Tag Archives: UK

The Mendoza Review of museums in England

Have a look at the “The Mendoza Review: an independent review of museums in England”. This Review of the museums sector is the first to be conducted in more than 10 years. Whilst it focuses primarily on the 1,312 Arts Council England (ACE)-Accredited museums, it does consider the wider context of the sector, which encompasses approximately 2,600 museums in England. In total, this covers a vast array of museums that vary in governance, size, the nature of their collections, and their particular place in the cultural environment of our country.

It has been conducted to gain a deeper understanding of the sector, the issues it faces, and how it can be best supported by government. In particular it looks at the increase and diversification of audiences; the role museums play in developing local communities and placemaking; how museums support soft power; and, crucially, how government might help to create a resilient sector. For the first time, this Review also shows the full amount of public funding received by the sector. Over the last 10 years, we have determined that an average of £844m per year has been invested from 11 government sources, comprising multiple funding streams. Including tax measures, this funding has remained fairly flat between 2007/08 and 2016/17, although reduced in real terms.

The review identifies nine priorities for museums today, and sets out how DCMS and its Arm’s Length Bodies will work better together to create and fund an environment in which they can flourish. It also sets out what individual museums and institutions can do – either by themselves or in partnership with others – to thrive and drive improvement for the sector overall. In this report, we aim to focus on these nine areas through each of the recommendations we make. Those recommendations will be taken forward in an Action Plan produced by ACE, the Heritage Lottery Fund (HLF), national museums and DCMS. Adapting to today’s funding environment is the most important challenge facing museums today. Over the last 10 years, although nominally maintained, funding overall has reduced by 13% in real terms, with some museums seeing larger cuts; there have also been a small number of closures over the period. Local authorities (LAs) have been particularly affected and, in response, there is an increasing move to trusts and other new governance structures. Many museums have successfully changed business models; how they programme for audiences to generate income and provide value for money; and other elements of their service.

Broadly speaking, though, museums do need to increase and diversify their income further. This will enable them to build sustainable and resilient models. At the same time, the use of existing public funding needs to be smarter to help support these objectives. Public funding is ultimately finite. Organisations like ACE and HLF, which are the key sector funders, should streamline their funding to make it easier for museums to access the support they need and to ensure that museums that would benefit the most, in the long term, have ready access.Growing and diversifying audiences reflects the important purpose of museums in engaging people and communities. Over half of the adult population now visits museums – up from around two in five a decade ago – a significant achievement. But those audiences are still less likely to be representative of the very young or very old, ethnic minorities, disabled, or lower socio-economic backgrounds. There is no complacency in the sector – museums are increasingly reaching out to their communities to provide exhibitions that welcome people. These include, for example, building more sophisticated partnerships to co-produce exhibitions; using new technology to collect and analyse visitor data; and gathering other evidence to understand how best to serve their visitors. I

n many ways, national museums have spearheaded these approaches, and provided support to museums outside London to improve access all over the country. This work needs to continue and develop as further best-practice techniques are established and economies of scale established. Dynamic collections curation and management are the fundamental point of museums – to protect and take care of the collections they hold, and to make them accessible to the public, not just physically, but meaningfully as well. This is not without its challenges: buildings maintenance backlogs (including insufficient storage) are a common issue, as is less available curatorial time and expertise, and the ongoing need for a sensible approach to both growing and rationalising collections. There are good examples of where sharing skills and infrastructure can help to overcome these issues; this is a particular area where a strategic framework for how the national museums’ work with the rest of the sector will benefit museums across the country. Contributing to placemaking and local priorities helps museums play a part in their communities and in local decision-making, as well as leveraging investment in culture to also deliver on priorities such as health and wellbeing.

There is increasing evidence to show that cultural institutions contribute a great deal to the local economy, to the wellbeing and education of its residents, and to attracting tourists and businesses to the area. Museums are especially able to do this because of their position as a civic space and their collections, which connect people to place. To encourage this work it is important that museums have and use consistent, statistically robust methods to measure economic and social impact. Delivering cultural education has benefits for schoolchildren as well as helping to make the adult museum audiences of the future. Museums can and do support pedagogy, enhancing the theory and practice of formal learning and the curriculum, as well as engaging children with development – particularly around their social history and place in the world. Developing leaders with appropriate skills and diversifying the workforce are long-standing concerns of the museums sector; they must be tackled successfully if museums are to adapt to reduced public funding and encourage more diverse audiences.

The skills needed for a museums career are changing, with greater emphasis now on flexibility and collaboration, business and digital, commercial, marketing and fundraising. Volunteers are still of crucial importance in keeping museums running, although routes to entry into the sector need to expand to offer greater opportunities to a wider range of people, particularly reflecting the make-up of the local communities they serve. Digital capacity and innovation is an area where museums have been slower than other arts and cultural sectors to develop. Beginning with senior leadership, but encompassing upskilling people in numerous roles, there is a need for greater understanding of the wide potential of digital in museums. Examples include display and interpretation, collections, communications, data – and the need for a strategic approach to embedding tools and technologies into every aspect of museums’ work. Working internationally is of particular importance as the UK prepares to leave the European Union. EU Exit brings challenges around staff resources, loans/movement of objects and tours, as well as funding. It also offers opportunities to refresh and develop further international partnerships, look and work globally, and involve smaller museums that may not have had the confidence or encouragement to find their place in the world.

Full Report for download from the UK Department for Digital, Culture, Media & Sport.

Advertisements

Repost of an article by Mark Piesing from publishingperspectives.com

How UK Museums Use Mobile Tech to Enhance Visitor Experience

UK museums are adapting publishing technology to their needs and using mobile apps to re-invigorate the way visitors explore their spaces.

LONDON: When I stepped through the doors of the Natural History Museum in London I seemed to have travelled almost as far back in time as the exhibits.

In this land that technology had forgotten there didn’t seem to be any public Wi-Fi  and instead I had to rely on 3G to open a website only whose homepage was optimized for mobile. When I wanted to know more about the exhibits it was easier to check Wikipedia about T-Rex than fight through the crowds to see the displays or struggle with a site which seemed more interested in telling me how to get to the museum rather than about the monsters I was seeing when I was there.

When I eventually found the museum’s café there I didn’t see a single tablet or laptop as its public Wi-Fi seemed to be a closely guarded secret. In fact the Wi-Fi was actually leaking from the Treasures gallery above and I was finally able to use an app designed by the museum to start argument with my young son about whether dinosaurs had actually turned into birds.

For mobile evangelist Mathew Petrie, this is an all-too-common mobile experience for visitors to museums in the UK – museums that have perhaps in the past been more worried about the Starbucks effect of “having people with laptops filling up their cafés” if they installed free Wi-Fi, rather than interested in what their visitor’s expect. Petrie is president and founder of Fusion Research and Analytics, which has for the last year being conducting research for some of the country’s best-known museums including the Natural History Museum into how their visitors use mobile.

“Lots of people in the museum community would now like to do a lot of things, but they need to cover basics first,” he says. “Museums have to understand audience needs before starting to build systems.”

According to Petrie, the Natural History Museum has already commissioned research to understand visitor mobile device ownership, usage expectations and current behaviors. “The Museum has also used this research as a platform to assess the potential for new mobile application development for content engagement and other on-site activities.”

Petrie’s research for the UK museum sector suggests that three quarters of UK museum visitors now come equipped with mobile and tablets, “but very few museums engage with them.” Only about 13% of museums have Wi-Fi, and of those that do, “most don’t even promote it.”

The Natural History Museum's Pompeii app adds depth to the exhibition.

Mobile, though, is more than just QR codes that “few people use” or providing free Wi-Fi (although that is a good place to begin). It is more than just publishing a couple of apps that soon languish forgotten and un-updated in the app stores or the “souvenir app” for big exhibitions.

Getting Visitors to Explore the Museum in New Ways

Getting mobile is about understanding what visitors want before they visit, whether they are there from close to home or far away. It is about how what they want may differ between smartphone and tablet users and Apple and Android, as well as between young and old. It is about getting visitors to explore the museums in new ways and even to play games where security guards used to shout “No running.”

“People want to search, to effortlessly get more information more quickly, but 50% of visitors are from outside of the UK and they turn off data roaming to save money,” Petrie says. Tablet users tend to want a deeper experience of their visit but not necessarily in front of the exhibit.

Museum Explorer

“Like anything to do with technology, museums are quick to want to follow it, but adapting it to the museum space is another thing.”

For Dianne Greig these “well-documented” problems are evidence of a lack of robust visitor data to inform strategies – specifically demographic, experiential and behavioral research. Greig is associate director (digital) of Scottish digital development group Culture Sparks.

Too often, she thinks, “responsibility for ‘mobile’ can often sit across teams – marketing, technical development, digital – making collective decision-making a challenge and impacting on the museum’s responsiveness.”

Then research can easily be siloed so that “the intelligence that does exist, in large institutions can often become ‘stuck’ within departments.”

The result of this is a lack of understanding of the whole customer journey, with mobile becoming a “one size fits all” approach and a “fixation with apps” based on little more than “the fact that other museums and galleries are creating them.” When in fact, Greig argues, a website optimized for mobile would be much more cost-effective to produce.

Yet Petrie cautions that “museums are probably doing what they should be doing, being cautious and protecting their brand to avoid alienating people.”

Mid-size museums “may have a few people with the skills and the dreams but not necessarily the authority to go do it.” So better research can provide “more ammunition” for these people to get “more resources. If you have the skills you can have big impact.”

The Huntzz app allows museum-goers to

The Huntzz app allows museum-goers to create their own treasure hunts and tours.

Mobile to Play a Big Part in Future

Mathew Cock, head of Web for the British Museum, agrees with Petrie and Greig that “an increasing proportion of visitors to the museum do want to look at the museums on mobiles.” The museum will soon be publishing its digital strategy, in which “mobile is expected to play a big part.”

“We do have a very high proportion of visitors from abroad – and they have to rely on 3G as we have don’t have public Wi-Fi.” As with many Victorian museums, Wi-Fi is difficult “due to the old and huge buildings and the many galleries.” It is “something that will hopefully happen in the next three to four years.”

Within their website they are starting to do more things aimed at mobile, but beyond the home page most of the site is not designed for the mobile visitor. “In the future there are a couple of gallery projects that we might make apps for or have content designed for visitors and which might have Wi-Fi.”

At the moment the Pompei app is “still our main project,” designed by an outside agency owing to a tight timescale. The app is tied in with the museum’s 2013 blockbuster exhibition “Life and death in Pompeii and Herculaneum” and its Pompei Live film that was broadcast live to 250 cinemas in the UK in June almost like a “private view” and shown round the world in a recorded form.

“Apps are very difficult to keep relevant and maintain sales, so you need a presence for them outside the app story. So there are spikes in downloads when it is broadcast.”

“We have learned a lot from it as a trial for future exhibitions.” The tablet version was much more popular than the phone version – despite the phone app being cheaper. The tablet app is content-rich and the phone more useful than educational.

“It’s not a yes or no answer,” says Hugh Wallace, head of digital media, National Museums Scotland, to the question as to whether UK museums have been slow to adapt to digital.

“I saw some of the early inventive apps, and museums were actually quite ahead of the game compared to some of the big brands. However, while there are now a lot of inventive conversations happening, organizations themselves are not necessarily at the forefront of innovation.”

As in other sectors, “there has been a tendency for shiny things rather than things that add value to visitors’ experience,” he admits. “However, there is an openness, honesty and reality-checking that you probably wouldn’t find elsewhere.”

Funds are partially an issue: “Bigger players have opportunities to test and learn more than smaller institutions who may depend on one make-or-break project a year. They also have more funding from commercial organizations who are happy to get good PR.”

Wallace believes that a “better Web presence” is the best option for many museums as “apps can be an expensive one-off” and “relatively few apps have performed at the superstar level to make it a viable proposition.”

Experimenting with Gamification

The National Museum of Scotland has three different apps, including a treasure hunt-type challenge, the highlights of the National Museum of Scotland, and Capture the Museum, which is being developed. The website is also being re-engineered for mobile.

“Capture the Castle has prototype funding. It is a fast and furious team game with each team trying to capture flags to capture different territories in the museum.”

In the future Wallace believes mobile for museums will be about “location technology, gesture-based interfaces and 3D interfaces.”

“For the first time I am seeing nice bits and pieces of affordable tech that could change my world: some augmented reality that doesn’t for once look like a PR stunt.”

Ultimately, despite the temptations, he believes that that “the museum community has to be led from the experience perspective and not because the technology is there. Museums are good at overloading due to the way interfaces have been designed.”

For Mathew Cock only a handful of national museums that have a development team will be able to do this in-house. “The app space is fast-moving so there is a risk taking it on by yourself.” Virtual technology is likely to be the future but, again, “the cost could be high.”

Third party apps like Huntzz now allow museums and visitors to create their own treasure hunts and tours.

Diane Greig argues that “More data analysts are needed in the sector to turn raw data into actionable intelligence.”

So perhaps Mathew Petrie’s dreams aren’t too far-fetched: “If in a few years’ time you could say that one in four of visitors are using Wi-Fi then that would be huge.”

This entry was posted as http://publishingperspectives.com/2013/12/how-uk-museums-use-mobile-tech-to-enhance-visitor-experience/ on December 10, 2013

Family Friendly Museum Awards (repost from the Telegraph, UK)

Family Friendly Museum Awards: great museums for half-term (repost from www.telegraph.co.uk)

Thousands of readers have nominated museums for our Family Friendly Museum Awards. Here are the best longlisted entries to take your children to at half-term.

Children enjoy the exhibits at the North Lincolnshire Museum, which is running an Egyptian week during half term

A fun way to learn: children enjoy the exhibits at the North Lincolnshire Museum, which is running an Egyptian week during half term  Photo: North Lincolnshire Council.
 By Dea Birkett, 7:00AM BST 24 May 2013

Fossils hidden in sandpits, a Victorian sweet shop and a tank full of frogs. It’s the thrill of the real that visitors were looking for in this year’s entries for the Telegraph Family Friendly Museum Award.

As we all live in more virtual worlds, museums still offer real experiences with real things. That’s what makes them so special. As one young visitor said of longlisted M Shed museum in Bristol, ‘It’s interesting because it has older things than my Nan.’ But the very best family friendly museums don’t only let us look at their collection, but handle and hold it too. Children are no longer being told off for stroking the stuffed walrus or creaking open the wooden tea chest. Instead they’re being positively encouraged to do so. ‘You can get your hands on absolutely loads of things,’ wrote an 11-year-old about longlisted Harris Museum and Art Gallery in Preston. ‘There are touch screen games and lots of bags around the museum. In the bags are objects to feel and touch.’ At longlisted Blists Hill Victorian Town in Ironbridge Gorge, Shropshire, families can be part of former times, with a bank to change modern money into farthings, a chippy serving meals wrapped in newspaper, and the old fashioned New Inn Public House where you can enjoy a pulled pint and sing-along.

From over 140 museums nominated by thousands of readers, the volunteer panel picked the top 20. Here are some of those longlisted museums which offer the very best of hands-on experiences over the half term:

Half-term highlights

North Lincolnshire Museum, 01724 843533 Egyptian Mayhem Week, 28-31 May. Free drop in Egyptian activities, crafts and object handling.

Thelma Hulbert Gallery, Devon, 01404 45006 Bees and Flowers, 30 May. There’s a buzz around this free family drop-in, as live bees in the gallery pose for your pastel or charcoal drawings. The workshop is led by artist Kate Lynch, to coincide with her ‘The Beekeeper and the Bee’ exhibition.

Coalport China Museum, Ironbridge Gorge Museum Trust, Shropshire , 01952 435900 Drop in workshop, 27 May. Paint a mug inspired by the floral designs on Coalport China.

National Maritime Museum Cornwall, 01326 313388 Magnificent Marine Biology Supersized Saturday, 1 June, led by marine ecologist Maya Plass from BBC Springwatch. You can even take control of an ROV (Remotely Operated Vehicle) to explore the waters right outside the museum.

Saffron Walden Museum, Essex, Young Super Sleuths, 29-30 May. There’s been a break-in at the museum and one of the mummies is missing. Have you got the Sherlock Holmes-style detective skills required to help museum staff retrieve the stolen mummy? You’ll be told how to crack codes, search for evidence and match fingerprints.

Nottingham Contemporary, 01159 489750 UV Drawing Extravaganza, 1-2 June. Inspired by the gallery’s UV Gallery, use glow sticks, white pens and tape to create glowing patterns and pictures under UV light.

Rural Life Centre, Surrey, 01252 795571 Free Activity Thursday, 30 May. Old fashioned fun for families, including discovering a furnished Prefab, tiny wooden chapel tin hut schoolroom. There’s even a 1950s playground for kids.

Longlist for the Telegraph Family Friendly Museum Awards

Beamish Museum, County Durham 01913 704000

Bo’ness and Kinneil Railway, Falkirk, 01506 822298

Brixham Heritage Museum, 01803 856267

The Cardiff Story / Stori Caerdydd, 02920 788334

Compton Verney, Warwickshire, 01926 645500

Geffrye Museum, London, 02077 399893

Harris Museum & Art Gallery, Preston, 01772 258248

Horniman Museum and Gardens, London, 02086 991872

Ironbridge Gorge Museum Trust, Shropshire, 01952 435900

M Shed, Bristol, 01173 526600

Museum in the Park, Stroud, 01453 763394

INTECH Science Centre & Planetarium, Winchester, 01962 863791

National Maritime Museum Cornwall, 01326 313388

Nature in Art, Gloucester,, 01452 731422

North Lincolnshire Museum, 01724 843533

Nottingham Contemporary, 01159 489750

Rural Life Centre, Surrey, 01252 795571

Saffron Walden Museum, Essex,

Thelma Hulbert Gallery, Devon, 01404 45006 Tullie House Museum & Art Gallery, Cumbria, 01228 618718

The Telegraph Family Friendly Museum Award — What Happens Next?

The 20-strong longlist is put before a panel of experts, chaired by Jenny Abramsky, Chair of the Heritage Lottery Fund. The panel whittles down the longlist to a shortlist of Britain’s most family friendly museums. This shortlist is then road-tested anonymously by families.

Would your family like to help pick the winner?

Then email award@kidsinmuseums.org.uk. Find out more about Kids in Museums and the Award at Kids In Museums