይላሉ። ይህም የግንዛቤ ክፍተት እንዳለ ያመለክታል። 

ስለዚህ የውሃ ሙዚየም በትክክል ምንድን ነው? ከሚለው መሠረታዊ ነገር እንጀምር፡፡

ፕሮፊሰር ኢዲይ (Professor Eddy): የውሃ ሙዚየም ቀጥተኛ የሆነ ፍቺ የለውም፡፡ አስቀድሜ እንደገለፅኩት የውሃ ሙዚየም የሚያተኩረው በሰዎች እና በውሃ መካከል እንዴት ትስስር መፍጠር እንደምንችል ነው። በጣም አስፈላጊ ሆኖ ያገኘንበት ምክንያት ውሃን በጥሩ ሁኔታ ለማጋራት ትልቅ ፈተና ሆኖ በማየታችን ነው። ሰብአዊ መብቶችን ማስከበር ከፈለግን እና ስለ ውሃ ዘላቂ ልማትን ካሰብን ስለውሃ ያለን ግንዛቤ መጨመር አለበት፡፡ ይህንንም ለማድረግ ደግሞ የውሃ ሙዚየም በጥሩ ሁኔታ መጠቀም እንችላለን ብዪ አስባለሁ፡፡ እና ይህንንም ለመፍጠር በሰዎች እና በውሃ መካከል ትስስር ለመፍጠር በተለያዩ መንገዶች ሊከናወን ይችላል፡፡ ስለዚህ የውሃ ሙዚየም ቀጥተኛ የሆነ ፍቺ የለውም ነገር ግን ሰዎችን ሊያስተሳስር የሚችል ሁልጊዜም ክፍት የሆነ መሰረተ ልማተ ያስፈልጋል፡፡

ወደፊት ስለሚፈልጉት ውሃ እንዲያስቡ እንፈልጋለን፡፡ ይህንን ስሜት ወደ ኃላ በመመለስ ማጠናከር እንፈልጋለን፡፡ ታሪካዊ ዳራውን ስንመለከት ውሃው ከየት እንደሚመጣ? በውሃ ላይ የተመሰረቱ ባህሎች የት እንደሆኑ? በዚያ ውስጥ የሚታየው ጠንካራ ጎን ምን እንደሆነ እንዲሁም በአካል ያሉ እንደ አሮጌ ፓምፖች እና ቴክኒካዊ ቦታዎችን እንዲያስቡ እንፈልጋለን ፡፡ በተጨማሪም ስለተለያዩ ባህሎች ሊሆን ይችላል፡፡ ለምሳሌ ቫለንሲያ በሚገኝ ገበያ ውስጥ በዕለተ ሀሙስ የሚሰበሰብበት ፍርድ ቤት አለ። በዚያም የፍርድ ቤቱ ዳኞች በላይኛው ክፍል ባሉት የተለያዩ ገበሬዎች መካከል የውሃ ክፍፍልን ይወስናሉ፡፡ ይህም በ1300ዎቹ የተጀመረ ስለሆነ ለረጅም ጊዜ የቆየ ነው። በዚህም የአስተዳደር ሥርዓት ሆኖዋል፡፡ በተመሳሳይ ሰዎች ከመቶ አመታት በፊት ውሃ ወደ ከተማው መግባቱን ለማረጋገጥ ያደረጉትን መመልከት የሚያስችል ቴክኒካል መዋቅር አለ፡፡

ለምሳሌ በሮም ውስጥ የውሃ ማስተላለፊያዎች አሉ። በተጨማሪም ደግሞ  የመሬት ውስጥ ቦዮች በዓለም ዙሪያ በተለይም በሜዲትራኒያን አካባቢ ውሃ እጥረት ባለባቸው አካባቢዎች ተቆፍሯል። ስለዚህ የውሃ ሙዚየም በተለያየ መንገድ ይገለፃሉ፡፡ ነገር ግን ሁሉም ማካተት ያለባቸው ሶስት መሰረታዊ ነገሮች አሉ፡፡ እነሱም ለሁሉም ተደራሽ መሆን፣ ስለ ውሃ የነበሩ ታሪኮችን መመልከትና  ወደፊት ስለምንፈልገው ውሃ መናገር ይኖርበታል፡፡

ኦምኒአ (Omnia): ስለዚህ ምንም ዓይነት ጥብቅ ፍቺ የለም፤ ነገር ግን በተመሳሳይ ጊዜ ወደ ኋላ እና ወደ ፊት መመልከትን ያጣመረ መሆኑ አስደንቆኛል፡፡ ምክንያቱም ስላለፈው ታሪክ ብቻ ሳይሆን የወደፊቱን ጊዜ በመቅረጽ ላይ የተሰማራ በመሆኑ ነው። ታዲያ ለምን ይመስላችኋል ብዙ ሰዎች ስለ ውሃ ሙዚየሞች ያልሰሙት? ይህም ለምን አሳሳቢ ጉዳይ ሆነ?

ፕሮፊሰር ኢዲይ (Professor Eddy): አብዛኛዎቹ ያነሳዋቸው የሙዚየም ጉዳዮች በአንጻራዊ ሁኔታ ትናንሽ ሙዚየሞች ናቸው፡፡

ከተመሰረቱ በኃላ በእውነተኛ ህይወት ውስጥ ያለውን ነገር ያሳያሉ፡፡ ስለዚህ ብዙውን ጊዜ እነዚያ ሙዚየሞች የተለያዩ ቴክኒኮች ወይም ጥበባት በሚለማመዱበትና በሚናገሩባቸው ቦታዎች ላይ ይገኛሉ። አሁን ላይ ዲጂታል ሙዚየም እየተለመደ በመምጣቱ በቀላሉ ብዙ ቦታዎች ጋር ተደራሽ መሆን ተችሎዋል፡፡ አስቀድሜ እንዳነሳሁት አብዛኛዎቹ ሙዚየሞች ቲኒንሽ ናቸው፡፡ አብዛኛውን ጊዜም በትምህርት ቤቶች ይጎበኛሉ፡፡

ሙዚየሞች በአቅራቢያቸው ካለ ትምህርት ቤት ጋር ትስስር መፍጠራቸው ጠቃሚ ነው ብዩ አስባለሁ፡፡ የውሃ ጉዳይና ክፍፍል በየዕለቱ መነጋገርያ ርዕስ እየሆነ መጥቶዋል፡፡ ውሃም ያለውን ጠቀሜታ መገንዘብ አለብን፡፡ ሰዎች ውሃ ያለውን ዋጋና ጠቀሜታ የሚወያዩበትን ቦታ ማስፋፋት ብንችል በጣም ደስ ይለኛል፡፡ ካለፈው  ታሪክ፣ ባህል፣ ሀይማኖት እንዲሁም ጥበብ ጋር በማስተሳሰር ጠንካራ ስሜትን መፍጠር ይቻላል፡፡ ስለዚህ በእነዚያ አማካኝነት ይህንን የውሃ ስሜታዊ እሴት በተለያዩ ቦታዎች የውሃ ሙዚየሞች መፍጠር የሚያስችለንን መንገድ መኖሩን ያመላክታል፡፡

ኦምኒአ (Omnia): ብዙ ጊዜ ትናንሽ የሚባሉ አካባቢያዊ ቦታዎች ከውሃ ጋር ስሜታዊ ትስስርን ለመፍጠር ትልቅ ሚና አላቸው፡፡ ሀሳብን በጥልቀት መመርመር ይኖርብናል፡፡ የውሃ ሙዚየሞችን ለመጠበቅ የሚሞከሩት ትውስታዎች ወይም ታሪኮች ምንድናቸው? በስራዎ ላይ የሚያስታውሱትን እንደ ምሳሌ ቢያጋሩን?

 ፕሮፊሰር ኢዲይ (Professor Eddy): እንግዲ እያወራን ያለነው በተለያዩ ትውልዶች መካከል ስላለው ትስስር ነው። ስለ ታሪካዊ ቴክኒኮች የምናነሳ ከሆነ እየተነጋገርን ያለነው ከመቶ ዓመታት በፊት ምናልባትም በቤተሰቦቻችን ወይም ደግሞ በአካባቢው በሚኖሩ ሰዎቸ ውሃን በመጠበቅ ወይም ተደራሽ ለማድረግ በጊዜው ስለ ሰሩት ስራ ነው፡፡ ስለ ውሃ መጋራት ሲነሳ ጥሩ ምሳሌ ነው ብዪ የማነሳው ድንበሮችን የሚያቋርጡ ውሃዎች በብሔራዊ ደረጃ ፣በሀገር አቀፍ ደረጃ ወይም በዓለም አቀፍ ደረጃም ሊሆን ይችላል፡፡

ጥሩ ምሳሌ ነው ከምለው ውስጥ የአባይ ወንዝ ፣ ጢግሮስ  እንዲሁም ሌሎች ድንበር ተሻጋሪ ወንዞችን ያካትታል፡፡ ታዲያ በነዚህ ወንዞች ውስጥ የሚስተዋል የጋራ ፍላጎት አለ ነገር ግን ለፍላጎታቸው እውቅና ለመስጠት ቀላል አይደለም፡፡ በአንድ ሀገር ውስጥ ግድብ መገንባት በሌላኛው ሀገር የውሃ አቅርቦት ላይ ተጽእኖ ሊያሳድር ይችላል፡፡

  IJ Delft institute በምሰራበት ወቅት ላይ ከአባይ ወንዝ ተፋሰስ የተውጣጡ ሰዎች ከልጅነታቸው ጀምሮ ስለ ውሀ የሚያውቁትን ዝማሬ እና ሙዚቃ የሚያቀርቡበት መድረክ አዘጋጅተን ነበር፡፡ ታዲያ ሁሉም ዘፈኖች ስለ ውሃ ጠቀሜታ ያትታሉ ፡፡ ሁሉም ስለ አንድ ወንዝ ማዜማቸው በሰዎች መካከል ትስስርን ፈጥሮል ይህንንም በመመልከቴ በጣም ደስተኛ ነኝ፡፡

ኦምኒአ (Omnia):ከተለያየ አካባቢ በመምጣ ስለ ውሃ ያቀረቡት ግጥም እና ዜማዎች ውስጥ የተነሳውን ምሳሌ ወድጀዋለሁ፡፡

አንድ ጠጠር ያለ ጥያቄ ማንሳት ወደድኩኝ አለም ጎርፍ፣ ድርቅ፣ እና መፈናቀል በሚያጋጥማት ወቅት ውስጥ የውሃ ታሪክን ማስታወስ ለምን አስፈለገ?

ፕሮፊሰር ኢዲይ (Professor Eddy): ጎርፍ እና ድርቅ ያጋጥማሉ፡፡ አሁን ባለው ህዝብ ብዛት ምክንያት ባለው የአየር ለውጥ ምክንያት ከባድ ጎርፍ እና ድርቅ እያጋጠመ ነው፡፡ ተፅኖውም እየጨመረ ነው ነገር ግን ቀደምት አያቶቻችን እነዚህን ተግዳሮቶች እንዴት እንሚቆቆሙትም እንማራለን፡፡ በተለይ ደግሞ የውሃ አቅርቦት እጥረት ባለበት አካባበቢ ይህንን ለመወጣት የተለያዩ ቴክኒኮችን ሲጠቀሙ ይስተዋላል፡፡ በተለይም ደግሞ የመንግስት የውሃ አስተዳደር የጎላ ድርሻ አለው፡፡

ከሰማሁት እና ካነበብኩት መካከል በጣም ደስ የሚያሰኘኝ ነገር ማህበረሰቦች አንድ ላይ ተሰብስበው አንዱ ለሌላው ውሃ የሚያከፋፍሉበት መንገድ ላይ መምጣት መቻላቸው ነው። ይህም ከበፊቱ በበለጠ አስፈላጊ ነው ብዪ አስባለሁ፡፡ አሁን ላይ ሰዎች ሁሉንም ነገር በቴክኒክ መፍታት እንችላለን ከሚለው ሀሳብ የወጡ ይመስለኛል፡፡በተለየ መልኩ ማሰብንም ይጠይቃል ይህም ከበፊቱ ልማዶች መማር እንችላለን፡፡በድሮ ግዜ ሰዎች የሚገጥማቸውን ተግዳሮት እንዴት እንደሚፈቱት እንዲሁም የጋራ ውሃን እንዴት እንደሚከፋፈሉ መማር ይኖርብናል፡፡

የአየር ንብረት ለውጥ ብቻ ሳይሆን ግጭት በጨመረበት ወቅት ውሃ የጋራ መግባቢያ በመሆን ያገለለግለናል ብዬ አስባሁ፡፡በዚህም በአንድነት ውሃውን እንዴት በጋራ እንደምንካፈለው እንመክራለን፡፡

በተለያዩ አስተዳደራዊ እና ብሔራዊ ድንበሮች መካከል ላሉ ሰዎች የትብብር እድሎችን ይሰጣል፡፡

ኦምኒአ (Omnia):ድንቅ እይታ ነው፡፡ በጣም የደነቀኝ ደግሞ አብዛኞቹ የተነሱት የውሃ ሙዝየም ግኑኝነቶች በህንፃዎች ውስጥ ሳይሆኑ ዲጂታል፣ ተንቀሳቃሽ እና ማህበረሰብ አቀፍ መሆናቸው ነው፡፡ ለምንድነው የውሃ ሙዝየም ተዳራሽ መሆን ያለበት?   

ፕሮፊሰር ኢዲይ (Professor Eddy): ሁሉም ሰው በአካል ተገኝቶ የውሃ ሙዝየሙን መጎብኘት አይችልም፡፡ ስለዚህ የዲጂታል ሙዝየም በአካል መገኘት ለማይችሉ ሰዎች ጥሩ አማራጭ ነው፡፡ በሌላ ሃገር ያሉም ሰዎቸ መመልከት ይችላሉ፡፡ የተለያዩ ተግዳሮቶችን መመልከት ያስችላል ይህም የተለያዩ የመፍትሄ ሀሳቦች እንዲመነጩ ያደርጋል፡፡ ሰዎች ያላቸው ምልከታ ሊገጥም የሚችለውነ ተግዳሮቶት ለመፍታት እና ስምምነት ላይ ለመድረስ ያለው ጠቀሜታ ከፍ ያለ ነው፡፡ እነዚህን የጥበብ ፣ የሙዚቃ፣ የታሪክ ስብስቦች በዲጂታል ማድረጉ በሁሉም አለም የሚገኙ ሰዎች ለውሃ ትልቅ ምልከታ እንዲኖራቸው ያደርጋል፡፡

ኦምኒአ (Omnia) ፡ ተደራሽ መሆንና የሰዎች ምልከታ አስፈላጊነት ተረድቻለሁ፡፡ የዲጂታል መንገዱም በተለያየ አህጉራት የሚገኙ ታሪኮችን ሰዎች እርስበርሳቸው የሚማማሩበትን መንገድ ፈጥሮል ይህም በአካል የመገኘት ያህል ትልቅ አስተዋፆ አለው፡፡ የግሎባል ኔትወርክ ኦፍ ወተር ሙዝየም ”Global Network of Water Museums (WAMUNET) “በዚህ ሂደት ውስጥ ምን አስተዋፆ አለው? ይህ ሙዝየም በአለም አቀፍ ደረጃ እንዲያድግና እንዲስፋፋ በምን መልኩ እያገዛችሁ ነው?

ፕሮፊሰር ኢዲይ (Professor Eddy): የውሃ ሙዚም የተጀመረው እ.አ.አ በ 2018 በ ዪኔስኮ ”UNESCO” ከታወቀ በኃላ ነው፡፡ ከዚያም በ ”Intergovernmental Hydrology Programme” ውስጥ የዪኔስኮ ዋና ፕሮጀግት ሆኖዋል ፡፡ ይህም እውቅና የውሃ ሙዝየም መሆን ለሚፈልጉ ሙዝየሞች በአለም ዙርያ ያላቸውን ጠቀሜታ ለማሳየት ያግዛል፡፡

የውሃ ሙዝየም ወይም ማንኛውም ሙዝየም የገንዘብ እገዛ ይፈልጋል ፡፡ ይህንን የገንዘብ ድጋፍ ለማግኘት በዪኔስኮ እውቅና ማግኘቱ ሂደቱን ቀላል የደርገዋል፡፡ ሌላኛው ጠቀሜታ ደግሞ በነዚህ ግንኙነቶች አንድላይ በመተባበር ለታዳጊዎች የሚሆን እና ትምርት ቤቶችንም አሳታፊ የሚያደርግ አውደርዕይ ለማዘጋጀት ያግዛል፡፡ የውሃ ሙዝየም በሌለበት ቦታ ላይ ብዙ አባላትን የመፍጠር ፍላጎት አለን፡፡ ይህም የተለያዩ ሀገራት ያሉ ሙዝየሞች አንድ ላይ በመተባበር በከተማቸው ወይም በሀገራቸው የውሃ ሙዝየምን መፍመር እንዲችሉ ነው፡፡

ኦምኒአ (Omnia)፡ በብዙ ክልሎች  እንዲሁም  ኤዥያ፣ አፍሪካ፣ አውሮፓ አህጉራት ይሰራሉ በዚህም ሰፊ ከሆኑት የተለያዩ ማህበረሰቦች ውስጥ ካለው የውሃ ባህል ስለ ውሃ ካለቸው ምልከታ ምን ተማሩ? የሚያመሳስላቸው ነገር ይኖር ይሆን ?

ፕሮፊሰር ኢዲይ (Professor Eddy): ጥሩ ጥያቄ ነው፡፡ ሰዎች በውሃ ጉዳይ ላይ ተመሳሳይ የሆነ ሀሳብ አላቸው ብዪ አስባለሁ፡፡ ምናልባትም እኛ በሰውነታችን ውስጥ ብዙ የውሃ መጠን ስላለ ሰዎች ከውሃ ጋር በቀላሉ ይተሳሰራሉ፡፡

አልፎአልፎም አንዳንድ የውሃ ሙዝየሞች ታዳጊ ልጆች ላይ ያተኮሩ ናቸው፡፡ ይህም ልጆች በቀላሉ በውሃ ለመጫወት እንደሚሳቡ ያሳያል፡፡ውሃም በቀላሉ በልጆች የሚወደድ እንደሆነ ተመልክቻለሁ፡፡

የውሃ ሙዝየም በሁሉም ሰው ዘንድ መወደድ የሚያስችል ይዘት አለው፡፡ አንዳንዴም ባላው የተለያየ ስርአት ወደ ውሃ ሙዝየሙ ለመግባት ለሁሉም ሰው ቀላል ላይሆን ይችላል፡፡ 

እንደ ቫላንሲያ ባሉ ቦታዎች ደግሞ ወደ ገበያ ሲኬድ እግረመንገድ የሚታይበት ጊዜ አለ በዛም መገኘት እና መሳተፍ ይቻላል፡፡ የውሀ ሙዝየም ቅርስነቱን ከ ሙዚቃ እና ጥበብ ጋር በ ማጣመር ከዎች ጋር ያለውን ትስስር በቀላሉ ያጠነክራል፡፡ እነዚህን ቴክኒኮች የሚጠቀሙ በርካታ ሙዝየሞችን አይቻለሁ፡፡ 

ኦምኒአ (Omnia)፡ የትኞቹ ታሪኮች ይነገራሉ የትኞቹስ ችላ ይባላሉ፡፡ የውሃ ሙዝየም ባህላዊ የሆነውን ጥንታዊ ስርአት መጋፈጥ ይችላል በተለይ ደግሞ ሀገር በቀል የሆኑ ድምፆችን ፣ በቃል የሚተላለፉ ባህሎችን እና የተገለሉ ማህበረሰቦችን?

ፕሮፊሰር ኢዲይ (Professor Eddy): አዎ እንግዲ አንዱ የሙዚየም እንዲሁም የውሃ የሙዚየም ሚና ይህ ነው ብዪ አስባለሁ መሆንም አለበት፡፡ አጠቃላይ ሂደት ቢኖርም በህብረተሰብ ውስጥ ጎልተው የሚታዩት ልዩነቶቹ ናቸው። ሙዚየሞችም የተለያዩ ልዩነቶችን እና ባህሎችን ለማሳየት ይሰራሉ ምክንያቱም የሙዚየሞቹ ሰዎች እይታቸውን እንዲያሰፉ ይገፋፋሉ፡፡ ሙዝየሞች በብዙ ሰዎች ያልታወቁትን ባህሎችና የሰዎች ድምፅ የማሰማት ትልቅ አቅም አለው፡፡

ኦምኒአ (Omnia)፡ ሙዝየሞች ልዩነቶችን  እና ያልተሰሙ ድምፆችን ማጉላታቸው ለውጥን ያንፀባርቃል፡፡ ከመቆጨታችን በፊት አንድ ጥያቄ ላነሳሎት ወደድኩኝ፡፡ አንድ ሰው በአካልም ሆነ በዲጂታል የውሃ ሙዝየም ካየ በኃላ እንዲሰማው ወይም እንዲረዳው የምትፈልጉት ተስፋ የምታረጉት ምንድን ነው?

ፕሮፊሰር ኢዲይ (Professor Eddy): ለምሳሌ የሆነ ሰው ከዚህ በፊት ቆሻሻ በየቦታው የሚጥል ሰው ነው ብንል   የውሃ ሙዝየም ገብቶ ካየ በኃላ ግን ከአሁን በኃላ የማደርገውን ነገር መጠንቀቅ አለብኝ እንዲል እንዲሁም ደግሞ ሰዎች ከጉብኝታቸው በኃላ አካባቢያቸውን እንደሚቃኙ ተስፋ አደርጋለሁ፡፡

ውሃን በአግባቡ መጠቀም አለብኝ፡፡ ውሃብ ማባከን የለብኝም እንዲሁም ቆሻሻንና በካይ ነገሮችን ወደ ውሃ ውስጥ መጣል የለብኝም በማለት ለውሃ ያላቸው ግንዛቤና ጥንቃቄ አድጎ ወደቤታቸው የሚሄዱ ከሆነ በጣም ደስ ይለኛል፡፡

ኦምኒአ (Omnia)፡ ጎብኚዎች በውሃ ላይ ያላቸውን ተፅእኖ በመረዳት ለውሃ የሚያደረርጉት ጥንቃቄ ጨምረቀው ወደ ቤታቸው ይሄዳሉ ብለው የገለፁበትን መንገድ ወድጀዋለሁ፡፡ ከማባከን ወይም ከመበከል በፊት ሁለት ጊዜ እንደማሰብ ያሉ ትናንሽ ለውጦች በጣም ትልቅ ለውጥ ሊያመጡ ይችላሉ። ስለዚህ የሰማነው ነገር የውሃ ሙዚየሞች ስላለፈው ብቻ ሳይሆን ስለ ዳግም ቁርኝት መሆኑ ግልፅ ነው። ውሃ ከምንጠቀመው ወይም ከምንቆጣጠረው ነገር የበለጠ እንደሆነ ያስታውሰናል፡፡ ይህም የወረስነው ነገር እንደሆነ እና በጥንቃቄ ማስተላለፍ ያለብን ነገር ነው። 

ኦምኒአ (Omnia)፡ በIHE Delft ውሃ እና ልማት አጋርነት ፕሮግራም የተደገፈውን የ AQUAMUSE ፕሮጀክት አካል ሆኖ በ SciComm X ወደ እርስዎ የቀረበሎትን የH2Know ፖድካስት ስለተከታተሉ እናመሰግናለን። በማህበራዊ ድህረገፆች ላይ ይከተሉን፡፡ በቀጣይ ክፍል የእውነተኛ አለም የውሃ ሙዚየሞችን አብረን የምንቃኝበት እና እንዴት የውሃ ታሪኮችን ወደ ህይወታችን አንደሚመጡ የምንማርበት ይሆናል፡፡

ቸር ያገናኘን፡፡