University Challenge

University Challenge | Exploring university and museum relationships in the Share Academy project

Teaming up to score shared rewards

In the autumn of 2012, Arts Council England funded University College London [UCL], the University of Arts London [UAL], and the London Museums Group [LMG] to investigate how those working in museums and universities could effectively team up in order to reap the rewards of collaborative partnership | Share Academy.  With just six months to find out what kinds of collaborative work was already taking place across the sectors, identify new projects to launch, and provide practical guidance on our findings – we got off to a prompt start.  From the outset the project team were aware of the big issues that affect grassroots work, such as the scarcity of funding across the cultural sector and higher education, the perceived inequalities in status, power and resources between museums and universities, and punishing schedules that make forging new working relationships a luxury rather than common practice.  However, in a climate of funding cuts and demoralisation amongst the arts and culture, pooling resources and expertise seemed not only desirable but vital, and as far as our project was concerned, the opportunity to help bridge the divide between these two different but deeply connected sectors was hugely exciting.

Investigations revealed skill sharing opportunities

A series of investigative focus groups revealed a collective verve amongst museums for generating new collaborations with universities. Participants highlighted the scope of possibilities, ranging from encouraging original research on collections to opportunities for student internships. Specialist conservation techniques, new interpretations of artefacts, and audience-engaging digital technologies were all seen as potential gains from cross-sector partnership. Whilst museums have long been viewed as spaces primarily for school visits, local community groups, and the ‘general public’ we’ve uncovered that in reality museums professionals consider university academics and students as an under-developed audience with interesting potential. Moreover, the museums we spoke with were clear about the distinctive value of their spaces and objects as gateways to new ways of thinking for academia.

Existing cross-fertilisation

Conversations with academics and museum professionals also revealed current trends in collaborative work.  After all, partnership between museums and universities is hardly a new concept. 

Where would an archaeologist be without access to the collections that form the basis of their research?

How would an art historian teach their students without contact with the works of art themselves?

But these were by far the most obvious examples of cross-fertilisation and whilst some fields of university research and teaching were based on the material realities of museum spaces, their unique collections, and professional practices, others certainly were not. But therein lay the challenge!

Teaming up and shared rewards

The Museum of Brands and Packaging

The project kicked off with lots of conversations and then with practical projects, which tested out in real time the opportunities and obstacles inherent in cross-sector collaboration. For example, the UCL QRator project added a new level of interactivity to the Museum of Brands, giving museum visitors the opportunity to use in-house technology to actively engage with questions that are important to the museum, its collections, and wider society [see images above and below]. At the Cinema Museum, postgraduate students from Central Saint Martin’s [UAL] were given the chance to act as consultants to the museum, with the brief to develop ideas that could attract new audiences and improve long-term resilience.

QRator project, Grant Museum of Zoology – Matt Clayton

A third initiative raised important questions about the role of museums both in academic research and in society. A three-year research project lead by academics at UCL had collected and analysed data on over 250 museum object handling sessions in a range of healthcare settings. The findings revealed that object handling increased feelings of positive wellbeing and enhanced communication between patients and carers. To date, no heritage-focused measure of wellbeing exists and the next step was for researchers to try out the wellbeing measures developed in healthcare environments within museums. The Islington Museum and UCL teamed up to carry out this research with the museum’s visitors. In the short term, the museum was keen to see how the sessions worked as part of their diverse programme of events. In the longer term, the research holds potential to clearly demarcate the impact of contact with museums and their collections on feelings of personal wellbeing, which could be a powerful tool for the sector as a whole.

This research project simply could not have taken place without the collaboration of museums and, moreover, the project’s outcomes having tangible results for museums in terms of articulating the positive societal impact of the work that they do.

Lessons Learned

Mismatched expectations

These are just a few examples of what partnerships could bring, but what were the stumbling blocks? Talking to people in museums and universities has clearly shown that practical barriers exist to collaborative work but that there is also great insight into the difficulties and, therefore, scope to resolve them. In general, raising awareness on both sides of the distinct institutional pressures, timescales and working practices would go a long way to overcoming these barriers. We identified that many relationships began in an informal or ad hoc way. Whilst this approach could offer flexibility, it might also lead to mismatched expectations and consequent disappointment. In addition to this, many museums and academics were eager to work on new projects that could push the boundaries of their current practice, but individuals found it difficult to identify suitable partners or have the confidence to approach new contacts with project proposals.

Discovery

To help the two sectors uncover the synergies between them and overcome barriers, Share Academy is developing a series of advice guides on internships, identifying new partners, project planning, and memorandums of understanding for use across the sectors. We identified that whilst academics often have an easily searchable staff page detailing their research interests, individuals working in the museum sector did not. This situation made it more difficult for academics to find the right contacts in museums. To address this issue the project will develop a directory of London museums, which will be hosted on the London Museums Group website, providing a ‘one-stop’ web resource to discover museums and establish new partnerships.

Changing landscape | fruitful connections

So all of this begs the question, can a small project like Share Academy fundamentally change the landscape of collaboration between museums and universities? The short answer is: not immediately. But we can lay the foundations for new and innovative partnerships between the sectors. These foundations will contribute to a strengthening of existing relationships, better mutual understanding of the different priorities and challenges of each sector and, in the longer term, a closer and increasingly fruitful connection between museums and higher education.

If this project has one message, it is | go out there, network, get in contact with potential partners, and pitch your ideas! There is really nothing to lose and a new relationship is only an email away.

As this pilot project completes, we are hosting a symposium and networking event on 10 April 2013 to bring together interested individuals from across London museums and universities to explore the practical potential of forging a closer working relationship. To book a place please click here

Authors | Share Academy Project Managers

Dr Leonie Hannan is a Teaching Fellow in the Museums & Public Engagement department at UCL. Contact: l.hannan@ucl.ac.uk 

Paddy McNulty is Director of Paddy McNulty Associates, a consultancy focusing on museums, heritage, and culture.  Contact: culture@paddymcnulty.co.uk or find out more about his work at www.paddymcnulty.co.uk

More information on the Share Academy click here

This blog is re-published on the UCL Museums and Collections blog space.

London Museums | World Class Business Models

Sustainability | aspirations and actions

Katharine Ford laughing with Ronald Grant, Co-founder of The Cinema Museum
Photo: Julie Reynolds

I specialise in sustainable business models and practices and in this guise I was asked by The Cinema Museum in Lambeth to help them review their business model and buy their current home from the South London & Maudsley NHS Trust.  I`d been prepared to have to win hearts and minds on the wider sustainability agenda but was stunned how much sustainability was already reflected in The Cinema Museum’s aspirations and actions.  At the time I wondered if this was rare museum practice but increasingly I am seeing that it is not!

Let’s consider financial sustainability.  A topical issue in these dire times, where competition for limited resources is high and trying to find innovative ways of working better than ever and at a fraction of the cost is nearly everyone’s focus.  One of the solutions offered to this problem is to `become a social enterprise’ but I get annoyed when museums are invited to think about this because most of them are already operating a social enterprise business model. And really well.  Let’s look at how and why.

Firstly, what is ‘social enterprise’?

The old definition of social enterprise was created in early 2001 by the Department of Trade & Industry and was based on the notion that a social enterprise was a socially beneficial organisation that derived in excess of 70% of its income from trading. The charitable/voluntary sector lobbied against this definition because it excluded and denied many organisations access to the large funding pools and support available to ‘social enterprises’ at the time.  This lobbying heralded a decade of ongoing renegotiation of the definition of ‘social enterprise’. The lobbying organisation’s purpose was to gain access to funding that was ring fenced for social enterprises and the politician’s purpose was to extricate themselves from the hot water their ever changing definitions kept dipping them into. However, the leaders of the social enterprise movement’s purpose was to direct all parties towards consensus around an accurate definition that worked in practice and was not ‘ever-changing’. It was and still is a political minefield and the debate trundles along albeit around a much looser definition.

There is nothing new about social enterprise.  Essentially social enterprises are organisations that engage in some commercial activity in the way in which they deliver social, environmental, educational or cultural benefit.  The profits of which are used to increase the level of benefit the organisation delivers rather than retained for personal gain. 

So, how is a museum a ‘social enterprise’?

Clearly the museum complies with the above definition. The evidence on the ground is powerful; museums demonstrate an impressive array of profitable income streams and cost saving measures that most ‘non-for-profit organisations’ can only dream of. Museums deliver on government contracts and generate income from shops, cafes, educational programmes, image loans, membership, hire of facilities and film shoots as well as being expert fundraisers. Museums are also expert in running on a shoe-string, working with volunteers, and collaborative working; they understand the environmental impacts of their activities and have done pioneering work on energy saving. 

Museums have a strong sense of why they exist.  They adapt to create activities and income streams that match their aims and comply with the core values of their public mission statement. The social capital that emerges from their work and the social benefit that they deliver epitomises financial, social and environmental sustainability. Many museums embrace sustainability in its wider context by working with local supply chains and developing environmental practices that parallel their strong ethical culture Museums engage warmly and well with the human spirit and deliver a finely balanced combination of financial, social, educational and cultural profits. This is complex product development and social enterprise brand management at its best. Indeed, it is clear that museums’ business models are characterised by the type of innovation, diversity and robustness that ensures financial sustainability and effective ‘social responsibility’. 

Museums as a business model of well-being and sustainability

At a time when people no longer trust high street banks, have lost faith with hollow commercial brands and are tiring of thin, poor quality public services a transactional gap is opening up between people`s time and money and what they reasonably and rightly want in return.  People don`t have this consumer frustration with the museum sector.  Museums are places where people find quality and a depth of experience where they are encouraged, respected and challenged. The museum experience is one of well-being and calm enrichment.  It is unique, improving and heart warming.  It offers value for money. Because of these factors the sector is trusted and its consumers confer respectability around its products, services and wider offerings.  The public’s affection towards museums is an extraordinary business phenomenon and one that few sectors enjoy with their customers.

The museum’s business model is based on sustainability and is a classic example of the successful early adoption of the 'social enterprise model'. So, my protective hackles rise when I hear people asking a museum if they have ‘thought about becoming a social enterprise’.  Museums are amongst the earliest pioneers! Indeed, if I were advising the museums sector at the moment I might be suggesting that they add 'social enterprise business advice' to their range of products and services.

Tips and hints

Learn the language of social enterprise so that you can enter the debate, access support offered to social enterprises and address business-planning questions.  You will get more value from advisors, consultants and board members if you can clearly articulate your business model and its relationship with sustainability and social enterprise.

Don’t be alarmed by terms that you may be unfamiliar with; they are often names for activities or models that you are already implementing.

Share offer

Are you the CEO of a museum?  Do you have any questions on the social enterprise business model and how it links to sustainability and museums? Please see my offer on Share London and I will be happy to answer any of your questions.

Author |  LMG Member Katharine Ford, GK Partners and consultant to The Cinema Museum, Lambeth.
With thanks to the Cinema Museum and Katharine Ford for in kind support by hosting LMG events.