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Using Special Events to Motivate Visitors to attend Art Galleries
Abstract
The contemporary directions of art galleries worldwide are changing as social patterns and demands, as well as visitor expectations of their experiences at art galleries, change. New programs and strategies are being developed in galleries to make these institutions more appealing to people who would not normally visit them, and one such strategy is the staging of special events. However, because galleries are staging an increasing number of special events, the factors motivating visitors to attend these institutions are changing. Visitors hope to have different experiences and encounters in the gallery during special events. This paper presents the findings from a study in Australia about visitors' motivations to attend special events in galleries. It highlights the different factors that motivate visitors to attend the gallery specifically for a special event in comparison to visiting the gallery's permanent collections.
... Tansuchat and Panmanee (2010), for example, maintain that the understanding of consumer motivation leads to sustainable behavior comprehension and satisfaction enhancement. Therefore, adequate identification of customers' motivations is essential in order sufficiently satisfy customers with different forms of contents (Axelsen, 2006). ...
... Even though people may visit the same location, their motivations could differ, depending on the activity or program they aim to attend and personal preferences (Axelsen, 2006;Falk, 2013). With this cognizance, special events bring unusual and diverse appeal to consumers of the cultural institutions (Axelsen, Arcodia, & Swan, 2006;Mokhtar & Kasim, 2011). ...
... Some qualitative research attempts to discover new motivation factors using interview guidelines and thematic analysis with conceptual classification. Mainly, Axelsen (2006) addressed "Visitor motivations to attend special events in art galleries" by adopting a research concept of Falk and Dierking (1992) 's "the contextual model of learning." The study takes a multi-method qualitative approach to conduct both semi-structured individual interviews with 28 event participants who visited seven separate events at four preselected museums and a focus group interview (FGI) with two event coordinators of NHM. ...
The urban museum has become a multi-functional institution that transcends the functional display of artifacts. The museum has become, in cities, a hybrid institution that keeps its doors open late to support a wide variety of special events. This study explored London’s ‘Museum Lates’ programs and event characteristics, using museums’ theoretical views as cultural tourism attractions. Furthermore, the study applied the contextual model of learning to understand visitor attendance motivations. Authors employed an interpretive approach using interviews with two types of participants, event visitors, and event coordinators. Findings suggested that attendees possess a complex of personal, physical, and socio-cultural motivations for participating in museum lates events. The characteristics of late events – extraordinary quality and evening time atmosphere – produce different effects than current museum exhibitions held during regular operating hours. Museum lates events can contribute to achieving cultural sustainability, adding cultural construct to the traditional three-pillars of sustainability. Keywords: Museums; special events; late opening; visitors' motivations; sustainability, touristic attractions
... In order to attract visitors, museums increasingly organise different forms of special events (Axelsen, 2006;Germain, 2016), with more and more events organised by night (Germain, 2016). One of the most popular special events organised in nocturnal context is "The Night of Museums". ...
... Also, special events can be community-oriented, used for fundraising (Dumbrăveanu et al., 2014). Special events are sometimes called cultural events (Jareman and Rapacz, 2018) and are used as one of the tools capable to attract a wider museum and non-museum audience (Axelsen, 2006). New technologies represent powerful tools for attracting museum audience and their proper use represents one of the biggest, current museum management challenges. ...
... Current literature (e.g. Axelsen, 2006) shows that there are different forms of special events: 1) opening night events, 2) holiday, seasonal and commemorative events, 3) special programs, 4) workshops and 5) festivals. The first type, night events, has been recognized as particularly attractive to visitors and museum professionals. ...
... Thyne (2001) mentioned that motivations, and ultimately values, relate more to why someone would be interested in visiting a museum; for example, they may want to learn more about particular history or they may want to go on a special outing with their family. Museums thrive by making their resources available to the public, making it necessary for them to develop strategies to increase broad audience access to their unique attractions (Axelsen, 2006). If 'old collections' are to attract, interest and inspire 'new audiences', gallery and museum professionals must listen to what visitors experiences in these institutions are telling them. ...
... The social aspect of visiting a museum is not "simply a varnish adding pleasure to the experience" but is "at the very heart of the experience, constituting a fundamental source of satisfaction" (Debenedetti, 2003: 53). Axelsen (2006) agreed to this and added that social factors also influence learning related behaviours, as people are unconsciously influenced to imitate or follow others, resulting in new learning experiences. Meanwhile, Thyne (2001) also mentioned that an average visitor views the museum experience as an opportunity to have a pleasant time in a good company. ...
... Museums that want to attract new audiences must increase their attractiveness by offering something that is distinctive and unique. Their special events are must also have a strong entertainment value, as well as offer an educational experience of varying degrees of subtlety (Axelsen, 2006 ...
This paper provides evidence on Young Adults’ motivations for visiting and not visiting museums. Using purposive sampling, self-administered questionnaires were distributed to respondents in Kedah, Malaysia and Eskisehir, Turkey. Both Kedah and Eskisehir share one similarity – they both have many museums. The findings revealed that in both study contexts, young people tended to visit museums for practical reasons such as to help them prepare homework or a project. They also visit for intrinsic reasons such as to satisfy their curiosity. Both samples also illustrate Davies (2001) contention that awareness is an important precursor to potential visits. On the other hand, both samples are different in reasons for not visiting. While young people in Eskisehir cite emotional reasons for deciding not to visit, young people in Kedah offered more practical ones such as lack of time and interest, or more interested in other activities. The study findings are useful for understanding reasons behind the generally low museum visits among youth. Several managerial implications of the study were also proposed.
... The first of these is the (1) Educational Contribution, where the arts festival can improve the skills of artists (Page & Connell, 2012, 352;Faulkner et al., 2001, 138); improve knowledge about the arts (Page & Connell, 2012, 352;Finkel, 2009, 4, 14, 18, 19;Korza & Magie, 1989, 3); and promote research within the arts (Quinn, 2005, 931;Prentice & Andersen, 2003, 25). Secondly, the arts festival has an (2) Emotional Contribution, where it inspires people to become artists (Hughes, 2012, 13;Finkel, 2009, 13); encourages people to attend more art productions and/or exhibitions (Finkel, 2009, 13;Axelsen, 2006); and encourages people to join art associations (Waterman, 1998, 55). Thirdly, the arts festival has an (3) Economic Contribution, where it may lead to increases in ticket sales of art products and activities (Finkel, 2009, 12); it may increase investment in the arts; create employment opportunities for artists (Goeldner & Ritchie, 2009, 81;Mitchell & Wall, 1989, 3); stimulate stable income or increase in revenue (Kitshoff, 2004, 238); and may increase art product sales (Jonker, Saayman & De Klerk, 2009, 383). ...
... Reference Educational Contribution (Korza & Magie, 1989, 3;Faulkner et al., 2001, 138;Heilbrun & Gray, 2001, 229;Prentice & Andersen, 2003, 25;Quinn, 2006;Allen et al., 2012, 50;Winner & Hetland, 2008;Anheier & Isar, 2008, 8;Finkel, 2009;Dunjic, 2011;Page & Connell, 2012, 352) Emotional Contribution (Waterman, 1989, 55;Heilbrun & Gray, 2001, 228;Reeves, 2002, 29,30,37;Axelsen, 2006;Schwarz & Tait, 2007;Finkel, 2009, 13;Quinn, 2006) Economic Contribution (Korza & Magie, 1989, 3;Mitchell & Wall, 1989, 39;Heilbrun & Gray, 2001, 227;Kitshoff, 2004, 238;Saayman & Saayman, 2004;Saayman & Saayman, 2006;Quinn, 2006, 301;Anheier & Isar, 2008, 3;Allen et al., 2012, 61;Snowball, 2010;Jonker et al., 2009, 383;Finkel, 2009, 12;Goeldner & Ritchie, 2009, 81) Quality Contribution (Korza & Magie, 1989, 12, 36;Reeves, 2002, 37;Quinn, 2006, 291, 300;Finkel, 2009, 20;Liburd & Derkzen, 2009, 137;Hughes, 2012, 13;Prentice & Andersen, 2003) Marketing Contribution As the scale measures the perceived contribution of the arts festivals to the arts, attention is also given to the perceptual difference from the festival visitor. The festival visitor may have differing perceptions regarding the arts festival"s contribution to the arts. ...
... All the mean values of the items were larger than 0.4. This correlates with African Journal of Hospitality, Tourism and Leisure Vol. 4 (1) -(2015) ISSN: 2223-814X Copyright: © 2014 AJHTL -Open Access-Online @ http//: www.ajhtl.com the findings from several researchers (Reeves, 2002, 29, 30, 37;Axelsen, 2006;Schwarz & Tait, 2007); ...
The standardisation of a measurement scale to measure an arts festival‟s contribution to the
performing arts is described. The measurement scale, namely the questionnaire, is based on
literature, where the contributing factors, namely economic, emotional, educational, marketing, quality
and growth and development contribution of an arts festival to the performing arts are determined
based on the perception of the festival visitor. The scale proved to be a valid measure, as the
exploratory factor analysis on the combined data of Innibos and Vryfees (n = 982) supported construct
validity and criterion validity. Further validity was proven by a confirmatory factor analysis on the data
of KKNK (n = 602). CFA fit indices also indicate that the model has a satisfactory fit with the data. The
scale can also be regarded as a reliable measure based on the high Cronbach‟s alpha coefficients
and inter-item correlation values of the factors. Details of the methodology are described and the
subsequent use of the scale is advocated.
... Within the social context exhibitions in a gallery or museum are often not as important as the shared experience of visiting (Debenedetti, 2003). Social interactions provide opportunities for esteem, family bonding (for people attending with children), and learning-related behaviours, as people are unconsciously influenced to imitate or follow others, resulting in new learning experiences (Axelsen, 2006). Within the physical context, the motivations identified by researchers include comfort, the exhibits and special events. ...
... Within the physical context, the motivations identified by researchers include comfort, the exhibits and special events. While comfort was cited as a motivational factor important to the personal context of a person's visit, it is also a motivational factor related to the physical context of the gallery or museum experience (Axelsen, 2006). People are also motivated to attend galleries and museums when a special exhibition or event is on because such events offer something that is 'outside of the ordinary' (Vaughan, 2001). ...
... Museums, like every other institution in Western society, thrive to the degree that they make their resources available to the public. An important part of the mission of these institutions therefore rests in developing strategies to increase access to their unique resources for a broad audience (Axelsen, 2006). If 'old collections' are to attract, interest, and inspire 'new audiences', gallery and museum professionals must listen to what visitors experiences in these institutions. ...
... In order to meet requirements of government for public funding they have to use more market-oriented approaches aiming at audience development (Tobelem, 1998; Rentschler, 2004; McNichol, 2005; Sandell, 2003; Scott, 2000). One of the most popular strategies using by the cultural institutions for inspiring new audiences is the staging of special events (Getz, 1997; Caulton, 1998; Axelsen, 2006). 'Speciality' of events is defined by its occasional character, limited time duration and difference from typical organisational activities (Getz, 1997). ...
... 'Speciality' of events is defined by its occasional character, limited time duration and difference from typical organisational activities (Getz, 1997). By combining various types of events such as lectures and film screening, workshops and seminars, concerts and theatre, themed guided tours and behind-the scenes tours, audio-visual installations and other highly interactive activities (Brown, 2002; Axelsen, 2006) cultural institutions diversify their ordinary practices. Extremely important features of special events are also entertainment value and provision of educational experience (Savage, 1996). ...
The purpose of this research was to understand whether consumers transfer sustainable principles to fashion consumption behaviours. In recognising that the food industry has widened access for consumers concerned with fair transactions between the producer and retailer, environmental degradation and animal welfare through mainstream availability of Fairtrade, organic and free-range food, the research seeks to explore how consumers translate this into their fashion consumption behaviours. This paper presents the idiographic voices of mothers working in a professional occupation who have embraced sustainability in other consumption contexts and are beginning to transfer similar principles to their fashion consumption behaviours. Previous research identified that this demographic were most likely to embrace sustainable behaviours, however this was found to be juxtaposed within a myriad of lifestyle implications, such as financial and time restrictions. Underpinned by phenomenology (Thomson et al., 1989), unstructured interviews of 28 participants living in Edinburgh were interpreted through phenomenological analysis (Smith et al., 2009). The results identify that fashion consumption is more complex than that of food, primarily as fashion is expressive of self and status, whereby the participants were reluctant to sacrifice their identity for production issues from which they are distanced. The use of fashion as a visible indicator within society extended to the children’s appearance. Using Holbrook’s (1999) Typology of Consumer Value as a framework, the paper argues that certain values are substituted to cope with chaotic lifestyles; the mothers’ focus centred upon providing for the family. This offers justification for behaviours that may be perceived as a misalignment with moral ideology and was interpreted as appealing to a higher loyalty: that of the family over unsubstantiated claims of social and environmental exploitation. Moreover, when the participants understood the implications of their behaviours in relation to sustainability, this has been adopted as part of the family’s everyday behaviours.
Keywords: fashion, consumer behaviour, sustainability, mothers, children
... If museums are seeking to attract new audiences, they must increase their attractiveness, and their greatest potential attractiveness is rooted in strongly expressing their sense of distinctive "localness", in all of its dimensions (Harrison, 1997). Special events are also likely to have a strong entertainment value, as well as offering an educational experience of varying degrees of subtlety (Axelsen, 2006). ...
... Debenedetti (2003) emphasized on the social setting as a motivator for visiting. Axelsen (2006) supported this and added that social interactions provide opportunities for esteem, family bonding (for people attending with children), and learning-related behaviours, as people are unconsciously influenced to imitate or follow others, resulting in new learning experiences. The author also stated that within the physical context, the motivations identified by researchers include comfort, the exhibits and special events. ...
... If museums are seeking to attract new audiences, they must increase their attractiveness, and their greatest potential attractiveness is rooted in strongly expressing their sense of distinctive "localness", in all of its dimensions (Harrison, 1997). Special events are also likely to have a strong entertainment value, as well as offering an educational experience of varying degrees of subtlety (Axelsen, 2006). ...
... Debenedetti (2003) emphasized on the social setting as a motivator for visiting. Axelsen (2006) supported this and added that social interactions provide opportunities for esteem, family bonding (for people attending with children), and learning-related behaviours, as people are unconsciously influenced to imitate or follow others, resulting in new learning experiences. The author also stated that within the physical context, the motivations identified by researchers include comfort, the exhibits and special events. ...
... Hence, according to Franklin (2018), art tourism is a vital part of cultural tourism, within which galleries play major roles. Reiterating the assertions of Franklin (2018) and Odji (2020), Axelsen (2006) as cited in Herman et al. (2023) averred that galleries have the potential to improve tourist experience and inspire return visits through the provision of guided tours, special events and workshops. ...
Nigeria's agricultural legacy is an essential storehouse of traditional knowledge, cultural customs,
and agricultural techniques from the past. However, urbanization, industrialization, and cultural
changes among younger generations are posing growing risks to this legacy. This study examines the
ways in which the agricultural cultural legacies of three states of south-eastern Nigeria might be
preserved and promoted through the use of digital media and multi-media art. This study explores the
preservation and promotion of agricultural cultural heritage in Nigeria’s southeastern states—Imo,
Anambra, and Enugu, using digital media. A field survey dataset was used to examine indigenous
practices, traditional tools, farming rituals, and how digital media had impacted cultural
preservation. The study highlighted trends, identified gaps, and provided recommendations for
effectively leveraging multi-media art in heritage promotion. Using a mixed-methods approach, the
study used theoretical frameworks like participatory media and cultural ecology, examined case
studies, and found gaps in the literature. The results demonstrated the revolutionary potential of
digital media in maintaining customs and interacting with a wide range of viewers. In order to ensure
the longevity of Nigeria's agricultural history, the study ended with suggestions for incorporating
digital tools into national heritage policies and initiatives.
... Hence, according to Franklin (2018), art tourism is a vital part of cultural tourism, within which galleries play major roles. Reiterating the assertions of Franklin (2018) and Odji (2020), Axelsen (2006) as cited in Herman et al. (2023) averred that galleries have the potential to improve tourist experience and inspire return visits through the provision of guided tours, special events and workshops. ...
The study examined comparative analysis of students’ performances on pattern drafting and
development (HEC 121), pattern adaptation and alteration (HEC 211) and advanced clothing
construction (HEC321). The study was guided by four research questions and one hypothesis. The
study adopted longitudinal Survey design. A total population of 32 NCE (National Certificate of
Education) Home Economics students of Alvan Ikoku Federal University of Education, Owerri, Imo
State was used for the study. The entire population was used. Data collected were statistically
analyzed using mean, standard deviation and analysis of variance. Findings showed that there is no
significance difference in the mean and analysis of variance on performance of NEC students that
offered the three courses (HEC 121, HEC 211, and HEC321). Mean performance of students on HEC
121 was 45.5 this higher compared with mean performance of students on HEC 211 which was 43.0
followed by students mean performance on HEC 321 which was 38.8. The study concluded that
students’academic performances in the three courses were very poor, and their performances in HEC
121 affected their performances in the other two courses. The study also, concludes that the NCE
students were not proficient in pattern drafting, pattern alteration and adaptation skills as well as in
clothing construction skills. The NCE graduates do not possess the ability and capability to run or
establish garment making outfit. Based on the findings of the study, the researcher recommended that
lecturers should encourage and motivate students’ interest and participations in clothing courses.
They lecturers should capture the students’interest and active participation on the onset of teaching
clothing courses
... Τα παραπάνω ευρήματα επιβεβαιώνουν σχετικές έρευνες που αναφέρουν ότι στις νυχτερινές μουσειακές δράσεις συμμετέχουν συνήθως συχνοί επισκέπτες μουσείων (Barbarosa & Brito, 2012; Barron & Leask, 2017). Έρχονται, όμως, σε αντίθεση με έρευνες που υποστηρίζουν ότι οι ειδικές μουσειακές δράσεις μπορούν να προσελκύσουν ευρύτερες κατηγορίες κοινού, πέρα από τον τυπικό συχνό επισκέπτη μουσείων (Andreasen, 1991;Axelsen, 2006;Gyimóthy, 2019). ...
Τα μουσεία στις ημέρες μας αντιμετωπίζουν πολλές προκλήσεις. Στόχος τους είναι να εκπαιδεύσουν και να ψυχαγωγήσουν τους επισκέπτες τους μέσα από δράσεις, που σταδιακά θα μετατρέψουν τον μουσειακό χώρο από στατικό σε ζωντανό και δημιουργικό περιβάλλον στα μάτια του κοινού. Οι νυχτερινές δράσεις -τις οποίες συναντάμε σε περισσότερα μουσεία τα τελευταία χρόνια- απαντούν σε αυτήν την ανάγκη, ανατρέποντας τη στερεοτυπική εικόνα του μουσείου ως αμιγώς εκπαιδευτικού περιβάλλοντος. Μέσα από αυτές τα μουσεία προσπαθούν να προβάλουν το περιεχόμενο και τις συλλογές τους με νέους και δημιουργικούς τρόπους, όπως νυχτερινές ξεναγήσεις, διανυκτερεύσεις, μουσική κ.ά.., ενισχύοντας την κοινωνική διάσταση της επίσκεψης. Το μουσείο, λοιπόν, μετατρέπεται σε έναν χώρο όπου οι άνθρωποι μπορούν να μάθουν, να κοινωνικοποιηθούν και να διασκεδάσουν ταυτόχρονα. Η παρούσα μελέτη παρουσιάζει αρχικά τα αποτελέσματα έρευνας σε εκατόν έξι (106) ελληνικά μουσεία, ώστε να σκιαγραφηθεί το εγχώριο μουσειακό τοπίο σχετικά με τον χαρακτήρα των νυχτερινών δράσεων. Ποια είναι τα χαρακτηριστικά τους, σε ποιες ομάδες κοινού απευθύνονται; Έχουν καθαρά ψυχαγωγικό ή/και εκπαιδευτικό χαρακτήρα; Στον πυρήνα αυτού του προβληματισμού το άρθρο έπειτα εστιάζει στην αξιολόγηση της νυχτερινής δράσης Let’s Be Late! του Βιομηχανικού Μουσείου Φωταερίου της Αθήνας (Β.Μ.Φ.), που απευθυνόταν σε ενήλικο κοινό. Εξετάζει την εκπαιδευτική μεθοδολογία των δράσεων που πραγματοποιήθηκαν, τα δημογραφικά χαρακτηριστικά των συμμετεχόντων και τα μοτίβα συμπεριφοράς τους κατά τη δράση. Τα αποτελέσματά της είναι ενθαρρυντικά ως προς τη δυνατότητα των νυχτερινών μουσειακών δράσεων να προσελκύσουν μεγαλύτερο αριθμό επισκεπτών και να χτίσουν γέφυρες με ένα νέο ηλικιακά ενήλικο κοινό. Αναδεικνύουν, επίσης, την κοινωνική φύση των νυχτερινών μουσειακών εκδηλώσεων ενώ γίνεται φανερό ότι κατά τη διάρκεια αυτών προτάσσεται η ψυχαγωγική διάσταση της μουσειακής επίσκεψης, μέσα από την οποία προσπαθεί το Μουσείο να επιτύχει τους εκπαιδευτικούς του στόχους.
... The Night of Museums is a major event with broad spatial, cultural, organizational and social implications, during which people visit museums, libraries, galleries and theaters, and attend performances, film screenings, musical events, educational programs for children, etc. [1][2][3]. All these actions are intended to contribute to considerations such as the following: the formation of cultural identity by exposing the public to local culture [4][5][6][7]; changing the attitude and perception among visitors towards museums [8][9][10]; improving the image of the city [11,12] and of the tourist destination [13][14][15][16][17]; developing the local economy [18,19]; etc. ...
Cultural events are relevant attractions in contemporary cities that can be understood as celebrations, but also as agents of urban change. The primary objective of this study is to identify emerging themes in the area of cultural events, especially the Night of Museums, and to highlight the relationships among museums as places of learning and aesthetic satisfaction. To reach this goal, an exploratory and descriptive study was conducted. Multinomial logistic regression (MLR) and Regression Analysis were further performed. The results show that physical environment and situational interactions play a decisive role in contextual perception of the importance of events. Curiosity, gratuity, the need to learn and spending free time in the most pleasant way are just a few reasons that lead citizens to direct their attention in a special way. Additionally, this study not only limited to cultural tourism, but also contributes to literature in the area of economy, sustainability and environment. Moreover, our findings have implications for policy makers to identify practices and education that can improve the understanding of cultural and social value.
... In addition to educational activity, museums have a significant role in cultural tourism (UNESCO & ICOM, 2012). The role of the museum is changing as global social patterns shift and the demands on, and the expectations of the institution change (Axelsen, 2006). The proper objective or function of a museum depends on an individual's perception of the museum and varies greatly between museum professionals, as well as between the different kinds of museums, such as science museums and art galleries (Johnson & Thomas, 1998). ...
... In addition to educational activity, museums have a significant role in cultural tourism (UNESCO & ICOM, 2012). The role of the museum is changing as global social patterns shift and the demands on, and the expectations of the institution change (Axelsen, 2006). The proper objective or function of a museum depends on an individual's perception of the museum and varies greatly between museum professionals, as well as between the different kinds of museums, such as science museums and art galleries (Johnson & Thomas, 1998). ...
Cultural tourism has emerged as a growing sector of the global tourism industry. Theme‐based museums have evolved as important partners in this burgeoning sector of the national economy. However, the statistics recorded only 29% of foreign tourists visiting museums during their visits to Sri Lanka in 2018–2019. This research identifies the prevailing challenges and issues museums face in developing museum tourism as a part of the national tourism strategy. This study has been narrowed down into the cluster of museums administered by the Department of National Museums of Sri Lanka as it is the major governmental body responsible for maintaining the national museums. The researcher conducted 18 semi‐structured interviews with administrative positions in the Department of National Museums (DNM) and Sri Lanka Tourism Development Authority (SLTDA) in order to collect qualitative data during the study period of January to July 2019. Findings revealed the key challenges and issues as limited visitor facilities, funding barriers, structural barriers, emerging technologies, location and access barriers, limited collection, and unpublished competition in diversifying museum tourism experience in Sri Lanka. Finally, the researchers summarize the paper with a set of recommendations that may be useful for museum practitioners facing similar challenges.
... This is something that was anticipated given the relative overrepresentation of affluent visitors to cultural and heritage resources. We could interpret this piece of evidence as confirmation of the thesis supporting the slightly elitist nature of this form of tourism development (Axelsen, 2006;Jaffry and Apostolakis, 2011;Garrod et al., 2002). In practice, this piece of empirical evidence suggests that cultural entrepreneurship could be nurtured among affluent visitors to Abu Dhabi, given their appreciation for culture and cultural resources. ...
This paper examines the effect of a number of individual attributes and characteristics on respondents’ intentions to support local cultural entrepreneurship ventures in the Abu Dhabi Emirate of the United Arab Emirates (UAE). The objective of the discussion is to capture the effect of a number of individual variables (such as age, gender, and place of residence) as well as tourism phenomena (repeat visit, time of visit) on the importance tourists in Abu Dhabi place on culture and cultural resources. Using binomial probability models, we measure how changes in age, income levels, length of stay, and other variables trigger changes in cultural appreciation among visitors in Abu Dhabi. This approach is based upon a natural extension of the bivariate descriptive analysis usually undertaken in the literature (Zaidi, 2001).
... This is something that was anticipated given the relative overrepresentation of affluent visitors to cultural and heritage resources. We could interpret this piece of evidence as confirmation of the thesis supporting the slightly elitist nature of this form of tourism development (Axelsen, 2006;Jaffry and Apostolakis, 2011;Garrod et al., 2002). In practice, this piece of empirical evidence suggests that cultural entrepreneurship could be nurtured among affluent visitors to Abu Dhabi, given their appreciation for culture and cultural resources. ...
We are extremely pleased to offer you the sixth issue of a scientific journal called Cultural Management: Science and Education (CMSE), created on the initiative of research staff and teaching faculty at the WSB University (Poland). Our journal, which is published by Logos Verlag Berlin – Academic Books for Sciences and Humanities (Germany), is a peer-reviewed professional journal dedicated to the advancement of best practice and the latest thinking in cultural management, including the results of basic and applied scientific research by international authors in the English language. While developing the foundations for the journal, we have tried to ensure that it takes the form of a platform for sharing knowledge and experience, for passing on information, and, above all, that it is an invitation to undertake joint scientific initiatives and research assignments. We will therefore publish results of the latest research, case studies, reviews of existing theories, book reviews, and articles referring to important research areas which require detailed consideration in the sector of culture. We hope that you will find the articles in the journal an interesting read, that they inspire new research, and that the results will find use in practise. We wish you a good read, and also encourage you to participate in the preparation of subsequent issues of Cultural Management: Science and Education.
... Les organismes artistiques n'amassent pas systématiquement les données sur l'assistance aux événements spéciaux et ne font pas de suivis auprès de ces publics sur leurs habitudes de consommation des arts. Si certains auteurs affirment que les événements spéciaux réussissent effectivement à attirer de nouveaux publics(Axelsen, 2006), d'autres n'aboutissent pas tout à fait à la même conclusion. Les études deBarbosa et Brito (2007, par exemple, démontrent que le public attiré par l'événement spécial correspond généralement au profil sociodémographique du public actuel de l'institution et, à la suite de l'événement, les gens ne reviennent pas fréquenter les activités de la programmation 53 régulière. ...
Despite investments in cultural facilities and in promoting culture, access to the arts remains largely unequal. The vast majority of the arts audiences still correspond to traditional demographic categories: high level of education, high income, urban residence, lack of disabilities, and so on. However, for some people, their level of arts participation transcends this typology, making them atypical audiences.
Drawing on Lahire's (2004) concept of cultural dissonance, this thesis aims to explore the question of cultural participation by going beyond sociodemographic criteria, in order to answer the following question: Does exposure to arts marketing and audience development initiatives determine arts participation among atypical audiences? Semi-structured interviews were conducted with 24 representatives of these atypical audiences among French-speaking individuals in Sudbury (Ontario, Canada) – members of a cultural and linguistic minority population – identified from the 160 respondents of a pre-screening questionnaire.
Textometric analysis of these interviews revealed that audience development reaches atypical arts audiences through direct communications as well as through the many social connections that bridge these individuals to cultural organizations. They describe the usefulness of audience development from an ideological perspective, in support of the Franco-Ontarian cause in which they are engaged. As for atypical non-audiences, their ties to the arts are mainly woven through the school environment. Their appreciation of audience development is rooted in a democratic perspective, being concerned primarily with issues of access to the arts and cultural transmission.
Thus, dissonance in their profiles can be explained by the fact that atypical audiences reside in either a greater or lesser relational and ideological proximity to the Franco-Ontarian arts community, and that the effect of this proximity surpasses that of social classes. This high or low proximity largely characterizes their relationship to the arts, which ultimately ensures that they have different exposure and appreciation of audience development initiatives.
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Malgré les importantes sommes investies dans la mise en place d’équipements culturels et la promotion de la culture, l’accès aux arts reste largement inégal. La grande majorité des publics consommateurs des arts correspondent toujours aux mêmes catégories démographiques : forte scolarisation, revenu élevé, résidence urbaine, absence de handicaps, etc. Toutefois, des gens font exception à cette règle, leurs habitudes de consommation artistique transcendant cette typologie, faisant d’eux des publics atypiques.
En s’inspirant de la thèse de Lahire (2004) sur la dissonance culturelle, nous avons voulu explorer la question de la participation culturelle au-delà des critères sociodémographiques, pour répondre à la question : l’exposition au marketing culturel et la participation aux initiatives de développement de publics sont-elles des facteurs déterminants du choix de consommation de produits et d’expériences artistiques ? Des entretiens semi-dirigés ont été réalisés auprès de 24 représentants de ces publics atypiques parmi la population franco-sudburoise – communauté culturelle et linguistique en situation minoritaire – eux-mêmes identifiés à partir des 160 répondants d’un questionnaire de présélection.
L’analyse textométrique de ces entretiens a révélé que le développement de publics rejoint les consommateurs atypiques des arts par le biais des communications directes et des nombreux liens sociaux qui relient ces individus aux organismes culturels. Ils décrivent l’utilité du développement de publics sous l’angle d’une logique idéologique, en appui à la cause franco-ontarienne dans laquelle ils sont engagés. Quant aux non-consommateurs atypiques, leurs liens avec les arts se tissent principalement par le biais du milieu scolaire. Leur appréciation du développement de publics relève de la logique démocratique, étant surtout préoccupés par les questions d’accès aux arts et de transmission culturelle.
Ainsi, la dissonance dans les profils s’explique par le fait que les individus étudiés résident dans une proximité relationnelle et idéologique plus ou moins importante avec le milieu des arts franco-ontariens, et que l’effet de cette proximité surpasse celui des classes sociales. Cette forte ou faible proximité caractérise largement leur rapport à l’art, faisant en sorte qu’ils ont ultimement une exposition et une appréciation distinctes des initiatives de développement de publics.
... For example, lack of organizing relevant festivals and events at the museum is declared by experts as a weakness. However, according to some authors (Axelsen 2006;Barbosa and Brito 2012), organizing events are not only strategies to make museums and galleries more appealing to people who would not normally visit them, but also can improve repeat visitors' attendance patterns and experiences at museums. In addition, lack of facilities for visitors' direct experience and engagement is further weakness mentioned by experts and our results provide some support for the contribution of Barron and Leask (2017) and Black (2012). ...
Nowadays, due to the development of urbanization and the change in people’s lifestyle, many traditional arts and crafts have vanished or been forgotten. In this regard, museums can play an important role in introducing and preserving them. Museums which display declining indigenous handicrafts are destinations for last-chance tourism. The Traditional Weaving House in Isfahan is the place where looms for weaving, including cotton, and some other traditional textiles are displayed and presented; hence it is known as the Textile Museum. The major objective of this study is to introduce the Traditional Weaving House as a last-chance tourism destination. In addition, the SWOT method was used to identify the strengths, weaknesses, opportunities, and threats of the museum. The data were gathered through questionnaires (an open questionnaire and a closed questionnaire for professionals and experts in the field of museums and tourism). Data were analysed using a coding method and the SWOT method. A SWOT analysis was used to identify the required management strategies to improve the museum’s conditions. The research findings illustrated that the museum should strive to apply a conservative strategy to turn the weaknesses into opportunities. Hence, the museum may consider the following conduct: taking over competitors, reduction of costs, improvement of the product, development of new products and searching for new markets.
... Umas das características consideradas vantajosas da educação não formal é o modo de interação com o público ou frequentadores. O contato visual, muitas vezes corporal, e a participação ativa nas atividades oferecidas, além das experiências sociais, são motivadores e despertam a curiosidade (Axelsen, 2006;Studart, 2000). Isso fortalece ainda mais o ensino e a aprendizagem e o distingue muitas vezes do processo sistematizado oferecido nas escolas, visto muitas vezes como desmotivador. ...
No campo da psicologia educacional, muitos estudos têm diagnosticado constructos como a autoeficácia de estudantes, mas poucos propõem intervenções e avaliam seu potencial para a mudança da autoeficácia. Este estudo avaliou o potencial de palestras de química para a promoção da crença na autoeficácia através de atividades de divulgação científica aplicadas para estudantes do primeiro ano do Ensino Médio de três escolas públicas ao longo de um ano. O estudo é de natureza qualitativa, pautado em entrevistas semiestruturadas com estudantes e professores e seguido da categorização e análise dos resultados. Dentre os fatores que forneceram indícios de fortalecimento das crenças de autoeficácia, destacam-se o aumento do interesse pela química, melhor compreensão dos conceitos químicos e melhor compreensão da natureza da química, bem como do aumento do esforço aplicado para o aprendizado. Tais resultados foram corroborados pelas observações dos professores, à medida que aprofundaram o olhar para suas turmas e notaram particular aumento do esforço e interesse, embora não tenham observado mudanças em toda a sala de aula. Dentre os aspectos das palestras que contribuíram para os resultados, destacam-se a promoção de interação entre os estudantes, engajamento e envolvimento cognitivo a partir das dinâmicas das apresentações, temas das pesquisas científicas, espaços não formais utilizados e formação dos apresentadores. Entretanto, aspectos relacionados à avaliação escolar e falta de diálogo entre professores e estudantes são fatores limitantes dessas atividades para o diagnóstico, intervenção e acompanhamento das turmas. Questões relacionadas à importância de estudos longitudinais para avaliação da crença na autoeficácia também foram apontadas.
... The role of events for museum promotion has been studied by a number of scholars (Tobelem, 1998;Kotler & Kotler, 2000;Prentice & Andersen, 2003;Kolb, 2005;Gyimothy, 2009;Barbosa & Brito, 2012). Their attractiveness is explained through the opportunity to gain new knowledge, to experience something new and to share it with others (Axelsen, 2006). Events play an important role in attracting new visitors (Kotler & Kotler, 2000;Kolb, 2005;Gyimothy, 2009), but maintenance of the latter's interest is also a challenge (Prentice & Andersen, 2003). ...
Throughout history, events have been bringing people together in a fixed and limited time and space to co-create an experience for participants, spectators, organisers and communities. Events are hosted to please crowds, increase the sense of place or to bring together traders, producers and costumers. Often, local elites such as politicians, prosperous individuals or inventive entrepreneurs play an important role in organising these events. However, the success of an event greatly depends on the involvement of ‘the commons’, that is, the local communities, as they are needed to provide the support, input and critical mass necessary for the event. Local communities are vital stakeholders in the co-creation processes that form successful events (van der Zee & Go, 2013), and the event can provide benefits for local communities if organised in an inclusive way (Jepson & Clarke, 2014). In order to be successful, the relationship between different involved stakeholders, including community members, should be reciprocal (Hede, 2008). This chapter will discuss this reciprocal relationship between community and events and investigate the potential benefits it can have.
... The status of Tate Modern, representing a prestigious globally recognised gallery, was initially perceived to be an elite, unwelcoming institution by many of the participants; a problem known to face many galleries and other cultural organizations. 15,16 Lawson et al. 8 similarly report negative aspects of attending communitybased arts projects among mental health service users in a museum in southern England; these included feelings of anxiety, social pressure and problems with project closure. ...
Objectives:
To examine the experiences of mental health service users who took part in an arts-based programme at Tate Modern, a major London art gallery.
Study design:
Exploratory qualitative design.
Methods:
Data were collected using in-depth semi-structured interviews with 10 mental health service users who had taken part in a community-based programme at Tate Modern. Additionally, six art educators from Tate Modern were interviewed. Concepts that emerged from the text were identified using thematic analysis.
Results:
All participants valued the gallery-based programme. The three overarching thematic areas were: the symbolic and physical context in which the programme workshops were located; the relational and social context of the programme workshops; and reflections on the relationship between the arts-based programme and subsequent mental health.
Conclusions:
Art galleries are increasingly seen to function as vehicles for popular education with mental health service users. This study adds to the growing body of evidence related to how mental health service users experience and reflect on arts-related programmes targeted at them. This study indicates that emphasis on how users experience gallery-based programmes may contribute to a more nuanced understanding of the relationship between art and mental health.
... Previous literature has included culinary tourists (Smith et al., 2010), ecotourists (Chan and Baum, 2007); international travelers (Hsu and Lam, 2003;Poria et al., 2006;Sharpley and Sundaram, 2005), recreational home users (Sievanen et al., 2008), seniors (Jang and Wu, 2006;Lehto et al., 2001;Sangpikul, 2008;You and O'Leary, 2000), and university women (Kim and Beck, 2009). Travel motivation agendas have also included backpacking (Cohen, 2011;Loker-Murphy, 1996, Thyne et al., 2004, caravanning (Prideaux and McClymont, 2006), conventions (Axelsen, 2006), ecolodges (Chan and Baum, 2007), events (Kim, Borges, and Chon, 2006;McCleary et al., 2006), green practices (Manaktola and Jauhari, 2007), ocean cruising (Jennings, 1997;Lusby and Anderson, 2010), and rural tourism (Oh and Schuett, 2010;Pesonen et al., 2011). ...
Recreational vehicles (RVs) are owned and/or rented by travelers of diverse ages, traveling parties, and agendas. RVs, in most cases, will be parked at a campground during use, lending to the question of what factors influence campground selection. The current study explored pull factors specific to RV campground attributes by members of a RV association, identified the general demographics of the respective RV association, and investigated campground travel decisions by members of the RV association. Findings from the current study can assist campground owners/operators in developing effective marketing strategies for attracting RV travelers with customized products, onsite amenities, and/or services. Offerings can be tailored to today’s RV traveler based on travel needs, desires, and demographics.
... The role of events for museum promotion has been studied by a number of scholars (Tobelem, 1998;Kotler & Kotler, 2000;Prentice & Andersen, 2003;Kolb, 2005;Gyimothy, 2009;Barbosa & Brito, 2012). Their attractiveness is explained through the opportunity to gain new knowledge, to experience something new and to share it with others (Axelsen, 2006). Events play an important role in attracting new visitors (Kotler & Kotler, 2000;Kolb, 2005;Gyimothy, 2009), but maintenance of the latter's interest is also a challenge (Prentice & Andersen, 2003). ...
This book provides International case studies on community festivals and events; examples are drawn from nine different countries. It explores critically how festivals and their communities develop and impact upon one another. The chapters focus on a wide range of different festivals and themes such as; food & culinary festivals, religious pilgrimage and feast festivals, peace, Sustainable events, power and events, joy, civil unrest, identity, preservation of cultures, authenticity, traditions, rituals, arts events.
We (Allan Jepson and Alan Clarke) have been researching within community festivals and events since 2002 and in doing so we are keen to further understand the relationships which occur within the different stages of a festivals evolution (pre planning stage, during or performance stage, and post-performance). All of these evolutionary stages provide a plethora of research opportunities for us as a society to better understand our culture, the relationships we build, how we consume, what we value in our culture and our communities and how we socialise and interact with one another. Our aim as researchers is to bring to the forefront festival research from around the world so we can see the synergies within our societies and in doing so look to improve festival and event experiences and well-being / quality of life (QOL).
... Special events generate a more relaxed and informal atmosphere (Tobelem 1998) and tend to have a marked entertainment aspect accompanying the educational experience. Event goers are likely to be interested in culture and education (Crompton and McKay 1997), but they also value leisure (Prentice and Andersen 2003) and socialisation (Axelsen 2006;Crompton and McKay 1997;Prentice and Andersen 2003). According to Andreasen (1991), events can help remove some attendance barriers, encourage first-time attendance, and increase audience participation in museums (Andreasen 1991;Axelsen 2006, d'Astous, Colbert, andd'Astous 2006). ...
For museums, developing audiences means both attracting non-visitors to their venues, and improving repeat visitors’ attendance patterns and experience. Audience development strategies encourage museums to create open door events in order to deal with barriers preventing a wider audience from becoming their visitors, and to build stronger relationships with their current visitors. Satisfaction is expected to influence future buying decisions – i.e., intention to return and to recommend. Will a satisfying experience at a museum event improve event goers’ visiting patterns? This research aims to ascertain the effects of attending open day events on the development of art museum audiences. We present the findings of exploratory quantitative research using the personal interview survey method. Our results indicate that open day events have potential to develop audiences, as such events eliminate attendance barriers, attract first time visitors and provide trial experiences for potential museum visitors. However, the positive association between event experience and intention to return to the museum on an ordinary day was not statistically supported by this study.
... staging a temporary exhibition) has been associated in the literature (O'Roper and Beard 2005; Bradburne 2001) as a means for cultural resources to re-invent themselves and to add to their attractiveness. The aim of temporary exhibitions is to help the BM to appeal to an ever broader visitor base (Axelsen 2006; Debenedetti 2003). Temporary exhibitions could inspire potential visitors to attend permanent exhibitions or could attract repeat visitors building on their familiarity with the BM. ...
The paper focuses on funding issues facing arts and cultural resources worldwide. Inter alia, current public policy consensus
encourages cultural resources to raise money from voluntary contributions at the gates in order to address some of the shortfall
in public funding. The paper considers the British Museum, London, as a case study. The objectives of the paper are twofold.
First, to elicit individual preferences for future managerial initiatives that could have an impact on visitors’ willingness
to financially support cultural resources by making a voluntary contribution during their visit. Second, the study combines
observed and unobserved heterogeneity in order to explain a greater source of variation on individuals’ decision-making process.
Overall, the results provide directions for government policy into widening and deepening participation for the arts and culture.
In addition, the results also provide support towards a reconsideration of curatorial procedures towards a motivational segmentation
of demand for the arts and culture.
KeywordsBritish Museum–Choice modelling–Voluntary contributions–Preferences
... As a special event, festivals generally aim to cater for a variety of festival attendees' needs. This requires a combination of a number of different activities such as wine tasting, food stalls, arts and crafts, entertainment, and hence creating a unique offering that attract tourists for diverse social and cultural experiences (Axelsen, 2006; Litvin and Fetter, 2006). These event experiences can take a number of forms; however, the growth of food and wine festivals has established a strong attraction for locals and tourists. ...
The connection between memory, identity, and landscape transcends much of human experience. When nations engage in the creation of memories and landscapes, the resulting memory work upon identity and the narratives and discourses of a nation can influence sense of belonging and other cultural criteria. This research identifies three national institutions of heritage and memory work in Wales to track these processes through a landscape analysis. I place the role of the Welsh Government, minority voices, and economic processes within the broader economic, historical, cultural, and political landscape of Wales. Through a series of successes and failures, some Welsh national heritage institutions have expanded their understanding of Wales to include the pluralistic historiography which guided and continues to impact the development and composition of Welsh society. It is also my hope that this study presents a viable extension to landscape analysis through a transoptic understanding which includes, yet reaches beyond, the material into the sonic, experiential, or even spiritual. In Wales, this transoptic and multicultural understanding of Welsh history, memory, landscape, and identity may illuminate future pathways of inclusion and empowerment throughout the nation’s minority populations. Wales, as a nation embedded with industrial, colonial, and linguistic legacies, faces significant challenges as it navigates the rapidly shifting geopolitics of Europe, the United Kingdom, and its own institutions. This demonstrated transoptic understanding of landscape may be applied not only to Wales’ complicated geographies but to those nations and peoples facing similar challenging memory work across Europe and the globe.
This paper reports the findings of an empirical study to explore art activities for older people in art museums. Theaim was to ascertain the needs of older people undertaking activities at art museums and to ascertain whether the activities fulfilthem. The survey process included both quantitative and qualitative methodological approaches. One hundred and eleven olderpeople took part in the survey. The results were analyzed in relation to the research aims following both thematic and statisticalapproaches which suggest that social interaction is the most significant factor in older people‟s motivations in attending artactivities. The findings summarise the results and discuss implications and the research concludes by offering implications forpractice. Finally, I suggest further research for art museums on how to best access programs for older people.
This study aims to promote constructivism learning through digitally augmented physical space design. We begin with criticizing traditional interpretive devices for the cognitive process in the perception of museum environment, mainly focus on audio guides and multimedia guides. The result shows that via interpretive guides, it is easy to detract visitors from the museum narrative and it decrease social experiences. Using augmented space to replace interpretive guides will avoid those shortages and help to create self-exploration experience and helps to build up a strong link between the exhibit, environment and visitors. Moreover, those augmented space helps to move museum experience away from didactic or instructive to more active or constructive approach. With the research-led curatorial project for Hong Kong Space Museum, we explain how we were able to design the augmented space using pervasive technologies and promote constructivist learning effectively in a museum environment.
Recent advances in wireless network technologies create the potential to significantly enhance the experience of a visit to a museum through all kinds of interpretive devices. Especially inside Art Museums, visitors are getting used to carry wirelessly connected interpretive devices which can be given opportunities not only for explanations and exploration, but as a powerful analytical tools as well, and suggestions for related experiences. When these interpretive devices are part of the network, they also can help extend the museum visit: in advance, through activities that orient visitors; and afterward, through opportunities to reflect and explore related ideas. This paper first criticised both audio and multimedia devices for cognitive process in the perception of art inside museum environment, to discuss that whether audio / multimedia guides are good additions to the group of interpretive devices that museums offer their visitors; and second drew out the cognitive process model which shows that the visitor can continuously access the outcome of an effective evaluation and able to express his/her (dis)like of the artwork at any stage of the process.
This chapter outlines event tourism within the context of event studies, with particular emphasis on the roles of events as attractions, catalysts, animators, and image makers. Mega, hallmark, and iconic events are defined, major trends and forces shaping event tourism are discussed, then current challenges and opportunities are summarized. In the conclusions, theoretical and methodological reflections are contextualized within a framework that includes antecedents to event tourism, planning, and management, outcomes and impacts, the nature of the experience, and various dynamic processes shaping this field.
Museums are developing a broader commitment to society. Strategic
Communication can decisively contribute to the development of this new mission of museums.
The principal aim of this article is to study the importance given to communication by the museums, and to examine how they manage communication with their publics, analysing those aspects which are linked to the communication planning process of the institutions. The results show that communication has no strategic dimension in the museums, since it is conceived as a short-term tactical tool, and it is not considered as a key resource to engage in dialogue with their publics.
Marketing has been playing an increasingly important role in art museums operations given the current economic situation and a very competitive environment. To help art museums better market themselves online, researchers utilize cognitive map theory (borrowed from environmental psychology), which examines environments that humans want to explore. According to the theory, such environments are coherent, complex, legible, and mysterious. Based on an extensive literature review, the researchers develop coding categories that explore these characteristics in the online context. They content analyze 80 art museums selected at random using skip interval method to see if the sites are effective. The results support their hypothesis that art museum websites are coherent but could benefit by improving their complexity, legibility, and mystery aspects. The researchers provide managerial suggestions of how this could be done and offer recommendations for future marketing education that could address these issues.
Designing and evaluating digital interactive experiences for museums requires scrupulous attention to every aspect that contributes to an engaging and rich learning experience. The evaluation of interactive installations in museums is a very demanding endeavor due to the intersection of multiple research fields, such as human computer interaction, design and multimedia, museum studies, audience research, etc.
In this paper we introduce a novel framework with ten dimensions for guiding the design and evaluation of interactive installations, specifically tailored to museums. The conception of the framework was based on current usability evaluation methods and principles as well as museology literature. It was then iteratively refined and finally validated with and a long-term study about interactivity in all the interactive museums of a specific geographic region.
The results obtained emphasize the importance of adopting the proposed framework for future research on interactive museums evaluation.
Special events have received growing attention as a contributing source of economic benefits, as well as being a useful destination marketing component for host cities, regions, and countries. Although many research studies have been conducted related to special events, little research has examined the differences between special event attendees and non-attendees visiting a metropolitan city. The purpose of this study is to explore the different visitor characteristics, perceptions of the host city, spending expenditure patterns, and travel motivations between special event attendees and non-attendees visiting a major metropolitan city. Results revealed that the two groups had significant differences in their perception of the host city, spending expenditure patterns, and their motivation to travel. The key findings lead to implications not only for destination marketers who are willing to use special events as a marketing component of their future marketing strategies, but also for special event planners who are planning events to attract tourists.
Studies on market segmentation based on travelers' push motivation have been conducted without implementing a statistically validated procedure for establishing the segmented markets. The purpose of this study is to identify validated traveler market segments by examining what travelers' push motivation dimensions are among the heterogeneity of travelers to a major metropolitan area. The six push motivation dimensions were extracted from the 20 motivation items by conducting factor analysis (i.e., Social/Interaction, Excitement/Fun, Relaxation, Sightseeing, Family/Friends, and Sports). Cluster analysis identified the three homogeneous groups of travelers. Subsequent discriminant analysis verified the existence of the three travelers' markets in the metropolitan area. Managerial implications are suggested for the three push motivation‐based segments.
This study investigates preferences of visitors to the Discovery Museum (in North East England) with respect to opportunities to develop social capital. The extent to which museums generate social capital is largely unknown, but museums have potential opportunities to develop this type of capital. This study uses a stated preference choice experiment (CE) technique to estimate museum visitor preferences towards social capital opportunities. The findings indicate that visitors have a preference for visiting a museum with another individual(s); and that the provision of participatory activities, extended opening hours and locally related displays would generate more social capital among visitors and in society.
Purpose
The purpose of this paper is to study how museums in a medium‐sized city (Tarragona, Spain) communicate with their local community, analysing how people evaluate and inform themselves about the museums in their city, and studying how museums identify their specific publics within the local community and communicate with them.
Design/methodology/approach
The author has designed a dual methodological approach, using qualitative and quantitative research methods. Qualitative research was conducted using in‐depth interviews with communication managers of the museums. Also, quantitative research was employed, designing a questionnaire directed at the local community in Tarragona (Spain).
Findings
The results show that museums have a narrow view of their publics, which is focused basically on their visitors, and that they are familiar with and use communication tools and techniques, although with a tactical perspective.
Research limitations/implications
The paper was focused on all the museums in Tarragona, but it is a small number of organisations, and therefore, the results are not necessarily representative of all Catalan or Spanish museums.
Originality/value
The paper presents a specific methodology for analysing the communication of museums of any kind. From an academic perspective, this paper can improve our understanding of how museums communicate with their publics. It can be used by other researchers to analyse these types of organisations, and to promote the comparison of results. From a practitioner perspective, the results can contribute towards identifying some of the strengths and weaknesses of communication policies and activities of the museums and help to improve their communication management.
As museums continue to broaden their offers and attract increasingly diverse audiences, it becomes ever more important to understand how motivations for visitation can vary between different cultural groups. This article explores some of the reasons people visit cultural festivals at the Immigration Museum in Melbourne, Australia, combining data from 5 different festivals with a total sample of 414. The audience of these festivals contains a mix of 74% cultural community members and 26% non-community members, and their reasons for visiting the festivals differ in distinct ways. Among these distinctions, it was found that social identity played a role in why people chose to visit, especially for community members and at the festivals of communities that were relatively new to Melbourne.
In response to the “new museology” and a competitive and financially constrained environment, museums are increasingly expected to maintain high overall visitation, a democratized audience base and multiple offerings in terms of visitor experience. This article examines over a decade of visitor statistics from the “new” Museum of New Zealand Te Papa Tongarewa, which opened in 1998, to determine the extent to which it is meeting these expectations. The findings demonstrate Te Papa's successes, as well as its ongoing challenges in attracting a diverse and committed audience from a geographically dispersed, multicultural population. Also evident is the museum's varied leisure functions relating to holidays, social outings, and special events. Te Papa's visitor database, which has been consistently accumulated throughout a critical period in the history of the museum, thus provides insights into visitation in the context of the “new” museology and the repositioning of museums within the leisure and tourism industry.
L'article analyse le rôle que joue la présence ou l'absence de compagnons dans l'expérience personnelle que constitue la visite d'un musée d'art. Peu de recherches ont porté sur l'accompagnement du visiteur, même si la double nature de la visite d'un musée - à la fois activité sociale de loisir et expérience introspective - donne à penser que l'accompagnement est un facteur significatif. L'auteur présente les résultats d'une étude qualitative menée auprès de visiteurs de musées d'art (analyse du contenu de 24 entrevues semi-dirigées) et discute de ses incidences sur la recherche future et la gestion muséale. This paper analyzes the role played by the presence or the absence of companions in the individual experience of visiting an art museum. Until now, little research has focused on the visitor’s accompaniment, even though the dual nature of visiting a museum, both a social leisure activity and an introspective experience, points to its potential importance. I present the principal results of a qualitative study of art museum visitors (a content analysis of twenty-four semi-directed interviews), from which I then draw implications of relevance to further research and to museum management. oui
This paper suggests that explicit recognition of situational variables can substantially enhance the ability to explain and understand consumer behavioral acts. A definition and description of situations is offered, existing research is summarized, and implications for consumer research are considered.
The Audience Research Consortium 239 This paper reports the results of a three-year study coordinated by the Toronto Steering Committee of the Audience Research Consortium (ARC) involving the Art Gallery of Ontario, the Royal Ontario Museum, the Ontario Science Centre, and the Toronto Metropolitan ZOO.1 The project was aimed at collecting more reliable information on the needs, motivations, expectations and behavior of separate and shared audiences at the four museums, the similarities and differences in visitor experiences, and demographic and psychographic profiles of traditional and nonmuseum goers that affect attractability. The Art Gallery of Ontario (AGO), the Royal Ontario Museum (ROM), the Ontario Science Centre (OSC) and the Metropolitan Toronto Zoo (ZOO) attract a combined on-site attendance of over four million visitors annually, plus an additional three million through outreach programs in Ontario. While this is a sizable audience, the four institutions could serve a larger and more diverse audience. The research examines profiles of visitor and nonvisitor groups, including motivations, learning styles and attitudes that may affect exhibit design, programming, and marketing strategies. Public programs and exhibit planning in museums traditionally are conducted largely by groups of museum specialists, such as curators. However, these groups usually do not take into account the needs and characteristics of large segments of the public for whom the exhibitions and programs are intended. While demographic differences between the four types of museums in this study are already known, little effort has been given to why these differences exist. Are they simply demographic, or do they reflect differences in the experiences offered by each institution that appeal to different audiences? Do psychographic variables affect visitor experiences and enjoyment? An earlier national study of demographic and other characteristics of the Canadian public (Dixon, Courtney & Bailey, 1974) compared museum goers IThe ARC is funded by the Ontario's Government's Multiculturalism and Race Relations Fund as well as by the joint resources of each of the four institutions. The Consortium retained Ernst & Young to assist in the planning and execution of the research, analysis, and interpretation of results.
Recent literature has suggested that managers in recreation are being confronted with numerous problems and issues, making their job increasingly complex. Chief among the issues facing recreation managers are those associated with the economy and fiscal restraint. In this era of cutbacks, facilitation, and reduced service, some individuals are being excluded either by design or by accident. The results from the 1981 Public Opinion Survey on Recreation conducted by Alberta Recreation and Parks susbtantiated this concern in the interrelated areas of recreation non-participation and barriers to participation. Based on the results of this research, considerations for managing recreation services are presented. Implications for philosophy, policy, program planning and marketing are the specific areas to be addressed. These implications are reviewed in the context of the current economy and the future. This is a parallel paper to Jackson and Searle which reports the concepts, research results and a model for further research on recreation non-participation and barriers to participation.
Today, the museum in modern society has acquired a significantly broader public role than its early predecessors. Underlying its present-day symbolic and utilitarian roles, therefore, is the goal of benefiting the wider public. This contribution first recapitulates the traditional view of the museum as partner in curating public education, and then moves to a more synoptic consideration of the museum's interaction with the public and advances the view that this broad public context facilitates the experiences of leisure. It proposes that the museum, without abdicating what it currently does, can usefully examine itself within the framework of leisure facilitation with the intention of enlarging its value (i.e. the museum's value) within contemporary society. Using that foundation, the museum can articulate and harness the possibilities of leisure (whose attributes the museum already embodies) as an added function in its mission of serving the contemporary public. This contribution concludes with a poetic look at the value of leisure in modern society and suggests that the functions of the museum discussed here can all be integrated.
This is the third edition of the essential introductory text for all students of qualitative research. Each chapter has been fully updated in terms of references and reading lists.
This study focuses on a comparison of the dimensional structure regarding how often individuals participate in a set of leisure activities and what significance is attached to the activities by the participants. Factors were labeled cultural, organizational, and sports/games. (JN)
Based on the analysis of 270 studies pertaining to audiences of the performing arts and visitors to museums, this critical review presents a social profile of the culture consuming public and evaluates the quality and usefulness of audience research. The review offers the following information arranged in four chapters: a description of the basic demographics of the arts public and a discussion of other issues involved in audience research such as the composition of audiences over time and their economic and political impact; the quality and impact of arts audience studies; an analysis of the organizational factors affecting research utility, including purpose, impact, quality, and the role of research in arts management; and a proposed agenda for arts audience research. Twelve tables are included and appendixes provide a bibliography along with a list of the studies used in the review. (MAI)
This paper seeks to demonstrate remedies for two deficiencies in literature on museum visiting. Firstly, it attends to generic rather than situationally-contingent motivations. Secondly, it considers non-visitors as well as visitors. Particular attention is also given to constraints on visiting and how people try to ‘consume’ cultural attractions. The discussion is resourced from a sample survey conducted in Edinburgh, a city which provides many opportunities (of which many are free of charge in terms of admission) for visiting museums and like cultural attractions.
Museums, art galleries, botanical gardens, national parks, science centers, zoos, aquaria and historic sites are important public learning institutions. The free-choice learning offered in these settings is closely linked to visitors' intrinsic motivation, making it important to understand the motivational factors that impact on visitors' experiences. This paper presents data from a questionnaire administered to visitors at three sites: a museum, an art gallery, and an aquarium. Similarities and differences among the sites are reported in relation to visitors' expectations, perceptions of learning opportunities, engagement in motivated learning behaviors, and perceptions of the learning experience. The importance of learning to museum visitors and the unique opportunities and challenges of the museum in relation to other educational leisure settings are discussed. The authors argue that the study of motivational factors might contribute to the development of a common theoretical foundation for interpretation in museums and other informal learning settings.
Contenido: Parte I.Cuestiones conceptuales en la investigación cualitativa: Naturaleza de la investigación cualitativa; Temas estratégicos en la investigación cualitativa; Diversidad en la investigación cualitativa: orientaciones teóricas; Aplicaciones cualitativas particulares. Parte II. Diseños cualitativos y recolección de datos: Estudios de diseños cualitativos; Estrategias de trabajo de campo y métodos de observación; Entrevistas cualitativas. Parte III. Análisis, interpretación e informe: Análisis cualitativo e interpretación; Incrementar la calidad y la credibilidad del análisis cualitativo.
This article presents an overview of psychologists' approaches to consumer choice and generates several hypotheses for studying the choice process in different situations.
Museum strategy and marketing: Designing Mission, building audiences, generating revenue and resources
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Museums 1995: Art museums, museums and public galleries in Australia
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Who's going to come? Defining the audiences of the National Museum of Australia
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Museum methods: A practical manual for managing small museums
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Qualitative and quantitative audience research The manual of museums exhibitions
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Audience research tells us why visitors come to museums—and why they don't Museums and their visitors Audiences—A curatorial dilemma Art in museums
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Leisure decisions influencing African American use of museums
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The museum experience
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Planning for visitors
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A museums & galleries training programme from museums Australia (Queensland) Brisbane: Museums Australia
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