Nothing About Us Without Us: Community engagement & technology in museums
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Transcript of Nothing About Us Without Us: Community engagement & technology in museums
Nothing about us without us: Community engagement & participation through culture & technology
Nick Poole, CEO, Collections Trust
These slides online at http://www.slideshare.net/collectionstrust
The Collections Trust is the professional association for people working in collections management
http://www.collectionstrust.org.uk
“Nothing about us, without us”
The Polish ‘Nihil Novi’ Constitution, 1505
The idea that instead of doing things to and for people, we ought
to be doing things with them
It all used to be so simple…
Producers
Producers Consumers
Producers Consumers
Shop window
Producers Consumers
Shop window
PRODUCT
Producers Consumers
Shop window
PRODUCT
PURCHASE
Except it was never really that simple…
I like what I do and I want to keep
doing it…
I like what I do and I want to keep
doing it…
I like what you do and I want you to keep doing it…
“A century or so ago, the local corner shop lived or died on the relationships they built.
As new means of mass communication emerged, companies used their increased reach to try to advertise their way out of that responsibility.
But today every aspect of a company’s behaviour is on public display. Putting the relationship first has
become the imperative again.”
- Scott Olrich, Responsys
SHARED VALUES & BELIEFS
COLLABORATIVE RELATIONSHIPS
SHARED VALUES & BELIEFS
COLLABORATIVE RELATIONSHIPS
SUSTAINABLE FLOWS OF VALUE
SHARED VALUES & BELIEFS
Community engagement isn’t some radical new model. Its about
understanding & building on the connection between your venue
and the people who love and support it…
Modern audiences are activist – they get behind campaigns sooner than they get behind organisations.
If your venue were a campaign, what would it be a campaign for?
BRAND
BRAND
LOCATION
BRAND
LOCATION
CONTENT
BRAND
LOCATION
CONTENT
CULTURE
BRAND
LOCATION
CONTENT
CULTURE
PURPOSE
BRAND
LOCATION
CONTENT
CULTURE
PURPOSE
BRAND
LOCATION
CONTENT
CULTURE
PURPOSE
LEAFLET
BRAND
LOCATION
CONTENT
CULTURE
PURPOSE
VISIT
BRAND
LOCATION
CONTENT
CULTURE
PURPOSE
EXPERIENCE
BRAND
LOCATION
CONTENT
CULTURE
PURPOSE
RELATIONSHIP
BRAND
LOCATION
CONTENT
CULTURE
PURPOSE
PARTNERSHIP
BRAND
LOCATION
CONTENT
CULTURE
PURPOSE
CO-CREATION
The point is not that any of these is better than the others, but that you have to be clear about which you
are doing (and mean it…)
Technology adds to the capability of these people
Technology drives
expectations for more of
these people
COLLABORATIVE RELATIONSHIPS
SUSTAINABLE FLOWS OF VALUE
SHARED VALUES & BELIEFS
Engaging communities
to develop audience
Meeting needs for research &
online engagement
PRE-VISIT VISIT POST-VISIT NO-VISIT
Enhancing & extending the visitor
experience
Sustaining the relationship & driving repeat
visits
Some examples…
“Museums already appreciate their position in their community and many combine this with scholarship, stewardship, learning and a desire for greater participation.
The Happy Museum Project is trying to show that the context is now different. Environmental change, pressures on the planet’s finite resources and awareness that a good, happy society need not set economic growth as it most meaningful measure offers a chance to re-imagine the purpose of museums.
Museums should realise their role as connector, viewing people not as audiences but as collaborators, not as beneficiaries but citizens and stewards who nurture and pass on knowledge to their friends and neighbours.”
Collaborative development
Networking community knowledge
The Happy Museum Project is aiming to put the generation of
social capital through community engagement before the generation
of revenue
Using technology to engage dispersed communities
Museum of Arch & Anth, Cambridge
KIWA is a collaborative project between communities in the UK, New Zealand, Australia and Brazil
The project is ‘digitally repatriating’ the lost heritage of Polynesia by identifying material removed by
colonial voyagers, digitising and reinterpreting it and using it to create a collective online archive.
Engaging with Maori communities in the UK & worldwide digitally to ‘repatriate’ & re-interpret removed cultural artefacts
Creating a community-owned digital archive of artefacts and cultural memories lost to Southern Australian tribes through colonialisation
Engaging communities in opening up new knowledge
Credits earn points and prizes:
•Hall of Fame
•Promotion
•Certificate
•Opportunity to manage cases
•Opportunity to blog
•Invitation to our Summer Party
Harnessing the power of an engaged community to research and transcribe diaries from servicemen & women in WW1
Developing a highly engaged online community of taggers and supporters, now being extended into a real-world community
Using ‘low-fi’ technology to engage communities
‘Museum in a Box’ uses a collection of 16 3D printed objects from the British Museum to engage London-based & local communities including schools
and community groups - http://thesmallmuseum.org/museum-in-a-box/
The Brunel Pop-Up Museum in Swindon took over Unit 40/41 of the Brunel Shopping Centre, resulting in increased visitor numbers at the museum
Re-negotiating the terms of our relationship with heritage
audiences is key to remaining relevant & sustainable
Technology & technology-enabled approaches create new
expectations for our communities and new opportunities for us to
engage
Embracing those opportunities depends on taking the initiative,
being creative & getting comfortable with a different kind of
relationship
Thankyou!
Nick Poole
@NickPoole1
www.slideshare.net/collectiontrust