Keystone Habits: Evaluating with Purpose
Article by: Jackson Rhodes MA Candidate: Museum Education, Tufts …
Article by: Jackson Rhodes MA Candidate: Museum Education, Tufts …
Word choice matters. Words can include or exclude. Words can prescribe power or take it away. The language that museums use to communicate with their audience can create an inclusive environment and promote diverse stories, or not. Living history museums have a reputation for promoting …
For visitors seeking immersive exhibitions or riveting programming, memberships may seem to be the least exciting offerings at museums. That’s no surprise—without exhibits or programs, memberships would have little value to museum visitors. Internally, however, memberships can be one of the most integral components to a museum’s operations, and the structure of these programs can reveal the institutional priorities and value with which museums hold their members.
For museums with an established membership base, memberships can be a critical source of operating funds. Members are, after all, repeat donors. Other fundraising efforts often produce restricted funds that can only be used for specific projects (often exhibitions, programming, or DEAI), whereas unrestricted revenue allows museum leadership to apply the funds to other underfunded initiatives such as staffing or facilities maintenance. This study by Colleen Dilen shows just how large an impact members have. Many members are unaware that their support allows their museum to keep the lights on, so it is important that museums express their gratitude to their members.
While acknowledgement letters and other expressions of appreciation are important means of recognizing members for their contributions, studies have shown that members feel more fulfilled by meaningful benefits such as museum shop discounts, complimentary admission, and members-only programming. These deliverables can come at a cost to museum operations, showing that membership programs are not just another method of donor cultivation, but a more involved investment into key community relationships. Many museums struggle to fund staffing positions that can dedicate sufficient time to membership, meaning these programs should be integrated into feasibility studies and strategic plans to ensure the development of a sustainable program.
The ideal membership program has options for both guests seeking affordable experiences and patrons seeking philanthropic opportunities. An interesting study by Audesh Paswan and Lisa Troy examines the many motivations of members, and museums must cater their levels to match these interests. Membership levels that are too expensive may alienate a significant portion of a museum’s audience, while too many low-cost options may not attract higher-level donors. Museums struggling to produce meaningful benefits should look into reciprocal programs, such as the North American Reciprocal Museum Association, that allow members to enjoy the benefits of museum membership beyond the walls of their host institution.
Many museums are experimenting with new models that may shape how we perceive museum memberships in the future. Some museums, like San Diego’s Museum of Us, have embraced a free membership program aimed at increasing accessibility and audience retention. Other museums, like the San Antonio Zoo, have launched monthly membership options. Similar to a Netflix subscription, these levels seek to increase giving by providing a more digestible alternative to annual membership fees.
Whether following a traditional model or offering more updated alternatives, museums offering memberships must continue to evaluate the efficacy and accessibility of their programs. Luckily, there are many professional development resources designed to inform museum staff of the latest strategies and theories in membership cultivation and retention. Those interested in learning more should visit the online resources provided by the American Museum Membership Conference and the American Alliance of Museums.
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Article by Danielle Maurer
MA Candidate: History and Museum Studies
Tufts University
We emerged from the depths of the Milan metro, covering our eyes as the sun shone through the opening at the top of the stairwell. Armed with masks and an apocalyptic supply of water, we had come prepared to take on the masses in the …
Another academic year has passed, and it’s time for three new editors to take the reins of the Museum Studies blog! A huge thank you to Claudia, Jane, and Lucy for their hard work on the blog over the past year, and good luck with …
Throughout this semester, I had the opportunity to work with my peers to develop an interpretive project mostly from scratch. I emphasize the word mostly here because we were fortunate enough to find inspiration from Tufts’s very own Art Datathon, an event hosted by the Tufts University Art Gallery that explored the ways data in museum collections is not as objective as we assume it is.
For me, this class was the culmination of my time in this program; it was a blend of old and new knowledge, a chance to practice skills I already had and more importantly, a chance to develop those that I really struggled with. While working on this project, there were a lot of hurdles that made me question how I really fit into the museum space. What kind of educator do I want to be? What biases do I carry into my own interpretive styles? It was cathartic, especially as I near the end of my time as an editor for this blog and a student in this program.
The project itself, Obscured Identities, challenges the collections database at Tufts University Art Gallery using questions similar to those I asked myself. Our group looked at these objects, looked at the data, and asked ourselves if this data truly represents their story. Can we really say that the data is objective and without bias? Interpreting these objects and their reported data revealed that no, we can’t really assume those things. For some of us, this was difficult to grapple with. It took a lot of introspective reflection and creativity to begin telling these stories, interpreting these objects, not just through the data available, but also the data missing. One piece I worked closely with is Justice Ofoni’s “Best in Haircut” which is a barbershop sign from Ghana. Perhaps the biggest story we pulled from the data was the cultural identity stripped from this piece. According to the art gallery’s database, “Best in Haircut” is culturally African. Yet, we also know that the piece is from Ghana; so why do we reduce this cultural identity to the broad scope of an entire continent? These stories and challenges were the core of our project, which materialized through a virtual exhibit using StoryMaps.
“Best in Haircut” by Justice Ofoni
I’m grateful for this project and the experience it offered me, and I’m even more grateful for my peers who supported each other throughout its development.
To learn more and see the final exhibition, you can view it here on StoryMaps.