Drivers, impediments and manifestations of brand orientation in museums : an international museum study

Purpose - While the body of work exploring brand orientation has grown, there has been a general failure to build on extant research and generate a holistic conceptualization of brand orientation. This paper aims to develop a model of the key drivers, impediments and manifestations of brand orientation in a museum context.

Design/methodology/approach - A collective case study design was used, consisting of key informant interviews using a semi-structured interview protocol and analysis of institutional documents and observational research. Interviews took place with well-known museums across three countries: the United Kingdom, the United States of America and Australia. This paper demonstrates the richness of qualitative case studies as a method of theory building and as a precursor to further empirical research.

Findings - The case study findings reveal both a philosophical and behavioral aspect of brand orientation. Thus, six attributes are presented that include brand orientation as an organizational culture and compass for decision-making and four brand behaviors (distinctiveness, functionality, augmentation and symbolism). The conceptual model also depicts the critical antecedents to brand orientation in a museum context.

Research limitations/implications - This study provides a foundation for future brand research by offering a holistic conceptualization of brand orientation and identifying the primary antecedents in a museum context. Future research may wish to empirically establish a valid and reliable scale of brand orientation and examine its explanatory potential. Future research may also consider other contexts to provide further insight into the drivers and inhibitors of brand orientation.

Practical implications - If organizations seek to establish a strong brand orientation they must devote resources to establishing the brand as a dominant organizational philosophy that guides decision-making. In addition, brand oriented organizations must establish the brand as a distinctive asset that communicates relevance and accessibility and invest in augmenting initiatives that enable the organization to connect with customers on a personal and emotional level.

Originality/value - Using an exploratory method we are able to reconcile a number of approaches to brand orientation and provide a conceptualization that incorporates the philosophical and behavioral approaches to business orientations. Museums face substantial resource constraints, competing needs of multiple stakeholders and increasing market turbulence. If museums can achieve such significant organizational change then the sector presents an interesting exemplar for many other non-profit organizations.

Understanding the role of affect in producing a critical pedagogy for history museums

While the existence of uncritical exhibition practices that support nostalgic narratives about the past cannot be denied, this paper is focused on demonstrating both the existence of critical exhibitions and on explaining how they work. In particularly, this paper looks at the ways in which the production of affective, nonrational forms of experience aimed at inducing a heightened level of engagement on the part of visitors is being used to facilitate a more critical reflection on the relationship between past and present. My examples, drawn from curatorial practices in Australia dealing either with contact histories or histories of migration, will be used to explore how explicit forms of engagement with the senses in contemporary exhibition practices gesture toward not only a new understanding of the pedagogical role of museums but also to new forms of pedagogical practice.

Collecting diversity: the changing relationships between museums and culturally diverse communities

 Much of the focus of scholarship around cultural diversity and museums has taken the advent of multiculturalism in 1973 as a starting point. However, public museums also collected and exhibited items relating to culturally diverse communities from the time they were set up from the 1850s onwards, and my research seeks to produce a pre-history of contact between museums, governments and culturally diverse communities and individuals. By using objects and collections life histories from the time they enter the museum for collection and/ or exhibition purposes, I will analyse the way that these relationships have changed over time. One case study is of the gamelan Digul, parts of which are currently on display in the Australian Journeys gallery at the National Museum of Australia. The gamelan Digul first entered the collection of the National Museum of Victoria in 1946 when the museum accepted the donation of these musical instruments from Indonesians who were being deported after World War II. The gamelan remained in this collection until 1976 when it was deacessioned to Monash University who restored and exhibited it in 1999. The National Museum of Australia borrowed some instruments from the gamelan in 2009. Some of the questions I will explore are: What were the motivations behind the former political prisoners/ Indonesian citizens in donating the gamelan Digul to the National Museum of Victoria and why did the museum accept it? Why was the gamelan Digul deaccessioned to Monash University?  How does the display of these instruments at the NMA represent the historical Indonesian communities in Australia which was deported? 

Teaching history in Australian museums: pedagogy and praxis

This research examines the work of museum educators who teach history to secondary students in ‘formal’ education programs in Australian museums. It challenges the dominant constructivist paradigm and proposes that educators use a history pedagogy model to actively engage students in the dynamic process of learning history in museums.

Community museums and the creation of a ‘sense of place’: Holocaust Museums in Australia

Community museums have traditionally focused on a particular geographical location. This proximity between museums and the focus of their collection give them a unique opportunity to make connections between objects, the museum building, landscape, and community. These linkages are one of the key strengths of local museums due to their potential to tell inclusive stories of people and place. Australian Holocaust museums are displaced from this geographical proximity and situated at great distance from the events they commemorate. Due to the intense involvement of survivors in their inception and development, however, such museums have been driven, indeed, defined by communal imperatives. This paper examines the connections between community and place constructed through these museums. Further, it asks how community, place and the local are defined, and how and in what way the community museums examined make connections between here and there, then and now.

This paper takes as its focus two Holocaust museums in Australia: the Jewish Holocaust Centre in Melbourne and the Sydney Jewish Museum. After briefly exploring the origins of the respective institutions and the motivations of those involved, the paper discusses how the museums construct ideas of community and place, focusing particularly on the complex imaginative geography that creates intimate, emotional connections between different times and places.

The model of Chinese ecomuseums -- benchmarking, evaluation and a comparison with Australian open-air museums

This thesis is a comparative study of Chinese and Australian ecomuseums in terms of their governance & strategies, local participation & empowerment, and heritage interpretation & conservation. It concluded their difference and critical problems. In the end, a model is built up towards a better management of Chinese ecomuseum.

Jinkhin Mongol/True Mongolian: Mongolian museums and the construction of national identity

 This dissertation examined the history of museums in Mongolia and their fate in the post socialist period. The work ultimately identified that while museums have sought to contribute to historical revisionism, they have been heavily influenced by politics, international cultural diplomacy and by popular notions of national identity.