More
attuned than usual to my professional reading, one particular article in
the July 2014 issue of Curator has prompted my thinking about museums managing
multiple audiences. Museums by nature have multiple audiences designated in numerous ways: members and general visitors; locals and tourists; adults, young adults, families, and
children; enthusiasts, culturals, learning families.
In
“A Place for Kids? The Public Image of Natural History Museums,” co-authors
Hanne Strager and Jens Astrup report on a study to investigate the public image
of natural history museums. Absent published quantitative surveys and studies,
the study explores whether natural history museums are seen by the public as
being primarily aimed at children and families with children. Given this question,
it examines the implications for the role natural history museums might play in
promoting science literacy. Conducted in Denmark, the study brings in relevant
perspectives from natural history museums in the US and Europe.
While
this study focuses on audience questions in natural history museums in
particular, it exemplifies an important practice: investigating an unexamined
audience assumption, in fact, one that operates across museum types. Based
on my museum experience, perpetuating unexamined assumptions about audiences is
not unusual. The authors, in fact, make such a point, “Most researchers simply
observe the phenomena described above as a well known fact.” (p. 313). Often
unwittingly, museums perpetuate unchecked assumptions about their audiences,
sometimes embracing and acting on fuzzy or false beliefs about them.
At some point, these assumptions collide: public perception of a museum
shifts, audiences compete with each other, attendance drops, funding
slips.
The article surfaces some audience
assumptions that can limit museums in advancing their missions and serving
their audiences well. The following five axioms solidly ground museum thinking
in their audiences. Some are more obvious than others, but all are interconnected and
contribute to keeping a thoughtful eye on museum audiences.
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Mission drives audience.
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Audiences are plural.
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Museums identify their
audiences but their visitors choose them.
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Different audience groups
have different interests and expectations.
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Meeting attendance goals
is not the same as serving the audience well.
Mission drives audience. The mission as the
source of a museum’s audience may be neither obvious nor logical. That’s not
surprising given many mission statements that refer to a large,
undifferentiated public or group such
as, “people of all ages.” On the other hand, a focus on a museum’s audience
does emerge when it considers its mission elements: what a museum does, how,
and why. A museum can bring
additional clarity to understanding its audiences when it asks, who does the community need us to serve in
order for us to advance our mission? Without an understanding of its
audience grounded in its mission, a museum may unwittingly aspire to be for everyone and venture onto the
slippery slope of chasing the audience.
Audiences are plural. Talking and thinking
about “the” audience or “our” audience implies that a museum’s audience is a
single, undifferentiated group. This is a problematic approach to serving 50,
100, or 400 thousand visitors a year when they come as families, school groups,
seniors, or adult enthusiasts; come on busy holidays or slow weekday mornings;
visit a dozen times a year or once in a lifetime. A museum must serve multiple
audience groups to deliver on its mission as well as to establish a broad
enough base of support to its collection, experiences, staff, and facility. Of
course which audience groups are served, which are larger than others, and how
a museum serves them varies according to the museum, its mission, size, and
community.
Museums identify their audiences, but
their visitors choose them. The mission broadly frames who the museum’s
audiences are so it can identify and learn about the groups it needs
to serve well to deliver on that mission. Converting an audience group into a visitor,
however, is quite a different matter and not always an easy one. Visitors don’t simply
show up at a museum because they fit a museum’s audience profile, although it’s
tempting to operate as if that were true. Why a museum attracts whom it does is a
function of multiple factors. Research helps sort out how location, experience,
relevance to everyday life, educational content, amenities, and local competition
play out. Sometimes, however, a group, like young adults that a museum wants to
attract just isn’t inclined to be attracted. A museum must decide how much it should
stretch to engage a particular audience group and at what cost to other valued audience groups.
Different audience groups have
different interests and expectations. While obvious, the implications of this can be tricky to manage. In
whatever way a museum identifies its audience groups (learning families, culturals,
young adults, millenials, enthusiasts), it does so around within-group commonalities
that are salient to its mission and offerings. Various groups may not only have different
but sometimes, competing interests
and expectations. Sometimes the differences between groups and the expectations
begin to drive other decisions. Internal mindsets can reinforce competition for
experience or space; sacrifice appealing to one group over another; or
perpetuate the idea that one group ruins the experience for others. If,
however, audiences are grounded in the mission, then all audience groups are
valued. The museum employs its expertise,
creativity,
audience research, and prototyping to expand engagement
strategies capable of serving multiple
audience groups–building
on shared interests, encouraging collaboration, optimizing spaces and time of
day.
Meeting attendance goals is not
the same as serving the audience well. A
museum uses
many measures to characterize its impact. Among audience-related measures,
attendance is most common, characterizing a museum’s popularity and, to an extent, its
access related to location and cost. Attendance is used so often we forget what
it doesn’t convey. First, it doesn't reveal if these are the right people, the audience groups
the museum must serve to advance its mission. Crowds of people coming through
the doors is an accomplishment. When these crowds aren’t made up of priority groups or are served at at the expense of groups to whom the museum directs
its mission, it is not a success.
Finally, as important as reaching attendance goals for key audiences is, a museum must also serve its audience groups well. What this means is different for every museum, but it is necessarily a complex choreography across many time frames delivered by a many many people with great intentionality. It doesn't, and can't, happen without thoughtfully examining and updating assumptions and knowledge about the museum's multiple audience groups.
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