Ethical debate: Inclusion
An increasing number of museums have high-profile exhibitions based on a social inclusion agenda. In an attempt to encourage groups at risk of exclusion into our institutions, are we in danger of limiting access for the general visitor?
I believe that museums are in danger of alienating visitors by trying to engineer exhibitions that are perceived to appeal to minority groups, or those groups who are perceived to be excluded. It is almost positive discrimination and is extremely patronising.
By highlighting the exclusion issues, there is a possibility that the 'differences' are, at best, merely highlighted or, at worst, actually created, by emphasising those differences. Exhibitions should be for all, and should be interesting enough for all, not contrived, artificial, attempts to appeal to 'at-risk' groups.
If an exhibition is aimed at those who are 'excluded', the majority will be alienated because they will think it's not for them. By definition, it will only appeal to a minority because it is targeting a minority. You are limiting the field and, instead of making it inclusive, you are actually making it exclusive.
There is a higher level issue here about who actually decides what exhibitions are mounted, who decides what is of interest to whom, and whether they actually know. Are the decision-makers socially inclusive and representative?
It is potentially dangerously patronising to pretend to know what is going to appeal to 'excluded' groups. Museums, unlike the media, are not renowned for their understanding of their target market.
Sarah Kay, Project Curator, Duken House, Bridgnorth
No, when museums are programming their activities strategically over a period of time, they are not in danger of alienating their core audiences, even if a high-profile exhibition aims to attract or sustain one of their developmental audiences.
In an attempt to be audience-centred, museums have started to understand the profile, needs, attitudes, preconceptions, motivations, and expectations of their existing visitors and their potential visitors (new audiences).
Since the 60s, visitor studies have been providing information on the demographics as well as the socio-economic, educational and psychographic background of museum visitors. Such studies reveal that the term 'general visitor' does not really exist. Museum visitors can be segmented according to different elements, such as age, attitudes, or motivations.
In most cases, museums have a core audience, i.e. pensioners, local carers with preschool children, school groups etc. which makes up the majority of its visitors.
In addition to sustaining and enhancing their core audience, museums choose or are encouraged (through legislative frameworks in areas of race relations, equal opportunities, disability discrimination) to develop and retain new audiences. They achieve that through outreach, partnerships, exhibitions and programmes.
Current museological thinking suggests that museums cannot be everything to everyone at all times. Even though the notion of prioritising audiences is still controversial among museum professionals, in my opinion it only makes good business sense to have specific target audiences for specific products and services.
In 2005, the Natural History Museum developed a focused set of audience targets in order to be able to programme more strategically and to strengthen its position within a highly competitive market place. This way we can use research into audience motivations, expectations and needs to stimulate our thinking and inform our efforts.
Prioritising some audiences does not necessarily mean excluding all others. It is a way of rationally focusing a museum's limited resources. When museums are programming strategically over a period of time, they are not in danger of alienating their core audiences, even if the have a high-profile exhibition in order to attract or sustain one of their developmental audiences. The idea is that overall, the different products and services appeal to the various audience segments.
They key is to think, plan and program strategically.
Sources:
· Black, G (2005) The Engaging Museum: developing museums for visitor involvement Routledge.
· Falk, J & Sheppard, B (2006) Thriving in the Knowledge Age: new business models for museums and other cultural institutions Altamira Press.
· Visitor Studies Association www.visitorstudies.org/
· Visitor Studies Group www.visitors.org.uk/
Gina Koutsika, Audience Advocate, Natural History Museum
It's incumbent upon museums that rely on the public purse to be socially inclusive. Indeed one that ignored the social inclusion agenda in this day and age might well be accused of being elitist or indeed ignorant of the true nature of society.
Who are the groups that might be at risk of exclusion? One thinks of people with physical or mental disabilities, the very old, the very young, those with low incomes and people whose origin, religious faith or sexual orientation might lead them to feel excluded. To proactively encourage such groups into our museums we need to have understanding, empathy, commitment and resources.
We need marketing plans that will effectively reach our target audiences. We need communications' strategies that show how what we have to offer can be a life enriching experience. The major museums of the UK do this really well. They do it because they understand the market, the cosmopolitan and diverse nature of our urban communities (in Birmingham we call them vibrant villages) and are in regular dialogue with representatives of those complex and dynamic communities.
How can such museums possibly limit access for the general visitor? If a museum provides a lift, wheelchair bound visitors will not only be able to access the exhibition but are very likely to bring along others.
If their needs are catered for and they are made to feel welcome, they may well recommend the exhibition to others. The same applies to all groups at risk of exclusion. Equal treatment of visitors is an essential component of most museums' culture.
The 'general visitor' should expect the make-up of people attending an exhibition to reflect that of society as a whole. At Birmingham Museum we have recently held events for women only and also singles' nights in the public galleries. Special events that meet the needs of particular groups should not limit access for the general visitor.
Most UK citizens enjoy sharing art and cultural experiences with others. I passionately believe that museums have a vital role in bringing harmony to society. High-profile exhibitions should sometimes be challenging.
Knowledge is power but intellectual curiosity should lead to insights and tolerance of things that are different. Museums and their exhibitions are 'temples' where art and culture can be explored and celebrated. Let's do it all together! Oh, and can we please stop referring to museums as 'institutions'? That's hardly an inclusive word!
Esme Ballard, Audience Development & Communication Officer, Birmingham Museum & Art Gallery
I'm not convinced that we are doing a lot about social inclusion. I was with a group of 19-20-year-olds the other day, most of whom had never been to a museum in their lives. If you live on a council housing estate there's a good chance you're not going to come and see us.
If you're from certain ethnic groups there's a good chance you're not coming to see us. If you've had a fantastic time partying at nightclubs all last week there's a good chance you're not coming to see us this week. What I think has been high-profile has been all the endless talk about access. I'm not sure that the reality has gone very far.
There are some great projects, of course - GEM recently reported a very successful experiment carried out in which art was taken to sufferers of Alzheimer's; my own museum, the Museum of London, celebrates Gay History Month every February and has brought in people who may otherwise not have come in to see us.
I'm glad about these little steps but they are only little - we are, after all, mirroring the education system which has moved from making slave-traders like Drake into our heroes to having a whole two - yes, two - black people on the national curriculum. We still have a long way to go yet and I see no evidence that our small gestures to date have put off any of our traditional clientele.
Jonathon Stern, Senior Visitor Assistant, Museum of London
I believe that museums are in danger of alienating visitors by trying to engineer exhibitions that are perceived to appeal to minority groups, or those groups who are perceived to be excluded. It is almost positive discrimination and is extremely patronising.
By highlighting the exclusion issues, there is a possibility that the 'differences' are, at best, merely highlighted or, at worst, actually created, by emphasising those differences. Exhibitions should be for all, and should be interesting enough for all, not contrived, artificial, attempts to appeal to 'at-risk' groups.
If an exhibition is aimed at those who are 'excluded', the majority will be alienated because they will think it's not for them. By definition, it will only appeal to a minority because it is targeting a minority. You are limiting the field and, instead of making it inclusive, you are actually making it exclusive.
There is a higher level issue here about who actually decides what exhibitions are mounted, who decides what is of interest to whom, and whether they actually know. Are the decision-makers socially inclusive and representative?
It is potentially dangerously patronising to pretend to know what is going to appeal to 'excluded' groups. Museums, unlike the media, are not renowned for their understanding of their target market.
Sarah Kay, Project Curator, Duken House, Bridgnorth
No, when museums are programming their activities strategically over a period of time, they are not in danger of alienating their core audiences, even if a high-profile exhibition aims to attract or sustain one of their developmental audiences.
In an attempt to be audience-centred, museums have started to understand the profile, needs, attitudes, preconceptions, motivations, and expectations of their existing visitors and their potential visitors (new audiences).
Since the 60s, visitor studies have been providing information on the demographics as well as the socio-economic, educational and psychographic background of museum visitors. Such studies reveal that the term 'general visitor' does not really exist. Museum visitors can be segmented according to different elements, such as age, attitudes, or motivations.
In most cases, museums have a core audience, i.e. pensioners, local carers with preschool children, school groups etc. which makes up the majority of its visitors.
In addition to sustaining and enhancing their core audience, museums choose or are encouraged (through legislative frameworks in areas of race relations, equal opportunities, disability discrimination) to develop and retain new audiences. They achieve that through outreach, partnerships, exhibitions and programmes.
Current museological thinking suggests that museums cannot be everything to everyone at all times. Even though the notion of prioritising audiences is still controversial among museum professionals, in my opinion it only makes good business sense to have specific target audiences for specific products and services.
In 2005, the Natural History Museum developed a focused set of audience targets in order to be able to programme more strategically and to strengthen its position within a highly competitive market place. This way we can use research into audience motivations, expectations and needs to stimulate our thinking and inform our efforts.
Prioritising some audiences does not necessarily mean excluding all others. It is a way of rationally focusing a museum's limited resources. When museums are programming strategically over a period of time, they are not in danger of alienating their core audiences, even if the have a high-profile exhibition in order to attract or sustain one of their developmental audiences. The idea is that overall, the different products and services appeal to the various audience segments.
They key is to think, plan and program strategically.
Sources:
· Black, G (2005) The Engaging Museum: developing museums for visitor involvement Routledge.
· Falk, J & Sheppard, B (2006) Thriving in the Knowledge Age: new business models for museums and other cultural institutions Altamira Press.
· Visitor Studies Association www.visitorstudies.org/
· Visitor Studies Group www.visitors.org.uk/
Gina Koutsika, Audience Advocate, Natural History Museum
It's incumbent upon museums that rely on the public purse to be socially inclusive. Indeed one that ignored the social inclusion agenda in this day and age might well be accused of being elitist or indeed ignorant of the true nature of society.
Who are the groups that might be at risk of exclusion? One thinks of people with physical or mental disabilities, the very old, the very young, those with low incomes and people whose origin, religious faith or sexual orientation might lead them to feel excluded. To proactively encourage such groups into our museums we need to have understanding, empathy, commitment and resources.
We need marketing plans that will effectively reach our target audiences. We need communications' strategies that show how what we have to offer can be a life enriching experience. The major museums of the UK do this really well. They do it because they understand the market, the cosmopolitan and diverse nature of our urban communities (in Birmingham we call them vibrant villages) and are in regular dialogue with representatives of those complex and dynamic communities.
How can such museums possibly limit access for the general visitor? If a museum provides a lift, wheelchair bound visitors will not only be able to access the exhibition but are very likely to bring along others.
If their needs are catered for and they are made to feel welcome, they may well recommend the exhibition to others. The same applies to all groups at risk of exclusion. Equal treatment of visitors is an essential component of most museums' culture.
The 'general visitor' should expect the make-up of people attending an exhibition to reflect that of society as a whole. At Birmingham Museum we have recently held events for women only and also singles' nights in the public galleries. Special events that meet the needs of particular groups should not limit access for the general visitor.
Most UK citizens enjoy sharing art and cultural experiences with others. I passionately believe that museums have a vital role in bringing harmony to society. High-profile exhibitions should sometimes be challenging.
Knowledge is power but intellectual curiosity should lead to insights and tolerance of things that are different. Museums and their exhibitions are 'temples' where art and culture can be explored and celebrated. Let's do it all together! Oh, and can we please stop referring to museums as 'institutions'? That's hardly an inclusive word!
Esme Ballard, Audience Development & Communication Officer, Birmingham Museum & Art Gallery
I'm not convinced that we are doing a lot about social inclusion. I was with a group of 19-20-year-olds the other day, most of whom had never been to a museum in their lives. If you live on a council housing estate there's a good chance you're not going to come and see us.
If you're from certain ethnic groups there's a good chance you're not coming to see us. If you've had a fantastic time partying at nightclubs all last week there's a good chance you're not coming to see us this week. What I think has been high-profile has been all the endless talk about access. I'm not sure that the reality has gone very far.
There are some great projects, of course - GEM recently reported a very successful experiment carried out in which art was taken to sufferers of Alzheimer's; my own museum, the Museum of London, celebrates Gay History Month every February and has brought in people who may otherwise not have come in to see us.
I'm glad about these little steps but they are only little - we are, after all, mirroring the education system which has moved from making slave-traders like Drake into our heroes to having a whole two - yes, two - black people on the national curriculum. We still have a long way to go yet and I see no evidence that our small gestures to date have put off any of our traditional clientele.
Jonathon Stern, Senior Visitor Assistant, Museum of London
