Learning from museums: heritage and cultural tourism, Cagliari as a case study (original) (raw)
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2018
In 2004 two well-known economists of culture, Michele Trimarchi and Pierluigi Sacco, presented an essay entitled “'The Invisible Museum”' . Today the situation in Italy has been completely revolutionized. Museums are no longer offices and they are literally stormed by visitors. In 2015, with the appointment of the first directors of autonomous museums, the media system in the summer was more interested in museum directors than in footballers and their summer flirts. The average growth rate of museum participation is 7.3%, while the growth rate of tourism is around 4%. Never before have we experienced such a manifestation of people's trust towards museums. This reform has operated top down, because any other approach is unconceivable in Italy . The reform of museums implemented with the 2014 legislation, has achieved what outstanding parliamentary study commissions and ICOM International have recommended since 1960: to recognize the status of institution to Italian state museums. With a clear identification of fundamental responsibilities: a museum director is the custodian and interpreter of the museum's identity and mission, in compliance with the Ministry's guidelines. A director is responsible for the cultural and scientific project. Autonomous museums were finally established in 2015 with a director in charge, a budget, a governing body that can finally have accountability, a social recount of how they spend and how their spending can affect the development of society.
Veni, vidi, vici Museums and Monuments Coping With Tourism in Rome
The Eternal city is invaded by loads of tourists all year round. This paper will analyze different ways of dealing with these invaders in order to protect our cultural heritage. Considering tourists as partners instead of enemies has proven most successful in preserving this heritage: for the past years new partnerships have been signed with tourist associations and renowned editors of guide books. Special programs and texts have been conceived together with museum education departments and conservation institutions for the benefit of all. When analyzing tourism in museums, one tends to consider the tourist in the museum. Much however happens far beyond this moment and museums should pay more attention to the crucial phases not only preceding the visit to the institution but also following it. Museum education has here a crucial role to play before (veni), during (vidi) and after (vici) the museum visit.
3rd International Scientific Conference ITEMA Recent Advances in Information Technology Tourism Economics Management and Agriculture, 2019
The main aim of this paper is the definition of the distinctive features of museum networks and systems with a focus on the potential of specific organizational and management solutions in terms of optimization of museums’ effectiveness and efficiency, especially in Italy. Research regarding the Museum Pole of the Basilicata Region (MPBR) in Southern Italy will be presented. The MPBR is recognized as a successful and innovative form of large-scale (compatible with the limited size of the region) sharing of strategies, services, organizational structures, cultural planning, scientific contents, and technical and administrative tools, also following the nomination of Matera as ‘European Capital of Culture 2019’. The research is based on existing data and qualitative interviews with the MPBR management and other stakeholders.
MUSEUM PROGRAMMES AS TOURIST ATTRACTIONS
The goal of this research was to indicate the transformed role of museums in modern society, not any longer limited to looking back at history but instead actively participating in the contemporary discussions on societal issues and increasingly important in realm of cultural tourism. This type of tourism provides significant contributions to industrial development but also yields substantial intangible gain. The museums in Serbia are presently unsatisfactorily included in the tourist offer. Instead of offering their most attractive parts of collections , these institutions still organize traditional exhibits known as the least interesting way to present the content to diverse target groups of visitors. One of the reasons for this phenomenon is the static nature of museums and un-preparedness to adapt to diverse approaches and listen to outside demands, primarily by the tourism sector which would provide proper information on present trends in tourism and tourists' needs. In their interpretation, many cultural institutions use only the scientific approach, directed toward a narrow target group of expert audience. One of the main reasons for this type of exhibiting is absence of a program team (designer, scenogra-phy expert, architect, and interpreter). Therefore it is necessary to change the strategy and to turn toward the audience, offering a different sparkle of our collections, a new approach and outlook on presentation. The modern museum is expected to have entrepreneur spirit, openness and fast reactions. Therefore the museums must also become market-oriented institutions. In addition, the successful development of culture tourism products demands better cooperation between the sectors of culture and tourism, professionalization of cadre in the cultural institutions, adequate financing of museum programs, as well as implementation of legal framework creating necessary conditions for supporting the development of cultural tourism.
Exhibitions and Cultural Heritage - A Survey on Exhibition Policies of Italian Cities
SSRN Electronic Journal, 2000
The transformation of the sustainability models of cities, in the last years, has modified the perception of the economic and political role of arts and, consequently, the expectations of the public sector on cultural institutions. In Italy, the growth of cultural tourism in the main urban centers and art cities has changed the cultural supply models, increasing the emphasis on temporary exhibitions and events. Moreover, the contraction of public resources has induced cultural institutions to develop new forms of collaboration with private organizations in order to negotiate their autonomy. Starting from the Italian scenario, this research describes the activity of eight relevant institutions involved in the organization of exhibitions. The analysis of quantitative and qualitative data will show, in the first part, how these institutions have developed different models as far as their management structure, governance, nature of their offer and relationship with the cultural system as a whole. In this perspective, the second part will be dedicated to the study of a specific exhibition recently held at Palazzo Te in Mantua, analyzing the role that exhibitions have taken in local contexts.