The view from within: a curatorial account of the rise and fall of visits to London museums from 1851–2016. A research note

ABSTRACT

This note addresses two questions: what comparing patterns of attendance at a group of museums and art galleries since 1851 might reveal? and how might the museums themselves have explained those figures? This note considers the rises and falls of visit numbers amongst a sample of 15 London museums over a 160-year period, and how the institutions themselves perceived those figures. The data used here were gathered from the museums’ published annual reports and internal documents, including daybooks and memos. Their presentation here introduces readers to an exceptionally long time series, and to the conventionally neglected voices of museums’ managers, whose circumstances and attitudes informed those museums’ management. These notes show that certain external factors affected simultaneous rises and falls in the majority of museums’ figures across the sample, although there were always exceptions. Some trends are revealed as general tendencies over a number of years. Discrete internal factors, such as temporary closures and exhibitions create peaks and troughs at individual institutions.     

“Lies,damn lies and statistics”: a history of museum visits in Australasia

ABSTRACT

While a great deal of attention has been paid to museum visit data in the last few decades, very little is known about long-term trends. This article examines the distinctive history of museum visits in Australasia through a comparative study of eight key institutions from across the region. Archival research was undertaken at each institution to compile as complete as possible a data set of annual visitation from opening until present day. Any stated changes in funding, admission charges, buildings etc. were also recorded, along with comments indicating contemporary explanations for fluctuations in visitation. Sources included official documents such as annual reports and trustee minutes, as well as visitor books and attendance records. We provide an initial overview of the quantitative and contextual data we collected from the case study museums focusing on a number of key questions: How have museums in Australasia been counting and reporting visit data over the past 150 years? What does this reveal about changes over time in the perceived value of visit data and museum attitudes towards their visitors? What are the key trends in museum attendance at the local, national and regional level in Australia and New Zealand? What contemporary explanations were given for fluctuations in museum attendance and are they supported by a long-term, cross-institutional comparison of the data? The study provides insights into historical shifts in thinking about the importance of visitors, appropriate methods for recording visitation, and the value of this data. The findings are also relevant to how museums today interpret attendance figures. The ways in which visit data were included or excluded from historical narratives about the value of museums highlights the constructed nature of visitor data and raises questions about the role of visitor research in contemporary museums.     

Still popular: Museums and their visitors 1994–2004

The starting point for this article is the author's 1994 study of the museums and galleries' market, By Popular Demand. The article sets out to look at some of the key findings and track any developments in the 10 years since its publication. The article examines both quantitative and qualitative evidence from national (rather than local or regional) data. The subject matter covered includes the old questions of how many visits are made to UK museums and galleries each year, who visits and why do they visit. This is a period only partly impacted upon by the policy initiatives of New Labour, notably free admission to the national museums and galleries and the Renaissance in the Regions programme. The author demonstrates that, at best, the total number of visits grew only a little and those who visit became more middle class and more middle aged rather more than the population did itself in these years. Museums and galleries might maintain their audiences but they were not expanding them or broadening their social appeal. This alone was sufficient justification for New Labour's policies, the early stages of which seem to have been successful.     

Participation and provision in arts & culture – bridging the divide

ABSTRACT

Successive policies and efforts to increase participation in a range of arts and cultural activities have tended to focus on the profile and attitude of individuals and target groups in order justify public – and therefore achieve more equitable – funding. Rationales for such intervention generally reflect the policy and political regime operating in different eras, but widening participation, increasing access and making the subsidised arts more inclusive have been perennial concerns. On the other hand, culture has also been the subject of a supply-led approach to facility provision, whether local amenity-based (“Every Town Should Have One” – Lane, 1979. Arts centres – every town should have one. London: Paul Elek), civic centre or flagship, and this has also mirrored periodic growth in investment through various capital for the arts, municipal expansion, urban regeneration, European regional development and lottery programmes. Research into participation has consequently taken a macro, sociological, “class distinction” approach, including longitudinal national surveys such as Taking Part, Target Group Index, Active People and Time Use Surveys, whilst actual provision is dealt with at the micro, amenity level in terms of its impact and catchment. This article therefore considers how this situation has evolved and the implications for cultural policy, planning and research by critiquing successive surveys of arts attendance and participation and associated arts policy initiatives, including the importance of local facilities such as arts centres, cinemas and libraries. A focus on cultural mapping approaches to accessible cultural amenities reveals important evidence for bridging the divide between cultural participation and provision.     

Museums,schools and geographies of cultural value

This article explores a paradox and a possibility that have emerged from two pieces of policy-related research concerning educational use of museums within England. The paradox relates to the use of museums which, whilst widely perceived as rather elitist institutions, appear from a postcode analysis of school visits to museums to be visited by large numbers of schools located in areas of social deprivation. The present analysis further explores this paradox, drawing on revised postcode analysis and governmental indices of multiple deprivation and income deprivation affecting children. The analysis supports the contention that museums attracted visits from schools located in areas with some of the highest levels of deprivation, although it suggests that this result needs to be considered in relation to regional differences in areas of social deprivation, the location of museums and the differences between individual and area-based measures of deprivation. Attention is then drawn to the potential of considering museums through a geographical perspective, and specifically through Foucault's notions of primary, secondary and tertiary spatializations. It is argued that primary spatializations encompasses how museums are conceptualized and classified; secondary spatializations concern how various elements of museums are articulated together; and tertiary spatializations relate to the placement of museums in wider societal contexts and processes. It is suggested that the postcode analysis of school visits points both to the significance of considering tertiary spatializations relating to the social circumstances of museum visitors but also raised questions concerning primary spatializations of museums. Attention is drawn to changes in the classification and grouping of museums, and how these often encompass geographically based criteria related to the social reach of museums. The article ends by considering the degree to which museums might seek to further change their primary spatialization to reflect tertiary spatializations relating to cultural value.     

Analysing visits to English museums 1850–2015: a research note

ABSTRACT

Understanding why people visit museums is of interest to both cultural economics and museum studies. Most existing research relies on survey data concerned with visitors, their immediate background, and their experience of a particular museum. Very few studies have taken a more general perspective and analysed macro-level societal factors, such as inflation, educational attainment and unemployment, and their influence on the number of visits to museums. The conventional approach relies on visitor surveys to understand what drives visits and people’s general views on museums.

In a departure from these conventional approaches, this article presents a macro-level approach, using a unique dataset of visit counts for 40 English museums and visitor attractions spanning the period 1850–2015. It examines the effect of socio-economic factors on visits using panel data analysis and macro-level variables. The results suggest that inflation rates, average earnings, and educational level (using the indicator of secondary school attendance) all significantly influence the number of visits made. However, the most important variable is the number of visits recorded for the previous year. These findings are discussed in relation to existing studies, and some suggestions for future research are proposed.     

The presence of museums in the lives of Canadians, 1971–1998: What might have been and what has been

This chapter reviews data from seven large‐scale national surveys that measured cultural participation in Canada from 1971 to 1998. It assesses what the data imply regarding the numbers and types of people visiting museums, and how these have changed over time.

While overall participation rates have sustained the levels of the 1970s, participation rates in 1998 do not reflect the growth in participation projected then. Furthermore, the spectrum of people visiting museums has narrowed, rather than being ‘democratised’. Those with post‐secondary education have always been more likely to visit museums but now represent a majority of visitors for the first time.

That museums are now attracting relatively fewer people and fewer types of people suggests a diminishing presence for museums. Nonetheless, museums’ audiences are noticeably less elite than often portrayed, and there are opportunities for changes in policy and programmes designed to reach more people. Ultimately, though, the surveys give only limited insight into the role of museums in the lives of the general public, and new types of research and measurement are needed.     

“Good” organisational reasons for “ineffectual” research: Evaluating summative evaluation of museums and galleries

New displays, galleries and exhibitions in museums and galleries are increasingly subject to summative evaluations, wide-ranging investigations that examine how visitors respond to and engage with particular initiatives. These evaluations provide insights into the behaviour and attitudes of visitors and the ways in which particular exhibitions, exhibits and information resources facilitate engagement, participation and learning. Unfortunately, however, summative evaluation has relatively little impact either on the particular initiative or more generally in contributing to our knowledge of visitor behaviour and understanding of best practice. In this paper, we suggest that the relative lack of impact of summative evaluation is not primarily due to any methodological shortcomings or the idiosyncrasies of some of the approaches that are used. Rather, the organisational and institutional context in which summative evaluation is commissioned, undertaken and received can impose contradictory demands and undermine the opportunity of learning from and applying the findings of evaluation.     

The coming crisis of cultural engagement? Measurement,methods, and the nuances of niche activities

ABSTRACT

Do ticketing data and national survey data on attendance tell the same story? This question is particularly important in the context of debates over the power of new forms of data to supplant the “traditional” survey methods that have underpinned our understanding of the social stratification of culture. This paper compares three data sources on attendance: the Active Lives Survey, the Taking Part Survey, and Audience Finder. We first compare self-reported attendance at events in each English local authority from the Active Lives survey with ticket sales data, finding a close relationship. We follow up by comparing the distributions of ticket buyers across the Indices of Multiple Deprivation with those from Taking Part, finding that for widely-ticketed and widely-attended art forms they track closely together, providing support for existing trends. Ticketing data does not seem to offer more information on social stratification than traditional social science sources. However, we extend the comparison through more detailed analysis of subcategories within less well-researched forms – literature and dance events – where numbers of attendees are lower, with accompanying uncertainty in survey sources. We find that the audiences for dance vary widely, with ballet attendance being heavily socially stratified but attendance at contemporary dance much more similar to the general population. However, we find that audiences for literature events are more heavily socially stratified than almost any other art form, almost regardless of the subcategory. The power of new datasets is in offering specificity about artforms, rather than overturning what we know about culture and inequality.     

The Social Stratification of Cultural Consumption: Some Policy Implications of a Research Project

The paper briefly describes a recently completed research project on the social stratification of cultural consumption, presents some major findings from this project, and considers their implications for public policy in relation to the arts. A central theme is the inadequacy of the ‘homology’ argument, claiming that social hierarchies and cultural hierarchies map closely onto each other. This argument is shown to be empirically unsound and to underestimate the complexity of the relationship between social stratification and cultural consumption, as this is determined by the combined effects of income, education and social status. One question that then arises is what policy response, if any, is required by the fact that many individuals do not participate extensively in the arts even though they have the economic and cultural resources required to do so (self-exclusion rather than social exclusion). And a second is that of how far, in attempts at increasing participation, status-linked motivations might be exploited.     

The social stratification of theatre,dance and cinema attendance

In current sociological literature the relationship between social inequality and patterns of cultural taste and consumption is the subject of a large and complex debate. In this paper the primary aim is to examine, in the light of empirical results from a research project in which the authors are presently engaged, three main, and rival, positions that have been taken up in this debate, here labelled as the ‘homology’, the ‘individualization’ and the ‘omnivore–univore’ arguments. Elsewhere, we have concentrated on musical consumption in England, and find evidence that is broadly supportive of the omnivore–univore argument. Here we ask whether such findings are confirmed in the case of theatre, dance and cinema attendance. A secondary aim of the paper is to bring to the attention of practitioners in the field of cultural policy and administration the need to address the issues that arise through the use of more powerful methods of data analysis than those often applied in the past. We explain how indicators of theatre, dance and cinema attendance derived from the Arts in England survey of 2001 can be subject to analysis so as to reveal two distinctive patterns of attendance and, in turn, two distinctive types of consumer—who can, it turns out, be regarded as omnivores and univores, even if with some qualification. The former have relatively high rates of attendance at all kinds of the events covered, including musicals and pantomimes as well as plays and ballet, while the latter tend to be cinema-goers only, that is, non-consumers of theatre and dance. A range of measures of social inequality are then introduced into the authors' analyses, including separate measures of social class and social status and also of educational level and income, and it is further shown that, again in conformity with the omnivore–univore argument, these two types of consumer are socially stratified. Omnivores are of generally higher social status than univores and also have usually higher levels of education and higher income than do univores (the latter finding marking the main difference with musical consumption, which was unaffected by income once other stratification variables were controlled). In sum, our results for theatre, dance and cinema attendance lend, overall, further support to the omnivore–univore argument as against its rivals, but also indicate that different aspects of social inequality impact on different forms of cultural consumption in varying degrees and probably through largely separate processes.     

Minority Cultures and Social Media: Magnifying Garifuna

This paper looks at social media use by the Garifuna people. It explores how they are using social media to create a supraterritorial cyberscape. Despite the claim that global media is marginalising minority cultures and causing global homogenisation, this research found that newer forms of social media are in fact creating virtual cultural cyberscapes that are extending minority cultures. The Garifuna cultural response to social media can be demonstrative of the positive impact of social media minority perspectives. The larger implication, though, is that traditional geographical models of cultural space are becoming obsolete. In this research, a total of 60 Garifuna in locations all across the United States and Honduras were selected for participation. Their access to and use of media were examined.     

Measuring the Impact of Free Admission

The reintroduction of universal free admission to the government-sponsored museums is often cited by politicians and commentators as one of the principal cultural policy achievements of the current Labour administration. Both in terms of increasing the total number of visits to the sponsored museums and in encouraging new visitors from priority groups the policy has been a demonstrable success. The complexities of the data generated in support of free admission have hitherto, however, gone largely unexamined. This article therefore explores the ways in which government has gone about measuring the impact of its free admission policy. It traces the history of free admission to museums and galleries as a concept, before setting out the background to the reintroduction of universal free admission to those museums sponsored by the Department for Culture, Media and Sport (DCMS) that had introduced charging in the 1980s and 1990s. It then considers ways in which the impact of the policy can be measured, through use of the data generated by the 23 performance indicators used by DCMS in the funding agreements that it has with each of the museums. The article then considers the various factors that need to be taken into consideration in any assessment of the impact of the free admission policy, including the effect of new capital investment. The article concludes by suggesting that further work is needed to isolate the precise impact of free admission, particularly on attracting new audiences to museums and galleries.     

Mondrian as kitchen tiles? Artistic and cultural conceptions of art museum visitors in Belgium

This article investigates the ways in which art museums' visitors define their relationships to art and culture, and how this affects their perceptions of art museums. Existing approaches have traditionally attempted to define the meaning of art museums on the basis of the socio-economic composition of museum audiences. Using mixed methods analysis, with a particular stress on qualitative data about the audiences of the six main museums of modern and contemporary art in Belgium, I argue for the need for a more complex and comprehensive framework to understand visitors' perceptions. I show that people characterized by similar cultural tastes and practices use similar strategies to interpret their relationship to culture, art and museums (the same principles of classification, legitimation and justification). On this basis, I argue that those with a similar cultural profile belong to the same “interpretive community” (Fish, 1980; Hooper-Greenhill, 2000).     

Ethnic Differences in Public Participation: The Role of Conflict Communication Styles and Sense of Community

Cities around the world are challenged by a growing ethnic diversity and previous studies theorize that two of the factors that contribute to ethnic differences in public participation are conflict communication style and sense of community. This paper addresses these factors as predictors of community meeting attendance by two ethnic minority groups—African Americans and Korean Americans. Survey findings indicate ethnic differences as predictors of intent to attend a community meeting, and implications for facilitation of meeting processes are discussed. Further research is suggested to deepen understanding of how different ethnic groups perceive and respond to conflict in public meetings.     

UK museums: Safe and sound?

The new millennium finds UK museums confronting change in their markets and a new political environment.

Recent research has shown that the museum market is static. Sustainability may be difficult for many, with only those that are small and run by volunteers escaping financial difficulties. Alongside these market factors, and following the election of the Labour government, museums are being expected to confront new challenges. While much government policy continues the thrust of the previous administration ‐ especially the focus on the national museums and galleries ‐ there have been some distinctive shifts, especially in respect of admission charges. Besides devolution to Scotland, Wales and Northern Ireland, an increasingly important English regional agenda has developed, in which museums are expected to play a significant role.

Other influences have also had a considerable impact, such as the advent of Best Value, which requires museums funded by local councils to demonstrate their efficiency and effectiveness, and the National Lottery's significant investment in museum capital projects. While this has created some exciting new projects, it has also added to museums’ running costs at a time when market conditions are difficult. Additionally, limited opportunities for employees to progress and develop, and uncompetitive pay, make museums an unattractive career choice, thereby depriving them of the talent that will be needed to meet the public's changing needs.

All these issues provide a reason for central government to understand better the issues faced by the museum sector as a whole, and regional museums and galleries in particular. Without such national guidance, and opportunities for strategic change and rationalisation, museums may close in a disordered way, and their collections lost. In this way, the legacy of this generation to the next may be in danger.     

Impact of place on museum participation

This paper examines the impact of place on museum participation in England. For the first time in the cultural field, we use a multilevel logistic model to examine whether place matters after accounting for individual characteristics and area level compositional factors. Our findings show that the traditional social order remains intact, although other social cleavages have become important, and that significant variation exists in museum participation simultaneously at both the neighbourhood and local authority district spatial scales. We conclude by arguing that future research into cultural consumption patterns must take account of the fact that individuals reside in different places. That individuals cluster in space, interact in these places and spaces, and that environmental forces impact on museum participation. Put simply, both theoretically and empirically, studies of cultural behaviour should take account of place, because place matters.     

Social network sites and acculturation of international sojourners in the Netherlands: The mediating role of psychological alienation and online social support

Acculturation of short-term international sojourners, such as expats and international students, has received considerable attention from scholars in the past decades. Acculturation is commonly defined as the interplay between cultural maintenance, the sojourner’s desire to maintain their home culture identity, and host country participation, their desire to initiate contact with members of the host society. The present paper focuses on the role that Social Network Sites (SNS) play in the acculturation process of this group. Through a survey, we examined how 126 short-term sojourners in the Netherlands use SNS to interact with relations in both home and host country, and how this affects their cultural maintenance and host country participation. Furthermore, we examined psychological alienation and online social support as possible mediators. Our results show that on the one hand SNS contact with home country relations is positively related to online social support. On the other hand, it is also related to psychological alienation, which in turn is related to cultural maintenance. This shows that sojourners who keep in touch with friends and family at home also experience more loneliness and homesickness, and place more emphasis on their own cultural heritage. Finally, we found that SNS contact with host country relations predicts host country participation. Through online activities, sojourners are able to foster social interaction and strengthen friendships with locals.     

Evaluating a university’s investment in arts programming on student arts participation

ABSTRACT

An individual’s level of education has the strongest relationship with his or her arts participation. What is unclear, however, is why high-educated individuals are more likely to participate in the arts. Economic models indicate that price, income, and background are relevant to attendance, but the role these factors play among high-educated groups, like college students, remains underexplored. This study sheds light on what makes college students more likely to participate in the arts by evaluating a university’s investment in arts programming on campus. We analyse data from an experiment in which a university made substantial investments in arts programming largely centred on increasing access to the arts by providing more free programmes. Using pre- and post-intervention survey data, we analyse changes in students’ reported level of arts participation and barriers to arts involvement. The results from our analyses show that background, such as familiarity and experience in the arts, is the strongest predictor of increased arts participation among college students when prices are reduced.     

The impact of free entry to museums

The commitment of the then Secretary of State for Culture, Media and Sport to ensuring free entry for all visitors to national museums and galleries by the end of 2001 left many of MORI's clients in the national institutions somewhat uncertain about the future. What impact would ‘going free’ have? Would those who might be described as ‘sociallyexcluded’ be encouraged through the doors? Would the money visitors saved on entrance fees be spent in the shops and restaurants?

The first question was answered in spectacular fashion when, in earlysummer 2002, the Department for Culture, Media and Sport (DCMS) announced a 62% increase in ‘visitor numbers’ in the seven months since entry charges were scrapped. While it is known that DCMS tends to use the terms ‘visitors’, ‘people’ and ‘visitor numbers’ to refer to visits per se, as a researcher two questions sprang to mind:

• Did these figures mean there were actually a lot more people visiting museums and galleries, or were the same people visiting more frequently?

• Was the boost in visiting restricted to the national museums and galleries, or were more people visiting museums and galleries generally?

MORI decided to see what more could be discovered about these extra visits by placing four questions about the British public's museum‐going habits on its GB Omnibus study in August 2002.

The results of that survey form the basis of this chapter. They demonstrate that, although the numbers of people visiting museums has increased significantly since 2001, the increase is greatest among those groups who have traditionally always gone to museums and galleries, while the increase among groups who might be described as socially excluded is much lower.

The chapter concludes with a discussion of the implications of MORI's findings for the future of the museums and galleries sector.