In the study, the projects completed within Doğaç Creative Drama Leadership programme, which not only trains creative drama leaderships, but also organizes congresses, carries out various works on museums and has a museum unit, were examined. Thus, the sample of the study was determined purposefully. It was determined that there are 16 projects related to the museums among 681 projects. The projects were examined through document analysis, and the Evaluation Form for Museum Practices Designed Through Creative Drama was used in this process. The results were evaluated and presented under categories (participants, sampled museums, study area, workshop titles, duration of the projects, spaces used) determined in parallel with the research questions. Each category was embodied by using visuals such as tables and graphics. Also, the findings were supported by comments. As a result of the research, it is revealed that the participant groups were often determined in connection with formal education networks. Also, it is seen that the objectives of the projects were mostly stated independently of the curriculum. Additionally, the projects examined are mainly implemented in museums associated with history. It is also shown that the fields in the projects are museum education, the historical and cultural importance of the region, history teaching, traditional handicrafts, and the objects in the museum or teaching some subjects in the museum. Moreover, it is seen that there are studies that contribute to museum awareness and museum literacy. In addition to these, it is observed that museum buildings (areas where their collections are located) and classrooms are the most frequently used spaces in the implementation process of the projects, while other areas that are components of museums such as museum garden and museum education workshop are also used. Based on the results of the research, suggestions for future creative drama projects related to museums are as follow: 1. In order to create groups including different educational backgrounds or professional experiences, parents can be participants of the projects if it is more appropriate to evaluate school networks for creative drama leaders; 2. In order to reach various participant groups, different nongovernmental organizations can be collaborated to achieve common goals. In this way, the goals of contemporary museology which is about serving and reaching out to every group in society can be met; 3. The leaders can be encouraged to utilize different kinds of museums, especially contemporary art museums because drama is an arts education area; 4. The study areas of the future projects implemented in museums may include social issues. In this way, the main objectives of the creative drama and the mission of the museums can be achieved.