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Identity in the new museologies and the role of the museum professional Eduardo Giménez-Cassina Whilst the title of this essay suggests more than one “new museology”, it was rather a licence poétique to emphasize the two major theoretical movements that have evolved in the second half of the 20th Century1. As a result of the place(s)/contexts where they originated, and for clarity purposes, they have been labelled in this essay as the “Latin new museology ” and the “Anglo-Saxon new museology”; however they both identify themselves by just the name of “New Museology”. Even though they both shared similar ideas on participation and inclusion, the language barriers were probably the cause for many ideas not to be fully shared by both groups. The “Latin New museology ” was the outcome of a specific context that started in the 1960s (de Varine 1996); being a product of the “Second Museum Revolution”(1970s)2, it provided new perceptions of heritage, such as “common heritage”. In 1972 ICOM organized the Santiago Round Table,