Chapter 5: Museums: access and participation

27 Pages·1996·7.9 MB·

by  Robin Trotter

CHAPTER
5
MUSEUMS: ACCESS ANDPARTICIPATION
ROBINTROTTER
INTRODUCTION therevival ofvernacularlanguage, literature, and
a sense of common identities and values. He
The foregoing chapters have focused on the envisagestheroleofmuseumsprimarily interms
relationship betweenmuseums andcommunities ofcultural regionalism:
or segments of the population. This chapter Galleriesshouldbe atthecentre ofculturalregionalism
because they can provide the focus for 'cultural
turns to a more general aspect of the relations memory', thus ensuring that each local generation has
between museumsand theircommunities in con- the opportunity to investigate and reassess its artistic
sidering questions of access and participation. past. ... The community rolesofregional galleries have
These concerns have become a topic of debate largely imparted national values in the arts and crafts
and provided venues for travelling exhibitions. The
since the 1960s at all levels inside and outside result is that the preservation, investigation and dis-
museums. The main factors prompting this have semination ofregional values have been neglected. Yet
been the increasing importance of localism in this is where Australia's cultural needs are greatest. If
museum affairs, increasing demands for public regionalism were adopted, it would involve the com-
accountability in the administration ofmuseums wploeutledaerntscoaunradgecrtahfets*acrtosmemcuonliotgyy*asnodvittahlistoemrepghiaosniasl
and a broadening of the notion of cultural success. (Bogle, 1988: 72-80).
heritage. AlthoughBogleis speaking specificallyofarts
activities, hiscommentsapply equally toartefact
Localism collections heldbycommunity museums and the
A powerful impact on museums has been the historical work undertaken by these and similar
concept of community empowerment and com- organisations.
munity-centredapproachestoculture,power,and
citizenshiprights. Inthelastdecadewehaveseen PublicAccountability
a re-emergence of concerns about localism, Alongside new demands from diverse com-
regionalism and particularism; concerns that are munities for access and participation in cultural
closely linked to questions about multi- activities there are increasing governmental
culturalism and communitarianism. It is a trend demands forgreater public accountability in the
that often runs counter to increasing nationalism administration of museums. As museum visita-
and the growing globalisation of economic tion numbers grow, museums promote themsel-
relationships(Galla, 1993). In apolemic forlocal ves more extensively and operating costs
arts,MichaelBogleappealedforgreaterattention increase,questionsofcontrol,andaccountability,
to regional strategies, which would, he argues, become public and political issues. Previous
result in a decentralisation and de-specialisation government policies ofmaintaining such institu-
of collecting policies, encourage greater com- tions 'at arms length' are being challenged.
munity participation, and restore asenseofcom- Inthiscontext, theDepartmentofFinance Dis-
munity (1988: 80). Bogle draws on Lewis cussion Paper, What Price Heritage?,
Mumford's theory of regionalism in which demonstrated this shift toward a more interven-
regionalism is defined as 'the adoption of goals tionist role for government in the cultural arena.
thatbenefit, supportorreinforce regional values' The discussion revolved around the conceptofa
(Mumford, 1938). He goesontoargue thatwhen 'public-private' benefits model, where 'public-
thereisastrongsenseofnationalidentity,asthere good benefits' were defined as those 'which ac-
is in Australia, regionalism is not a political crue to the population generally whether or not
threat. Rather, he suggests, it 'can push through individualsparticipatefirst-handasconsumersof
national uniformities and assume great impor- heritage activity and enjoyment ofwhich cannot
tance. Although largely unarticulated, regional be restricted to specific groups', and where
differencesinAustraliaareoftenperceivedbythe 'private-good benefits' were described as those
public to be ofgreat interest'. He—suggests there 'enjoyed more or less exclusively' which can be
are two forms of regionalism 'geographic 'assigned to specific individuals or groups and
regionalism'based on political boundaries ofad- which in some form or other can be marketed*
ministration and 'cultural regionalism' based on (Department ofFinance, 1989: 26, 27). The dis-
116 MEMOIRS OFTHEQUEENSLAND MUSEUM
cussion paper also noted that its brief was to COMMUNITYACCESSAND
examine 'the degree to which private benefits PARTICIPATION
have been disguised as publicbenefits and hence
thedegreetowhichpublicmoneyshaveunneces- Ivan Karp in 'Museums and Communities'
sarily subsidised direct beneficiaries of institu- (1992) noted that:
tions and their programs' (Department of Museums often justify their existence on the grounds
Finance, 1989:28). thattheyplayamajorroleinexpressing,understanding,
Subsequent criticisms, such as What Value dkenvoewlloepdignegtahantdcipvrielsesrovciientgytvhaeluoebsjeactnsd,ovnalwuheischanidt
Heritage?(1990), thereply fromtheDepartment depends. Arguments about the social significance of
ofthe Arts, Sport, the Environment,Tourismand museums assert that museumscan provide servicesthat
Territories, have read the Department of Finance otherinstitutionscannot. As repositories ofknowledge,
paper as an exercise in economic rationalism. vsoacliuael,caonmdmitatsmtee,ntmsusbeeuyomnsdetdhuocsaetet,hartefcianne,beorprpordoudcuecde
However, it can also be interpreted as expressing in ordinary educational and civic institutions. (Karp,
a concern that museums provide improved ser- 1992: 5).
vices for wider categories ofcitizens rather than Karp also establishes a distinction between
servingeliteinterests,oratleasttoensurethatthe 'audience' and 'community'. The former he
latterarenotsubsidisedbytheformer.Inthesame defines as a passive unit which only becomes a
vein, the recent review of the Queensland community, or active agent, when the unit or
Museum (the latest in a round of State govern- group starts to speak for itself and articulates a
mentreviews ofmuseum activities in the respec- point of view which then impinges on museum
tive States) was framed around concepts of practices. Consequently, an active citizenry may
accountability and access. represent a
changing mosaic of communities which seek to in-
fluence and control how museums act, what they ex-
Cultural Heritage amine, what they represent, and how they represent it
(Karp, 1992: 14).
The lastdecades have seena wideningconcept Using Karp's distinction, it is proposed that
of cultural heritage to incorporate landscapes, what many museums are experiencing today is a
streetscapes, heritage areas, photographs and in- shift from a passive, and mostly singular
tangibleaspectsofcultureincludingoralhistories
audience,toa 'mosaicofcommunities'.Thisshift
and personal memories. The result is a more emerges from the socio-economic and political
hwoalyisstiocfalipfpe,rowahcohletoeccousltyusrteemtsh,atantadkewshoilnewchooml-e pcrhoadnugcetsoifdeantnifeimeedrigneenatrlmieursechoalpotgerys.quItesitsiaolnsionga
munities. Asaconsequencenewhistoricalspaces audiences about their beliefs, opinions and
arebeingdefinedand marketed;andanexpanded desires and museums about their purpose orrole
range ofobjects is being re-evaluated as 'valued' in respect to their societies.
artefacts. Activities that had been private and
limited in audience, deemed irrelevant, out-
Access
dated, marginal or becoming extinct, are being
rejuvenated, opened up and celebrated. Museums in general are not doing enough to liberate
their collections from the over-loving grip oftheir spe-
Museums are adopting strategies to meet these cial interest audiences. (Thomas, 1993: 7).
challengesbyextendingtheircollectingactivities 'Access' has become a key word in museum
to cover more recent histories, collecting in new debates sincethe mid-1980s. InAustraliathishas
CAMA
areas (photographs, recordings, etc), re-evaluat- been demonstrated at recent conferences
ing existing collections and gap-filling with new as well as by the initiation of various programs
symbols of national or regional significance. At anddebatesthathavetakenaccessastheircentral
the same time museums are introducing new ac- organising theme.
tivities into their spaces. Performances, 'Access' can have many meanings. It can refer
demonstrationsofcraftworkersandparticipatory to physical facilities, (buildings and objects); ac-
workshops are increasingly incorporated into cess forthedisabled;financial access; whetheror
museumprograms. Museumsarealsoincreasing- notentrance feesshouldbechargedorto intellec-
ly inviting new participants anddifferentaudien- tual access which Des Griffin has described as
cesintotheirexhibitionsand, as will be shown in 'access to meaning' (Griffin, 1991). So, access
later sections, many now allow and even en- can refer to access to ideas, to education, to fun,
courage community groups varying degrees of to collections, to different interpretations, to cul-
participation in decision-making. tural and emotional access as well as access to
MUSEUMS:ACCESSANDPARTICIPATION 117
services. Anne Skates has argued that both his- munity participation ranging from non-par-
toricalandcurrentpracticeswithinmuseumsmay ticipatory and management-centred agendas that
restrict access. Whereas, in the past, museums merelyallowcitizenstoapplya 'rubberstamp'to
reflected the interests and pursuits ofelites, con- projects, through to full citizen control. Inter-
temporary museum practices not only continue mediate 'rungs* cover increasing levels ofinvol-
these traditions but are deeply embedded in the vement. A secondary level involves citizens in a
traditions ofacademic disciplines which, in turn, therapeutic relationship wherein power holders
areproductsofawesternisedscientisticpositivism. educate or 'cure' citizens; the 'informing' level
By excluding, ignoring or peripheralizing it is easy sees participation as informing citizens of their
for us to be seen as sexist, classisl or racist about rights, responsibilities and options and a fourth
onretefhelederctosptehtoehprelieecsox*npsek,rniooetwnhlceeerdsgdeoeff.inmWiotesitonnsoefaendtdheawnceoamnpmepuerndoiattcoyh.thtWihnaekt tloekveelnibsrtiicngbsasciist.izAetnsthien nfeoxrtcolnesveulltaadtviiocnebmutayonbea
about other methodologies, theoretical frameworks and received by institutions, but here it is more as a
interpretations so that museums reflect the diversity of form of placation. Greater involvement through
o(cSeuksrastcetosom,mwuh1n9ai9tt1y:w,e1a1sn4a)d.ythaendhicsotonrtirciablultyeptroechlouwdedwehavsaeyacit-. ppaorwtenrersihsiprsediisstreivbiudteendttahtroluegvheltrsiaxd,e-oaflftshoaungdh
Questions aboutaccessalso include: whoshould negotiation. Level seven allows citizens even
have access? And to what? How can access be more power through delegation with manage-
evaluated? Should access be balanced against ment power delegated for selected parts or all
other museum obligations? And, because—access parts ofprograms.
does not necessarily mean participation th—at Greg Marginson has adapted Arnstein's ladder
is, effective involvement in museums affairs of participation to provide an appropriate model
what balance should be maintained between ex- wherebycommunitiesandmuseumscanexamine
ternal community participation and institutional whetheraccess to museums is 'genuine in intent
control? or outcome, and if not why not' (Table 1). This
Too frequently the phrase 'access and model can also be used by museums to develop
participation' is glossed to imply the same thing. strategies for improved access, and assumes that
However, 'access' means to approach or gain access goes beyond the community providing an
admittance to, and 'participation' means to take 'audience'. Rather, itpositscommunity access as
part in or share in an activity or enterprise. The meaningthatthecommunitybecomes 'partofthe
discussion paper prepared by DASET, The Role creative processofmuseums themselves'. While
of the Commonwealth in Australia's Cultural Marginson's ladder might be useful as a means
Development (1992), in discussing 'Access and for goal-setting, it is notably evasive regarding
Participation' notes that: the definition ofcommunity. Since communities
The development ofour culture depends on the invol- are, by their very nature, plural and diverse,
vement ofAustralians in cultural activities, as creators, museums may secure the participation of one
audiences, participants and consumers. (1992: 7) community at the expense of another. How far
It goes on to discuss: access to cultural ex- participatory ladders of this kind Marginson
periences, dissemination ofthe products ofartis- proposes are able to meet the requirement of
tic expression, widening of audiences, more mediating and balancing the interest ofdifferent
hands-oninteractivedisplays,andwaysofbreak- and perhaps even conflicting communities is a
ing the 'tyranny of distance' with outreach moot point.
programs, touring exhibitions and increased Marginson concludes that, although museums
facilities. The conclusion ' ... Finding a way to are increasingly laying claim to providing im-
give consumers a bigger say needs to be seen as proved access, 'fewwould actively involvecom-
a priority of the 1990s' (1992: 13), typifies this munities in actual exhibition development and
rhetorical glossing that equates access with par- veryfew (forexamplethe SAMigration Museum
ticipation, subsumes audiences as consumers, and and the Speakers Cornerat Old Parliament House,
ignoresquestionsabout theownershipofcultural S.A.), allow communities to have control over
institutions and control ofcultural production.
exhibition development' (Marginson, 1993: 10).
Arnstein's 'Ladder of Citizen Participation'
(Arnstein, 1969), provides a useful evaluative New Rolesand Functions for Museums
framework that can help identify more clearly
whether museums are limiting or promoting ac- The museum profession isanxiously and urgently seek-
ing a renewal ofthe museum as a necessary instrument
cess and/or participation. The model is based on of service to society. To serve a global heritage for
eight 'rungs' that measure the degree of com- global development. To serve nun in his totality, em-
118 MEMOIRS OFTHEQUEENSLAND MUSEUM
TABLE 1. Marginson'smodel ofaccessandparticipation. (Source: Marginson, 1993),
RungsOnTheLadderOfCitizen
GeneralPolicyProcess ExhibitionDevelopment CollectionManagement
Participalion
1.PublicRelations Noparticipationbycommunity.
Keycommunityleadersaccessed
onlyforpromotion.Maybe Promotionalpurposesonly. Promotiononly
manipulated.
2.InformationDissemination Communityaccessedfor Communitynetworkstappedfor Communitymadeawareof
collectionsforexhibitionand
promotionalpurposesand exhibitionpromotion,education
informationonmuseum programsetc.,targetedtogroups Coprmommuontiiotnyalcoplulercptoosressmoanlyy.be
directions. incommunity.
accessed.
3.InformationCollection Communitysourceof Communityaccesstodevelop
informationtodeveloppolicy. Communityaccessedfor
Policyclearly'ofthemuseum' contentonlyaccordingto collectionmaterialonly.
curatorialprecepts.
type.
4.Interaction/Discussion Communityformallyconsulted Seminars,groupinterviews, Communityissourceof
with,jointprojectdevelopment. researchandcollectionsfrom collection,keymembersusedto
Suggestionswelcomedandmay withincommunityand acquirematerialheldwithin
beactedupon. implementedbyexpert. museums.
5.ShareInDecisionMaking Policyformulationmadewithout Managementbykeypeople.
Exhibitiondevisedand
structure,mightbeunwritten. Notionof'expert*asserted.
developedbykeypeople.Wider
Decisionsareprerogativeofkey Collectiondefinitelywithin
groupashelpers.
people. museum.
6.Partnership Museumandcommunitymeet Collectionjointlyownedand
regularly.Decisionsformally Exhibitionsarejoint managed.Decisionconcerning
recordedandmutuallybinding. undertakingsandoutcomesare acquisitionanddisposalmade
Decisionsaredemocratically mutuallyshared. democratically.Collectionwithin
reached. museum.
7.DelegatedControl Powertoorganiseandmakefirm
decisionsdelegatedto Exhibitionprogramsdevisedand Collectionmanagedby
community.Decisionsare implementedbycommunity. community.Higherauthorityhas
bindingbuthigherauthorityhas Higherauthorityhas veto.Collectionlikelytobe
vetowhichisnotexercised veto/censorship. withinmuseum.
withoutdueprocess.
8.CommunityControl Powertoorganiseandmake
Controlwithcommunityover
decisionswiththecommunity. Exhibitiondevised,designedand
acquisitionanddisposal.
Decisionsarebinding. implementedbycommunity
Communityhaspowertoraise withoutexternalcontrol. Collectioncouldbeheldby
individualcommunity.
fundsandmanageresources.
bedded in nature in its totality, yesterday and today, convergence of museums, the heritage industry
seeking above all his future and the intellectual and and tourism. She claims museums have become
material means to master it. (de Varine 1985: 185).
Theimpactofstructuralchange,theemergence profit making, pleasure-giving enterprises rather than
the traditional centre for collecting, conservation, re-
of new social classes and different audiences, search and interpretation of the things which a par-
competition from other leisure activities, new ticular society or community values (King 1991: 126).
forms of knowledge and communications tech- Theissuethisposes,therefore, isthatofMarket
nologies, as well as pressures for accountability or Mission.
and access, are causing museums to re-evaluate The Museums Journal (February, 1990),
theireducational, social and institutional roles. devotedaspecial featuretothisconcernunderthe
In the Marketplace or in the Community? In- heading 'Museums: In the Marketplace or in the
creasingaccess would seem torequire increasing Community?' and asked leading museum people
visitor numbers. However, to measure access in Britain for their assessment. The responses
simply in terms of visitor numbers is perceived revealadivisionofopinionwithsomearguingfor
by some critics and commentators as areturn to traditional museum values and priori-
problematic. For Elspeth King 'the false pursuit ties and others claiming that museums mustcon-
of accessibility' is a product of the economic cede to 'irresistible demand forces'. Andrew
MUSEUMS:ACCESS ANDPARTICIPATION 119
West considers that the controlling elements of Painter, 1992).Adulteducationasaprimaryduty
most museums are increasingly to be found ofmuseums,isarticulated asafunctionofeduca-
within the business community, and that tion for citizenship. This may be partly to affirm
museums are increasingly being linked to the museums along orthodox lines, and partly as a
'community ofbusiness, ofsuburbia orthe *gen- responsetomuseumsbeingseenasentertainment
teel-ised'innercity'. Within such aclimate there and leisure.
is an emphasis on 'popularity' over genuine Withinthisbroadenedperceptionofaudiences,
'access', a silencing of scholarship, and a the traditional role of museums as educators is
downplaying of the need for the traditional also being re-evaluated. Strategies to improve
museum work of 'recording, preservation, dis- educational services and facilities and make ex-
playandinterpretation'. Withoutare-affirmation hibitions and displays more attractive are always
of museum purpose in terms of spiritual and under consideration. Education that advocates
educational needs, West warns, museums will informal approaches to interpretation and inter-
become 'variations ofantique shops and auction action are being examinedin linewithre-evalua-
houses' (West, 1990: 24-26). Similarly, Val Bott tions of theories exploring why people visit
referstoaUKsurveyofmuseumsthatconfirmed museums. Established educational philosophies
museum visitors are predominantly from the emphasise exposure to knowledge where the
wealthier classes. She stresses the need to make teachertransmits informationtoalearner. In con-
museums both accessible and accountable and to trast,progressiveapproachesaremoreorientedto
put the relationship between museums and their the growth of potential within individuals,
publicaheadofcommercialconsiderations(Bott, knowledge as a means to an end and to be sup-
1990: 28-30). According to Victor Middleton, plied according to the needs of the student, and
however, the ideal of public service is mythical the teacher as facilitator (Hooper-Greenhill,
inthat 'nine museums outoften do not serve the 1983: 127-129).
general public in any overall sense at all; they The ideas ofIvan Illich, Paulo Freire and Paul
serve the better educated middle class and have Goodman on de-schooling society have been
little or no appeal to the lower-socio-economic drawn on by several museologists to suggest al-
groups' In contrast, Middleton advocates a ternative educative strategies within museums.
'visitor-orientedapproach'andcreationof'excit- Illich, in 'Deschooling Society' (1970), attacks
ing, stimulating displays in which the stories of schooling systems and advocates life-long learn-
objectsarecommunicated mosteffectively to the ing through 'educational webs' around a per-
general public in a welcoming atmosphere'. The sonalised curriculum that involves a program of
traditional 'object-oriented ethos' he suggests, learning based on individual needs and interests,
may lead to with learning taking place in the family,
self indulgent pursuit of personal, intellectual interests workplace or society in general. Illich claims,
athnedfhaosbcbiinaetsi,onanodf sachtooltaalrlsyhidpisatnodrtetdhebdaelamnacnedsbeotfweiemn- If a person is to grow up, he needs, in the first place,
proved public access (Middleton, 1990: 31-33). access to things, places, processes, events and records.
To guarantee such access is primarily a matter of un-
This issue of marketplace or mission is as locking the privileged storerooms to which they are
relevant in Australia as it is in Britain. presently consigned (Illich, 1970: 22).
MuseumsandEducation. Freire says,
Nobody teaches anybody; nobody leams alone; people
Interpreting is about encouraging people to think lor educate each other (Hansen, 1984: 179).
tsehtetmisneglvseosc,ietnyo'ts aobbjoeucttitveelsl.ing(Altdhreimdgew,ha1t98t9o: t8h6i)nk, or Michael Ames argues that if museums are to
As notedin Chapter 1,museumsonly startedto retain their relevance for contemporary society,
seechildren as partoftheirconstituency from the this will be determined by the degree to which
late nineteenth and early twentieth centuries. they are 'democratised'. This he defines as;
Today children, either as students in school The extent to which there is increasing and more
widespread participation in decision-making regarding
groups, or as private visitors, constitute major administration, educational programming, and collec-
audiencesegmentsatmostmuseums.Atthesame tion management in museums, and increased oppor-
time, the notionofmuseumsaspartofthe 'paral- tunities for independent thought and action in cultural
lel education system',that is,partof'anyform of matters.
education offered by individuals, societies and The democratisation of administration means giving
institutions which is separate from formal educa- gthaonsiesawthioonwoarnkdincomnudsietuimonssaogfreattheerirsaywoirnk.theThore-
ItidoenaspfroorgrAaumsst'r,aliias pberionggraemsp(oHuosmeed,tMharrosugdhenth&e doefmoecdruactaitsiaotniaoln ionfteerdmuecdaitairoinesmeaanndsirnecdruecaisinnggthoepproorl-e
120 MEMOIRS OFTHEQUEENSLAND MUSEUM
tunities for independent and individual learning. The to environmental and social problems, to be
democratisation of collection management means 'engaged institutions committed to the necessity
makingcollectionsmoreaccessibletotheusers. (Ames,
1985: 25). ofglobal survival' (Sullivan, 1992: 41).
The limited access to collections (some es- REPRESENTATIONAND MUSEUM PRACTICES
timates suggest as little as 1-5% ofmuseum col- Museums are facing demands forwiderrepre-
lections are on display in major museums sentation of cultural diversity and inclusion of
althoughthismaybecounteredinsmallmuseums groupstraditionally missing frommuseumrepre-
who display all their collections). The typically sentations. Apart from those already considered
highly-structuredandclosed interpretation ofob-
jects; and the barriers to wider audiences, Ames winorpkrievnigoucslacshsaepste,rst,hesupcohorg,rouyposunignclpuedoeplteh,e
suggests, may be overcome by opening up
children, the handicapped, and the aged. In
museum storage areas and data bases to the
public. This he suggested would augment or- Ainustsroamliea,patrhte,exbceluesxipolnaionfewdorbkyintgh-eclcaosnsnleicfteicoanns,
ganised and interpreted exhibitions which cur-
between the working-classes and immigration.
rently cater to the interests of those educated As Andrew Reeves has noted:
classes who seek formal learning or tourist ex-
periences and would make the museum more .A..usMtaranlyiaonfwtoherkciunlgt-ucrel'asssinsctuilttuutrieonsisanadmsiogcriaalntprcauclttiucrees
availableand interesting towiderpublics (Ames, reflect this, as do elements of its symbolism and
1985:26). vocabulary. Australian working-class culture is not a
closed system, but one shaped and amended by suc-
Museums as Agents ofSocial Change. Many ceeding waves of migration (Reeves, 1987: 101).
commentators are advocatin—g that museums At the 1993 'Images of Women Conference',
adoptamorepro-activestance thattheyshouId Robyn Archer challenged museums to include
be tackling problems associated with race, class representations of 'My mob':
and gender both in their exhibitions and public Does it seem absurd to suggest that the attention to
programs, and facing up to the politics ofrepre- the petty criminal sub-stratum of Australia deserves a
sentation. Museums have been asked to rethink place in a museum? That lineage of mine peppered
with SP bookies, vaudevillians, jockeys, card sharps,
their boundaries and responsibilities (Hushion, hoteliers, black marketeers and the sorts ofsheilas who
1992). As farbackas 1972, John Kinard stated: hooked up with them, cooked for them, dressed up
Museums must change frompassivecollectors and nar- for Ihem, provided their alibis and bore their children.
rowly specialised scholars to active participants in Ortheriverculturethatwasnottheglamorouspaddle
meetingtoday'schallenges.They must notonlyemploy steamer kind? The boys who had to be conscripted
new methods but also be a new intermediary that will unwillingly into World Ward 1 and then came back
be unafraid to facecomplex problems raised by racism, alcoholics. The itinerant fruit pickers and their wives
material affluence, poverty, poor housing, unemploy- who left school at twelve and shone their brothers'
ment,—drugs,deterioratingcities, urban pl—anning,educa- boots and milked the cows and married the returned
tion all aspects of human existence and to find soldiers who were already on the piss and longed for
the answers. Exhibits should be designed to present a home of their own in the city.
these controversial problems side by side with their
counterparts in history, correlating current issues with or the less than romantic life ofthe suburbs:
historical facts. Ourmuseums shouldbe atthe forefront The life that was spent at home from five to twenty-
of change rather than following the dictates of past one; that life that progressed from Enfield Primary to
generations. (Kinard, 1972: 153). Enfield High to Adelaide University with values sig-
Butitisnotonlyinthesocialareathatmuseums Hniilfliesdhboyisltsa,wnst,hemeaadtveanntdotfhretehevetge,llyh,omtheemapdasetclloifteheso.f
have increasing responsibilities. As Robert Sul- the radio, school fetes, Girl guides, swimming car-
livan has argued, there has been a paradigmatic nivals, First Communion, Modess, bicycles, coffee
shiftfromthe 'vertical paradigm ofprogress'toa lounges, rock-n-roll, move matinees, ranch night,
'horizontally,global interdependentmodel'.This Rowley Park Speedway, Oakbank races in the rain,
cockling at outer harbour, the Globe newsteel, the
is changing the perceived relationship between Theatre Roval. Henley salt baths, the pill and Anzac
humans andtheirenvironmentswherepeopleare Day. (Archer, 1994: 24).
increasingly viewing themselves as 'participants As part of the Western Australian Task Force
in a horizontally interconnected ecological sys- enquiry into museums in that State, a Labour
tem and an interdependent, pluralistic cultural HistoryWorkingPartywasestablishedtoexplore
system'. Ofcourse, this shift, and the realisation concerns for the survival of labour history ar-
of the ecological crises the world is facing has tefacts and to ensure that the history ofworking
ramifications not only for natural history people would be adequately represented in the
museumsbutalso fordiversemuseumformats. It State's cultural institutions. Among the raft of
requires all museums to be looking for solutions recommendations, the Working Party noted the
,
MUSEUMS: ACCESS ANDPARTICIPATION 121
need for both integration and specialisation (a (Hooper-Greenhill, 1988: 224). There have also
greater priority in the Western Australian been calls for a brake on those forms ofprofes-
Museum on Labour history as well as estab- sionalism which distance museum workers from
lishment of a labour history museum); for the theirvisitors by creating institutionalbarriersbe-
re-interpretation of existing collections to ac- tween them(Jenkinson, 1989).Variousproposals
knowledge the labour history embedded in all have been made to further open up the museum
material culture; and for special assistance to processes and these include:
small museums to enable them to adequately Shiftingtheemphasisfromtheroleofcurator
1
represent labour and work history. The report as a sourceofexpertisetothatofprovidingassis-
summary concluded that for labour history tobe tance to groups outside museums soas touse the
'alive and vital', community interaction isessen- museum resources to make statements within it,
tial as it is 'the active engagement of people toenable enunciation ofplural and differentiated
which makes labour history' (Report of the views, and to make museums instruments for
LabourHistory Working Party, WA, 1991: 2). public debate (Bennett, 1990);
These examples illustrate some of the ways 2, Democratising the processes within
museums are being challenged to eliminate the museums and between museums and their con-
elitism that is often entrenched in traditional stituencies for a more people-centred approach
museum practices and which can be reflected in (Jenkinson, 1989);
etxhheigbeinteiornasl,mpuusbeliucmpertohgosr.amTsh,ispcuabnlirceastuilotnsin:and tha3t,pAudtospgtrienagtearctoenatmroalpipnrtohaechhawnidtshionfcmuurasteourimasl
aperception thatmuseumsrepresent 'highcultural' teams (Wright, 1991);
pursuits oflearning and science rather than places
of popular enlightenment and edification; 4, Revealing theauthorship ofdisplays so asto
'encourage con—tacts between visitors and public
• aruetphroersietnatraitainoinssm'thaatndimdpelnyyathpeosiptoisosnibiolfit'ycuolfturaall- servants, and by explaining how and why
ternative perspectives (Crossley, 1991: 118). choiceswere madeandh—angingorartefactplace-
A 'tyranny of collections* can often support mentdecisionsreached toempowervisitorsto
elitist practices. In manymuseumsthecare needed make increasingly sophisticated judgements of
formaintaining the holdings thathave been built their own, by sharing that very information to
up historically compounds a preoccupation with which the curator was privy in organising the
the past that tends to focus on elites and their display' (Wright, 1991);
material culture. Apossible consequence ofthis is 5, Recognising the limited and homogenous
that little attention is given to contemporary col- nature in Australia of museum curators, re-
lections, or to recent history. Such a situation is searchers and registrars in professionally staffed
alsoabarriertoanymovestowardlinkingthepast museums, and addressing this through partner-
with presentconcerns and problems. It is a tyran- ship arrangements between such professionals
ny that shapes values, practices and potential and alternative groups (Jones, 1991: 137);
development. Further,theextentofmanycollec- 6, Museums making commitments to com-
tions, and the conservation expenses can tie up munity involvement in research and production
resources so that the museum is strangled by the ofmuseum products (itscollections,displaysand
responsibility ofits collection. publications) so as to 'break down the barriers*
between 'experts' and 'non-experts', between
Authoritarianism ofCuratorial high culture and lowculture,between disciplines
Perspective and between small and large museums (Ford,
Some critics argue that one of the barriers to 1991: 145,148).
participation lies in the attitude of museum Conversely, Elspeth King has argued for
workers to their audiences. Eilean Hooper- greater, and renewed 'investment in the clever
Greenhill describes a predominant position as curator' in the face of increasing take over of
one where thecuratorperceives him/herself, and responsibility for museums by 'collection
is perceived, as an 'expert' whose responsibility managers', administrators, business managers:
it is to offer opportunities for the visitor to The secret ofclevercuralorshipisthatit is often above
'improve' and attain 'higher levels ofknowledge price. It is driven ultimately by love, passion and com-
and virtue'.—This positions the curatoras a 'moral mitment to the community which the museum serves.
guardian' one who is also located within a pIlorsahtoeulmdannaogterbse.glIafsso-uwralmluedseourmsstaamrpeedtouspuornvibvyecaonrd-
widernetwork ofsocial institutions, governmen- developwith integrity, it should be nurturedatall costs.
tal andeducational agenciesofpowerandcontrol (King, 1991: 134).
122 MEMOIRS OFTHEQUEENSLAND MUSEUM
NEW DIRECTIONS Commonwealth Museums Review (1986-88).
The Review of Commonwealth Involvement in
The museum is a didactic instrument, designed tobuild the Development of Museums and Similar Col-
heritage awareness, not for a public but for and by a lecting and Exhibition Institutions involved the
community, (attributed to Georges Henri Riviere & Department of Finance and the Department of
Hugues de Varine, 1985).
Arts Heritage and the Environment (now
muTshiesusmesctiaornerebveiceowsmisnogmemoofrtehew'acyosmminunwihtiyc-h DASETT). Thereview wastoexploretheperfor-
centred' andresponsivetocommunityneeds. Ef- mance of Australian museums so as to identify
forts to re-direct museums may be initiated from areasofduplication; opportunitiesforeconomies
outsidethe institution,fromthemuseumindustry and ways of limiting the Commonwealth's
itself, or from internal pressures. These efforts responsibilities in respecttorecurrentfundingfor
may be pro-active or re-active: they may exert museums, collecting and exhibition institutions.
democratic principles or constrain and contain In effect, the review sought to 'give improved
heritage valueforthe taxpayerdollar'. Although
devolution of control. Referring back to the
theresultsoftheReviewwerenotpublished,each
Arnstein/Marginson 'Ladder of Citizen Par-
ticipation*, elements ofthe different 'rungs' may ofthe participating departments released its own
discussion paper. These papers have generated
be found in general policies, exhibition develop-
on-going debates and informed subsequent
ment strategies and collections management in
policy reviews.
various museums. The purpose of this section,
then, is to identify some ofthe major factors for What Price Heritage? was released by the
change and to evaluate the extent to which such Department ofFinance in 1989 and argued for a
changes have been introduced into Australian more consumer-orientated approach to the
museums,andhoweffectivethesechangesmight management ofmuseums. Itargued there should
beinadvancingthebasicprinciplesreferredtoby bean appropriate balancebetweenpublic/private
Bennett in Chapter 1 (museums as collective funding ofmuseums and public/private benefits.
public property, equal rights ofaccess, fostering On one hand, the paper acknowledged that
civicidentityforall,and valuingandrepresenting government intervention in national cultural
the culture ofall groups within a society). heritage is justified on the grounds that certain
It would be difficult to find any museum in benefits accrue to the population generally
Australia that might be considered as wholly whether or not individuals participate first-hand
'community controlled' with policy being deter- as consumers. However, it also suggested that
mined by the community, exhibitions being private benefits (that may includeentertainment,
devised, designed and implemented by the com- education,goodsand services,corporatebenefits
munity, and collections under the control of the and research) have, to some degree, been dis-
community or even housed within the private guised as public benefits so that public moneys
realm. Considering the general development and may have unnecessarily been used to subsidise
style ofmuseums in terms ofmanagement, con- institutions and their programs (Department of
trol, and community involvement, the style of Finance, 1989: 26-32). Public accountability
museum most likely to endorse and implement was, therefore, the key theme ofthis paper.
principles of community control is the In contrast, the role ofmuseums in preserving
ecomuseum. However, neighbourhood
both the nation's material and intangible assets
museums, site museums and cultural resource was the organisingconcern ofa rebuttalfromthe
centres arealsobeingpromoted as developments Department ofthe Arts, Sport, the Environment,
thatchallenge the values, and practices, oftradi- Tourism and Territories (DASETT). What Value
tionalmuseums.Thissectionthereforeconcludes Heritage? (1990) argued that the methodology
with a brief overview of ecomuseums or living that Finance had used to evaluate the services
history museums. provided was flawed. However, DASETT, like
Finance, was also concerned with accountability
New Policies Establishedby Government andacost-benefitanalysisalthoughitarguedthat
and Museum Bodies performance indicators should take account of
In the last few years the Commonwealth and the specificity ofcollecting institutions with dif-
most State governments have initiated museum fering missions and objectives. Although the
enquiries which have taken up questions of ac- paper appeared to have difficulty in quantifying
cess and participation to a greater or lesser de- benefits, it prefaced its discussion with the com-
gree. These include: ment that
MUSEUMS: ACCESS ANDPARTICIPATION 123
Museums are the cornerstones of our culture... they Branch) publishedA PlanfortheFuture in 1991
identify the values, creativity, traditions and tastes of and mis has subsequently been updated with Fu-
our society, and thus constitute a vital component in ture Directions for Regional and Community
t1h9e90:enr5)i;chment of quality of life values (DASETT, MthuesAerutmssMuinsNeeuwmsSoAudtvhisWoarlyesCo(uNncSiWl,Mi1n9i9s4t).ryTfhoer
and concluded with reference to access for
recomendations of this latest report aim to im-
wider audiences:
prove the quality of museum services to the
Fmoerntmuansdeucumlsturtaoleindreincthitiseosciaentdy'svaliunetesl,letchteuyalmudsevtelsoepe-k public and the benefits listed include
to reach all components of society. Increasingly the greater access, understanding and enjoyment of local
relevance of museums will be evaluated by the extent museums by the public leading to greater public con-
to which they meet the needs and expectations of all fidence, commitment and support.
segments of society. (DASETT, 1990: 48). Victoria. There have been a number ofreports
State initiatives. and strategy document—s prepared in this State
Queensland.FollowingonfromaStategovern- over the last decade the Trudgeon Report
ment review ofthe arts in Queensland, a policy (1982), the Hancock Re—port (1986), Guidelines
review of the Queensland Museum was con- for Victorian Museums a departmental policy
ducted in late 1992. Aprimary term ofreference document (1990) and the VictorianMuseum Sur-
was to determine whether the Queensland veyReport (1992). The thrustofthis latestreport
Museum was meeting the needs of a diverse was inward to museums. However, the inquiry
Queensland audience, particularly in respect to also looked at levels of museum involvement
access and equity. The report (released in 1993), with their communities and with educational
addressed issuesofaccess (physical and intellec- programs.Museumsthatactivelyworkwithlocal
tual),culturaldiversity(gender,classandethnic), organisations on community projects, the report
participation (p—articularly in respect to specific stated, 'raises the profile of the museum in the
target groups Aborigines and Torres Strait community and establishes mutually beneficial
Islanders, women, and people of non-English relationships'. Further, it warned that those
speaking background), and the need for pro-ac- museums which do not participate in such ac-
taicvheipevrionggratmhse.seAokbejyecrteivceosmmweansdtahtaitotnhediMreucsteeduamt ctiovmimtuinesiti'ewsil'l(lMoAseAr&elAervtasnVciectotroiat,he1i9r93l:o6c0a-l
effect a change in its internal culture to enable it 61). Similarly, the report stressed the need for
to embrace access, equity and cultural diversity museums to develop educational activities and,
as well as the needs of regional Queensland. to support this, recommended that established
Otherrecommendationsforstructuralchangeand programs of assistance and training in museum
resources to implement such measures indicated education activities be maintained and that the
the need forthe State governmentto provide for, role of museums in school education be recog-
aisnsdueesncuonudreargsec,osruecdhtahceuletnurqaulirshyiftp.roScoecsisa,ljaussttihcee noifseSdchboyolbotEhduAcrattsioVnict(orMiAaAand&thAertDsepVaircttomreinat,
Report stated: 1993:62-63).
The Panel addressed the issues of access, equity and Western Australia. A major research into
diversiiy in a concentrated way. These matters arose Western Australian museums was undertaken by
einnjaolymeodstbyevtehreyPsaunbejle.ctCoannsdeqcuoenntetxltyotfhetsheemdaitstceursssicoanns the WA State Task Force for Museums during
be found as an underlying issue in the majority of 1991.ThisreviewcoveredtheWesternAustralian
recommendations of the Report. Museum as well as regional, community,
New South Wales. In 1989 A Policyfor the specialist and other museums. One of the Task
Development ofMuseums and Historic Sites in Force Working Parties (Public Presentation and
New South Wales was released. It recommended Community Involvement Working Party) was
policiesforthemajorstatecollectinginstitutions, given the briefto study 'the ways and the extent
broadening the functions of Historic Houses to which, museums encourage and respond to
Trust to co-ordinate policy and advise Govern- community involvement through visitor
mentonresourceallocationforregionalandother programmes and displays'. The Report noted
non-government museums, and encouragement that:
of a limited number of accredited regional Museums face a growing challenge in the increasing
museums of high quality over a proliferation of (and increasingly discernible) heterogeneity of the
society theyserve,particularlyinasocialclimatewhich
smaller under-resourced local museums. The confers rights upon minority groups and obligations
Museums Association of Australia (NSW on publicly funded institutions. It is well-accepted that
124 MEMOIRS OFTHEQUEENSLAND MUSEUM
many sectors ofthe population do not orcannot access InApril 1993,theWorkingGroupconcludedits
emfdouurscmaeatunicmoensioenbrjvteihcictsess,armaeanu.dsetuhmats, mtuostachiimepvreovtehetihreiprubpleirc- twioornks iannAdussturbamliitat:eAd Pitlsarnefpoorrta, NHeerwitPaagretnCeorlslheic-p
(Cultural Minister's Council Heritage Collec-
Recommendations stressed access and com- tionsWorkingGroup: 1993).Threemajorrecom-
munity participation 'in all areas of museum mendations were submitted. The first
work*, the need to redress the disadvantages of recommendeddevelopmentofacollaborativena-
remote communities in terms of access to
tional database forheritage items ofcultural his-
museum resources and potential of diversity of
torical and scientific interest; the second that an
'presentation techniques and styles' to target a interstate touring program for non-art museum
wider range of audiences (Western Australian
materials and collections be established; and the
Departmentofthe Arts: Perth, 1992: 116-122). third that a national conservation program be
Reviewsofmuseumpoliciesandpracticessuch implemented to protect and preserve Australia's
as those mentioned above are, unfortunately, de- cultural heritage. To implement these programs,
pendent on both government and the institution and develop further initiatives, the Working
involvedtakinguptherecommendations and im- Group recommended that a Heritage Collections
plementing them in the spirit of the report. Too Committee be established by the Cultural
often impediments are met, ormade. Changes of Ministers' Council. The Group also set out a
governmentcaninterveneandbringnewagendas number of long-term strategy objectives for the
to the fore, or economic constraints can impede management ofAustralia's heritage collections:
implementation ofprojects or increased resourc- 1, 'intellectual and physical' access to our
ing.Resistancetochangewithininstitutionsoften heritage;
blocksnew initiatives. Alternatively,apiecemeal 2, 'care and preservation' of our heritage in
approach to introducing innovative programs or order to secure that access forpresent and future
policiesmayresultin 'tinkering*thatfailstobring Australians;
abouttheradicalchangeintendedandonlyresults 3, 'research and documentation' of our
in the institution maintaining the status quo. heritage: to conduct research which increases
Museum andHeritageBodies. Professional as- understanding and knowledge ofAustralia's cul-
sociations such as Museums Australia are also tural heritage and its contribution to an under-
taking up the issue of access and participation standing of Australian society (research relating
more actively with an on-going series ofarticles toexistingcollectionsand/orfieldsofinterestnot
in 'Museum National', a forthcoming volume of yet adequately represented in collections is fun-
'Museums Australia Journal' which will be damental to this objective); and
featuring issues of access and communities, as 4, 'promotion' of our heritage to enhance the
well as a planned in-service course for museum contribution ofheritage collections to the social,
curatorsandadministratorswhichwillcovercon- cultural, educational and economic life of
temporary issues including those of access and Australia and to relate the value and impact of
participation, in addition, these topics have been Australia's moveable heritage to other realms of
central issues on the agenda at conferences over the National Estate.
the last five years.
At a national level, improved community ac- Changing Museum Practices
cess to Australian cultural heritage collections is In physical terms, access to museums has been
also the mission of the Heritage Collections improved in many ways. Capital development in
Working Group. This body was set up by the new facilities(atCommonwealth, Stateandlocal
Federal government under the auspices of the levels)hasresulted ingreaterattentionbeingpaid
Cultural Ministers' Council and given the task of to physical access, new exhibition styles, and
surveying the nation's collections and making installation ofhands-on activities in many larger
recommendations about defining the nature and museums.The 'tyrannyofdistance'isbeingover-
extent of Australia's heritage collections and come with several major museums establishing
coming up with proposals for improving the subsidiary branches, extending theiroutreachac-
community'saccesstothisheritage. Physical and tivities and producing a variety of touring
intellectual access to collections was seen as a programs ranging from full-scale exhibitions to
high priority ofthe Working Group,and recourse display 'kits'. A proliferation of smaller
to information was seen as a means ofincreasing museums, and some fragmented museum ser-
access. vicesarealso helping toovercomethe tyranny of