Consumer satisfaction and post-purchase intentions: an exploratory study of museum visitors

This paper examines the relationship between consumer satisfaction and subsequent intentions in the museum context, as well as the moderating influence of demographic characteristics such as gender, age and education in that relationship. The relationship between satisfaction and a range of service elements, overall satisfaction with the experience and intentions was investigated. Museum marketers can profit by examining the "value chain" of museum experience outlined in the model presented, especially the greater likelihood of consumers recommending the experience to others than making a repeat visit themselves, and by investigating segment differences beyond those reported here.

Consumer satisfaction and post-purchase intentions: an exploratory study of museum visitors

This paper examines the relationship between consumer satisfaction and future intentions in the museum context, and the role that demographic characteristics such as gender, age and education play. The variables Expectations Met, Satisfaction, Value, Intention to Return, and Recommendation to Others, were all found to be correlated. However, although it is often assumed that the level of educational attainment, gender and age correlate strongly with arts and cultural usage, this research found that the only statistically significant differences were that females had a higher mean Intention to Return, and there was a weak positive association between Age and Satisfaction, and weak negative associations between Education and Expectations Met, Satisfaction, and Recommendation to Others. Museum marketers may profit from examining the "value chain" of museum experience outlined in the model presented, especially the greater likelihood of positive recommendations to others than individual intention to revisit, and by investigating segment differences beyond those reported here.

'It's not enough for the work of art to be great' : children and young people as museum visitors

This paper examines trends in the understanding of children as visitors to art and natural history museums. It begins by examining research into the qualities of engagement by museum visitors generally. It then addresses the specific challenges posed by children as visitors, and the responses developed by museums to enhance their engagement. Three strategies are identified: social/family-centred interactivity, immersive experiences and engagement through interpretive dialogue. The three examples of programs of children’s engagement examined in this paper represent a major departure from such models towards a profoundly social form of interaction. The paper argues that these strategies are museums’ responses to shifts in pedagogical theory, and have been developed to increase the engagement of the child-visitor with exhibitions. Such strategies represent a genuine engagement between adults (both museum staff and parents) and children, and an opportunity for children to define the experience of cultural engagement. The consequence of this is a redefinition of the cultural role of museums in relation to children.

The experience of a museum space

Drawing on a long-term narrative study of global visitors to the Museum of New Zealand Te Papa Tongarewa (Te Papa), this paper illuminates the experience of a museum space. It sheds light on the interpretive interplay between museological space, content and narrative throughout the construction of meanings by museum visitors. I argue that these spatial dynamics emerge as a condition of meaning-making, or hermeneutic foundation, which facilitates the subsequent processes of meaning-making, or interpretations. The hermeneutic examination of the research material treats Te Papa as a physical space or form with its individual components such as architecture, exhibition design and display. This is followed by an inspection of content which reveals the key function of ‘narrative’ as a human meaning-making tool in mediating the mutual relationship of spatial form, museological content and meaning. The empirical insights into the complexity of the visitor experience reveal that representational and non-representational dimensions, or narrative and embodiment, are inextricably entangled in the quest for meaning.

Contact zones, third spaces, and the act of interpretation

The conceptual understanding of museums as ‘contact zones’ has been widely appropriated in the museum literature and beyond. But the discussion lacks empirical insights into actual experiences: What does ‘contact’ mean for the person experiencing it? How is it lived, negotiated and contested? Drawing on a long-term narrative study of global visitors to the Museum of New Zealand Te Papa Tongarewa (Te Papa), this paper offers an empirical interrogation and theoretical refinement of the ‘contact zone’. It moves beyond the more usual focus on museological production by shedding light on the meanings made by museum visitors. This paper augments current normative and theoretical approaches with an ethnographic study of processes of intercultural mediation during cross-cultural encounters, translation and dialogue. This is done through a hermeneutic analysis of visitors’ acts of interpretation that facilitates an understanding of ‘cultural action’ in ‘contact zones’ as an interpretive ontological endeavour of the shifting Self within a pluralist cosmopolitan space.

Orientation and impact of nonprofit museum web sites

Museums face increasing pressure to attract wider audiences. This requires an understanding of visitor expectations and motivations for visiting the ‘real’ museum. Websites can act as an attracting mechanism for ‘real’ museum visits. However, for the most part, museums have concentrated their efforts on attracting visitors to promotional efforts and collecting statistical data on the demographic profiles of visitors. Museum websites as a means of attracting audiences have been ignored in the research literature. This paper researches the role of museum websites in developing audiences with special attention to the attracting power of the websites for visitors. Content analysis of 40 Australian museum websites was conducted using a structured tool, WebNPattract, designed and tested specifically for the purpose. Content analysis results can be used for the purpose of strategic positioning of the museum and cultural tourism. The paper outlines five aspects of museums—museum offer; corporate governance; finding the museum; characteristics; and governance communication—and two approaches to museum websites: the ‘aesthetic’ and the ‘services’ perspectives. Marketing implications can be deduced from website orientation.

Museum marketing competing in the global marketplace

Museums have moved from a product to a marketing focus within the last ten years. This has entailed a painful reorientation of approaches to understanding visitors as customers; new ways of fundraising and sponsorship as government funding decreases; and grappling with using the internet for marketing. This book brings the latest in marketing thinking to bear on the museum sector taking into account both the commercial issues and social mission it involves. Carefully structured to be highly accessible the book offers:
* A contemporary and relevant and global approach to museum marketing written by authors in Britain, Australia, the United States, and Asia
* An approach that reflects the particular challenges museums of varying sizes face when seeking to market an experience to a diverse set of stakeholders: audience; funders; sponsors and government.
* A particular focus on museum marketing in the 'Information Age'
* Major case studies at the beginning and end of each section of the book, and smaller case studies within chapters The hugely experienced author team, includes both leading academics and practitioners to ensure the book has broad appeal and is both relevant, innovative and progressive in approach. It will be essential reading for students in museum studies, non-profit marketing, and arts management and marketing. It will also be equally relevant for professionals working in and managing museums and galleries, heritage attractions and ministries of arts.
* The most up-to-date treatment of marketing museums with a global approach
* Blend of academic and practitioner expertise to appeal to students and professionals seeking a contemporary and relevant approach
* Features a range of international case studies that demonstrate the museum experience and draw out the particular challenges that museums and galleries of varying sizes and types face in the global marketplace

Visitor understanding of museum practices and processes

The study was conducted over 3 years and explored beyond what visitors to museum exhibitions learnt from written labels, to what they learnt and knew about the museum as an institution, its staff and their knowledge and understanding of the subliminal messages of exhibitions. The site used as the Victorian historical mansion, Werribee Park. Visitors to the 1880s Costume Exhibition were surveyed.

Constructing the identity of a nation : the tourist gaze at the Museum of Scotland

In an era of global instability and crises of national identity, the role of heritage tourism in creating images of national identity has become an important area for research. This article considers the role of heritage tourism in constructing national identity in the nation of Scotland through the lens of the Museum of Scotland. It describes the findings of qualitative research undertaken with potential and actual target consumers to the Museum of Scotland. Three research questions were addressed: Does the Museum of Scotland construct (1) a vision of a `new' Scotland? (2) a symbol of a `real' Scotland? (3) a collective identity of Scotland? The findings suggest that heritage visitors actively identify through their gaze, constructing multifarious meanings of national identity that are dynamic rather than static.

Defining national identity? Visiting the architectural spaces of the Museum of Scotland

National Cultures construct identities by producing meanings about the nation with which we can identify, meanings which are contained in the stories which are told about it, memories which connect its present within its past, and images which are constructed of it. A museum, the repository of a nation’s culture, which connects the past to the present through recounting stories about the artefacts of past cultures is clearly significant in representing the culture of a nation.

This paper explores the architectural spaces of the new Museum of Scotland, which opened in Edinburgh in November 1998. The museum has opened at a crucial time in Scottish history. The Scottish cultural renaissance is manifested in the increase in cultural production and call for Scottish cultural institutions. Parallel to this renaissance are political developments with the re-creation of a Scottish Parliament in 1999. When the idea of ‘Scotland’ is itself in a state of flux, the stories of the nation told in the museum, which attempt to give a sense of location, a connection between the individual and the nation are especially important.

Thus, issues of identity and ‘self’ are crucially important in understanding the contemporary museum. Within this, the relations between the production of these narratives and their consumption by the public are little understood. The majority of studies have concentrated, although not exclusively, on the production of museum displays, primarily with the "politics and poetics" of display. This paper analyses the relationship between producer and consumer within the Museum of Scotland, attempting to reconnect the forces of production and consumption. In doing so, it focuses primarily on the differing conceptions of the ability of the Museum to be able to narrate the nation.

Based on interviews both with museum staff and with visitors to the museum, it argues that an understanding of the relationship between the museum and Scottish national identity can only be considered through an understanding of the tension between the producers’ intentions and the way in which consumers conceptualise the museum as a space for "telling the nation".

The National Museum of Scotland : a symbol for a new Scotland?

The National Museum of Scotland (forthwith 'Museum') opened to critical acclaim on St Andrew's Day 1998 (see McKean 2000). The timing of the opening was culturally and politically symbolic, taking place on the patron saint of Scotland's day, whilst falling between the devolution referendum for, and the opening of, the reinstated Scottish Parliament. The museum offers a representation of Scotland, one which is negotiated by its creators and visitors alike. Given that national identity is a slippery concept subject to fluidity and change (Hall 1992), the image of stability and authority of a museum, which has been compared to the reification of a church (Horne 1984), offers us an interesting site for developing our understanding of how national identity is constructed.

What does a museum mean? A narrative approach to museum impact

This paper presents ‘narrative’ as a theoretically informed qualitative perspective to explore and substantiate such abstract concept as ‘museum impact’. It argues that the impact of museums is best understood via the meanings visitors make and negotiate in the long-term. This provides critical insights into what a museum visit means and how its impact is negotiated within time and space. I lay out the theoretical rationale and methodological approach for the research project underpinning this paper while future publications will provide empirical findings and theoretical conclusions.

Re-imagining the museum: beyond the mausoleum

Through a range of case- studies, including studies from the UK, North America and Australia, this book moves away from the idea that museums are always "conservative" to suggest they have a long history of engaging with popular culture and addressing a variety of audiences. Andrea Whitcomb argues that museums are key mediators between high and popular culture and between government, media practitioners, cultural policy-makers and museums professionals. The book also analyses links between museums and the media, looks at the role of museums in cities and discusses the effects on museums of cultural policies.