Page 1

M u s e u m s c o m e b a c k t o t h e l o c a l c o m m u n i t y t h r o u g h A r t & Fo o d

PERIPHERAL MUSEUMS’ AUDIENCE DEVELOPMENT STRATEGY: PRACTISING THE ART AND FOOD CONCEPT


Document title

Peripheral museums’ audience development strategy: practising the art and food concept Authors

Andri Ibrahimi (Tirana Ekspress, Albania), Alessandra Capezzuoli Ranchi (Centro Europeo Turismo Cultura e Spettacolo, Italy), Nuno Cintra Torres (COFAC Universidade Lusófona Lisbon, Portugal) with the contribution from all partners. Graphic Design

Pedro Guedes Date of release

31 May 2017 Project Leader

Centro Europeo Turismo Cultura e Spettacolo, Italy Project Partners

Skokloster Castle, Sweden Theodoros Papagiannis Museum, Greece Universidade Lusófona de Humanidades e Tecnologias, Portugal Tirana Ekspres, Albania

Acknowledgments & Disclaimer This document, part of the In_Nova MusEUm project 570516-CREA-1-2016-1-IT-CULT-COOP1, has been funded with support from the Creative Europe Programme of the European Union. This publication reflects the views of the authors, and the European Union cannot be held responsible for any use which might be made of the information contained therein. Reproduction and translation for non-commercial purposes are authorised, provided the source is acknowledged and the publisher is given prior notice and sent a copy.

Co-funded by the Creative Europe programme of the European Union

2


CONTENTS Introduction

4

First part: Concept, scope and objectives Cultural strategy: to encourage Europe-wide cultural cooperation Small and peripheral museums can be real game changers The art and food concept: taste everywhere Young adults and museums: a cool experience?

12 13 13 14 16

Second part: Researching and developing the art and food concept Audience research by the project’s partners Museo Diocesano di Albano (MUDI), Italy Muzeu Historik Kombetar Gjergj Kastrioti Skenderbeu, Kruje, Albania Museum of Contemporary Art “Theodoros Papagiannis”, Greece Skoklosters slot, Sweden Museu Bordalo Pinheiro (MBP), Portugal

19 20 21 22 23 24 25

Third Part: General audience development guidelines -- key-words and slogan Key-words from the In_Nova MusEUm proposed by the project’s team Partner developed key-words for audience development Slogan for In_Nova MusEUm: Feed your senses @ museum! Inspiring ideas to be further developed together

26 27 27 27 28

Fourth part: Audience development in practice Italy Albania Greece Sweden Portugal

29 30 33 35 41 43

In_Nova MusEUm: Lessons learned and recommendations for peers Conclusions Bibliography

48 53 55

3


INTRODUCTION

T

he In_Nova MusEUm1 project originated on the assumption that geolocation is a major strategic consideration constraining the basic structure of audience development efforts of both large and small museums, whether positioned far from large conurbations or even those implanted just outside the national museum clusters that are a must-visit feature of major city-centres. This assumption was confirmed by research carried among the In_Nova MusEUm partners and associated partners: locus is considered by museum directors and staff as the major limiting factor for the attraction of audiences. Location affects visibility and desirability irrespectively of museum size or of the inherent quality and cultural relevance of museum collections. The expression peripheral was used to emphasize the geolocation constraint. The word has its origins in the Greek word periphereia [περιφέρεια] meaning ‘circumference’, from peripherēs or ‘revolving around’. In the 16th century, the word was used to denote a line that forms the boundary of something. The boundary that today encircles peripheral museums is not set in stone. It’s plastic and in contrast with the immovability of most museums. The constraining boundary is an imaginary and mouldable line in the mind of audiences. In_Nova MusEUm is grounded on the premise that the peripheral quality of many museums can be challenged and changed through the skilful use of awareness development tools and persuasion techniques. The first challenge lies in the design of a coherent communication strategy to improve relevancy at both the local level and on the international cultural tourist circuits. The goal is to change the perception that periphery is an out of limits condition and that visitors will be rewarded with a pleasant experience. Several resources should be in place for the museum to

1 The project’s lifetime was from 1 October 2016 to 30 June 2018

4


successfully deliver an enticing message that conveys the museum’s raison d’être, brand and value proposition. The message should be tailored to specific digital communication devices targeted at specific audiences. The art and food concept inspired the design of an audience development strategy to be shared and implemented by European peripheral museums. The project developed the theoretical framework of the concept and proposed a mix of activities for audience building based on digital communication techniques and participatory audience practices that seek to overcome the peripheral challenge. The abovementioned research and the discovery process during the project revealed that insufficient skills in the use of digital communication techniques by museums’ staff is a major obstacle in the way of developing an active communication strategy. Human and financial resources are scarce, in particular in many small museums in faraway locations. The dearth of resources may complicate, impair or inhibit the implementation of a fully-developed communication strategy albeit sustained by easy to use and inexpensive digital marketing and communication techniques. These questions were developed through investigation, conceptualisation and the actual activities of In_Nova MusEUm that took place during the course of the project by the partners and associated partners. The following documents were produced by the partners and associated partners and each is summed up below: •Introduction to audience development •Peripheral museums and the art and food alliance •Museums of the In_Nova MusEUm network: characte- rization survey •Branding Guide of Peripheral Museums: a Draft •In_Nova MusEUm strategic social media platforms •In_Nova MusEUm Dissemination & Visibility Plan Introduction to audience development delves into the discipline of audience development as applied to European peripheral museums and is based on the proceedings of a two-day training seminar at Palazzo Chigi, Ariccia, Italy. The Network of European Museum Organisations, for example, postulates that “audience development allows museums to better reach current and potential visitors by

5


more effectively meeting their needs and expectations and by developing stronger on-going relationships with the audience.” The training was informed by the assumption that although most museum managers agree that building and strengthening audience relationships are top priorities, only a few organisations agree on the importance of conducting actual audience research to support those activities. A lack of resources — money, time, and skills — is often cited. It is unclear for some museums that the benefits of the research justify the expense. As a result, investigating the public is dismissed without further thought. Museum organisations need help to overcome some of the obstacles that stand in the way of carrying basic audience research. The training stressed that the first building block of the digital engagement strategy is the design of a strategy. The major topics included current audience development processes and tools, audience research as a guide, simple and cost-effective methods for information gathering, promotional materials, results evaluation. The programme included training in digital media tools. The document includes the results of small-scale surveys made by the partners such as the research made by Museu Bordalo Pinheiro and University Lusófona in Lisbon, Portugal. It revealed, for example, that most of the visitors of the museum, where art and food mix in a strong relationship in the 19th century ceramics of Bordalo Pinheiro, followed recommendations of friends and family to visit. Peripheral museums, communities and the art and food alliance elaborates on the overarching communication theme of In_Nova MusEUm: the timeless alliance of art and food. Food has enjoyed a central place in Western art for centuries. Hunting, harvesting, producing, distributing food and beverages and the communal enjoyment of food are perennial themes in profane and religious western art. Food related initiatives can often blend seamlessly with museum collections or settings. Restaurants, cafeterias and gastronomical events have proved to be an attraction and a driver for visitors. The art and food relationship is emphasised in the document by a pictorial overview from Lascaux to Olden-

6


burg. Perhaps more than any other discipline, food has the ability to appeal to all of our senses — a combination of colours, textures, crunches, smells and tastes goes into the making of a meal, and the selection and transformation of those elements. Cooking and the presentation of food can also be artistic endeavours. A chapter includes an overview of food in the museum. Some major museums have resorted to elaborate restaurants and cafeterias. The last chapter is dedicated to the increased use by restaurants of works of art to complement and enhance the customer’s dining experience. In_Nova MusEU motivated the partners to practice the art and food relationship. Several food themed events were organised, like the Open Field Workshop at the Fethiye Camii of the Inner Citadel of the Castle of Ioannina, Epirus, Greece. The tasting experience was held in the Byzantine Museum of Ioannina. The document draws on several studies in Greece and the UK on the social and economic effects of museums. Peripheral museums, as regional museums in general, have positive spillover impacts in the economy covering areas such tourism, developing skills, and act as catalysts for economic regeneration. The investment in the arts and culture can drive improvements in the quality of the local environment and the standard of life of local communities. Although peripheral museums have scarce resources, these may be supplemented with partnerships with local institutions. At the local and national levels, museums inspire powerful and identity-building learning in children, young people and community members. This was again confirmed at the In_Nova MusEUm Participatory Lab organised in Kruja, Albania. Local school children presented ideas such as the creation of “youth museum ambassadors” serving as communication bridges between the institution and the community. Museums of the In_Nova MusEUm network: characterization survey reports on the characterization of eleven museums of the In_Nova MusEUm network, established in peripheral locations in Albania, Greece, Italy, Portugal and Sweden, from an online questionnaire in September 2016. The underlying objective was to ascertain some management perceptions and practices of the sample. The

7


results provide valuable background information on what it means to be a peripheral museum and about the management challenges and eventual opportunities arising from a peripheral location. The findings confirmed initial perceptions: most museums in the sample do little or no research on their audiences or putative audiences; branding the museum is an alien concept; social media is not used to its full potential; local partnerships are not a common practice; the use of the English language is lacking; merchandising activities could be improved; most allocate only a tiny percentage of their budget to communications and advertising; some have gastronomy related activities but the art and food concept is not fully exploited. The In_Nova MUsEUm research suggests where and how the major communication and informational efforts should focus, namely the discovery, development and nurturing of clearly defined brand identities. Branding Guide of Peripheral Museums: a Draft discusses and proposes in three chapters the management disciplines of marketing, branding and experience design as shared methodologies for the development of a communication strategy for museums. The document stresses that museums need to craft an integrated digital and omnichannel approach for a seamless, coordinated and easy online and offline touchpoints journey and visiting experience. The first chapter is dedicated to research needed for the selection of the audience segments to be targeted by the museum. The second chapter addresses audience research tools, like quantitative and qualitative studies, and highlights three major topics to be tamed by museum professionals: brand, the museum’s digital identity and the visitor’s journey. It is stressed that good branding speaks in a voice that is distinctive and consistent about the museum’s mission and vision. The third chapter emphasises the need to design an outstanding proposition based on a customer journey that leverages the art and food concept in three steps: designing the visitor’s journey (digital and physical experiences); delivering the message (a digital communication system to deliver at scale); creating a “digital persona” (a distinctive personality to be digitally delivered). The implementation of the communication strategy for

8


audience building requires that museum managements harness the design of the museum’s brand identity and main message; how to position the museum in the cultural and tourist markets; definition of the segmentation and the target audiences; communication of the brand message over a choice of platforms; design of a visitor journey that includes all physical and digital touch points and preferably also a gastronomical experience. The In_Nova MusEUm Communication Strategy: Becoming a Brand suggests a brand communication strategy for In_Nova MusEUm itself. The objective is to position In_Nova MusEUm as a prime knowledge and networking resource for its primary target audience -- peripheral museum professionals, associated partners and the transnational network of European peripheral museums. The proposed strategy adopts an integrated digital marketing communications approach to optimise the communication of a consistent message. To become relevant and useful for the management of the museums to scale up their local and international audiences, In_Nova Museum has to consistently deliver actionable knowledge and shared experiences through its communications channels. A contemporary logo was developed and extensively used by the partners on all media and communications. In_Nova MusEUm strategic social media platforms proposes that social media is a fundamental part of the communication and dissemination strategy of the In_Nova MusEUm project. The document establishes a digital communications plan supported in the SMART methodology. The methods relied on intensive use of the main social media platforms (Facebook, Instagram, YouTube) and of specialist platforms (LinkedIn, Academia) to reach the main direct target audience: peripheral European peripheral museums directors, staff, curators, particularly those of the project’s five partners countries. The main indirect target audience of In_Nova MusEUm -young adults 18-35 years old -- would be addressed by the project’s partners and associated partners. Dissemination & Visibility Plan addresses four areas: digital communications, presentation of papers at confer-

9


ences and seminars, partnerships with cultural, educational and museum communities though diverse networking activities and the development of relationships with print and broadcast media specialised journalists. The strategy adopted an integrated digital marketing communications approach to optimise the communication of a consistent message conveying the project. But, it is noted, that although the Internet improves reach, speed and scope of communications, in a brand and information-dense digital environment to cut through the clutter is increasingly more complex. This challenge was addressed by mixing the various digital channels to improve reach by harnessing the individual benefits of each channel thereby addressing individual segments of the audience to build relationships and develop networks. The stylish In_Nova MusEUm website, adorned with the painting of Vertumnus, the Roman god of seasons, gardens and fruit trees by Italian Mannerist painter Arcimboldo, in the collection of Skokloster Castle near Stockholm, Sweden, fulfils a major role as the anchor and contents feeder to the social media platforms. The site’s design and content is crucial to attract and retain audiences with its clean and up to date design. The dissemination plan includes exchanges with entities in arts and foods social networking, internationally and locally, and with social and traditional media gatekeepers to leverage the impact of the project’s actions and activities to a wider public. The present text Peripheral museums audience development: practicing the art and food strategy documents the actual art and food European-wide strategy as practised by the In_Nova MusEUm partners and associated partners over a period of 18 months. The first part reintroduces with more data the theoretical background framing the project, the project’s cultural strategy, offers a definition of peripheral museums, elaborates on the art and food concept, and characterises the 18-35 demographic and its relationship with museums. The second part focuses on audience research undertaken by partners and proposes a general audience development strategy. The third part focuses on the audience development initiatives practised by the In_Nova MusEUm partners

10


and how the art and food concept was used in different and imaginative ways to attract audiences to the partner museums. The initiatives were fully integrated in the project’s strategy. The specific actions were designed to achieve concrete results, namely the participatory audience development actions and digital engagement pilots. describes some of the actual audience research activities developed by partners. The many events organised by the In_Nova MusEUm partners in the course of the project provide ample food for thought regarding future museum audience development initiatives. The Transfiguration Workshop “Food in Art@Museum” at Palazzo Chigi, Italy, is a fitting example. The tangible worlds of art and food were skilfully blended with the intangible world of social networks (Facebook, Instagram) to successfully target the 18-35 demographic. A guided tour was designed as a treasure hunt. Visitors had to look for works of art based or including the theme of food. After photographing the hunted works, visitors used the Instagram hashtag “#foodinartmuseum” to publish their pictures online. The most beautiful photos, voted by Instagram users, were printed and displayed in one of the halls of the Museum. The result: the art - food theme and the Internet cooperated to provide an immersive experience in art and to increase the museum’s digital and physical reach with the joyful collaboration of visitors.

11


1 CONCEPT, SCOPE AND OBJECTIVES


CULTURAL STRATEGY: TO ENCOURAGE EUROPE-WIDE CULTURAL COOPERATION The project’s cultural strategy has two pillars: to work with and to learn from audiences and artists. This innovative approach to cultural policy looks beyond the value-based organisational approach of a traditional museum. The project prioritise collaboration, multisector activity and circulation of the produced artistic content with the expectation of long term impacts on the social and economic areas. Participating in a European-wide action fosters cooperation and is a good starting point for developing systematic European cultural strategies. The project seeks to lay the groundwork to encourage cross-sectorial collaboration and to endow projects with a European cultural heritage narrative. In_ Nova MusEUm was designed to attract and impact wider audiences, to promote citizenship, to increase awareness of the richness of local cultures and of the diversity of European culture. In_Nova MusEUm’s reaches out to people who are not normally active in cultural activities and in the attraction of volunteers, while seeking to imprint its activities as an educational experience. Openness to innovation has been shown to be beneficial to the branding of museums. In_Nova MusEUm specific extra goals support artistic creation, entrepreneurship and participation

in events and programs that have a strong relation with the local community, and especially younger generations. The project combines traditional and heritage-oriented comprehension of culture with contemporary cultural interests, gaining in the process the involvement of the wider community and developing trust for cultural products amongst young people. The overarching goal of the audience development strategy is to promote, through a multitude of interventions that foster visibility and tourism and the concomitant job creation at community level, the preservation of cultural heritages and local traditions with the enhanced understanding of their intrinsic qualities.

SMALL AND PERIPHERAL MUSEUMS CAN BE REAL GAME CHANGERS. A survey conducted in 2016 by the American Alliance of Museums revealed that the vast majority of museums in the United States “are small, with fewer than five staff”. In addition, Hibbins (2017) claims that, despite their small dimensions, “lesser-known museums provide unforgettable experiences and unique stories for visitors of all kinds – and they’re actually in the majority”. Big museums represent only one per cent of museums around the world, says Anne Krebs (2016), Head of Socio-economic Studies and Research Division - Research and Collection Department at Musée du Louvre. She adds that the remaining 99% are small

13


and medium-sized museums which lack, in many countries, local strategies. What is missing at the local level is a kind of networking support to find resources, assistance or training. Europe has plenty of fine little museums that richly reward those who venture beyond the monumental sights. Smaller places have their own superstar attractions, and because their collections are rarely encyclopaedic, one can see everything in one visit and still feel fresh. Europe’s many wonderful little museums may be less visited that the biggies but they are no less rewarding (Steves, 2017). In Italy the majority of museums are small or very small, and are located in peripheral areas, both geographical and cultural. According to the Italian Institute for Statistics (ISTAT), in 2015 the Italian cultural heritage included 4,976 museums and similar institutions, whereof only one percent is represented by large museums with over 500,000 visitors per year (38% of the total public) and are generally located in major cities. The 99% of Italian museums consist of small or very small institutions located in peripheral areas. Of those, three museums out of four have 10,000 visitors per year while 36,5% are very small museums with less than 1,000 visitors per year. They have limited budgets and staff (two people, not fluent in spoken English). Only 38,9% have a website. Most belong to a Municipality (47,4%) or the Church (13,9%). The largest part of these museums (20,8%) display ethnographical and anthropological collections related to the territory, the local history and traditions. In_Nova MusEUm’s biggest challenge is just to transform the limitations of these small and sometimes hidden museums into opportunities of development for the directors that are willing to take them. The research undertaken by In_Nova MusEUm revealed that limited budgets can eventually be overcome through partnerships with local institutions, such as schools (business, art or tourism schools) for audience research activities or for the enactment of gastronomical events. This could also be a driver for the local communities to become involved. That opportunity seems to have been taken by the Italian National Association of Small Museums (APM). The organisation was established in 2007 by Giancarlo Dall’Ara, Researcher and Professor of Tourism Marketing, with the aim to promote a new management culture for small and peripheral museums

in order to enhance their peculiarities: a deep relation to the territory and the local community, the capability to be inclusive and to offer original and new experiences to visitors. The model offered by APM coincides with the objectives of In_Nova MusEUm: to develop a network of small and peripheral museums that join forces to make their voice heard by institutions (because “many” is better than “one”), to share knowledge and to apply best practices. APM ensures the development of competences of museum staff by means of training programs and conferences, strengthens the idea that the museum belongs to the citizens and as such has to be correctly managed, maintained and preserved in agreement with the local community and in respect of the territory’s identity. As stressed by Hibbins (2017) “very large museums can often seem overwhelming or even intimidating, especially for those who don’t often visit museums. Smaller sites can be less stressful, and are often less expensive too […] Small museums can connect visitors with their communities by engaging with local stories, artefacts, and issues on a deeper level”. For these reasons he calls small and peripheral museums “superheroes” with the freedom to take more risks than larger institutions. With smaller workforces and visitor numbers, they are nimble enough to experiment with new or challenging ideas. “Small museums can be real game changers for what’s possible at a museum”, he says.

THE ART AND FOOD CONCEPT: TASTE EVERYWHERE It is an undisputed fact that visual arts have always had a special bond with the topic of food and the ritual of eating together. The rituals and symbols of foodstuff have crossed all forms of art, from antiquity onwards. Food was represented in the Palaeolithic age (caves of Lascaux), in classical Greek and Roman art, was predominantly employed in allegorical constructs in the Middle Ages, continued through the Renaissance painting and prevailed into modern and contemporary art.

14


Foodstuffs are depicted by artists not only as they are used in everyday life, but also arranged to communicate specific messages, new ideas and societies, over time and across cultures. Food, in its necessity and pervasiveness, is one of the greatest levellers on Earth. The act of eating transcends boundaries of gender, social class, culture and even species. Eating functions most prominently to satiate hunger. Below the surface, however, people eat to experience the pleasures of taste, share communal interaction and participate in tradition (Butkowski, Board, Siewert, 2014). A similar experience occurs when visiting a museum or admiring an artwork: people participate in a collective relation and share symbols and messages of the tradition. For this reason, In_Nova MusEUm projects deems that art and food should be considered powerful vehicles of local identity: they create, reinforce and enhance the underlying identity – the unique meaning, value and character – of the physical and social form of community. This identity is reflected through the community’s character or sense of place that reflects the spectrum of social values within and around the community (American Planning Association, 2011). The sense of identity is also an urgency of UNESCO policy. The branch of the United Nations that is best known for its list of World Heritage Sites, established in 2003 the Convention for the Safeguarding of Intangible Cultural Heritage which recognise “practices, representations, and expressions, and knowledge and skills which are transmitted from generation to generation and which provide communities and groups with a sense of identity and continuity.” The Convention created a list containing over 200 expressions of intangible heritage worthy of preservation from performing arts, to social practices, rituals and festive events and to traditional craftsmanship. Recently UNESCO added a new category for “gastronomy” and today foods and culinary traditions are a cultural expression as fundamental to identity and worthy of recognition as dance, theatre, or music. In 2010, France succeeded in having the Gastronomic Meal of the French nominated as UNESCO Intangible Cultural Heritage of Humanity for its val-

ue of tradition and culture preservation over generations. The gastronomic meal of the French is inscribed on the Representative List of the Intangible Cultural Heritage of Humanity. The French meal “…is a customary social practice for celebrating important moments in the lives of individuals and groups…to enjoy the art of good eating and drinking…contributing to their oral and/or written transmission, in particular to younger generations…careful selection of dishes from a constantly growing repertoire of recipes; the purchase of good, preferably local products whose flavours go well together; the pairing of food with wine; the setting of a beautiful table; and specific actions during consumption, such as smelling and tasting items at the table.” (UNESCO, 2010). In 2016 it was time for the beer culture in Belgium to be inscribed on the UNESCO List with the following motivation: “It plays a role in daily life, as well as festive occasions. Almost 1,500 types of beer are produced in the country using different fermentation methods …. In addition, beer is used for cooking including in the creation of products like beer-washed cheese and, as in the case of wine, can be paired with foods to compliment flavours... Besides being transmitted in the home and social circles, knowledge and skills are also passed down by master brewers who run classes in breweries, specialized university courses that target those involved in the field and hospitality in general, public training programmes for entrepreneurs and small test breweries for amateur brewers. The latest acknowledgment was achieved by Italy: in December 2017 the Art of Neapolitan ‘Pizzaiuolo’ was inscribed on the List. “The element originates in Naples, the capital of the Campania Region, where about 3,000 Pizzaiuoli now live and perform. ‘Pizzaiuoli’ are a living link for the communities concerned. There are three primary categories of bearers – the Master Pizzaiuolo, the Pizzaiuolo and the baker – as well as the families in Naples who reproduce the art in their own homes. The culinary practice, originating in Naples, fosters social gatherings and intergenerational exchange, and assumes a character of the spectacular “with the Pizzaiuolo at the centre of their ‘bottega’ sharing their art”. The many examples from different ages, cultures and countries all over the world witnessing

15


the strong relationship between art and food lay the foundations for an “Art & Food” concept as marketing tool for increasing museums audience development. For a broader analysis of the “Art & Food” concept and alliance see In_Nova MusEUm’s Communication strategy.

YOUNG ADULTS AND MUSEUMS: A COOL EXPERIENCE? Cultural tours are included in school’s study programs. As school students, young people are visitors of galleries or museums, both in major cities as in peripheral areas. But after secondary school, typically between 18-35 years of age, there seems to be a gap: the motivation to engage with arts and culture drastically decreases. The interest in art galleries seems to come back when youngsters start a family: at that stage of their life they discover the pleasure to take their kids to museums and share with them the experience of culture. “Studies have shown that there is a significant gap in museum visiting from the time when youths leave school to when they settle down and have children”, writes Shrapnel (2012). It is in the interest of museums to fill this gap and successfully engage the young adult audience. Internationally throughout the past decade museums have tried, some successfully and some unsuccessfully, to reach this target audience. To successfully attract this target audience, their needs and wants in a museum must be thoroughly researched. Research all over the world has tried to find and understand the causes of the youngsters disaffection and how to cope with it. The Review of the Literature on Young People’s Motivation and Gallery Engagement, published by Tate UK’s in 2014, provides an overview of key research, policy and practice around the motivation of young people to engage with arts and cultural experiences. The literature reviewed in the report highlights a few key points, namely: a gap in recent research ex-

ploring gallery engagement and young peoples’ motivation; activities may be of interest to young people when they are associated with identity development and well-being, including social interaction and self-expression; barriers to participation including cost, lack of motivation, parental influence, geography, time, and perceptions of galleries as uninviting must be addressed; pedagogies of co-construction must be at the heart of engagement with young people. Gofman, Moskowitz and Mets (2011) focus on young people museum attendance in the United States. This cohort is broadly defined as people from eighteen to thirty-five-year old. The study explores museums services, topic of exhibition, type of visit, time of visit, social opportunities, and purpose as possible motivational factors. Gofman finds a gender difference in attendance (23% males compared to 54% females based on additive constant analysis). The study also shows that young men are likely to be influenced by messages encouraging attendance at museums to become a more well-rounded person, to meet new people or see something new. Three mind-sets (habitual patrons, fun and social activities, interaction) were also identified which may influence decisions to attend a museum. Understanding the use of messages is viewed as valuable in terms of museum marketing. We could add that people want to meet new people with the same interests in art or history, but also in what respects food. For example, a good cup of coffee or a meal are more than a pleasure by themselves. They may also contribute to a fulfilling visit to the museum. If the café becomes a well-known place in the local community for socialising, the museum has improved its chances to become an appealing place to meet friends. Smith (2014) makes a witty analysis of the 21 reasons of why he hates museums. Reason no. 6 is sometimes very much true: “If you want to see tourists shuffling in silence down hospital-like corridors, bored security guards, and jobsworths waiting to pounce on anyone who dares to laugh, send a text message or eat a biscuit, then museums are for you”. Museums, either large and central or small and peripheral, often fail in their mission of involving audiences in impressive and inclusive experiences, regardless of their age.

16


Reason no. 11 is even more eye opening: “There’s nothing fun for adults. Why is innovation solely employed for younger visitors? Do they really believe adults are sufficiently entertained by a neatly arranged collection of pewter spoons?” An impressive and inspiring experience seems to be what audiences look for when entering (and leaving) a museum. Especially youngsters. Museums Association, the oldest museum association in the world set up in 1889, examines the difficulties of engaging youngsters in cultural organisations by asking crucial questions: “How can arts organizations convey to young visitors the message that museums, either large or small, are one of the things that make a place worth living in and worth visiting?” Do they help define a place – a city, a town, a village, sometimes a nation? Do museums help us to value the places where we live, work and visit, and help us to understand where we have come from? Do museums create a sense of belonging by engaging with communities and encouraging active public participation in decision-making? McCarthy, Conal and Mason (2008) look at the relationship between museums and art galleries and their potential audiences and in particular at the under-represented sector of young visitors. The study examines the main findings from the limited research available on young visitors, and goes on to discuss theories delineating the differences between the cultures, identities and values of culture consumers and culture providers. A survey of young people’s relationship with New Zealand’s Auckland Art Gallery found that their ideas of what constitutes modern, relevant art does not match standard art criteria, and that most exhibitions and marketing methods do not mesh with their world-view. This survey found clear evidence that young people visit art galleries less often than the population as a whole. The survey shows clearly that many young people do not feel at home in art galleries or are inhibited from visiting them by the very way in which these institutions collect and display art. Aspects of their architecture, exhibition content and design, atmosphere, programs and advertising contribute to this feeling of exclusion. The calls for a greater variety of art styles and different types of exhibitions, for changes to the atmosphere and layout, and more advertising and pro-

motions, all contain clear messages for museum management. This evidence is a challenge also for In_Nova MusEUm: how to make them feel at home? Why not figure out initiatives around the theme art and food? In Amsterdam an interesting initiative seems to have caught youngsters’ favour by leveraging the combination between digital and analogue experiences. Geer Oskam is a project manager for Foundation Museum Night (n8). Founded by the collective of the Amsterdam museums, (n8) thinks about ways to engage a new and young audience with the Amsterdam museums. The Foundation organises the Amsterdam Museum night annually. Its goal is to engage a new and young audience with the museum of Amsterdam and vice versa. “We want to get the museums to know about the world that young adults live in”, says Geer. He adds that “we also want young adults to get acquainted with museums, obviously. 18-35 years old, that is our target audience and only inhabitants of Amsterdam”. The target is surprisingly the local community 1835 of the city of Amsterdam. Communication is done onsite and people get motivated online: nothing is printed but everything is done online over social media. But ultimately digital needs analogue: the golden rule is online meets onsite. “You can organise things online” adds Geers, “but you can’t live without an onsite event. It can be onsite, but what will you bring if you are not online?”. The correct mixture of digital and traditional practices proves to be a winning solution: yet, why not adding the experience of the enogastronomic traditions through wine and food tasting? The experiment conducted by the Museum of London in 2012 with the aim to engage young adults in museum was named “Our Londinium 2012”. The project started in 2009 with five young people and a camera telling the Museum what London meant to them, and finished in 2012 with over 100 young adults involved in the process. The most challenging tip given by participants was “Treat your museum like a YouTube video – it needs to go viral. If you want to attract young people to your museum then the best advertising you will ever get is one young person recommending you to their friends” reports a project manager. “Getting young people talking about museums is a sure-fire way to get more of us in. Think about what makes your museum excit-

17


ing for young adults. Make it a talking point. And most importantly, get some young people involved (why not do a project with them?) Sironi (2013) describes the initiatives carried out by several Italian museums in order to engage young visitors. The event Night of the Museums proved to be an undisputed success in Rome, where many youngsters queued for long to enter Galleria Borghese displaying one of the best collections of art in the world in terms of sculpture (Bernini, Canova), painting (Caravaggio, Raphael, Titian), architecture (the building itself is one of the attractions) as well as ancient Roman sculptures and Egyptian art. A collection maybe traditionally boring to youngsters, but unexpectedly on this occasion it revealed extraordinary attractiveness. The Night of the Museums was also analysed by De Luca (2008). She says that although the event was not specifically designed for young people, it reached and engaged a lot of youngsters. They considered that it was a cool opportunity to visit a museum, an activity that they usually do not ponder. Why not completing the museum experience by offering a sponsored aperitif during the visit?

18


2 RESEARCHING AND DEVELOPING THE ART AND FOOD CONCEPT


AUDIENCE RESEARCH BY THE PROJECT’S PARTNERS The purpose of this section is to focus on who our target group is and what our audience is like in each partner country. The analysis was started during the two-day training on Audience Development (AD) and Digital Engagement (DE) held on November 24-25, 2016 at Palazzo Chigi in Ariccia (Italy). The training was designed by COFAC / University Lusófona (Lisbon, Portugal) and BAM! Strategie Culturali (Bologna, Italy).

The collected data were broadly discussed during a “hub discussion workgroup” planned in the framework of the project management meeting that was held in Tirana (Albania) in March 2017 with the aim of analysing in depth the target audience from the different country partners’ point of view and to focus the attention on a shared and structured audience development strategy for European peripheral museums. The following sub-chapters show a short summary of audience research for each partner museum. In this respect, in Italy the AD & DE coaching was conducted by Museo Diocesano di Albano (guest partner) instead of Palazzo Chigi di Ariccia (associated partner). The choice was motivated by the fact that a Diocesan museum may offer an interesting perspective and positive enrichment in terms cultural context and audiences.

The following document and related topics are further developed: Introduction to Audience Development The two-day training was followed by a 6-month coaching during which a deep analysis of the partner museums was carried out with the support of BAM! Strategie Culturali. The coaching process included the breakdown of the following steps: 1.Organisational strategy 2.Asset mapping 3.Audience mapping 4.Engagement strategies 5.Outreach strategies The analysis enabled partner museums to better understand their organisational structure and strategy, to build an asset map (the internal resources that the institution offers), to establish a map of the audiences and to differentiate between the existing and potential audiences.

20


MUSEO DIOCESANO DI ALBANO (MUDI), ITALY STRATEGY QUESTIONS

MUSEUM’S ANSWERS

Why does your organization exist?

a.To promote the theological and religious culture of the Diocese of Albano b.To preserve and enhance the cultural and religious heritage of the Diocese of Albano

How will you make the world a better place?

With respect to generic audiences MuDi can increase the knowledge of the history of Christian art and consequently improve the intellectual and cultural quality of visitors. As for target audience formed by people of different religions, MUDI can boost interreligious dialogue.

What will people say about you in the future?

Taking into account the above assumptions, MUDI could be considered a place where people can participate in augmented reality experiences (virtual reality) and learn dialogue among different religions, spiritual and humanistic traditions.

AUDIENCES QUESTIONS

MUSEUM’S ANSWERS

Whom do you reach?

a.Schools of the territory of Albano Laziale, Marino; Genzano di Roma, Castel Ganadolfo b.Church associations of the territory of the Diocese of Albano c.Catechesis groups (first communion and confirmation) of the territory of the Diocese of Albano d.Scholars in and out of the territory of regione Lazio e.Retired people of the territory f.Participants in the events organized by MUDI (music concerts, lectures, book presentations) belonging both to the local community and the area of Rome

Who does visit you frequently?

a.Teachers from primary, secondary and high scools b.Religious teachers (first communion and confirmation)

Who has a formalized relationship with your organization?

Ongoing agreements for “Scuola-Lavoro” (School-Work) with two high schools of Albano: Istituto Scolastico “Murialdo” and Liceo Classico “Ugo Foscolo”

Who knows about you but doesn’t visit you?

Some citizens that live near the Museum but that never visited it

What new groups would you like to reach?

a.Youngsters aged 18-35 b.People belonging to other religions

What are the specific of each group?

a.Youngsters and students of the territory and of Rome using social networks and media b.Virtual visitors (Facebook and website) living at a distance from the Museum c.Other religions of the territory (orthodox and Islamic) d.People sharing the museum’s cultural, artistic and religious interests

ASSETS QUESTIONS

MUSEUM’S ANSWERS

What makes you stand out?

a.The experience of the spiritual emotion combined with the aesthetic enjoyment of the art work b.Lecture, concerts and exhibitions aiming to promote the participation of the local community in the museum’s activity

Why do people choose you?

Because MUDI is the one and only museum presenting the historic and artistic production of Christian religion of the Diocese of Albano

What do you sell?

What are your values?

What experience do you offer?

a.MuDi’s art collection offers a general and complete vision of the cultural and religious heritage of the territory b.The art collection includes the artistic production of minor artists that illustrate the religious devotion of the territory The cultural and religious heritage of the Museum represents the religious, cultural and symbolic values of the territory Visitors are touched either emotionally and intellectually by the Museum’s location and its art collection. The art collection offers a complete vision of the religious symbolism of Christianity and of the sacred liturgical objects used in Christian rites and ceremonies. Besides, visitors and worshippers can experience, through the art collection, the religious and spiritual values of Christianity

21


MUZEU HISTORIK KOMBETAR GJERGJ KASTRIOTI SKENDERBEU, KRUJE, ALBANIA STRATEGY QUESTIONS

MUSEUM’S ANSWERS

Why does your organization exist?

a. To disseminate the life and history of Albania under the guidance of the national hero Scanderbeg b. To inform the audience about the life and history of the Scanderbeg, his family, and his engagement in reuniting Albania in order to resist to the Ottoman Empire.

How will you make the world a better place?

Through the artifacts, historic and cultural documents the museum can contribute in the education process and development of young generations thus nurturing them with knowledge and culture, the latter representing the raw material on shaping better citizenship therefore aiming to make the world a better place.

What will people say about you in the future?

Our museum has always been a landmark of the region due to its importance and architectural composition. Taking into account the expectations especially of the younger generations I do believe that in the future this museum will be emerged in an interactive environment where audience will feel the sense of belonging upon they enter in .

AUDIENCES QUESTIONS Whom do you reach?

Who does visit you frequently?

MUSEUM’S ANSWERS a. Schools from the local context, regional, national and international (Kosovo, Macedonia, Montenegro) b. Historian and researchers (European region) c. Tourists d. Visitors from the artistic community a. Teachers from primary, secondary and high scools b. Tourists

Who has a formalized relationship with your organization?

Agreement with all the primary schools of Albania, Kosovo and Macedonia.

Who knows about you but doesn’t visit you?

Some citizens that live near the Museum but that never visited it

What new groups would you like to reach?

a. Youngsters aged 18-35 b. Retired people from the region

What are the specific of each group?

ASSETS QUESTIONS

a. Digital engagement of youngsters -Virtual visitors b. People sharing the museum’s cultural, artistic and religious interests

MUSEUM’S ANSWERS

What makes you stand out?

The tradition and the experience accompanied by the importance of the figure and impact of whom the museum is dedicated can be considered as a valuable asset that can be used in terms of promotion and the involvement of the institution in national and international projects.

Why do people choose you?

a. Because our museum is the one and only museum presenting the history and life of the national hero, Skanderbeg. b. It represents a national landmark, part of a must see visit list for tourists.

What do you sell?

Our museum is conceived as a time travel experience that is structured through different ways of artistic and historic expression, including objects, paintings, icons, furniture, sculptures etc

What are your values?

The historic heritage belonging to the museum represent the national identity therefore making our museum a pioneer of the history of Albania.

What experience do you offer?

Visitors have the opportunity to get a full background of the history of Albania during from 1400-1700. They have the possibility to participate into a suggestive environment that evocates the period.

22


MUSEUM OF CONTEMPORARY ART “THEODOROS PAPAGIANNIS”, GREECE STRATEGY QUESTIONS

MUSEUM’S ANSWERS

Why does your organization exist?

a. To preserve the collection of sculptures that the sculptor Theodoros Papagiannis bequeathed to his village. b. To preserve the ethnographic and cultural heritage of the Inland mountainous hinterland.

How will you make the world a better place?

To cultivate a higher degree of pedagogical sensitivity for artistic creation, but also in the long term to become an artistic tool with an educational role.

What will people say about you in the future?

The Museum will consolidate itself in the cultural life of a resource-disadvantaged area and will be a lever of educational development policy with qualitative criteria. The aim is to extend the existing cooperation between the Municipality and the Museum and to operate the latter as a lever of holistic quality development.

AUDIENCES QUESTIONS

MUSEUM’S ANSWERS

Whom do you reach?

a. Contemporary sculptors with significant experience in their field. Students from the Departments of Fine Arts. b. Postgraduate students of the Departments of Cultural Heritage Management. c. Participants in the events organized by the Museum such as music concerts, lectures, book presentations. d. Local community. e. Cultural Tourists from Greece and abroad.

Who does visit you frequently?

a. Secondary and high schools. b. Students from the University Schools of Ioannina. c. General public.

Who has a formalized relationship with your organization?

a. School of Fine Arts of Athens. b. School of Fine Arts of Ioannina.

Who knows about you but doesn’t visit you?

People from the region of Ioannina.

What new groups would you like to reach?

a. Youngsters aged 18-35. b. Cultural tourists visiting the region of Tzoumerka, Epirus.

What are the specific of each group?

ASSETS QUESTIONS

a. Youngsters and students of the region being involved in the production of cultural goods. b. Virtual visitors from mainland and abroad, sharing museum’s cultural impact.

MUSEUM’S ANSWERS

What makes you stand out?

a. The institutionalization of the sculpture symposium, which we hope that it will be upgraded to a summer postgraduate school. b. The uniqueness of the institution at the national regional level.

Why do people choose you?

Because they pay particular attention to the fact that a small-scale regional museum has innovated in the field of culture and has in fact demonstrated how cultural management can work for the holistic viability of small places.

What do you sell?

a. The peculiarity of a cultural capital that links tradition with modernity. b. The holistic model of cultural management. c. A number of small sculptures created by the sculptor Theodoros Papagiannis, which are sold at the Museum’s shop.

What are your values?

What experience do you offer?

a. The holistic model of cultural management of the mountainous area and the rich in ecological messages cultural environment. b. The value of education in reproductive regeneration of mountain areas. The empathy of historical duration, but also the impact of artistic creation in the economic and cultural development of a mountainous region.

23


SKOKLOSTERS SLOT, SWEDEN STRATEGY QUESTIONS Why does your organization exist?

MUSEUM’S ANSWERS a. To learn more about Swedish history from 1600 until now b. To show, preserve and let visitors enjoy exquisite architecture, art craft and paintings from several centuries

How will you make the world a better place?

a. Can increase the knowledge of the history of Sweden and history of art and consequently improve the intellectual and cultural quality of visitors. b. To be a place where it is calm and quiet and you can relax without any stress and c. Visitors can enjoy the beautiful surroundings

What will people say about you in the future?

a. It is an amazing place to visit, both for the beauty of the surroundings and the old castle where people can participate in augmented reality experiences and learn more of the history of the place and castle. b. Where you can feel how it was to live in a castle many years ago and learn how people in those times had struggled during their lives.

AUDIENCES QUESTIONS

MUSEUM’S ANSWERS

Whom do you reach?

a. Retired people b. Participants in the events organized by Skokloster (music concerts, lectures) belonging both to the local community and the area of Stockholm and Uppsala c. Local inhabitants d. Local school

Who does visit you frequently?

Teachers from primary, secondary and high schools

Who has a formalized relationship with your organization?

a. The nearest school for children up to 12 years old b. Student organizations

Who knows about you but doesn’t visit you?

a. People who think you must be interested in history to make a visit b. People who don’t like visiting castles

What new groups would you like to reach?

a. Youngsters aged 18-25 b. People aged 25-30

What are the specific of each group?

ASSETS QUESTIONS

a. Youngsters: hard to reach, they are not very interested in castles b. New families with small children: the distance is a problem

MUSEUM’S ANSWERS

What makes you stand out?

a. It is an exceptional castle with 50 000 items still in the castle b. You can follow a guided tour in the castle or explore by your self c. We are arranging a lot of activities like lectures, concerts, exhibitions. d. It has a beautiful surrounding

Why do people choose you?

a. Because the castle is one of the best-preserved castles with paintings, artworks b. Furniture, weapons and books still in the original milieu c.It is a beautiful milieu to visit where you can do different things in the castle and in the park: follow a guided tour, go by yourself in the castle, visit the children’s room, visit the café, have a picnic in the park or visit the animal in the park house

What do you sell?

a. In the shop you can buy a lot of items that will be souvenirs from the castles as cups, Napkins, Postcards, bowls, vases, placemats, magnets, Correct, notebooks and a lot of other things b. You can buy guided tours, special theme tours, in Swedish and English c. During the summer we also have Dramatized views

What are your values?

What experience do you offer?

The castle is a reminder of the history of Sweden when Sweden was a Great power of the north a. A beautiful scenery with the castle by the lake in the park b. A imposing castle built during the period when Sweden was a Great power in the north when it was important to manifesting your Wealth c. Many beautiful artifacts, paintings, books, weapons and furniture

24


MUSEU BORDALO PINHEIRO (MBP), PORTUGAL STRATEGY QUESTIONS Why does your organization exist?

MUSEUM’S ANSWERS To study and exhibit the artist Rafael Bordalo Pinheiro (1846-1905) and to make connections between his works and the contemporary world

How will you make the world a better place?

Aesthetically, by presenting his wonderful works; ethically, by presenting his thoughts and free will.

What will people say about you in the future?

People will be delighted with the artistic quality of the works and surprised with its contemporaneity

AUDIENCES QUESTIONS

MUSEUM’S ANSWERS

Whom do you reach?

Middle age visitors with university studies / art students.

Who does visit you frequently?

Middle age visitors with university studies / art students.

Who has a formalized relationship with your organization?

Universities and Juntas de Freguesia (parish)

Who knows about you but doesn’t visit you?

Bordalo Pinheiro is a well-known artist and his creation Zé Povinho is a beloved Portuguese folk character. We need to attract people who wants to know a little more about them.

What new groups would you like to reach?

Universitary Students, families, neighbours.

What are the specific of each group?

Young students that can integrate the study of Bordalo Pinheiro in their universitary works; families that look for places to visit and enjoy in their leisure times; people who lives in the neighbourhood of the museum and may visit often the museum activities

ASSETS QUESTIONS

MUSEUM’S ANSWERS

What makes you stand out?

the character of Zé Povinho, Bordalo Pinheiro Humor, and his ceramic works.

Why do people choose you?

Because of what makes the Museu Stand Out

What do you sell? What are your values? What experience do you offer?

Humor, beauty and a critical vision of the world Estetic values and ethical positions in society and political life Humoristic and aesthetic

25


3 GENERAL AUDIENCE DEVELOPMENT GUIDELINES KEY-WORDS AND SLOGAN


KEY-WORDS FROM THE IN_NOVA MUSEUM PROPOSED BY THE PROJECT’S TEAM

PARTNER DEVELOPED KEY-WORDS FOR AUDIENCE DEVELOPMENT

In the context of the definition of the Audience Development Strategy, the In_Nova MusEUM project plan was reviewed by the team to find and establish the most relevant key-words:

More key-words were proposed at the partner brainstorming discussion during the Tirana, Albania meetings.

→ Art and food → Young Citizens (18 – 35 years old) → Participation → Commitment → Engagement → Audiences diversification → Innovation → Effectiveness → Collaboration → Marketing strategy → Multi-sector activity → Artistic content circulation → Cultural tourism → Cultural events

1→Education 2→Interactivity 3→Provocation 4→Curiosity 5→Entertainment 6→Fun 7→Creativity 8→Inclusiveness 9→Democracy 10→Continuity 11→Participatory methodologies 12→Open public space

→ European culture diversity → Tradition and cultural heritage → Contemporary culture → Comprehension of culture → Local community → Artistic creation

27


SLOGAN FOR IN_NOVA INSPIRING IDEAS MUSEUM: FEED YOUR TO BE FURTHER SENSES @ MUSEUM! DEVELOPED TOGETHER As part of the communication strategy, the project aims to have dynamic, open communication element as materialised in the logotype of In_Nova MusEUm. The project’s slogan could pursue a similar approach, by having a main message that can be declined in secondary phrases.

Starting with overall idea that museum feeds the visitors – and that visitors feedback museums, as well - we played with the core concepts of incorporation (being fed), of holistic experience (all senses) and of being fully engaged and eager to visit museums (being hungry). Therefore, after diverse iterations, we came to the following main slogan:

Feed your senses @ museum! This slogan can be complemented with secondary messages about the specific activities being implemented as part of the project, as the events planned within In_Nova MusEUm’s work programme Open day and Dinner in White. The slogan “Feed your senses @ museum!” can be translated into the five languages of the five partner countries: Italian, Albanian, Greek, Portuguese and Swedish.

New ideas were produced by the project partners during the discussions in Tirana to support the strategic approach in the framework the project’s implementation.

→The network as a good way to create a connection

with the museum →Adopting an artist and making him the ambassador of the museum →Nature photos at the museums’ sites →Adopt an art work and promote it →Hungry for art? Visit or eat at a museum →Find the treasure in the museum →Wi-fi, coffee, pastry at the museum →Pop–up art, café, canvas →An aperitif at the museum These are but inspiring ideas to peripheral museums aiming to design and implement initiatives with the local community around the theme of art and food.

1 In-Nova MusEUm partners’ meeting, 22-24 March 2017, Tirana, Albania

28


4 AUDIENCE DEVELOPMENT IN PRACTICE


This chapter contains an overview of the participatory art and food events designed and carried out by museums’ directors and staff in cooperation with local communities during the project’s lifetime. The objective of these initiatives was to increase a sense of ownership of local museums by their communities, boosting new confidence and ideas, as well as to create new forms of artistic cooperation between the museums and local emerging artists. Local community participants included citizens, representatives of municipalities, cultural and tourism operators, enogastronomic associations.

ITALY The Italian museums involved in the implementation of In_Nova MusEUm’s activities are located in the Castelli Romani area, about 35 km from Rome: •Palazzo Chigi – Ariccia (associated museum) •Museo Tuscolano, Scuderie Aldobrandini – Frascati (guest museum) •Museo Diocesano – Albano (guest museum) •Museo Civico Lanuvino – Lanuvio (guest museum)

The activities were designed and agreed during three meetings (Local Museum Participatory Labs) organised in the first six months of the project’s lifetime with the participation of museum directors and the local community representatives. The objective of these meeting was the definition of cultural and creative activities addressed to young adults 18- years old and having as central theme the art and food alliance based on the strong artistic, historical and enogastronomic heritage and traditions of the area. Open field workshop: Dining with Mario The event on the 12th of December 2016 was inspired by one of the works stored in the Palazzo Chigi in Ariccia: the canvas “Autumn” painted in the XVII century by Mario Nuzzi (also called Mario de’ Fiori, 1603 - 1673) specialised in the production of still lives painted with very realistic vegetables, fruits and flowers. The painting contains a wide variety of local products (grapes, pumpkin, pomegranate, etc.) and Autumn was the season at which the event took place. The activity was structured as a “complex performance” with the participation of the director of Palazzo Chigi, the young professional chef of a famous local restaurant and a professional actress. The goal was to tell the charm of seventeenth-century kitchen through the explanation of the painting, the dishes cooked by the chef and inspired by the products of “Autumn” and the story of practices in food during the Baroque period.

2

3

Participatory Lab, Comune di Frascati / Museo Tuscolano – Scuderie Aldobrandini, March 14, 2017

Dining with Mario, Palazzo Chigi of Ariccia - December 12, 2016

30


During this special dinner, the audience was actively involved. The Palazzo Chigi monumental kitchen was set up as a typical baroque environment, to recreate a seventeenth century atmosphere. During the preparation of the recipes, the chef offered to the viewers of the performance small samples enjoyed while the actress explained Baroque table manners. Open field workshop: Prendete e bevetene. Calici liturgici e calici da degustazione The event on the 8th of March 2017 was inspired by the artistic goblets in the collection of Diocesan Museum of Albano. To one side, the Sacred, represented by some precious goblets; to the other, the Profane, illustrations of glasses used by tasters and sommeliers to taste wines and sparkling wines. The workshop was attended by the local community aged from 20 years and up (there was also a baby - In_Nova MusEUm nurtures the next generation of museum audiences!). A lecture by a priest of the Diocese of Albano Laziale was dedicated to the history and symbolism of chalices and wine used in the Christian liturgy of the Eucharist during mass. A second lecture by a journalist and wine expert was devoted to the comparative history and symbolism of the cup and wine in Greek mythology and Christian, Jewish and Muslim religions followed by a broad description of the different types of wine glasses used over the past centuries until present.

To conclude the event, a description and tasting of red and white wines produced in the Castelli Romani area, served with local food and a reinterpretation of ancient Roman recipes by a local enogastronomic association. Transfiguration workshop: Food in Art@Museum The event on the 22nd and 23rd of April 2017 was based on the dissemination of digital images of food themed artworks at Palazzo Chigi in Ariccia. The In_Nova MusEUm Transfiguration Workshop was attended by visitors of the museum, especially of the 18 to 35 years demographic. The participants who presented the event’s poster at Palazzo Chigi’s ticket office took advantage of a low-priced entry. The guided tour on the Noble Floor was designed as a treasure hunt. Visitors had to look for works of art (paintings, statues, books, building itself, etc.) based on the theme of food. After photographing the hunted works, visitors used Instagram’s hashtag “#foodinartmuseum” to publish online their own images. The most beautiful photos, voted by Instagram users, were printed and displayed in one of the halls of the Museum. The “treasure hunt” was appreciated by the youngsters who are typically very familiar with social networks such as Instagram and Facebook and enjoy

4

5

Prendete e bevetene, Museo Diocesano of Albano, March 8, 2017

Food in Art @ Museum, Palazzo Chigi of Ariccia, April 22-23, 2017

31


sharing their experiences with friends. The event proved to be extremely successful: the participants found out a surprising amount of food detail confirming In_Nova MusEUm’s assumption that food is (almost) everywhere in arts! Open field workshop: Museum Walk The event on the 16th of June 2017 was designed as a walk between two museums involved in the project: Palazzo Chigi of Ariccia and Museo Diocesano of Albano.

copal Residence. To conclude the event, a tasting of food and wine produced in the area of Castelli Romani was served by a historical local grocery store. Dinner in White at Palazzo Chigi, Ariccia On the 7st of July 2017, one hundred people participated in the successful Dinner in White event (booking was required). They came from Ariccia, its surroundings and from Rome. Attendees were asked to bring their own food (cooked according to the local tradition) with their own tableware and tablecloth in a picnic basket and to wear white clothes.

Participants gathered in the internal courtyard of Palazzo Chigi. The visit of its immense park of 28 hectares started with a tour that told the history of the park, dating back to 16th century, and described its rich vegetation, archaeological finds, fountains and decorations of the 17th century, and the last remnants of the nemus aricinum consecrated to goddess Diana.

A contest was set up to award the best white dress, the best table and the best pic-nic basket. The prizes consisted of bottles of wine from a local producer. Two “imperial” tables of 50 seats each were arranged at the left and right side of the internal courtyard of Palazzo Chigi in order to bring to life the popular tradition of the “dinners at Castelli Romani” of past times.

After the visit to the park, attendees walked for approximately 2,5 km and reached the town of Albano where the Museo Diocesano is located and the history of Palazzo Lercari was told by its director. The palace was commissioned in 1727 by Cardinal Nicolò Maria Lercari, State Secretary of Pope Ben-

During the dinner participants could enjoy the beautiful performances from the Choir Ottava Rima Gruppo Vocale who sang traditional songs dating back to XVI century until XX century. The National Historical Dance Company performed the mazurka of the famous movie The Leopard shot at Palazzo Chigi

6/7 One Open Day - Museo Diffuso di Lanuvio - November 24, 2017

edetto XIII to enlarge an existing villa that belonged to the Lercari family and was built on the ancient Roman ruins of the small thermae located below the Rotunda area. The Pope resided several times in the palace. In 1757, after the Cardinal’s death, the palace was donated to the Diocese to become an Epis-

8 Dinner in white, Palazzo Chigi of Ariccia - July 7, 2017

32


in Ariccia by Italian master director Luchino Visconti. The dancers also involved the participants in spectacular dance performances such as Quadrilles, Country Dances and Mazurkas. Poet Tiziana Colusso read a poem about the town of Ariccia that she published in 2004. Open day: Dalla grotta alla tavola: i riti di Giunone Sospita e il loro rapporto con il cibo The “Open Day” event took place on 24th of November 2017. It was inspired by the artworks selected by the users of the Facebook pages of the In_Nova MusEUm circuit during the contest promoted in the initial phase of the project. The selected masterpieces are displayed in the guest museum of this event, Museo Civico Lanuvino, and they are inspired by the ancient rituals of the Roman goddess Juno Sospita Mater Regina, venerated in the ancient village of Lanuvium.

more objects made of the same materials for the museum’s bookshop or for other exhibitions. The last part of the event took place in the Master Tower of the Castle of Lanuvio, recently restored by the municipal administration where a local enogastronomic association made the maza, a sort of bread or salted biscuit that in the Roman period was offered by young girls during the ceremony of the Snake in Pantanacci. Visitors could also taste the mazas with local wine and olives, as in a Roman banquet. For this special occasion, artists of the Lazio region made terracotta carafes and cups for tasting red wine, as in the ancient Roman tradition.

The Open Day was also inspired by the recent discovery in Lanuvio of the archaeological site of Pantanacci: it is a natural cave -- part of the ancient sanctuary – where people venerated a Sacred Snake. In this place, every year, girls offered cereal biscuits (mazas) to the Snake. Others prayed to the Animal and to the Goddess to make the fields fertile all the year round and to heal diseases. In the cave, thousands of small sculptures were found representing the parts of the human body for which healing was sought by sufferers. In recent months, these findings were exhibited in a new room of the local museo diffuso (diffused museum), thanks to a scenery specially designed to simulate the original grotto of the Sacred Snake. In the spirit of the Open Day suggested by In_Nova MusEUm, the director of the local Museum and of the archeological site illustrated the exceptional importance of the archaeological area with a guided tour into the cave of Pantanacci. Special cameras and other instruments revealed the interior of the cave. The second part of the afternoon took place at the new hall of the Lanuvio’s Museum, the setting of replica of the Snake’s anteroom. An artist showed to the participants the paper mache technique with which she made the reproduction of the statue of the Snake that was originally in Panatancci. She showed

9 The cave of Pantanacci, November 24, 2017

ALBANIA Participatory Lab, Kruje The Participatory Lab organised in Kruja took place in an open space to foster an open discussion with youngsters from the city’s high school. After being introduced to the In_Nova MusEUm project they were requested to give feedback on the main issues they face when visiting the National Musuem of Kruja: context, reasons why they feel distant from the institution, what needs to be done by the museum to attract more youngsters and to make them aware of and responsible for the historical heritage. They were divided into small groups and request-

33


ed to respond to a questionnaire. This activity spiced their interest making them feel conscious about the role they might have in the museum’s organisation and in future audience development activities. Valuable contribution was given during the meeting with the representatives of the museum that took place later. The youngsters presented ideas such as the creation of “youth museum ambassadors� serving as communication bridges between the institution and the community.

tween them and the museum. Divided into small groups they used food as raw material in order to provide artistic prototypes that were later presented in an open-air exhibition. The latter also served as a provocation in order to understand how the community would react to this opening of the museum. The response from the respective communities was very positive contributing to increase their interest in the museum environment.

10 Participatory LAB Kruje driven by Albanian partner

Participatory Lab, Durres A second participatory lab using the same approach was organised in Durres. The main focus was on the Archeological Museum, recently restored. The students from the vocational culinary school of Durres and from the Artistic high school were invited for an open and direct discussion and introduced to In_Nova MusEUm. The students considered important the introduction of services and activities in the daily life of the museum that included their participation. Workshops, Durres and Kruje The participatory labs organised respectively in the two museums, were followed by two workshops conceived as the continuation of the discussions with the students of each city. Art and food were the two main instruments that students were requested to provide a prototype product that could highlight the impact of the museum. This activity was highly appreciated, since it represented a way of nurturing the sense of belonging be-

11/12 Participatory LAB Kruje driven by Albanian partner

34


Dinner in white, Kruje The dinner in white activity organised on the 20th of May 2017 had a bold impact on the community including also the representatives of the local goverment. The latter decided to officially establish this date as the day of the city, making a huge step towards fostering museum’s impact on the identity of the area. The activity included many events starting with the performance of the renowned folkloristic ensemble “Pleqte e Krujes” leaving later on the stage to young pop-rock groups, galvanising the audience and bringing closer the younger generation into the premises of the museum. Open air workshops were also an integral part of this activity accompanied by open air exhibitions and buffet, the latter promoting local food and traditional dishes of the region. The impact the museum had on this occasion was immediately tangible. More than 100 visitors decided to buy a ticket and have a look inside the spaces of this institution. The activity will be repeated every year on the same day thus being part of the community’s identity.

the sculpture collection of Theodoros Papagiannis (Θεόδωρος Παπαγιάννης). In the following years the collection was gradually enriched with works that were produced during the Summer Sculpture Symposiums. The participation of the museum in the project is part of its efforts for extroversion, for cooperation at national and international level and to cultivate the educational dimension of museum material. The In_Nova MusEUm actions had a profound appeal to the public and a special effort was made to combine tradition with innovation and modernity. Participatory Lab at the Silversmithing Museum, Ioannina, Epirus Participatory Lab 1 was held on the 18th of December 2016. The Lab was announced via personal invitations, emails and social media. A press release was sent to local newspapers and TV stations. Thirty-six people attended the event. Project managers Christos Merantzas and Eleni Pagratiou provided information regarding the action. Information concerning the previous activities of the Museum was also provided by Professor Theodoros Papagiannis. The discussion, conducted by Eleni Kontzampopoulou, with the contribution of the members of the podium, developed a very clear message for the need to attract and cultivate new audiences, not only for financial reasons but also for creating a meaning and a value of life. The Mayor of the Municipality (Giannis Senteles) and the Director of the Theodoros Papagiannis Museum (Thaleia Tsoni) expressed their appreciation for the project and its contribution to the cultural promotion of the region.

13 Dinner in white Kruje

GREECE The Museum of Contemporary Art ‘Theodoros Papagiannis’ was inaugurated in 2009 in order to house

All participants recogized that the presence of the museum contributes to the region’s sustainability, quality of life and economic flourishing. The ‘Papagiannis’ Museum serves as a model by constituting a bedrock for regional cultural development and as a unique example of cultural decentralization in times of crisis. Eleni Kotzampopoulou explained the need for new practices in audience development based on active audience participation. Theodoros Papagiannis empha-

35


sized the need to involve the students of the School of Fine Arts of the University of Ioannina in the research and artistic activities of the Museum in the framework of the project’s activities. He announced a symposium to be held in the Municipality of Northern Tzoumerka focused on the topic of traditional food. The coordinators of the project suggested to the participants of the participatory Lab to select works of art related to food from the collection. Five works were selected to be transfigured: The Bread, The Egg in the Bird’s Nest, The Fruits, 4, the Fish and 5 The Hanging Animal Skins. The selection was based on the dynamics of their symbolic connotations and their timeless cross-cultural value. For example, Egg refers to our common matrix and also to the creation of the world. The Twelve Animal Skins are a reference to the consumption of meat, but also have a very strong ecological significance referring to the protection of nature. Bread has a Pan-human meaning and the walnut fruit represents the intellect, while the Fish is of importance in the Christian tradition. As the selected works represent the dipole raw / cooked or otherwise nature / culture, oral tradition / written tradition, it was decided the next participatory laboratory to organize an experimental workshop accompanied by a lecture on the relationship between the raw and cooked food in the cultural evolution of the humankind. In the same context, multiple narratives (for a differentiated publics) of traditional tales from all over Greece related to food will be narrated at the Papagiannis Museum. Participants highlighted the importance of new technologies and social networks to attract audiences. It was decided to prepare a survey of Museum visitors for the next month and for an extended period of nine months to further evaluate the museum needs, mission and experience. The culinary club of Ioannina proposed to collaborate in forthcoming participatory laboratories. The presentation was followed by a cocktail with refreshments and local wine. Of special emphasis is the fact that early in October

Eleni Pagratiou and Christos Merantzas have personal meetings with people that are going to be involved in the project. A first meeting was organized with the Mayor of Northern Tzoumerka, Mr Giannis Senteles, and a second one with Dr. Maria Stratsani, Director of the Cultural Center of the Municipality of Ioannina and with Miss Aurelia Stika, Director of the Educational Creative Center of the Municipality of Ioannina.

14 The Silversmithing Museum, Ioannina, Epirus, 18 December 2016

Participatory Lab at the Archaeological Museum of Ioannina Epirus The 2nd Participatory Lab was held on the 11th of February 2017 in the temporary exhibitions hall of the Museum with 40 participants. In the first part of the meeting, the Director of the Archaeological Museum, Dr. Constantine Soueref, welcomed the participants and focused on the importance of food as a cultural practice in ancient cultures. The architect Dr. Helen Pagratiou presented the In_Nova MusEUm project. Sculptor and professor Theodore Papagiannis underlined the importance of food in artistic creation and the need of archetypes in our present life. Finally Dr. Christos Merantzas insisted on the morphology of the future workshops and of the activities that had to be held in the framework of the project. He particularly focused on those basic elements relating to audience development of the Museum of Contemporary Art ‘Theodoros Papagiannis’ and the importance of the cultural activities related to the project in the regional development.

36


In the second part of the discussion, followed by a very fruitful, detailed, and productive dialogue among participants, were objectified the actions and all the related activities on art and food that had to be undertaken during future workshops. The schedule of events was unanimously approved: •Sunday, March 26, 2017. Narrating tales by Maria Machaira for children and adults with creative participation of children 5-12 years old (Vicky Mitsi & Orelia Stika) and parents involvement •Saturday, May 6, 2017. The main theme will be the raw food diet (Maria Machaira), accompanied by a fiction workshop (Theater Group ‘North’) and the involvement of Epirus Gastronomy Club •Saturday, May 20, 2017. Dinner in White, with a musical event in the museum’s garden (Concerto for flute from the Municipal Conservatory of Ioannina) and a puppet workshop by Socrates Pappas •The week of artistic bread production was agreed, for practical reasons, to be postponed to 6-10 June 2017. It will be accompanied by an exhibition of the faculty members, Dr. Zikos Dedos (Associate Professor) and Dr. Stefanos Tsiodoulos (Assistant Professor)] of the Department of Fine Arts and Sciences of Art of the University of Ioannina. •Sculpture Symposium August 20 to September 20. A performance dramatizing myths on food presented by the Theater Group ‘North’ (06-08/09)

15 Archaeological Museum of Ioannina, Epirus, 11 February 2017

•October 15. Photography exhibition of the Creative Photography Club of Ioannina (Ioannis Benekos); a book exhibition at the Central Library of the University of Ioannina; dramatization of stories related to

bread by the students of Arsakeio School of Ioannina •Early November 2017) an artistic photo exhibition by Vangelis Giotopoulos, based on photographic material from all the actions carried out under the project Open field workshop at the “Theodoros Papagiannis” Museum of Contemporary Art, Helliniko, Ioannina, Epirus

16 Helliniko, Ioannina, Greece 26 March, 2017

The 1st Workshop was held with audience participation of more than 40 persons + 19 children), on Sunday 26th of March 2017. In the courtyard of the museum Helen Pagratiou and Christos Merantzas welcomed the participants and informed on the objectives of In_Nova MusEUm and on the future actions to be implemented. The participants were also asked to fill a questionnaire after their visit to the museum. Vicky Mitsi and Aurelia Stika, with kindergarten children, followed a red thread that was laid from the museum’s entrance to the Room of Bread while they narrated the history of corn and wheat. Along the route were small containers with fruits and nuts that children could use in the preparation for small artistic breads. Once the children were gathered in the Benefactors Room, they were encouraged with the help of educators to prepare and decorate small artistic breads, ready to be cooked. As this happened sculptor Theodoros Papagiannis guided parents to the sculptures on the museum’s courtyard and to the permanent collection. In the second part of the workshop, narrator Maria Machaira, accompanied by the musician Anthonis Karastamatis, set to free the participants imagination

37


and senses. They recounted fables and folktales on food from local pre-industrial culture, and inspired the children to sing with them. Natural juices and pastries awaited the young visitors at the end of the event. All participants enjoyed local dishes of local cuisine, wine and refreshments. Tea and coffee were always available throughout the workshop. Open field workshop at Fethiye Camii of the Inner Citadel of the Castle of Ioannina, Epirus, Greece The 2nd Open Field Workshop was held on the 6th of May 2017 with the participation of 80 persons. The narrator of folk fairy tales Maria Mahaira, accompanied by the musician Mr. Antonis Karastamatis, presented to the audience folk tales from pre-industrial Greece, with the central theme of the raw and the cooked food, and with emphasis on cannibalistic practices in folk narrative tradition of pre-industrial Greece.

wearing white outfits. It was addressed to all ages and had the character of a public festivity. In the first part of the event, school educators Vicky Mitsis and Socrates Pappas oversaw the creative work of the children. At dusk, there was shadow theatre by the ‘Athenian Shadow Company’ and Athos Danellis followed by a musical trip to “Old Europe” with the band ‘Beer for Breakfast’. The Cultural Association of Helliniko village and the Cultural Association of Kalarrytes village offered traditional pies to all participants. Given the outdoor nature of the event, participants could also bring their own food. Admission to the public was free. Sculpture Symposium in Greece The 8th Sculpture Symposium took place from the 18th of August to the 10th of September 2017 at the Museum of Contemporary Art “Theodoros Papagiannis” in the framework of the European project In_Nova MusEUm. It was co-organised by the Municipality of Northern Tzoumerka, the Museum of Contemporary Art “Theodoros Papagiannis” and the “Friends of the Museum of Contemporary Art Theodoros Papagiannis”. The Symposium was accomplished with great success both in the production of sculpture works and in the large audience participation as well as the parallel events. One of the sculptures produced was placed at the headquarters of the Municipality of Northern Tzoumerka.

17 Castle of Ioannina, Greece, 6 May 2017

The atmosphere of the space and the interpretation of the artists created an extremely magical ambience. The Gastronomy Club of Epirus prepared for the participants raw and cooked foods that were directly related to the content of the folk tales that had been narrated, accompanied by local wine. The tasting experience was held in the event hall of the Byzantine Museum of Ioannina. Dinner in White at the Museum of Contemporary Art “Theodoros Papagiannis” The Dinner in White took place on Saturday, 20th of May 2017. The Dinner in White required participants

The Symposium was preceded by a press conference by the sculptor Theodoros Papagiannis, the Mayor of Northern Tzoumerka and the President of the Museum Yannis Senteles for the local media and press. The museum also made widespread dissemination of the event in social media. The audience was highly encouraged to visit the place and to follow the artists working in the open-air sculpture symposium. The works produced during the Symposium enriched the existing sculpture collection of the museum. The museum worked for its visitors as an open-air art workshop encouraging a large audience participation, with an educational character, promoting the exchange of views, cultural and aesthetic reflections. The symposium was framed by multiple cultural ac-

38


tivities and events, all free to the general public. The museum was for a month transformed into a pole of attraction to the general public. Theodoros Papagiannis worked with his students and collaborators: Aris Katsilakis, Ergis Chrysikos, Spiros Ligasaras and Fatto Shulli for a period of one month and produced the following sculptures: 1. Shepherd (Theodoros Papagiannis, assisted by Spiros Ligasaras), 2. Eyes (Theodoros Papagiannis, assisted by Spiros Ligasaras), 3. Maternity (Theodoros Papagiannis, assisted by Fatto Shulli), 4. Museum Guardian (Theodoros Papagiannis, assisted by Ergis Chrysikos), 5. Peacocks (Ergis Chrysikos), 6. Finding (Aris Katsilakis), 7. Stone (Nature’s work). The symposium aimed to make the Museum a pole of attraction for the general public. A series of parallel events in cooperation and the support of the “Friends of the Museum”, the “Helleniko Village Cultural Association”, and the “Tsouka” Association of Athens took place in the courtyard of the Museum: 1. August 19, at 20:30, documentary film titled “Our marbles” by Nikos Papakostas, 2. August 20, at 20:00, concert with the participation of Costas

duced by the theatrologist Sofia Bletsou and with the participation of amateur actors from Elliniko village, 7. September 2, at 20:30, a theatrical performance entitled “The Greeks” by K. Makrygiannis (Municipal Theater of Ioannina), 8. September 9, at 20:00, traditional folk music by D. Xaxiris and G. Makrides. Preparation of bread: Sacred Breads -- Kneading with the women of the village

19 Preparation of bread in Greece, 11 October 2017

The event Sacred Breads -- Kneading with the women of the village was held at the Museum of Contemporary Art “Theodoros Papagiannis” on 11th of October 2017.

18 Sculpture symposium in Greece – Courtyard of “Theodoros Papagiannis Museum of Contemporay Art”, Elliniko, Ioannina, Greece, 18/08-10/09 2017

Leontaris (violin), Anastasia Stavrou (piano) and Olga Balomenos (voice), 3. August 23, at 20:00, folk music with Giorgos Patsouras, 4. August 26, at 20:00, a theatrical performance by the amateur theatrical group “Exaidas” by Babis Tsikleropoulos, 5. August 27, at 20:00, a lecture by the architect and art historian Kostis Kazamaki under the title “Art and Democracy”, 6. August 30, at 20:00, a theatrical performance pro-

The event was attended by the women of the village, who brewed a series of artistic breads in the museum’s bread room. The sculptor Theodoros Papagiannis helped in the creation of breads. In the same room, a large group of preschool children (25) together with their parents kneaded their own breads, baked and later displayed at their schools. Breads created were exposed for ten days at the Museum. At the end of the exhibition, which coincided with the 4th Official Meeting of the In_Nova MusEUm Partners, a religious ceremony was organized at the Museum during which the breads were blessed and then passed on to the attendees. The objective was for the local public to experience the social and creative wealth which emerges from artistic creations, to understand the reproduction of everyday life in a museological setting and to reap the benefits of creation which arise through the produc-

39


tion of cultural capital. The museum is no longer a distant point of reference, but gradually begins to register in the minds of local communities, and becomes part of their daily lives offering a qualitative upgrade of their awareness. Open Field Workshop in the Central Library of the University of Ioannina The Municipality of Northern Tzoumerka, the Museum of Contemporary Art “Theodoros Papagiannis”, the Central Library of the University of Ioannina and the Arsakeia Schools of Ioannina co-organised the 3rd Creative Workshop on the 20th of October. The opening of the one month Book Exhibition on Food took place on the ground floor of the Central Library of the University of Ioannina, under the supervision of Professor in the Department of History and Archeology Dr. Marina Vrellis – Zachos. The books exhibited belonged to the library collections. For the needs of the exhibition a bibliography on food was published in electronic form and shared with visitors. For the book exhibition collaborated the postgraduate students of the Department of History and Archeology Nikolaos Sapounas, Stelios Stromatias and Konstantinos Chliras. On the opening day of the exhibition, Professor Marina Vrellis-Zachos lectured on the traditional diet in Epirus at the Amphitheater of the Central Library of the University. On the same day, Arsakeia Schools of Ioannina presented the dramatized tale “The Sweetest Bread”, in free adaptation, directed by Petros Christakopoulos. The event was greeted by the Rector of the University of Ioannina, Professor George Kapsalis, the Director of the Central Library of the University of Ioannina, Dr. Georgios Zachos, the President of the Museum of Contemporary Art “Theodoros Papagiannis” and Mayor of Northern Tzoumerka, Mr. Yannis Sendeless, the sculptor Theodoros Papagiannis, Professor of the Fine Arts School and the Director of the General Lyceum of Arsakeion School of Ioannina, Mr. Pavlos Mavroyiannis. In the morning a press conference took place. The workshop was a great success. It coincided with the 4th Official Meeting of In_Nova MusEUm Partners held in Ioannina from the 18th to the 21st of October 2017. More than 250 people attended the event.

One Open Day & Transfiguration: Metamorphoses The Municipality of Northern Tzoumerka and the Museum of Contemporary Art “Theodoros Papagiannis” co-organised the second part of the Workshop entitled Metamorphoses and the One Open Day event at the City Hall and the Gymnasium of the Municipality of Northern Tzoumerka, on Friday the 10th of November 2017.

20 One Open Day & Transfiguration in Greece – Village of Pramanta / Village of Helliniko, 22.08.2017 & 10.11.2017

The artists Theodoros Papagiannis, Sini Papagianni and Giorgos Polyzos worked for a whole day with the students of the Gymnasium and the Lyceum of Pramanta in the production of paintings on the subject of food and on the five works pre-selected for the museum’s actions. The works produced were then placed for a whole week in public places of the Municipality of Northern Tzoumerka as well as in the traditional cafes of Elliniko village. The event was the second part the One Open Day event organised on the 22nd of August. On this occasion and based on the topic of meat, Theodoros Papagiannis gave an open lecture to the general public at the seminar organised by the Municipality of Tzoumerka on livestock farming, under the title “The shepherd I bring in me”, on the 22nd of August in Pramanta. On this occasion, a sculpture of the idealised type of the local Cattleman was produced in the introductory framework of the 8th Summer Sculpture Symposium by sculptor Theodoros Papagiannis with the help of his pupil Spyros Lisgaras, was

40


unveiled in Pramanta square on the 22nd of August. Open Field Workshop: Creations with Earth’s Fruit

SWEDEN The activities were designed and agreed during two meetings (Local Museum Participatory Lab) arranged in the first six months of the project’s lifetime with the participation of the museum directors and the local community represented by citizens, the municipality, cultural and tourist operators. The objective of the meeting was the definition of cultural and creative activities addressed to young adults of 18-35 demographic having as its central theme the art and food alliance. Participatory Lab: taste a bit of Vertumnus The event took place on the 9th of December 2016 at the Skokloster castle. The guests were first introduced to the project’s objectives, what had been happening so far and what was coming next. All participants were welcomed to contribute to the upcoming activities during the next year at the museum. To give a suggestion about what we could do under the theme “Art and Food” the guests tasted a bit of the museum’s famous painting Vertumnus. That is, a fruit salad and other dishes with the depicted ingredients as in the painting --- apples, pears, figs, pomegranate and on top whipped cream was made, accompanied by a porridge of almond with a sauce of red cherry. Christmas cakes of wheat with saffron were also offered. As a warm drink, apple juice with Christmas spices.

21 Museum of Contemporary Art “Theodoros Papagiannis”, Helliniko Ioanninon-Primary School in the first floor of the Museum, Greece, 14 December 2017

The Museum of Contemporary Art “Theodoros Papagiannis” organised in collaboration with “Wonder House”, the 4th Creative Workshop entitled “Creations with Earth’s Fruit”, which took place on the 14th of December 2017 at the Primary School of Helleniko, Ioannina, at 11:00. The aim was to introduce children to the Mediterranean diet and to create an integrated ecological consciousness on the culture of consumption and eating.

22 Museum Participatory Audience Development Lab, December 9, 2016

41


Participants were from the local community, the local church, local restaurant, the café at the castle, the former owner of the castle, local artists, the architect for the castle, local entrepreneurs, the gardener and museum staff. Participatory Lab: Discussing the Dinner in White The event took place on the 1st of March 2017 at the Skokloster castle. The guests were first introduced to the project’s objectives, what had been happening so far and what was coming next. All participants were welcomed to contribute to the upcoming activities during the next year at the museum. Guests were offered a special bun that by tradition is always eaten in Sweden before lent close to Easter. The tradition is very old but the bun is still very popular. The discussion with the guests evolved about whether it should be a White Dinner or a Picnic in white. Guests were introduced to white dinners in places like Paris and London with photos from different events. How best to sit in the park was next discussed. Should we have a picnic in white where all guests should sit on the grass? Then you don`t have to know how many people are coming. But it was agreed that maybe the grass in the park is too large and you need to be many people not to feel too few.

how many people will be expected, table and benches can be ordered in advance. It was considered complicated that the guests would take their own table and chairs with them. In May in Sweden it can be warm and nice weather but it could also not be good outdoors so a “plan B” was adopted. Plan B must be to sit inside the castle, may be with some entertainment, maybe some music. It would be nice if all could dance together. Next discussion was about what kind of food for the picnic baskets and how serious to be about dressing in white. Maybe it would be enough to wear something white. People would find it complicated if they had to be dressed only in white. The discussion was very lively and fruitful. The participants expressed a sincere enthusiasm and eagerness in the organisation of the event. Activity: The apple day

An alternative is to sit in the tree avenue in the park. With an invitation on Facebook it is possible to know

24 The Apple Day, Skokloster castle

23 1st participatory lab, Skokloster Castel, December 9, 2016

In the park surrounding Skokloster castle there is an apple garden with about 150 trees with 30 different varieties of apples. Last century there were even more apple trees and the fruits sold at different markets were a good income source for the castle.

42


The apple day was inspired by the painting of the god Vertumnus at the museum’s collection, created by Arcimboldo in 1592, depicting a head made up of numerous fruits and vegetables. At the courtyard at the castle was put on display a small sample of different varieties of apples and each with a text with some history of the variety. A pomologist told the history of some of the different sorts of apples and how they best could be used in cakes and food.

that uses food paints and the setup of a table for a banquet, organised with visual artists Joana Andrade and Paula Ribeiro on the 1st of July 2017.

At last visitors were invited to taste seven different apple cakes and the apple salads made by chef Bobo Bergström at the nearby hotel. There was Swedish apple cake with vanilla sauce, French apple cake, a cake made with apple , chocolate and pepperoni and several others different apple pies. One salad with curry and apples, one with apples and lingonberries and a waldorf salad (fresh apples, celery, grapes and walnuts, dressed in mayonnaise, and usually served on a bed of lettuce as an appetizer or a light meal). The event was attended by 25 persons, who listened to the lecture and tasted the very nice salads and the wonderful cakes made of apples.

The third workshop was lectured by journalist Álvaro Filho who introduced participants to mobile phone video production in three sessions from the 11th to the 13th of October 2017. The last of workshops also dealt with digital media production with an introduction to digital animation provided by designer Marta Ramos, on the 11th of November 2017.

PORTUGAL All the In_Nova MusEUm activities took place at Museu Bordalo Pinheiro, associated partner of the project. The first public event was the Participatory Lab, on the 23rd of February 2017 with invited guests, mostly young artists and designers, and also university professors and museum professionals. This activity was followed by the organization of the Local Committee meeting on the 16th of March attended by museum professionals, university professors in the fields of museology, communication and design, communication professionals and cultural operators.

The second workshop entitled Mais olhos que barriga (literally “more eyes than belly” meaning “bite off more than you can chew”) was lead by visual artist Joanna Latka and took place on the 15th and 16th of July, 2017.

The Dinner in White at Museu Bordalo Pinheiro took place on the 20nd of May 2017, attracting over 60 people for this very special alternative food dinner. Open day, the Open Day at Museu Bordalo Pinheiro was held on the 13th of October 2017 also proved to be a successful event, involving more than 80 people, mostly young university students. Participatory Lab: Bordalo Pinheiro at the table The first Participatory Lab at Museu Bordalo Pinheiro – Lisboa took place on the 23rd of February 2017 with about 20 participants, mostly young artists and designers, university professors and museum professionals.

The four Open Field Workshops were held from the 1st of July to the 11th of November 2017: a diverse set of workshops was organized in order to attract young people to the museum, in which the theme art and food was always on the menu, drawing into Rafael Bordalo Pinheiro’s work as a source of inspiration. The first workshop – called Mesa Posta (literally “table laid”, a table set up with all the dishes ready for the meal) – was dedicated to a dyeing tablecloth technique

25 Participatory Lab - participants visiting the museum, 23 February, 2017

43


Representatives of Museu Bordalo Pinheiro and of University Lusófona started with a brief presentation of the In_Nova MusEUm project, followed by a presentation of the main results from a recent study conducted to find more about current and future visitors of the museum.

development at Museu Bordalo Pinheiro. A lively discussion produced valuable ideas for Museu Bordalo Pinheiro or for other peripheral museums. Dinner in White: Jantar Bordaliano (Bordalian Dinner)

After a questions and answers period, the participants had the opportunity to visit the museum’s permanent exhibition, as well as the temporary exhibition “Bordalo à Mesa” which is focused in the connection between art and food in Rafael Bordalo Pinheiro’s body of work. The participants were then invited to submit proposals for workshops for In_Nova MusEUm project, blending art and food in a creative way with the Bordalo Pinheiro legacy. Participatory Lab: Audience research discussion The second Participatory Lab and first meeting of the Local Committee took place on the 16th of March 2017 at Museu Bordalo Pinheiro with a total of 12 participants: museum professionals, university professors in the fields of museology, communication and design, communication professionals and cultural operators.

27 Dinner in White/ Jantar Bordaliano, 20 May, 2017

The event took place on the 20th of May 2017 at Museu Bordalo Pinheiro. It was inspired by the works of Bordalo Pinheiro, hence the title Jantar Bordaliano (Bordalian Dinner). Drawing inspiration from several ceramic pieces by Rafael Bordalo Pinheiro, Nuno Carrusca, the renowned chef of restaurant Água no Bico, created a true banquet-performance for the participants in this special event. Several ceramic pieces designed by Rafael Bordalo Pinheiro, namely the beautiful ceramic plate Mesa Posta (A Set Up Table), and lovely decorative ceramic leaves and ceramic mugs designed by Bordalo Pinheiro were displayed.

26 Local Committee, 16 March, 2017

The agenda for this Participatory Lab included: to present the In_Nova MusEUm Project; to present and discuss the findings of audience research conducted by University Lusófona and Museu Bordalo Pinheiro about young people and museum attendance (online survey, face-to-face survey, exit survey and possibly focus groups); and to discuss ideas for audience

The major goal of the event was to provide a hopefully extraordinary experience to participants, by bringing together food and the art of Bordalo Pinheiro in an innovative way. The dinner-performance started about 20h00, with a brief welcome by João Alpuim Botelho, director of Museu Bordalo Pinheiro, and chef Nuno Carrusca. Guests could also watch a special selection of animated films made by University Lusófona’s students projected on a large wall of the museum’s inner patio. The dinner-performance ended with a double so-

44


bremesa, the Portuguese word for dessert. Literally the decomposed word means means “on the table” (“sobre+mesa”) and the dessert was indeed served right on the table top. Nuno Carrusca spread the dessert over a specially prepared table, as if it was a Jackson Pollock action food painting. The surprised guests were prompted to scrap their servings with a spoon directly from the table – an innovative way to bring everyone together. Segments of this special event was broadcast live via Facebook. The videos were also available on the In_Nova MusEUm Facebook page. The event was recorded in video and photography by PhD student and journalist Álvaro Filho.

ing tablecloth workshop with food paints and a banquet food arrangement. The event started with a brief visit to Museu Bordalo Pinheiro focusing on the pieces more closely related with food. After the visit, participants were asked to paint a tablecloth with food paints: chocolate, blueberry, saffron, etc. Participants had to create the supports and the food arrangements for the banquet, using a variety of materials. The next step was to make the food arrangements taking advantage of the diversity of food brought by the workshop organizers. Finally, it was time to display the food arrangements – and to taste these ephemeral works of food art. The event was lively and engaging, proving to be a good model for future activities.

May 20 was a very competitive day for cultural events in Lisbon and Portugal, since most of the museums were holding the celebrations of the international museum day. Even so, more than 60 people attended the event, which took place from about 19h30 until 22h00. Open Field Workshop: Mesa Posta (A Table Set Up) The first Open Field Workshop at Museu Bordalo Pinheiro was held on the 1st of July 2017. The four-hour session had about 12 participants, mostly young people aged 18 to 35 years. The workshop was based on ceramic plate Mesa Posta, 1897, by Rafael Bordalo Pinheiro. Artists Joana Andrade and Paula Ribeiro organized a session which can be summarized as a dye-

29 Open Field Workshop 1, 1 July 2017 – participants in the workshop

28 Open Field Workshop 1 – “Mesa Posta”, the work selected as inspiration source for the session

Open Field Workshop: Mais olhos que barriga (“More eyes than belly”) The second Open Field Workshop at Museu Bordalo Pinheiro was organized on the 15th and 16th of July 2017. The drawing and engraving workshop by Joanna Latka had six participants. The workshop was based on the Rafael Bordalo PInheiro tile panel with butterflies and wheat ear (Painel de azulejos com borboletas e espiga de trigo) from 1905. The workshop was divided in two sessions of four hours each. According to Joana Latka, the objective of this workshop was to develop and deepen the expressive, creative and artistic capacities of all those who wish to learn the basics of engraving (linoleum technique),

45


such as developing creative thinking, together with conceptual, aesthetic and technical development within graphic images linked to the engravings and illustrations of Rafael Bordalo Pinheiro. Picking on the expression “More eyes than belly” the artist proposed a game in which each participant, using typical Portuguese dishes, created an image to characterize his or hers people, their habits and customs. The proverb was a pretext, a metaphor, used to characterize cuisine as a space for sharing, given the importance that meals assume in everyday life.

The third workshop at Museu Bordalo Pinheiro took place from the 11th to the 13th of October 2017. The mobile video production workshop by journalist and writer Álvaro Filho had seven participants and was divided in three sessions, three hours each. It was entitled “Reportátil” (reportagem + portátil), the contraction of the words to report with mobile phone. According to Álvaro Filho, the main objective was to introduce the participants to a more flexible method of video production, that relies exclusively on a regular smartphone for the whole production process, from shooting to postproduction and distribution, dispensing with a desktop or laptop computer. This workshop brought more young men to the museum than the two first workshops, more appealing to young women. The mix of traditional creative workshops with digital media workshops proved to be an effective way to attract both young men and women to the museum.

30 Open Field Workshop 2, 15-16 July 2017. Participants drawing during the session

Open Field Workshop: Reportátil - Mobile Phone Video Production

Open Field Workshop: Rafael Bordalo Pinheiro: À la Carte The fourth Workshop at Museu Bordalo Pinheiro took place in the morning of the 11th of November 2017. The digital animation workshop by Marta Ramos “Rafael Bordalo Pinheiro: À la Carte” had 12 participants. The activity was based on the Bordalo Pinheiro lithograph Dinner menu in homage of Justino Guedes, 1889. Participants had the opportunity to get acquainted with the basics of the animation software Synfig

31

32

Open Field Workshop 3, 11-13 October 2017 – participants during the session

Open Workshop 4 – participants during the session

46


(https://www.synfig.org ) by recreating the lithography. This proved to be an engaging activity, in which the participants had the opportunity to know the basics of digital animation, as well as to have a look at a Bordalo Pinheiro work in a different way. Open Day: A diverse menu of activities The Open Day at Museu Bordalo Pinheiro took place

opportunity to experiment with 360º videos produced by Lusófona University and Impresa, the media group, as well as to watch demonstrations of films made in the university’s course on digital animation. The museum offered guided tours of the collection throughout the afternoon. A special online coverage in partnership with Grupo Impresa was made possible by Rafael Antunes, film director and teacher at University Lusófona. The following video coverage of the event was secured by a Smack_PT blogger: -A video of the event was broadcast live via Facebook from major TV channels (SIC, SIC Notícias), and newspapers (Expresso, Visão), reaching more than 30.000 people. -A 360º video of the event was broadcast live via Facebook by major TV channels (SIC, SIC Notícias) and newspapers (Expresso, Visão) reaching more than 45.000 people. Open Day was a successful event, drawing a good

33 Open Day at Museu Bordalo Pinheiro, 13 October 2017

in the afternoon of the 13th of October 2017. The museum opened its doors to all students who wished to participate in the workshops, digital technologies demonstrations and guided tours on the work of Bordalo Pinheiro. To start, during lunchtime, the mascots Zé Povinho (a popular character created by Bordalo Pinheiro symbolizing the populace) and Bordalo Pinheiro himself strolled through the Campo Grande gardens that adjoin Lusófona University and several faculties of the nearby University of Lisbon, to arouse curiosity about the Open Day and the museum. Lusófona University’s design professor José Neves and his students prepared a 3D printing demonstration, using the famous Bordalo Pinheiro sardine, so famous that it became a symbol for Summer in Lisbon, as a source of inspiration. Visual arts professor Inês Marques was responsible for a very lively workshop on direct printing of cabbages in clothes, also based on the very popular ceramic plates from Bordalo Pinheiro depicting cabbages. In parallel with these activities, visitors also had the

34 Figure 36: Open Day at Museu Bordalo Pinheiro, 13 October 2017

number of young people to Museu Bordalo Pinheiro – and also reaching online a large number of potential visitors via the online dissemination.

47


IN_NOVA MUSEUM: LESSONS LEARNED AND RECOMMENDATIONS FOR PEERS


During the 18 months of project’s lifetime, partners and associated partners developed and shared a huge amount of experiences, in terms of human, cultural and management growth. Each country and museum partner contributed to the implementation of the project with enthusiasm and generosity. It can be stated that we now look at European peripheral museums with new eyes, increased awareness and respect. The following table provides a summary of lessons learned in the realm ofIn_Nova MusEUm and recommendations to peers that are deemed useful to be shared with other museums, either in or out of Europe.

Country partner

Experience developed in the realm of In_Nova MusEUm Multicultural sharing experiences have proven to be fundamental in establishing and disseminating same values while also trying to reinforce cultural “products” impact in a broader context. In_Nova Museum has been witnessing all of the above while simultaneously creating a collaborative international cultural network bringing together the best practices of each of the partner countries into a larger mutual beneficiary framework .

ALBANIA

Lessons learned to be shared with other museums Audience research and analysis should be among the top priorities of cultural institutions especially peripheral museums striving for continuous visitors. This instrument should be taken into account not only as a tool that can serve for the future longevity of an institution but also as a part of the present fostering the positive performance of it. Involvement of local communities, making them feel as an integral part not particularly of the cultural institution as a body rather than feeling a sense of belonging with the museum’s cultural artifacts. During the implementation of the activities foreseen in the timeline of In_NovaMuseEUm project, the ideas raised up for a better community involvement and digital engagement were essential in understanding that even with a limited budget it is possible to make a change through community interaction and involvement.

Recommendations to peers Cohesive commitment Community,involvement without any kind of discrimination including age, representsa key instrument of a better goingactivity performance of a peripheral museum. Inclusive and cross-institutional collaborative decisionmaking Coordination among horizontal and vertical institutions on applying coshared projects, and audience development strategies starting from local regional and national level Youth engagement – Youngsters as an integral part of audience development strategy implementation – ambassadors of museums – Giving them the responsibility of promoting the museum among peers while also organizing tailored events attracting the ones who are distant to museum environment Digital and flexible marketing strategies – Up to dated marketing strategies through innovative channels with a dynamic perspective responding to the features of the respective target groups.

49


Country partner

GREECE

Experience developed in the realm of In_Nova MusEUm

Lessons learned to be shared with other museums

Recommendations to peers

1.The museum had to innovate, interact, encourage, educate, and effectively use the media to orchestrate actions, shape attitudes and shed light on new practices, 2. Being redefined the establishment of a common strategy for cultural organizations within the region, and for modern equipment, staff training, and new perspectives on cultural management, 3 The educational policy played a decisive role as its purpose is to bind the future with historical sites and monuments. The continuous educational development and cultural awareness of teaching staff but more so of parents, guides and citizens overall helped shift attitudes and mindsets, 4. Encouraging local community to actively participate in museum activities was imperative, seeing that the participation of a local public strengthens the feeling of belonging to a common cultural heritage. The objective was for the local public to experience the social and creative wealth which emerged from artistic creations, to understand the reproduction of everyday life in a museological setting and reap the benefits of creation which arise through the production of cultural capital. Hence, the museum was no longer a distant point of reference, but gradually become registered in the minds of local communities, and became part of their daily lives offering a qualitative upgrade of their awareness, 5. The museum served, and was perceived, as a space of consistent quality, a place that produced innovation and an area which allowed the individual to reflect on the local and its relation to the global, 6. Beyond the ethnological and anthropological material of its collections, the museum equally aimed to contribute, through the issues it raised, to the reflection of a changing world and changing mentalities. The purpose of the museum, through the enhancement of its public image, was the pursuit of a multidisciplinary educational policy, including environmental awareness and use of the alternative energy sources, The museum became integrated into modern intellectual life, which included public involvement in its activities, artistic creation, education, as well as the production of cultural goods.

1.The importance of strengthening communication and cooperation among museums belonging in the same geographical region. The need to cultivate synergies served to lift the museum from isolation, 2. The museum created a safe space for critical thought, taught, entertained, accumulated strength, created and cultivated consciousness, acted as an information center to sensitize, to upgrade the quality of life even take on an educational role, to encourage personal development, to provide historical knowledge and to promote aesthetic culture while also releasing creativity and imagination, 3. The museum responded to issues that enhanced reflection on the relationship with the place and its history, as well as to understand the rapid pace of social, economic and political changes.

1.The interaction with the public enriched knowledge and imagination - it cultivated the cultural sensitivities of a public that expected quality, presented varying levels of education and informational needs as well as the desire to make quality use of their leisure time, 2.The museum continues to upgrade, as life strongly marginalizes anyone who is not involved in this process of renewal. 3.“Theodoros Papagiannis� Museum set an example of how an innovative, human-centered type of cultural management should be operating in a small scale, requiring a lower budget, but with a more vivid awareness of the Greek periphery and its autonomous, often disruptive with the dominant cultural paradigm, historical presence and collective memory. For a Greece in crisis this offered a unique opportunity for a cultural revival through small-scale, peripheral, low-budget, and holistic in their way of engaging with the natural environment cultural management initiatives.

50


Country partner

Experience developed in the realm of In_Nova MusEUm

Recommendations to peers

Culture is a powerful trigger for cohesion and cooperation. In_Nova MusEUm is living proof of that. During the project’s lifetime our partnership demonstrated sound solidarity, broad sensitivity and prompt flexibility. We are grateful to the European Commission for this experience and urge Europe to invest more in Culture.

Assets and Audience research is a priority for peripheral museums willing to implement an audience development and digital engagement strategy. Like any other enterprise with a budget to deal with (even if small), a peripheral museum needs a marketing analysis, a vision and a mission that drives its strategy and organization. It is much more a matter of “change of perspective” than of budget: huge improvements can be done with small money but broad commitment and passion by the entire museum staff.

Change of perspective: not easy but fundamental to make the difference. Look at the museum through the eyes of visitors, both existing and potential. The change must affect the director as well as the museum staff (bottom-up approach). Of course, the director shall “lead by example”. Simplicity and affordability: involve the local community by means of simple and economical creative initiatives. Less is more! Our project experience teaches us that existing and potential audience appreciates the “democratic” approach, especially youngsters. Youngsters: don’t let them feel excluded for their “diversity” but include them just because of their “diversity” (diversity is a richness), talk their language (digital) and adapt to their sociality (social networks)

Networking with European partners has been of great value and importance, allowing to share experience and knowledge, but also to share concerns and doubts. Many of the challenges are similar for all the project partners - and to find peers across Europe with whom it is possible to discuss solutions and define course of action provides a solid foundation for future activities.

Less can be more: activities and events do not have to be costly to attract people to the museum or monuments. Good ideas and good people can make miracles.

Know your visitor through audience research using in loco or digital surveys.

ITALY

PORTUGAL

Lessons learned to be shared with other museums

Partnerships with local stakeholders - individuals or organizations – has been a major plus of the project. Many people are willing to participate in innovative activities promoted by the museum – the biggest challenge is to reach and engage these publics.

Dissemination: to use multiple channels of communication is fundamental to reach audiences: mix of traditional media with digital media, such as low-tech face-to-face conversations and high-tech 360º video live over social networks. “Try again. Fail again. Fail better”: what can work for a museum, might not work for another – try, experiment, evaluate, then start all over again. Most likely, not all activities and events will be as successful as envisioned, but they are all part of the process of improving the museum experience for all visitors.

Go beyond the idea of passive “worshipping” of the art collection. Transform the museum into a lively place where new experiences can be enjoyed and new crafts learned. Be entrepreneurial, bootstrap. Leverage the resources that you already have or that can be obtained for free through local collaboration and partnerships. Engage the community, establish partnerships with schools, universities. Create or develop your brand around the idea that the museum will match or surpass the expectation and offer a memorable visitor experience. Develop marketing skills, in particular in digital marketing.

51


Country partner

SWEDEN

Experience developed in the realm of In_Nova MusEUm It is always interesting to share experiences with other culture institutions from different countries in Europa. It shows us that you in many ways have the same challenges and problems all over Europe. The project In_Nova MusEUum brought us opportunities to discuss and find solutions that will help in the future. Culture needs more cooperation among the different countries, for example more EU-projects.

Lessons learned to be shared with other museums To know your audience and your assets is fundamental for all museums and especial for museums with small budgets. To use audience development and digital engagement tools makes it easier for the museum to attract new and more audiences for coming activities. A good museum staff with knowledge about the audience, the museums assets and a passion for their work is also a must for the future of the museum.

Recommendations to peers Look at the museum through the eye of visitors, both existing and potential. Cooperation with other museums in the region can attract new and an another type of visitors. Include your already usually audience in the activities of the future and ask the people in the local community of what they would like for activities at the museum so they will feel included in “their own museum�. When you want to reach youngsters use their channels like Facebook and other social networks.

52


CONCLUSIONS


T

his Audience Development Strategy is specifically designed for and addressed to European peripheral museums, in line with the concept described at the beginning of the document. Other museums may also get inspiration from the experiences, ideas and suggestions here collected to engage existing visitors and to attract potential new visitors, in particular the 18-35 demographic. European peripheral museums are a valuable vehicle for the traditions, memories, history, arts of the territories they belong to. They are the voice through which communities tell their relationship with the local cultural heritage -- art collections, historical facts, traditional craftsmanship, enogastronomic traditions. All these elements together give to communities a sense of identity and continuity that represent the ground on which young generations will lay the foundation of their future life. To this extent, the role of peripheral museums has a social and cultural impact that must be highlighted and promoted. The strong relationship between communities, traditions and cultural organization is also the theme developed in the study “Engage Audiences” – How to place audiences at the centre of cultural organisation”, promoted and commissioned in 2015 by the European Commission – Directorate-General for Education and Culture. The research claims the urgency, among others, to promote the importance of stimulating new models of active participation in arts. In this respect, it recalls that according to the 2009 UNESCO framework for Cultural Statistics (and with the recent recommendations and reports of the European Commission) active participation is considered as an inclusive concept that embraces “cultural practices that may involve consumption as well as activities that are undertaken within the community, reflecting quality of life, traditions and beliefs”. Without obviously pretending to be exhaustive, the Audience Development Strategy proposed by the In_Nova MusEUm project is a good point of departure for European peripheral museums that wish to increase their visibility and reinforce their links with audiences and communities. The act to place the audience, and above all young potential visitors, at the centre of peripheral museums’ activities requires a change of perspective not often easy to reach but that may offer an important opportunity for the advancement of cultural organizations ready to seize it.

54


BIBLIOGRAPHY


American Alliance of Museums (2016), Small Museums. Retrieved from: http://www.aam-us.org/about-us/what-we-do/small-museums Hibbins, A. (2017). Mini is Mighty: Small Museums are Superheroes. Retrieved from: https://museumhack.com/mighty-small-museums/ Krebs, A. (2016), Musée du Louvre, in Museum of the Future. Insights and reflections from 10 international museums, pp. 54-61, Mu.SA. project. Retrieved from: http://www.project-musa.eu/wp-content/uploads/2017/03/ MuSA-Museum-of-the-future.pdf Steves, R. (2017), Finding Great Art in Europe’s Smaller Museums. Retrieved from: (https://www.ricksteves.com/watch-read-listen/read/articles/finding-great-art-in-europes-smaller-museums) ISTAT, The Italian Institute for Statistics, (2016), 2015 Survey on museums and other cultural institutions. Retrieved from: https://www.istat.it/en/ archive/museums Associazione Nazionale Piccoli Musei – APM (2007). Retrieved from: http://www.piccolimusei.com/ Butkowski, C., Board, M., Siewert, G. (2014), Comparative Iconographies of Food in Western Art, Suny Geneseo and Truman State University American Planning Association (2011), Arts and Culture Briefing Papers. Retrieved from: https://www.planning.org/research/arts/briefingpapers/ character.htm UNESCO (2003), The Convention for the Safeguarding of the Intangible Cultural Heritage. Retrieved from: https://ich.unesco.org/en/states-parties-00024 UNESCO (2010), The Gastronomic meal of the French, The Convention for the Safeguarding of the Intangible Cultural Heritage. Retrieved from: https://ich.unesco.org/en/RL/gastronomic-meal-of-the-french-00437 UNESCO (2016), Beer culture in Belgium, The Convention for the Safeguarding of the Intangible Cultural Heritage. Retrieved from: https://ich. unesco.org/en/RL/beer-culture-in-belgium-01062 UNESCO (2017), The Art of Neapolitan ‘Pizzaiuolo’, The Convention for the Safeguarding of the Intangible Cultural Heritage. Retrieved from: (https:// ich.unesco.org/en/RL/art-of-neapolitan-pizzaiuolo-00722). Shrapnel, E. (2012), Engaging Young Adults in Museums. An Audience research Study, Master of Museum Studies. Retrieved from: (https://australianmuseum.net.au/uploads/documents/26111/final%20project.pdf Sowton, C. (2014), Review of the Literature on Young People’s Motivation and Gallery Engagement, commissioned by ARTIST ROOMS. Retrieved from:http://www.tate.org.uk/research/research-centres/learning-research/ working-papers/young-peoples-motivation

56


Gofman, A., Moskowitz, H., Mets, T. (2011), Marketing Museums and Exhibitions: What Drives the Interest of Young People. Retrieved from: http://www.tandfonline.com/doi/abs/10.1080/19368623.2011.577696 Smith, O. (2014), 21 reasons why I hate museums, The Telegraph online. Retrieved from: http://www.telegraph.co.uk/travel/lists/21-reasons-why-Ihate-museums/ Museum Association, Creating better places to live and work. Retrieved from: http://www.museumsassociation.org/museums-change-lives/01072013-wr-museums-create-better-places McCarthy, C., Mason, D. (2008), The Feeling of Exclusion: Young People’s Perceptions of Art Galleries, Pages 1-19. Retrieved from: https://www.museumnext.com/insight/bringing-young-people-into-museums/ Foundation Museum Night (n8). Retrieved from: http://www.n8.nl/producties/museumnacht/ Museum of London (2012), Museums and me: Junction’s top tips for engaging young people, The Guardian online, March 13, 2012. Retrieved from: https://www.theguardian.com/culture-professionals-network/culture-professionals-blog/2012/mar/13/museums-junction-engage-young-people. Sironi, F. (2013), I musei a caccia di giovani, L’Espresso online, issue 9 December 2013. Retrieved from: http://espresso.repubblica.it/attualita/2013/12/09/news/musei-alla-ricerca-dei-teen-perduti-1.145141 De Luca, M. (2008), I giovani e i musei, Economia della cultura, Il Mulino, 1/2008, pages 95-100, ISSN: 1122-7885. Retrieved from: https://www. rivisteweb.it/doi/10.1446/26614 Engage Audiences – How to place audiences at the centre of cultural Organisation (2017), study promoted and commissioned by the European Commission Directorate-General for Education and Culture, and realised by Consortium “Fitzcarraldo / Intercult / Eccom / Cae. Retrieved from: http://engageaudiences.eu/2017/05/05/study-on-audience-developmentat-a-glance/

57


In_Nova MusEUm: Museums come back to the local community through Art&Food – the main objective is to help strengthen the capacity to attract new audiences of European museums located in peripheral areas, through activities of audience development related to Art&Food, transnational mobility and trainings for artistic curators and museum directors. Website: http://www.innovamuseum.org/ FB: https://www.facebook.com/innovamuseum/

In_Nova MusEUm "Peripheral Museums Audience Development Strategy"  

In_Nova MusEUm "Peripheral Museums Audience Development Strategy"

In_Nova MusEUm "Peripheral Museums Audience Development Strategy"  

In_Nova MusEUm "Peripheral Museums Audience Development Strategy"

Advertisement