Dissertations / Theses on the topic 'Museum attendance'

Bibliography: pages 78-84.
The aim of this project was to assess the image of museums in Cape Town society in the context of the changing needs of South African people. A questionnaire examining museum-visiting habits and perceptions of the role of museums was distributed to parents via nine schools in Cape Town. Each school represented a different socioeconomic package so that the sample included parents with varying educational status and incomes. Parents of school-going children were sampled because they may be predisposed towards museums as institutions that offer their children educational and recreational opportunities and, therefore, represent a best-case scenario. The majority of the sample had visited a museum. A relationship exists between museum-visiting and higher socioeconomic status. Museum- visiting, though, was not limited to people with a higher level of education. Parents who were actively involved in a broad range of leisure activities were most likely to have visited museums. Although socioeconomic status and participation in leisure activities are related, museum-visitors appear to have leisure-lifestyles and not level of education in common. The results showed a contradiction in parents' attitudes towards museums; the image of museums was good but the image of the museum experience was often bad. This was particularly the case for infrequent museum-visitors. This group also experienced a feeling that 'museums are for a different type of person', which may explain why they do not visit despite believing that museums are worthwhile institutions. Museums appear to be perceived as institutions that offer children opportunities for learning and recreation. This could be the reason why young adults or seniors do not participate in museum programmes. This survey also showed that museums were associated with research on and preservation of the past. Black parents, though, were least likely to make this association and it is possible that the emphasis of most museums on the post-colonial past of South Africa is one reason why Black South Africans do not visit museums. There does, though, exist a generally positive image of the role of museums. The emphasis placed on leisure-learning or semi-leisure by young and old people in the townships does indicate that museums could meet an important need for constructive leisure opportunities.

It is widely acknowledged that without volunteer guides, or docents, most museums and galleries would find it impossible to offer education programmes as they are known today. Docents work in the critical interface between visitors and works of art, yet often they are viewed as being passive, and often ineffective, transmitters of the gallery's educational message. The literature on gallery education emphasizes docent "management", or the methods used to recruit, train, and supervise docents. But gallery staff must consider the docent’s beliefs, values, and viewpoints about art, and about education, for improvement of education programmes to occur. This study describes, and analyzes, the docent’s perspective of gallery education programmes, and the extent to which docents are actively engaged in the ongoing process of learning to help others learn. In order to obtain their perspective, six docents in two art galleries were engaged in long, semi-structured, and repeated interviews. These interviews were audiotaped and transcribed. Categories derived from the teacher's practical knowledge, such as subject, curriculum, instruction, self, and milieu, were used as a framework to describe and analyze the docent's practical knowledge. It was found that though the docents did indeed hold a coherent body of knowledge that originates in their practice, their theoretical knowledge of art was often an inadequate base on which to build an interpretation of the gallery's exhibitions. Differences were found in the educational goals of the gallery, and between the institution, and the docent’s educational values and purposes. Educators need to be aware or the shifting, complex, and sometimes paradoxical nature of the docent’s role. The docent’s perspective must be considered in the successful planning and implementation of education programmes.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

Il presente elaborato intende esplorare, in accordo con le più recenti ricerche nel campo dell’economia, il tema della Behavioural Economics e le possibili applicazioni nell’ambito del settore culturale, con particolare focus sulla museologia. Il fine di questo studio vuole essere quello di analizzare nuove misure recentemente introdotte per coinvolgere il vecchio e il nuovo pubblico (audience development). Infatti, il primo capitolo elabora le peculiarità del settore culturale sulla base del contesto economico tradizionale. Inoltre, sottolineando le principali azioni esercitate dall’intervento Statale, si giunge all’analisi dell’attuale contesto museale, relativo alla situazione italiana, riponendo maggiore attenzione alle attuali teorie nella direzione dell'Audience development. Si procede con il secondo capitolo a presentare quanto emerso dalle più rilevanti ricerche nel campo della Behavioural Economics che, attraverso l’inclusione di teorie in ambito della psicologia e della sociologia, mette in discussione le assunzioni alla base della teoria dell’utilità del consumatore. L' analisi si focalizza su quanto proposto da Richard Thaler e Cass Sunstain, la "teoria dei nudge", che si basa su sul principio della "spinta gentile" o nudge: secondo questo concetto è possibile indirizzare la scelta del consumatore in maniera prevedibile senza impedire o vietare la possibilità di compiere un'altra scelta. Infine, attraverso l’analisi del caso studio “nudging museum attendace: a fiel experiment with high school teens” applicato alla realtà del Museo di Palazzo Vecchio di Firenze, si intende analizzare l’applicazione degli strumenti di Behavioural Economics a un’istituzione culturale. Mettendo in luce le debolezze delle assunzioni del capitolo primo, si cercherà infatti di concepire l’idea di un possibile utilizzo degli strumenti alla base dell’economia comportamentale, come il nudge, per il settore museale, ricollegandosi quindi ai ragionamenti circa l'Audience development.

The present research try to analyze the objectively patterns of visitor behavior focused on 5 and 12 years old kids, which visited the museums of the city of Girona in a non organized tour. We combined different methodologies for the data collection: survey, non participant direct observation and symbolic language from offered and self-administered written response. As a result, we know how children interact with museum materials, how they make relations with the different group members, how they use supplementary materials to do the visit, what itinerary they do, how they visit the rooms, what kind of texts they read, in which Units of Attention they provide more interest, what colors attract the most, what effects in their behavior can have the lighting, the noise and the temperature, what are their preferences, and in general, which are the profiles of families who visit the museums of Girona.
El present treball de recerca consisteix en estudiar i analitzar les pautes de comportament objectivables del visitant lliure entre 5 i 12 anys d’edat, que visita de forma no organitzada els museus de la ciutat de Girona. Així, mitjançant la combinació de diferents metodologies per a l’obtenció de dades (enquesta, observació directe no participant i llenguatge simbòlic a partir de resposta escrita autoadministrada i oferta), hem sabut de quina forma aquests interaccionen amb els materials, com es relacionen amb els diferents membres del grup, com utilitzen els materials complementaris a la visita, quin recorregut fan i com fan la visita a les sales, quins textos llegeixen, a quines Unitats d’Atenció presten més interès, quins colors els atrauen més, quins efectes en el seu comportament pot tenir la il•luminació, el soroll, la temperatura ambiental, quines son les seves preferències, i a trets generals, quins son els perfils de famílies que visiten els museus gironins.

Cultural and heritage tourism, one of the fastest growing segments of the tourism industry, is becoming a major pillar in the tourism strategy of many countries. Like elsewhere in the world, museums play a significant role in heritage tourism. South Africa has a rich history of intangible cultural heritage which manifests itself in oral history, traditional music and dance, social practices and indigenous knowledge systems. It is becoming more important for museum managers to identify the variables that will enhance the attraction and retention of museum visitors. The aim of the study was to determine tourists’ satisfaction with their visit to Port Elizabeth’s heritage museums by comparing their expectations and experiences. This could help museum marketers to better understand their customers, and design experiences that match their expectations. The literature review presented a brief overview of heritage tourism, the museum experience, and visitors’ satisfaction. Concepts of heritage tourism, functions of museums and the different museum attributes that might impact customer satisfaction were discussed. Literature on visitors’ satisfaction included descriptions of the expectations and approaches to measuring customer satisfaction. A museum satisfaction conceptual model resulted from these reviews. ii The proposed model was modified in the empirical study. The data were collected by means of a survey, using self-administered questionnaires distributed to visitors at three heritage museums in Port Elizabeth. Two hundred and twelve useable questionnaires were received. The empirical findings did not fully support the conceptual model. By conducting a factor analysis, the data was reduced to eight factors, namely, human interaction, physical evidence, facilities, facility quality, exhibition, edutainment, escape and aestheticism. It was found that the satisfaction mean scores were consistently higher than the expectation mean scores. This implies that museum visitors were satisfied with their experience of the three heritage museums in Port Elizabeth. Finally, the results of the paired sample t-test and regression analyses tested and explained formulated hypotheses. The principal recommendations emanating from this study are summarised in two groups, namely: • recommendations pertaining to the strategic implications of the findings in terms of service, facilities and experience. For example, the museum administration could establish more facilities for the disabled and the elderly, consider discounting and promotion programmes, and increase the use of technology in their displays. • recommendations for future research. For example, future studies could be applied to investigate visitors’ satisfaction with other heritage museums in South Africa.

Cette thèse analyse le profil culturel des visiteurs des musées d’art moderne et contemporain en Belgique dans le but de mieux comprendre ce que représente, pour eux, l’expérience muséale. Il s’agit de dépasser une certaine approche courante en sociologie qui limite l’étude des relations publics-musées à la mise à jour du rôle des déterminants socioéconomiques sur la fréquentation. Mon approche part d’un postulat de base selon lequel il faut inscrire la visite muséale dans un rapport plus large à la culture pour appréhender le sens et les usages des musées d’art moderne et contemporain.

La récolte des données a eu lieu au cours de deux phases principales :une première quantitative suivie par une seconde qualitative. Le design est séquentiel (en deux étapes successives) et non équivalent puisque la première étape quantitative a plus de poids (terminologie basée sur Leech et Onwuegbuzie).

Pour la première phase, a été réalisée une enquête par questionnaires auprès des visiteurs de six musées en Belgique âgés de 15 ans et plus. Au total, 1900 questionnaires ont été récoltés et encodés. A partir de ces données, une analyse en correspondances multiples a été effectuée pour évaluer de quelle manière les différentes dimensions des profils culturels (goûts pour la musique, l’art et la lecture, participation culturelle, loisirs ordinaires, créativité) s’agencent les unes aux autres. Cette méthode a été choisie pour ses qualités inductives et relationnelles.

Cette analyse montre que les profils culturels peuvent être perçus comme le résultat de bricolages entre répertoires culturels. Ceux-ci doivent être compris comme des principes qui classifient les goûts et les pratiques et leur donnent sens. Parmi ces répertoires, la distinction culture haute versus culture basse à la Bourdieu conserve une place primordiale mais cohabite avec d’autres, tels que les distinctions omnivores versus univores (Peterson), voraces versus inactifs (Sullivan & Katz-Gerro), culture jeune versus culture classique, goût pour la transgression versus conservatisme. Cette thèse appuie en conséquence l’idée selon laquelle il n’y a eu ni de transformation unidirectionnel des snobs vers les omnivores (thèse de l’omnivorité), ni un effondrement des hiérarchies culturelles (massification et postmodernisme).

L’utilisation de ces répertoires est principalement influencée par l’âge, l’éducation (sous diverses formes) et le statut socioprofessionnel (qui met l’accent sur les différences en termes de cultures professionnelles). Les profils culturels s’ancrent dès lors toujours dans des structures sociales, contrairement à ce que pensent certaines théories individualistes plus extrêmes (Bauman), et continuent d’être structurés par des mécanismes de distinction, puisque les répertoires sont socialement valorisés.

Une classification hiérarchique ascendante a suivi l’analyse en correspondances multiples pour mettre à jour une typologie qui reflète les principales configurations des profils culturels. Six classes ont été identifiées :les cultivés classiques, les cultivés en retrait, les cultivés progressistes, les hédonistes, les éloignés culturels et les amoureux de l’art. Pour conduire la deuxième phase qualitative, trois personnes par classe ont été interviewées pour approfondir les donnés quantitatives sur leur rapport à la culture, à l’art et au musée. Au regard de cette analyse de discours, il apparaît que les six classes ainsi constituées partagent en leur sein des grilles de lecture similaires du rôle de l’art et de la culture au sein de la société moderne mais aussi du musée et agissent, ce faisant, en « communautés interprétatives » (Fish; Hooper-Greenhill). Comprendre la diversité des profils culturels des visiteurs (tout en prenant en compte l’origine sociale) permet, dès lors, de concevoir la multiplicité des rapports au musée./

What do we know about art museums’ visitors? This question can appear very trivial. Visitors of art museums seem to belong to educated elite. At least, this is the image that cultural participation surveys rightly spread. Nevertheless, this perspective focuses mainly on the characteristics of the population who do not visit museums, rather than on the characteristics of the museums' visitors. These surveys help indeed to define the sociodemographic particularities of visitors, with regards to the general population but do not investigate a possible diversity within the visitor population. They show that cultural democratization did not really happen but can we really conclude that the audience constitutes a homogeneous mass of snobs defined by a precise relation to the culture?

This presentation aims to go beyond this traditional approach in sociology that focuses on sociodemographic criteria and to show how diverse can be the audience. It intends to illustrate that visitors have heterogeneous cultural profiles (described by their tastes, cultural and creative activities, and more ordinary leisure), even if they tend to be similar from a socioeconomic viewpoint, and to evaluate which impact these cultural profiles have on the way of visiting a museum.

With the use of a multiple correspondence analysis and an ascending hierarchical classification, six different classes were distinguished among the visitors of six museums of modern and contemporary art in Belgium (N: 1900) according to their cultural profiles. Each cultural profile is considered as a bricolage of different cultural repertoires: low versus high culture (Bourdieu), univores versus omnivores (Peterson), voraces versus non-voraces (Sullivan & Katz-Gerro), classical versus young culture and traditional versus modern values. Instead of observing an unidirectional change from snobs to omnivores, my results suggests indeed that several repertoires interact with one another to structure cultural profiles and to give meaning to them. Finally, with selected interviews among the different six classes, it will be demonstrated that people with an analogous cultural profile tend to share similar interpretations of museums and act as "interpretative communities" (Fish; Hooper-Greenhill). Therefore, the meaning of a museum visit for visitors requires taking into account their cultural profiles.

Doctorat en Sciences politiques et sociales
info:eu-repo/semantics/nonPublished

Orientador: Ernesta Zamboni
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: O objetivo central da tese é analisar em que medida práticas escolares de visitas a museus podem romper com os saberes disciplinares e pedagógicos incidindo diretamente sobre a produção de um conhecimento experiencial a ser mobilizado no ensino de história. Do ponto de vista teórico, a pesquisa toma a ideia de visitante como um espectador emancipado (RANCIÈRE, 2010) e a produção da cultura como um modo de vida comum perpassada pelas idéias e práticas sociais (WILLIAMS, 1969 e 1979). Do ponto de vista empírico, investiga-se como um grupo de estudantes de Licenciatura em História em situações educativas de visita constroem sentidos diversos para o patrimônio, para o ensino de história e a para a memória cultural. Destacam-se, em especial, as práticas vivenciadas pelos visitantes no Museu do Escravo de Belo Vale (MG) e no Museu Histórico Nacional, no Rio de Janeiro.
Abstract: The main objective of this thesis is to analyze the extent in that school field trips to museums can modify established disciplinary and pedagogical knowledge and directly influence the production of knowledge from experience to be mobilized for the teaching of history From the theoretical viewpoint, this study considers the visitor as an emancipated spectator (RANCIÈRE, 2010) and the production of culture as a common way of life and determined by the social ideas and practices (WILLIAMS, 1969 and 1979). From the empirical viewpoint, we investigated the way how history licensure students construct various meanings to the heritage in field trips for the teaching of history and the cultural memory.The practices experienced by the visitors to the Slave Museum in Belo Vale, State of Minas Gerais, and the National History Museum in Rio de Janeiro, state of Rio de Janeiro are given special emphasis.
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação

La valeur qu’attachent les individus à l’égard d’un objet culturel peut être expliquée, entre autres, par leur projet identitaire d’appartenance à un groupe. Cette thèse propose de nouvelles orientations stratégiques muséales permettant d’augmenter la fréquentation muséale, de changer le rapport du musée d’art aux publics et d’attirer ainsi d’autres individus.Cette recherche a permis la conceptualisation de la proximité identitaire « publics-musée d’art », la confirmation de ses dimensions et antécédents, et enfin, l’analyse de la relation entre la proximité identitaire « publics-musée d’art » et la fréquentation. Par ailleurs, le développement d’une échelle de mesure de la proximité identitaire « publics-musée d’art » a élargi le cadre théorique des phénomènes d’identification et de leurs conséquences. Finalement la thèse propose des leviers d’action pour faciliter l’accès à l’art. Les musées ont intérêt à développer globalement une stratégie de proximité identitaire « publics-musée d’art » fondée sur le partage de caractéristiques communes et sur des dimensions affectives orientées vers toutes les catégories de publics. Plus particulièrement, les publics habitués seraient sensibles à des stratégies de rapprochement fondées sur le lien social et sur le partage de caractéristiques identitaires avec l’offre muséale ; les visiteurs occasionnels se rapprochent d’un musée d’art en étant le plus souvent accompagnés, et ressentent des émotions positives dans ces lieux ; et enfin une stratégie orientée vers le non public devrait permettre la valorisation de l’individu par rapport aux autres personnes de leur entourage
The value that individuals attach to a cultural object can be explained, among other things, by their identity project of belonging to a group. This thesis proposes new strategic orientations for museums that increase museum attendance, change the relationship of the art museum with the public and attract other individuals.This research allowed the conceptualization of the proximity of the "public-art museum" identity, the confirmation of its dimensions and antecedents, and finally the analysis of the relationship between the "public-art museum" identity proximity and the art museum attendance. Moreover, the development of a "public-art museum" identity proximity scale, offers to broaden the theoretical framework of the identification phenomena and its consequences.Finally, the thesis proposes levers of action to facilitate access to art. It is in the interest of museums to develop a strategy of "public-art museum" identity proximity based on the sharing of common characteristics and affective dimensions oriented towards all categories of public. In particular, the regular audiences would be sensitive to strategies of rapprochement based on the social bond and the sharing of identity characteristics with the museum offer. The occasional visitors feel closer to an art museum when being most often accompanied, and feel positive emotions in these places. And finally, a non-public-oriented strategy should enable the individual to be highly considered by other people in their environment

The purpose of this dissertation is to analyze the phenomenon of digitalization and gamification which have affected museums in recent years and to propose an innovative way for them to engage with the younger generation. The first part of the thesis will consider the state of affairs in regards to institution’s use of online platforms and take into account how gamification is and can be used for marketing and education purposes. Particular focus will be placed on initiatives implemented during the crisis brought by COVID-19 and highlight what measures have been kept in place since then. In second part, the author will develop a project focused on creating new engagement with the permanent collection of the Peggy Guggenheim Collection, Venice. “Which Painting from the Peggy Guggenheim Collection Are You?” is a simple quiz that pairs users to a painting from the collection. A picture and short description of the painting will be provided at the end of this short game with the aim of attracting younger generations. Although this project is focused on the Peggy Guggenheim Collection, it could ultimately be applied to other museum collections. The goal is to create a framework for a quiz that could be applied by various museums to their permanent or temporary exhibitions to engage with Gen Z and Millennial visitors. A great portion of these generations may be considered as “intenders” (Hayers, 2002) and thus might be convinced to frequent an institution if directly targeted.

Doctoral thesis Specifics of Consumer Behavior on Cultural Heritage Market is a market research based analysis of visitors of museums and galleries. The main goal of the work is to describe and segment the audiences, find out stimuli influencing visitor behavior, visitor motivation and lifestyle in order to suggest new marketing strategies attracting either new visitors or to turn occasional visitors into clients. The first part uses the theoretical microeconomic approach for analyzing the demand for cultural heritage; the price policy and price strategies of museums and galleries, and results in socially justified price of merit goods. The second part compares the Czech "consumer" of cultural heritage with an average consumer behavior in the same markets within the European Union and the U.S.A. The main part of the thesis consists of the research project based on quantitative descriptive research among museum and gallery visitors. The sample size is 543 respondents. Respondents were interviewed from September 2008 to March 2009 (personal intercept interview) in 25 organizations (from large and important institutions to small and regional organizations). The research project uses the nonprobability (convenience) sample of those who came to a museum, gallery or exhibition. The thesis results in the recommendation of marketing strategies for museums and galleries.

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This essay analyses the contribution of the great art exhibitions for the development of the public of cultural centers, through a case study of the Banco do Brasil Cultural Center of Rio de Janeiro. Based on questionnaires applied to visitors of two major exhibitions held at that center in 2015 and 2016, this research was conducted to determine the effectiveness of these events in the expansion, diversification and loyalty of this public. In a more specific way, the study investigates to what extent large exposures are able to attract people from C,D/E social classes, and what are the most appropriate strategies to make it a regular goer. For this purpose, in-depth interviews were conducted with a small contingent of new visitors from the two representative representatives of this social segment. The analysis of the results allows us to afirm that the strategy of large expositions allowed the CCBB to expand is public in numerical and social terms, presenting a profile closer to the distribution of brazilian society in relation to the average of cultural spaces. However, in relation to the D/E classes this representation is still below the social reality of the country. While taking into account that the extension of this representation interacts with dimensions that go beyond the work developed by a cultural center, this study proposes ways to increase the participation of this social segment in the CCBB public.
Este trabalho analisa a contribuição das grandes exposições de arte para o desenvolvimento do público de centros culturais, por meio do estudo de caso do Centro Cultural Banco do Brasil do Rio de Janeiro. A partir de questionários aplicados aos visitantes de duas grandes exposições realizadas naquele centro em 2015 e 2016, foi realizada pesquisa para apurar a eficácia desses eventos na ampliação, diversificação e fidelização desse público. Num aspecto mais específico, o estudo investiga em que medida as grandes exposições estão sendo capazes de atrair o público das classes C,D/E e quais seriam as estratégias mais adequadas para transformá-lo num frequentador habitual. Para tanto, foram realizadas entrevistas em profundidade com um pequeno contingente de novos visitantes das duas mostras representantes desse segmento social. A análise dos resultados nos permite afirmar que a estratégia de realização de grandes exposições possibilitou ao CCBB ampliar seu público em termos numéricos e também sociais, apresentando um perfil mais próximo da distribuição da sociedade brasileira em relação à média dos espaços culturais. No entanto, em relação às classes D/E essa representação ainda está aquém da realidade social do país. Sem deixar de levar em conta que a ampliação dessa representatividade interage com dimensões que vão além do trabalho desenvolvido por um centro cultural, este estudo propõe em seu final alguns caminhos para o crescimento da participação desse segmento social no público do CCBB.

The topic of the diploma thesis is: Specifice of the Treatment of Muslims in the Condition of the Czech environment. In this diploma thesis we have dealt with the issues of the Muslims patients. We have chosen this topic as it seemed very intresting and current to us. Another reason why we have chosen this topic is the fact many Czechs converted to Islam and many foreigners with the origin in Muslim countries have come to the Czech Republic. These foreigners may come to work or to study here or simpli to travel. Thanks to the increasing numer of Muslims we can meet them in hospitals more often, too. And i this up to health professionals to provide holistic health care. With a correct attitude and certain knowlwdge of Islam the positive approach by the Muslims can be ensured as well. This diploma thesis compreises of two main parts {--} the theoretical and practical one.At the beginning of the theoretical part there is a general introduction and introduction of the essentials of multicultural nursing service. This part further contains a bief history of Islam from its very beginning, its historical development in the Czech Republic and basis informaation about Islam. The basic information regarded 5 pillars of Islam, guestion of daily life, issues concerning the foot, family, hygiene, dressing and others. The final section of the theoretical part describe the ethics in Islam, ensuring of holistic approach to Muslim patient and differences in the education of the Muslim and Czech patient. Two main objectives were determined for this paper. The first objective was to determine the nursing specifics which are connected with the Musim belief. The second objective was to elaborate educational and information sheets. Thhe practical part comprises of interviuws made with the Muslims living in the Czech Republic. They included the converted as well as the native Muslims. The result of this diploma thesis is educational sheets for the health professionals and information sheets for Muslim patients. Educational sheets should serve to health professionals to be aware in which areas the patient should be educated. Information sheets will help Muslim patients with bette adaptation in the hospital environment and with operation in it. This materials can be used also for communication between Muslim patients and medical and paramedical staff. The sane sheets can serve to ordinary patient as they contain general information suitable for all patients. Included in the sheets are communication cards with Czech-English-Arabic translation.