Who’s counting whom? Non-National museum attendances in the UK: part 1

ABSTRACT

This paper is the first part of a study on visit numbers to UK regional and local museums. It reviews the limited past research on the topic, examines the motivations for counting such visits and the means required to do so, and explores the methods used from the early nineteenth century to now. A concluding section discusses the theme within the context of modern public policy on museums.

In relating historic context to current practice, it shows that, irrespective of the general use of visit numbers as a proxy for public interest and institutional importance, the practice of collecting museum visit numbers continues to be inconsistent and their publication erratic. It suggests that the lack of accepted good practice makes this an area for improvement.     

Where are the numbers? Counting museum visitors in France

ABSTRACT

In the early twenty-first century, the Louvre is the most visited museum in the world. Yet little is known about how visit numbers to French museums developed. Compared to the Anglo-Saxon world, the collection and publication of visit data began late and was initially far from systematic. Some figures were collected in the late nineteenth century, but correspondence from the early twentieth century indicates that not even the Ministry of Fine Arts, overseeing the National Museums, was always aware of them. More complete numbers appeared from 1922 when entrance fees were introduced. However, visitors entering on free days were not yet counted. In the 1930s, data collection for the National Museums was systematized by the Directorate of National Museums, but figures were rarely published. The aim of this article is, therefore, to establish the sources that might be used for a quantitative approach to museum visiting in France and to reflect on the reasons for the initial indifference towards the counting of visitors and the standardisation with international practices over time. The article argues that the triggers for changes in the culture of counting in France were both internal and external. A prolonged debate about the introduction of entrance fees took place from the start of the Third Republic to the interwar years and let to the search for existing numbers in France and abroad. The Fine Arts Administration compiled data about practices in other countries and a number of monographs on the subject were published. The press also frequently referenced foreign examples. These documents provide a fascinating insight into comparisons and emulation of foreign practices at the time, allowing us to rethink the modern obsession with counting as the result of a transnational process.     

“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.     

Finding the Family in Medieval and Early Modern Scotland. By Elizabeth Ewan and Janay Nugent

ABSTRACT

In response to recent discussions in the UK about the history national curriculum in schools, Cultural and Social History invited several historians to comment on the issues. Their responses to our questions have been interleaved and lightly edited.     

Community Consultation in Developing Museum Projects: A Case Study Using the Repertory Grid Technique

Good community consultation is a powerful tool in developing new museum projects and exhibitions, facilitating a more effective delivery of service to a diverse public. Existing techniques for both user and community consultation are limited with front end evaluation particularly undeveloped in the sector, often providing no meaningful base by which to compare project outcomes. Tension exists between government, which values quantitative data, and researchers who argue qualitative methods are more appropriate for evaluating community projects. This article reports a pilot study using the repertory grid technique to examine a ‘socially excluded’, ethnically diverse local community's perceptions, expectations and previous experiences of similar projects, to provide a benchmark against which to compare outcomes. This research formed part of the front end evaluation for a New Deal for Community's Project run by Sheffield Galleries and Museums Trust. The repertory grid technique was developed in psychological studies as a means of understanding respondents' own world views, and is particularly helpful in working with people with poor language skills. Although this study only used the technique qualitatively, it can be used to combine both quantitative and qualitative data, providing more robust data for evidence-based policy decisions. Using the repertory grid technique, respondents were able to list both perceived and practical barriers to participation in projects. The technique also enabled them to articulate what would motivate them to become involved in future projects. The repertory grid technique has significant potential for use in community consultation and project evaluation as a means of understanding local residents' perceptions and its visual representation means that its findings can be easily understood by participants, policy-makers and practitioners.     

Patterns of inequality in private funding of culture across the UK

By calculating an additively decomposable inequality measure following the lines of Shorrocks (1980; see Econometrica, 48(3)) we are able to evaluate regional disparities in private funding of cultural enterprises in the UK in a novel way. The country-wide index of inequality separates funding differences across regions from disparities within regions. Using data on private investment in UK cultural organisations, we consider three datasets: the first includes 139 organisations between 1993 and 2005; the second includes 573 organisations between 2002 and 2005; the third includes 898 organisations between 2005 and 2006. Differences among the 12 UK regions account for between a quarter and a third of overall funding inequalities. The largest contributor to funding inequality of cultural institutions in the UK is the degree of heterogeneity among cultural organisations within each region. We find that successful private fundraising is not significantly associated with the region where the organisation operates or with the particular cultural expression object of its activity. These are significant findings for cultural policymakers working on addressing issues of regional concentration of culture and diversifying sources of funding for the sector.     

Cultural policy indicators: reflections on the role of official statisticians in the politics of data collection

Cultural policy indicators are being constructed in many countries today as a consequence of reforms in public governance aimed at increasing cost-effectiveness and general efficiency as well as transparency and accountability. Drawing upon a project of the Finnish Ministry of Education, the article discusses the responsibilities of official statisticians in regard to the collection and processing of data to be used as “evidence” of the outcomes of cultural policies. Official statisticians are bound by an ethical code that emphasises the objective and independent production of information on different aspects of the economy and society. Direct involvement with the construction of cultural policy indicators may threaten the integrity of official statisticians, because such work would require close collaboration with administrators and decision makers who have their own particular interests in the cultural field. Moreover, the system of cultural statistics, which was established internationally at the turn of the 1970s, has a history of providing justification for public cultural policies. The Finnish project, in which two officials from Statistics Finland functioned in the role of commissioned experts, was officially about societal effectiveness indicators but was extended to encompass arguments for cultural policy. The final report even went as far as to propose that cultural considerations could be mainstreamed through indices and evaluation schemes covering all policy sectors. The article shows how easily official statisticians are drawn into the politics of data collection in the field of culture even when precautions are in place. The article concludes that the code of ethics of official statisticians serves as an indispensable buffer against partiality, but, to put this ideal fully into action, cultural statisticians need to develop reflexive practices that combine an applied approach and critical discourse. Such practices are similar to those outlined recently by cultural policy researchers.     

Orthodox Communities in Eastern Anatolia in the Thirteenth to Fourteenth Centuries. Part 2: The Time of Troubles

Eastern Asia Minor underwent profound changes in the thirteenth to fourteenth centuries. The period in question is marked by the decline of the Greek Orthodox Church in Anatolia. Why did the Greek population, prosperous in the thirteenth century, dwindle in the next century? The answer may lie in the general development of Eastern Anatolia at that time: the wealthy provinces of the Sultanate of Rūm and the state of Ayyubids became an arena of constant struggle between powerful warlords, which led to depopulation of many cities. Neither Islamisation nor the process of Turkisation seem to have been a decisive factor of the decline of the Greek settlements in Eastern Asia Minor.     

A Complaint with the Cadi,ca. 1896: an East/West Cultural Encounter

This article presents a case study of A Complaint with the Cadi (Algeria), ca. 1896 – a painting by the French Orientalist artist Marie Lucas-Robiquet (1858–1959). Using cultural and social history as prisms, it explores what Lucas-Robiquet’s visual record communicates to the cultural ‘outsider’ about Muslim social life in French colonial Algeria. Attention is given to this artwork because it depicts the Islamic judiciary system as practised in late nineteenth-century Algeria. This article argues that this painting and its subject matter are rare in the Orientalist canon; that the artist was female, is, I posit, crucial to the ways in which this work can be read. Lucas-Robiquet, a decorated Orientalist, used a Naturalist style of painting which was both nuanced and sensitive to Islamic cultural traditions. I contend that A Complaint with the Cadi (or qā?ī meaning judge) is an important work because it represents a locus of historicised forms of Otherness: the French female artist and the Algerian cultural attribute.     

Crossing cultures: Analysing the experiences of NZ returnees from the EU (UK vs. non-UK)

While there is growing scholarly interest in returned and cyclical migration, and on young adult cultural or adventure seeking migration, there is still a lack of systematic empirical insights into how the experiences of being abroad, and after return, are mediated by exposure to different cultural environments. Addressing this conceptual and empirical gap, the paper analyses the experiences of New Zealand return migrants, or sojourners, who lived and worked in European countries (other than the UK) for more than one year and compares them with the experiences of NZ returnees from the UK. Drawing on 20 ‘non-UK’ and 22 ‘UK’ in-depth interviews, the paper revisits [Rhinesmith, 1975] and [Rhinesmith, 1986] typology of cross-cultural, or intercultural, adjustment (largely ignored in studies of return migration) to assess sojourners’ experiences throughout the migration cycle and serve as a useful tool for identifying and reporting psychological and socio-cultural elements in the returnees stories. The findings of sojourners’ possible identity shifts during intercultural transition are discussed with reference to the four-member paradigm of Cultural Identity Model (CIM) (Sussman, 2010) while addressing Sussman's (2002) argument that overseas adaptation and repatriation experiences are not directly associated. This paper demonstrates the need to understand first that the costs and benefits of circular migration or sojourning are country-specific, and that they do not ‘just happen’ at a particular moment or in one phase but are forged through a veritable rollercoaster of experiences of intercultural adjustment.     

Two cultures: the use and non-use of hypotheses in cultural policy research1

In the hard sciences research programmes are designed to generate evidence consistent or inconsistent with particular hypotheses. Hypotheses unsupported by evidence are modified or abandoned. The framers and testers of scientific hypotheses are members of the same profession, similarly trained and likely to interpret evidence in similar ways. They have professionally generalized responsibility for the quality and integrity of each other's work. Peer review systems are in place to monitor performance and expose chicanery. This is not the case in the cultural policy research arena. Here, policymakers, arts advocates and academic policy analysts are breeds apart. Their professional affiliations and lines of accountability are radically unlike. We have highly selective “advocacy” evidence on the one hand; highly developed but untestable academic theory on the other, suggesting the hypothetical existence of evidence for which academics are not allowed to look. Policymakers avoid “what if?” questions because they are paid to maintain positions of certainty. Academics ask, but lack the data to answer. Neither approach is satisfactory for shaping the future. This paper explains how the two opposing research traditions came into being and points to some of the problems which poor communication between theoreticians and practitioners can create.     

The Gramppian Hills: An Empirical Test for Rent-Seeking Behaviour in the Arts

To remind cultural policy practitioners that rent-seeking theory exists (in recently published cultural economics reference books the theory is hardly mentioned), and to encourage theoreticians further to develop their models of personal and institutional behaviour predicting and explaining it, this article suggests a simple graphical test for rent-seeking behaviour in the non-profit art world. The author hopes to reinvigorate debate about arts rent seeking and about its good and ill effects, about possible diagnostic techniques and about possible control measures.     

Heroes of Their Own Life Stories: Narrating the Female Self in the Feminist Age

ABSTRACT

This article proposes a triple legacy of the expressive culture of the 1960s and 70s. Late twentieth century feminism, discourses of gender equality and the advent of modern confessional culture liberated women’s women’s voices, producing self-realising narratives and a shift in women’s facility to produce authentic ‘reflexive projects of the self’. Drawing on oral history interviews with women born in the 1940s in the United Kingdom, Australia and North America, a new concept for a distinct genre of women’s oral history narrative is advanced– the feminography – in which we hear women owning their voices and the stories those voices tell.     

Orthodox Communities in Eastern Anatolia in the Thirteenth and Fourteenth Centuries.1 Part 1: The Two Patriarchates: Constantinople and Antioch

In the thirteenth century the Orthodox population still held its position in Eastern Asia Minor. This ethnically diverse region was subject to complex political developments, most notably, the decline of Byzantium, once the powerful supporter of Orthodoxy, and the Mongol invasion. However, the Notitiae Episcopatuum (the lists of the metropolitan sees) show that a substantial part of the population in most cities of Eastern Anatolia was still Orthodox. The Orthodox dioceses were divided between the patriarchate of Constantinople and the Patriarchate of Antioch.     

Integration in Canada: A systematic review of the youth experience

Although there is substantial research examining adult perspectives of immigration and integration, there is notably less data on youth attitudes and experiences. When youth are surveyed, a preliminary review of the existing literature reveals that non-immigrant voices are very rarely included. This systematic literature review (a) identifies the major themes and summarizes the findings of existing research; (b) determines gaps in the existing literature and; (c) proposes recommendations for future integration research, policy, and interventions. Ultimately, this paper finds that integration policy and research in Canada tends to focus on the changes required by immigrant youth but rarely discuss the cultural adaptation and inclusion required by settled Canadians. A paradigm shift in research, settlement practice, and policy is necessary to better reflect the bi-directional cultural exchange and the mutual responsibilities of integration.     

Prelude to a stronger involvement in the middle east: french attacks on beirut in the years 1403 and 1520

The aim of this article is to explain the evolution of French Levant policy from crusade to diplomacy. Traditionally French policy towards the Levant was dominated by the hope of the Most Christian Kings to re-conquer the Holy Land from the “infidels” until the early sixteenth century. In the course of the sixteenth century this changed and a new approach of treating Muslim powers in the same way as Christian neighbours emerged. The reason why the latter concept became predominant shall be explained by showing the examples of two French attacks on Beirut in the years 1403 and 1520. Although both were initially undertaken in the spirit of the crusades, France reversed its policy in the aftermath of the 1520 failure and sought co-operation with a Muslim state. Severely threatened on several borders by Habsburg Spain and the Holy Roman Empire, France henceforth looked to the Ottomans as allies and gave up on further crusading projects. This reconsideration of its foreign policy aims culminated in the French–Ottoman treaty of 1536.     

Beyond the Black and White: Female Domestic Servants,Dress and Identity in France and Britain, 1900-1939

ABSTRACT

Far from being a trivial detail, clothes fundamentally define who we are and how we are perceived by others. Drawing on a large sample of French and British servants’ memoirs, this article explores how dress served a crucial but contrasting role in the way French and British servants articulated their identities within and outside the home between 1900 and 1939. It argues that servants’ dress was deeply linked to the nature of the occupation in each country and the structure of their respective female labour markets.     

Measuring creativity: A case study in the UK's Designer Fashion sector

Since before the 1997 General Election, New Labour has repeatedly emphasized the importance of the creative industries in underpinning the national economy and as an engine of economic growth. The Creative Industries Task Force Mapping Documents of 1998 and 2001 sought to define and quantify in broad terms economic activity across 13 distinct creative industries. More detailed estimates have been published by the Department for Culture, Media and Sport (DCMS) in successive annual Creative Industries Economic Estimates.

An assessment is provided of the way in which the creative industries have been measured using the Office of National Statistics' Standard Industrial and Standard Occupational classifications (SIC and SOC). These classifications have themselves been revised since the early 1990s, and further revisions are in prospect from 2007. In this analysis particular focus is given to the ‘Designer Fashion’ sector, illustrated by a number of tables and data analyses.

These actual and proposed revisions have helped in documenting the rapidly emerging creative industries, which have reportedly grown at two to three times the rate of the UK economy as a whole. However, as the Regional Culture Data Framework published in 2002 records, serious problems remain in providing valid assessments of the creative industries sectors from ‘official’ published sources, even for the UK as a whole, let alone at the regional level emphasized by the Regional Culture Data Framework's regional sponsors. In any case, often the ‘scaling factors’ applied to official SIC codes to define creative industries appear arbitrary.

Many of the Regional Culture Data Framework's recommendations, notably the adoption of a more comprehensive ‘supply-chain’ approach to documenting the cultural sector, make further demands upon the existing official structural classifications and the data bases underpinning them. Even where all elements in the ‘supply chain’ are well documented, there are still questions about the validity of this approach. For example, should wholesale and retail distribution of creative industry products be regarded as part of the ‘Cultural Cycle’?

In conclusion, it is suggested that the ‘official’ data has marked limitations in documenting the creative industries and does not realistically or adequately capture the more interesting and dynamic elements of an industry like ‘Designer Fashion’. This is disappointing in a context where central government has placed increasing emphasis upon evidence-based policy to support the development of the creative industries, and where the British ‘Designer Fashion’ sector has lamented the lack of central support in comparison with the French or Italian industries. It is suggested that a more customized approach to collecting data about the creative industries is needed if the results are to usefully inform the further development and profile of these sectors.