Branding the Museum Starting from Museum Souvenirs of Taipei National Palace Museum (NPM hereafter)
JIANG Peng (52638830) LI Qiao (52639548) LI Wai Man (52473022) MENG Qianyu (52208564) SUO Jie (52209087)
Agenda Museum Branding Definition & objectives, channels, and the store
“Old is New” TPM’s new positioning of traditional Chinese culture
NPM’s Practice Plan of Cultural and Creative Industry
Social Context Taiwan’s policy on creative industries
From Art to Souvenir Reading Walter Benjamin’ work and critical
reflections
Museum Branding • De finitio n • Channels • Branding
via the Store
• Examples • Further
discussions
Jolie JIANG Peng (52638830)
Museum Branding - Definition What A brand is a distinctive identity
Why that engenders loyalty
Branding consists of creating and maintaining a that convey a clear promise, body of programs and attitudes encourage familiarity, and generate ongoing support. Branding includes a logo and a theme, and that touches the museum’s then goes far beyond those items to encompass constituency. every activity
You are a good lover. Identity
Programs
Intangible
Attitudes
Reputation Familiarity
A logo
etc. Show, don’t tell.
Popularity
Tangible
Income
Wallace, M. A. (2006). Museum branding: How to create and maintain image, loyalty, and support. Lanham, New York, Toronto, Oxford: Altamira Press.
Museum Branding - Channels Touchpoints • • • • • • • • • • • • • • •
Collection Exhibitions Wall labels and panels Signs Education programs Education materials Brochures Web site Museum Store Café Building Volunteer materials Publications Annual report Etc.
Stakeholders Visitors Tourists Members Donors Educators Curators Volunteers Director Staff Scholars Purchasers of store merchandise • Media • Government officials • Etc. • • • • • • • • • • •
Wallace, M. A. (2006). Museum branding: How to create and maintain image, loyalty, and support. Lanham, New York, Toronto, Oxford: Altamira Press.
Museum Branding – the Store Why branding through the Store?
People tend to love to shop and love ownership. One buys souvenirs in order to demonstrate that s/he was there and to remember.
Memory Merchandise Relevant to the visiting experience Uncommon – new ideas
To convert a visitor to a loyalist
Locally made – regional identity Wallace, M. A. (2006). Museum branding: How to create and maintain image, loyalty, and support. Lanham, New York, Toronto, Oxford: Altamira Press.
Museum Branding via the Store - Examples
Shopping Bags • Cheapness • Mobility • Frequency and reach
Mori Art Museum (Tokyo)
Freitag Bags (Switzerland) x Mori Art Museum “Colored layers map the shape of Lon don over time, reflecting the ever changing, diverse and dynamic make up of London and Londoners, past, present and future.” http://www.ciportal.de/museumoflondontakesonanewidentity/ accessed on March 19, 2014
http://tokyofashion.com/freitagbagsxmoriartmuseum/ accessed on March 19, 2014
Museum Branding via the Store - Examples
Postcards • Affordable • Usually bestselling
Jane Addams Hull-House Museum, Illinois
http://museumtwo.blogspot.hk/2011/01/postcardsascalltoactionpowerful.html accessed on March 19, 2014
Museum Branding via the Store - Examples
Unique Locally “Made” Products
History Colorado Center, Colorado
http://www.historycolorado.org/museums/uniquegifts4 accessed on March 19, 2014
Further Discussions
• Brand building and community building in reference to the case of Apple
• Symbol production An artistic / socially conscious / etc. attitude towards life Lifestyle
• More relevant examples
“Old is New”: National Palace Museum’s New Positioning of Traditional Chinese Culture
• The concept of
“Old is New”
• Two case studies • Summary
Jessica LI Qiao (52639548)
The Concept of “Old is New” “Old is New”: Trend in Digital Life at the NPM Vision: to create “new vivacity of the collection and new values for the National
Palace Museum( 形塑典藏新活力，創造故宮新價值 )”. Artlovers and the public can appreciate the aesthetics of life in “Old is
New” through digital projects at the Museum. Such as “Digital Archive” , “Digital Museum ”, “eLearning”.
The Concept of “Old is New” Application and Achievements — 5 Categories: A Home Theater for You — Films A Blazing Internet World for You — Website Trendy Products for You — ValueAdded Products Multimedia Discs for You — ValueAdded Products Aesthetic Models of "Old is New"—ValueAdded Applications
A Home Theater for You — Films 1. “Old is New”: NPM Image Advertisement A 90second film short shoot by the director Wayne Peng ( 彭文淳 ).
Main contents :
Famous work of calligraphy “Letter on Flower’s Fragrance” ( 《花氣薰人帖》 ) by Son g artist Huang T'ingchien( 黃庭堅 ). The native computermusic artist Lim Giong( 林強 ) was also invited to act and perfor m this piece in a completely new interpretation.
Awards:
“American Association of Museum Muse Award” 2006.
A Home Theater for You — Films 1. “Old is New”: NPM Image Advertisement Concept: Things of old, inspiration of new
Reinterpretation of the traditional Chinese culture by using the newest digital technology.
Combination of the computer music and Chinese classical poem.
A new relationship between culture and life: Culture infiltrated into citizens’ everyday life.
Successful publicity ：
Increasing awareness + Promoting the new image of NPM Branding the museum
2. 3D Animated Film ─ “National Treasure Superstars( 國寶總動員 )” The great achievement of digitalization at National Palace Museum. teamed up with some of the top names in entertainment production industry, such as : • • •
Gérard Pirès (director of the 1998 world blockbuster French comedy Taxi) Tom Sito (Hollywood director of animations) Digimax Corporation
Awards: The winner of the prize “Animation of the Year”, TAF 2008 and the “Coup de Coeur”, AVICOM.
Main Characters: vivid, eye catching!!!
rigid to e b t h g i M y eyes… r a r o p m e cont
White Ceramic Pillow in the shape of a child 北宋 定窯 白瓷嬰兒枕
Jade Pihsieh 漢 玉辟邪
Jade duck 宋 ~ 元 玉鴨
Conclusion Media as an important marketing strategy of cultural production Integrated with digital technology to present a totally new image of NP
M transmit the new image of NPM to a wider audiences through the latest
digital projects 3D animated film as a good combination of the the latest comput
er animation and treasures in the NPM collection the result being a fantastic 3D animated film short on museum art sure
to please and inform audiences, which bring the NPM closer to the publ ic
NPM’s Practice •
P l a n s o f C u l t u r a l a n d C r e a t i v e I n d u s t r y 故宮文創計劃
•
The concept of culture industry
•
Capitalist Cultural Production
Jasmine LI Wai Man (52473022)
Nation Palace Museum (NPM)’s Projects i-NPM 智慧故宮
Cultural & Creative Environment Projects 文創環境計畫簡介
Cultural and Creative Industry Program 文創產業計畫簡介
Plans of Cultural and Creative Industry 故宮文創計劃
Collaboration Mechanism The Digital Archives ( 數位典藏計畫 )
Plans of Cultural and Creative Industry 故宮文創計劃
Art licensing ( 圖像授權 ) Publication licensing ( 出版授權 ) Brand licensing ( 品牌授權 ) Cooperative Development ( 合作開 發) Entrusted Underwriting ( 委託承銷 )
Production and circulation of contemporary cultural products
Workshop for Cultural and Creative Development 文創產業發展研習營
Workshop Schedule (24 weeks)
Aims:
Phase I: Aesthetics and Perceptions - 8 weeks - creative dancing, music appreciation, drama, films, artistic experience in life…
• Providing talent training that based on NPM’s collections & archive resources
Phase II: Learning about Heritage 12 weeks calligraphy, painting, porcelain, bronze vessels, historical literatures...
• Converting creativity and design into creative cultural products
Phase III: Design and Creativity - 4 weeks - sharing and exchanging ideas on design
• Facilitating the collaborations between NPM & commercial corporations
Project Goals
Taiwan's cultural and creative talents
Taiwanese cultural and creative products
A matching platform between culture and industry
Business opportunitie s/wealth
Example
筆箸 ( 寒食帖 ) 環原設計有限公司
NPM: from Cultural Institution to Cultural Industry
Cultural Institution “A museum is a nonprofit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.” >>>>International Council of Museums (ICOM)
http://icom.museum/thevision/museumdefinition/
Preserving cultural relics
image of a "tower of curios" Educating the public
NPM: from Cultural Institution to Cultural Industry
Transforming the NPM archi
ves into contemporary cultur al products Extending museum experienc
e of visitors through the muse um products branding
Cultural Industry “the rich collection of NPM will become the basis for transforming the NPM into the flagship of the cultural and creative industries in Taiwan…” “designing and building an outstanding institution that combines both aesthetics and economics, and creating a knowledge base for cultural and creative developments of iNPM.” >>>>NPM http://www.npm.gov.tw/digital/index2_6_1_en.html
Culture Industry The concept of “culture industry” by Adorno and Hork
heimer
The systematic application of the principles, procedures and val ues of industrial capitalism to the creation and marketing of ma ss culture
The governing logic of the culture industry is not provided by th e organization structure or techniques of industrial production, but the capitalist social relations in which they are embedde d – i.e. commodification, not industrialization.
Usually refers to the entertainment corporations which supply fi lms, radio programs, magazines, newspapers, books…
Museum as Culture Industry Commodification of culture
It exercised through the rational/ capitalist organization of cultural production
Cooperative development ( 合 作開發 ) of museum souvenir
NPM introduces a concrete sch edule for application
Museum as Culture Industry Commodification of culture
It driven by the objective of making a profit from the sale of culture
“ 期望將博物館所蘊藏的文化知識，除轉化為另一種推廣的形式外 ，更有達到經濟效益之目的”
Rigid lines of bureaucratic authority is replaced by flexible networks of coordination
to ensure that information and resources are directed into the production of material and smoothly integrated into existing patters of distribution, promotion and consump tion
Echoing with Bill Ryan’s ideas…
Museum as Culture Industry Making Capital from Culture: The Corporate Form of C
apitalist Cultural Production by Bill Ryan (1992)
Examination of the organizational characteristics of the corporate f orm of cultural production
Division of labour
NPM’s 故宮文創計劃 as the capitalist cultural productio
n
Revealing NPM’s organization characteristics
Provide concrete examples for NPM as a culture industry
Capitalist Cultural Production: Division of Labour
Organizational Characteristics of Cultural Production (Bill Ryan)
Conception Creative Stage Execution
Capitalist Cultural Production
Transcription Reproduction Stage Duplication
Maxist Capitalist mode of Production
Capitalist workshop model: craft足based division of labour Manufacture model: a series of routinised, industrial and fragmented tasks
故宮文創計劃 as Capitalist Cultural Production Organizational Characteristics of Cultural Production (Bill Ryan)
Creative Stage
Capitalist Cultural Production Reproduction Stage
Conception Execution Transcripti on Duplication
故宮文創計劃 as Capitalist Cultural Production The role of participants
(i.e. private corporations)
In charge of both the creative and reproduction stage
By subcontracting
Artist ownership of the origina l
NPM reproduction rights
故宮文創計劃 as Capitalist Cultural Production NPM ‘s role
Creative management with a rtistic leadership and admin istration skills
Hierarchical control over th e creative stage
Production of Museum Souvenir The Culture Industry: Selected Essays on Mass Culture by
Adorno (1991)
“The culture industry fuses the old and familiar into a new quality.” (85)
“it forces together the spheres of high and low art, separated for thous ands of years. The seriousness of high art is destroyed in speculation about its efficacy; the seriousness of the lower perishes with the civiliz ational constraints imposed on the rebellious resistance …” (85)
NPM’s souvenir: creating contemporary cultural products by making use of cultural relics
Social Context: Cultural Policy on Creative Industries
• From cultural to creative industries • Implication behind the terminology shift • Current plan: Intelligent Taiwan •
Key concept: Everyday life aesthetics
• Conclusion
Isabel MENG Qianyu （ 52208564 ）
From Cultural to Creative Industries A shift in terminology in policy making:
Term of “ 文化產業 (Culture/Cultural Industry)” used by Taiw an Ministry of Culture in 1995
In 2002, “cultural and creative industry 文化創意產業” was li sted as a task in the Core National Development Plan, Challen ge 2008.
Changes in the mindset:
from comprehensive community building ( 社區總體營 造 ) to creative, knowledge-based economy
From Cultural to Creative Industries Ministry of Culture: Law for the Development of the
Cultural and Creative Industries 文創法 Development plan
20022007: “Creative Taiwan”
2008now: “Intelligent Taiwan”
Cultural Industry v.s. Culture Industry Cultural industry 文化產業 :
“also known as “creative industries”, combine the creation, production, an d distribution of goods and services that are cultural in nature and usually protected by intellectual property rights.”
Creativity, individualization, cultural distinctiveness that de rives from cultural tradition and ingenuity and expressivity of artists, etc.
Culture industry 文化工業 : Frankfurt School
Mass-production for mass consumption, standardizations
Implication behind the Shift
Cultural and creative industries: a notion driven by p
olicymakers
State’s approach to promote and democratize cultural pr oduction and distribution with the public funding system
Implication behind the Shift (cont’) Why put value on creativity?
knowledgebased economy
Creative industries as a leading sector of the economy with stable gro wth
A new relation between culture and economy Cultural industries:
dealing with symbolic goods, goods whose primary economic value is derived from their cultural value
Aesthetic and symbolic meaning attached to the culture goods deter mines their commercial value
Intelligent Taiwan 智慧台灣
Development Plan Since 2008 by Ma Yingjoeu government
Under Executive Yuan
Regarding cultural and creative industries:
Overall goal includes: develop cultural and creative industries, structure Taiwan life and culture style
Key concept: 文化生活美學 Everyday life Aesthetics
Government funding of 1o billion NT$ on cultural and creative industries, digital content industries for international marketin g.
Everyday Life Aesthetics Ministry of Culture “Taiwan Everyday Aesthetics Movement”
文化
部 「台灣生活美學運動」
生活美學是一種生活方式的選擇，也是生活品味的展現。
“Everyday Aesthetics is a choice of lifestyle, and the demonstration of taste of life.
人因為美而活著，美學彰顯個人的品味和風格，在食衣住行育樂中，處處可 以展現我們的美學素養。
Aesthetics implicates individual taste and lifestyle, while our aesthetic competen ce is demonstrated in the everyday life of eating, clothing, traveling, educating a nd entertaining.
Everyday Life Aesthetics Aestheticization of everyday life Mike Featherstone
“Reflexive consumption”: Material consumption has become incr easingly cultural, central to the construction of meaning and identity.
The growth in cultural consumption: not just increased purchase of cultural goods but new uses of these goods in the construction of individual and social identity.
The cultural component has been put at the forefront of economic value
design goods
Conclusion
ď‚— The development of cultural industries and the aesth
eticization of lifestyle and tastes through cultural con sumption has now been put on a national agenda across the world.
From Art to Souvenir: reading Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction
• Discard the “aura” • A new mode of participation
Sokiya SUO Jie(52209087)
Introduction The Work of Art in the Age of Mechanical Reproduction b
y Walter Benjamin (1936)
The influence of mass production and consumption, and modern tech nology on the status of the work of art
The implications for contemporary popular arts or popular culture
Museum souvenir as a kind of “mechanical reproduction”
of art
Based on (the image of ） artworks
Mass production
Commodity for mass consumption
1. Discard “aura” The social base of contemporary decay of aura: the increasing si gnificance of mass in contemporary life
The desire of masses to bring things closer and humanly
Overcoming the uniqueness of every reality by accepting its reproduction
Aura indicates hierarchy and privilege Masses’ claim to political democracy and freedom in market e
conomy Exhibition value becomes the primary concern Benjamin, W. (2008). The work of art in the age of mechanical reproduction. Penguin UK.
1. Discard “aura” Compared with the artwork itself, souvenirs can be
more attractive due to their accessibility and functio n in everyday life.
2. A new mode of participation 1) New habit in appreciation: “Reception in a state of distraction, which is increasin g noticeably in all fields of art and is symptomatic of profou nd changes in apperception...”
Traditionally: concentrate, contemplation (e.g. lookin
g at a painting) Contemporary: distract, notice in incidental fashion
(e.g. watching a film or TV) Benjamin, W. (2008). The work of art in the age of mechanical reproduction. Penguin UK.
2. A new mode of participation ď‚— Museum souvenirs provide a casual and unintention
al way for the public to get in touch with art
2. A new mode of participation 2) Different reaction toward art “from the reactionary attitude toward a Picasso painting changes into the progressive reaction toward a Chaplin m ovie.” Traditionally: reactionary
Contemporary: progressive – direct, intimate fusio
n of visual and emotional enjoyment with the orien tation of the expert Benjamin, W. (2008). The work of art in the age of mechanical reproduction. Penguin UK.
2. A new mode of participation ď‚— Souvenir shop and new media works are created for t
he audiences to participate progressively ď‚— The participation is fully achieved by consuming
Conclusion People’s habit and expectation to art appreciation has been
transformed in contemporary. Compared to original art works, souvenirs and new media w
orks under mechanical reproduction can better fit into the c hanging situation. Digitalization and recreation play the key role in rebuilding
people’s relation with museum collections. Museum branding has been largely relying on the developm
ent of souvenirs and shops.
References Adorno, T. W., & Bernstein, J. M. (1991). Culture industry reconsidered. The Culture Industry: Selected Essays on Mass Culture (pp. 8592). London: Routledge. Benjamin, W. (2008). The work of art in the age of mechanical reproduction. London: Penguin. Gunster, S. (2004). Capitalizing on Culture: Critical Theory for Cultural Studies. Toronto, Ont.: University of Toronto Press. Jarvis, S. (1998). The Culture Industry. Adorno: A Critical Introduction (pp. 7289). Cambridge, UK: Polity. O’Connor, J. (2000). The definition of the cultural industries.The European Journal of Arts Education, 2(3), 1527. Ryan, B. (1992). Making Capital from Culture: the Corporate Form of Capitalist Cultural Production. Berlin: Walter de Gruyter.
References Wallace, M. A. (2006). Museum branding: How to create and maintain image, loyalty, and support. (pp. 14, 8187). Lanham, New York, Toronto, Oxford: Altamira Press. Weaver, S. (2007). Creating great visitor experiences: A guide for museums, parks, zoos, gardens, and libraries . (pp. 128135). Walnut Creek: Left Coast Press.
Freitag bags x mori art museum. (2009, July 15). Retrieved from http://tokyofashion.com/freitag-bags-x-mori-art-museum/ History Colorado Center. (n.d.). Unique gifts. Retrieved from http://www.historycolorado.org/museums/unique-gifts-4 iNPM: Outline of the Cultural and Creative Industry Program. (n.d.). Forming new vitality for the collectionã Creating new value for the museum_Introduction to the Projects_i-NPM. Retrieved April 4, 2014, from http://www.npm.gov.tw/digital/index2_6_1_en.html
References Kultur , B. (2008, October 14). Museum of London takes on a new identity. Retrieved from http://www.ci-portal.de/museum-of-london-takes-on-a-new-identity/ Museum Definition. (n.d.). ICOM. Retrieved April 4, 2014, from http://icom.museum/the足vision/museum足definition/ Ministry of Culture, Taiwan. (2014, February 13). Intelligent Taiwan, about the plan. Retrieved April 5, 2014, from http:// www.bost.ey.gov.tw/intelligenttaiwan/cp.aspx?n=75C03FED41B0DA99 National Palace Museum. (2013, December 24). The plan of cultural creativity of National Palace Museum. Retrieved from http:// ccp.npm.gov.tw/content/plans/plans_01.aspx
National Taitung Living Art Centre. (2014, April 5). About the centre. Retrieved April 5, 2014, from http://www.ttcsec.gov.tw/NTLAC/Code/about_intro.aspx.
References Simon, N. (2011, January 13). Postcards as a call to action: A powerful, political participatory experience at the Jane Addams Hull-House Museum. Retrieved from http://museumtwo.blogspot.hk/2011/01/postcards-as-call-to-action-powerful.html Old is New:Trend in Digital Life at the NPM http://www.npm.gov.tw/digital/index1_ch.html National Palace Museum. (2013 ， July 9). Brief Chronology. Retrieved from http://www.npm.gov.tw/en/Article.aspx?sNo=03001502#pageTop 鄭惠嫺編 ，《創意投資 : 臺灣與南韓文創產業人才與環境研究》，香港：香港當 代文化中心， 2011 。 國立故宮博物院编，《物華天寶： OLD IS NEW 導讀新故宮 GUIDEBOOK 》，台 北：國立故宮博物院， 2007 。 劉曉樺，陳佳利著， <Old is New? 故宮宣傳影片及青年觀眾解讀之研究 > ，《博 物館學季刊》 , 27(4): 5-25 ， 2013 。
The End Thank you for listening!