A definição dos programas de promoção de marketing varia de acordo com o público que se quer atingir e também com o tipo de comunicação que se quer transmitir. Para definir o programa de comunicação e quais as ferramentas que serão utilizadas, é preciso desenvolver uma estratégia de comunicação de acordo com as necessidades dos clientes e com os objetivos da organização. Este estudo teve como objetivo principal identificar e analisar as atividades de promoção de marketing referentes aos serviços turísticos, mais especificamente nos museus, onde foi realizada a pesquisa de campo. Para atingir esse objetivo, primeiro foi realizada a revisão teórica abordando os conceitos de promoção de marketing, os serviços e os aspectos da atividade de promoção em serviços. Por fim, foram estudados os serviços turísticos e contextualizado o objeto de estudo acerca da atividade de promoção de serviços turísticos com ênfase em museus. O método utilizado para a pesquisa de campo foi o estudo de caso. O trabalho teve sua aplicação na área de museologia, investigadas três instituições: a Pinacoteca do Estado de São Paulo, o Museu de Arte de São Paulo Assis Chateaubriand e o Museu da Casa Brasileira Organização Social de Cultura. Para cada museu foram analisadas as seguintes atividades de promoção de marketing: segmentação e posicionamento, diferenciais, estratégia de promoção de marketing, planejamento e ferramentas do mix de comunicação, comunicação integrada de marketing, locação de recursos e controle e avaliação de resultados. Com a pesquisa foi possível concluir que as atividades de promoção de marketing utilizadas pelos museus para comunicar suas ofertas, atrair e fidelizar o público são as mesmas, no entanto há variação na forma como eles executam essas atividades. Nos museus analisados, as atividades de promoção de marketing são, em alguns casos, conforme a teoria; em outros, mais indutivas. Foi possível ainda verificar que, quando os museus se aproximam de um programa de promoção de marketing mais planejado e estruturado, a promoção é feita de forma delineada, de modo a divulgar as atividades da melhor maneira. / The definition of marketing promotion programs varies depending on the audience you want to achieve and also with the type of communication you want to convey. To define the communication program and what tools will be used, you must develop a communication strategy, according to customer needs and organizational objectives. The main goal of this study is to identify and analyze marketing promotion activities related to tourist services with field verification in museums. To achieve this goal, first, it was conducted a theoretical review addressing the concepts of marketing promotion, services and aspects of the activity of promotion of services. Finally, it was studied the tourist services and contextualized the study object on the promotion activity of tourist services with emphasis on museums. The method used for field research was a case study. The work had its application in the area of museology and the three institutions analyzed were: the Pinacoteca do Estado de São Paulo, the Museu de Arte de São Paulo Assis Chateaubriand and the Museu da Casa Brasileira Organização Social de Cultura. In each museum it was analyzed the following marketing promotion activities: segmentation and positioning, differentials, strategy of marketing promotion, planning and tools of communications mix, integrated communications of marketing, resource allocation and control and assessment of results. It can be concluded that the marketing promotion activities used by museums to communicate their offerings, appeal and retain the public are the same. However, there is variation in how they perform these activities. In some cases the marketing promotion activities are according to the theory, in other they are more inductive. It was possible to report that, when the museums are approaching a marketing promotion program more structured and planned, it appears that marketing promotion is outlined in order to promote the museum and its activities in the best way.

Orientador: Maria das Graças Conde Caldas / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T01:42:20Z (GMT). No. of bitstreams: 1 LimaBarbosa_Adrianade_M.pdf: 11427929 bytes, checksum: f3cbc6abe5c72c52a1fa8afdd1faa3f6 (MD5) Previous issue date: 2014 / Resumo: O interesse crescente pela Ciência revela a importância das instituições museais de Ciência e Tecnologia por suas características educacionais, motivacionais e lúdicas. Nos últimos dez anos, se observa a ampliação da produção científica brasileira e sua projeção no cenário internacional. Esta realidade vem se refletindo na formulação de políticas públicas nacionais para a área de CT&I, com importantes reflexos na academia e no setor privado, embora em menor grau. No âmbito da formação da cultura científica, verifica-se, porém, um real, mas tímido crescimento de iniciativas museológicas dinâmicas (hands on), com o intuito de atrair e despertar o interesse da CT&I na sociedade, em especial, crianças e adolescentes. Embora o discurso nacional aponte para o potencial estratégico da CT&I para o desenvolvimento do país, a educação científica e tecnológica ainda deixa muito a desejar, como pode ser constatado pelos resultados negativos de pesquisas internacionais e nacionais nas áreas de Ciências, Matemática e Leitura (PISA, 2012 e Prova ABC, 2012). Qual seria, portanto, a contribuição dos centros e museus de ciência na educação científica brasileira; suas características e atuação para a formação de uma cultura científica nacional? Como acontecem os processos de criação e de gestão dessas instituições e de que forma elas se articulam com as políticas públicas municipais? Para melhor compreender essas dinâmicas e a interface das instituições museais com os setores educativo, político, administrativo e social, esta pesquisa examina três diferentes propostas de museus, considerando seus aspectos educativos e lúdicos, assim como a natureza administrativa-financeira. Trata-se de um estudo de caso múltiplo (YIN, 2005), de natureza qualitativa. As instituições selecionadas estão localizadas no Estado de São Paulo, polo científico brasileiro que mais concentra recursos e pesquisas. São elas: Catavento Cultural (vinculação estadual, localizado em São Paulo capital), Sabina Escola Parque do Conhecimento (municipal, em Santo André) e Museu Exploratório de Ciências (universitário-Unicamp, em Campinas). Resultados da pesquisa apontam a necessidade de melhoria na gestão administrativa e financeira; a importância relativa dos museus na educação científica; a baixa diversidade de ações pedagógicas junto ao público e aos professores; a baixa exploração dos museus como equipamentos públicos integrados às cidades; e a dificuldade em promover a acessibilidade em todas as suas formas. Por outro lado, constatou-se, grande nível de aprovação do público por estes espaços de educação não formal / Abstract: The increasing interest for Science reveals the importance of museal institutions in Science and Technology for their educational, motivational and recreational traits. There has been a visible increase in Brazilian scientific production within the last ten years and, with it, the country¿s international projection in this sector. This reality has been reflected in the making of national public policy to ST&I, with important reflexes on academia and, to a narrower extent, on the private sector. Within the scope of a scientific culture formation, it can be attested, however, a real, though timid, growth of dynamic (hands-on) museum-driven initiatives, aiming to attract and stimulate interest in ST&I in society, and, in special, in children and teenagers. Even though the national discourse points towards the strategic potential of ST&I for the development of the country, science and technology education still has a lot to improve, as it can be observed by the negative results of national and international tests within the areas of Science, Mathematics and Reading (PISA, 2012 and Prova ABC, 2012). What would, then, be the contribution of science centers and museums to Brazilian science education, its characteristics and action towards a formation of a national scientific culture? How do the processes of establishment and management of these institution come about and how do they articulate with municipal public policies? In order to be able to understand these dynamics and the interface museal institutions make with educational, political, managerial and social sectors, the present research examines three different museum propositions, considering their educational and recreational aspects, as well as of managerial-financial nature. The research is about a multiple case study (Yin, 2005), of qualitative nature. The selected institutions are located in São Paulo state, the Brazilian science hub which concentrates most of the resources and research. They are: Catavento Cultural (state-run, located in São Paulo city), Sabina School Park of Knowledge (municipal, in the city of Santo André, inland State of São Paulo) and Exploratory Museum of Science (university-run, at Unicamp, in Campinas). Results of the research show the need of improvement in managerial and financial areas; the relative importance of museums in science education; the narrow diversity of pedagogical actions with the public and teachers; the low usage of museums as public tools, integrated to the cities; and the difficulty in promoting accessibility in all its forms. On the other hand, it was possible to see a considerable level of approval of these non-formal education spaces by the public / Mestrado / Divulgação Científica e Cultural / Mestra em Divulgação Científica e Cultural

A pesquisa apresentada versa sobre três temáticas inter-relacionadas - fronteira, estâncias e museus - na região da Fronteira Oeste do Rio Grande do Sul, através da pesquisa arqueológica realizada na Estância Velha do Jarau (Quaraí/RS) e das visitas às instituições museológicas dos municípios que formam a Campanha Gaúcha. Relacionou-se a formação histórica da Fronteira Oeste, marcada pelo estabelecimento de estâncias, com o perfil histórico-cultural da região atualmente, buscando identificar mudanças e permanências que se processaram nesse espaço e servem como indicadores de memória e identidade. Foram analisadas as louças da Estância Velha do Jarau demonstrando como este espaço é múltiplo e representativo do ambiente doméstico de uma estância de criação de gado do século XIX, muitas vezes rememorada somente por seus elementos político-econômicos, bélicos e produtivos, não relacionando este espaço à uma unidade doméstica e familiar. A partir desses dois primeiros eixos (fronteira e estância) diagnosticou-se de que forma a memória estancieira está presente nos museus da região e como estes podem contribuir para valorização e ampliação do patrimônio e da identidade local/regional. Ao final foram propostas estratégias para musealização do acervo arqueológico da Estância Velha do Jarau, partindo de premissas básicas da ação museológica que se norteiam pelo preservacionismo e educação. / The research herein presented deals with three interrelated themes - frontier, cattle farms and museums - in the western frontier region of Rio Grande do Sul, through archaeological research conducted at Estancia Velha Jarau (Quaraí/RS) and visits to the museums of the cities that make up the Campanha Gaúcha (Gaucho Plains). It relates to the historical formation of the western frontier, marked by the establishment of farms with a historical and cultural profile of the region today, in order to identify changes and continuities which occurred in this space and are used as indicators of memory and identity. Chinaware from the Estância Velha do Jarau was analyzed, demonstrating how this space is multiple and represents the household environment of a cattle farm in the nineteenth century, often recognized only for its political and economic elements, and war production, and not connecting this space to a household and family context. From these first two axes (frontier and cattle farm) an examination was made of the way in which memory of the cattle farm is present in the museums of the region and how they can contribute to the recovery and expansion of heritage and identity at the local/regional level. Finally, strategies have been proposed for the museum housing of the archaeological collection from Estância Velha do Jarau, starting from the basic premises of museology that are centered around preservation and education.

One hundred and seventy-eight pieces of Victorian furniture in six Texas historic house museums have been photographed and researched in order to fulfill the three-part problem. (1) to research and write descriptive essays of the four major Victorian substyles--Victorian Empire, Rococo Revival, Renaissance Revival, and Eastlake; (2) to identify and choose six Texas historic houses which are open to the public and which display these Victorian substyles in period room settings; and (3) to identify, photograph, measure, and catalogue each piece of authentic Victorian furniture, and to compile a research guide which includes each of these six houses and their Victorian furnishings. This six-part guide includes brief histories of each house and a catalogue of authentic pieces which represent the major substyles of Victorian furniture. To give the study a broad base, and to make it useful for all students, teachers, and professional interior designers in Texas, two houses which represented the best collections of furniture from each geographic location were chosen. These included: (1 ) from North Texas, the George House and Millermore, both in Dallas; (2) in Central Texas, East Terrace and Fort House, located in Waco; and (3) in South Texas, Fulton Mansion in Fulton Beach, and McNamara House in Victoria. All four of the most popular substyles are represented in the six houses.

In Edo-Japan (c.1603 – 1868) shunga, sexually explicit prints, paintings and illustrated books, were widely produced and disseminated. However, from the 1850s onwards, shunga was suppressed by the government and it has largely been omitted from art history, excluded from exhibitions and censored in publications. Although changes have taken place, cultural institutions continue to be cautious about what they collect and exhibit, with shunga largely remaining a prohibited subject in Japan. Since the 1970s there has been a gradual increase in the acceptance of shunga outside Japan, as evidenced in the growing number of exhibitions and publications. The initial impetus behind this thesis was: Why and how did shunga become increasingly acceptable in Europe and North America in the twentieth century, whilst conversely becoming unacceptable in post-Edo Japan? I discuss how and why attitudes to shunga in the UK and Japan have changed from the Edo period to the present day, and consider how definitions can affect this. My research examines how shunga has been dealt with in relation to private and institutional collecting and exhibitions. In order to gauge modern responses, the 2013 Shunga: Sex and Pleasure in Japanese Art exhibition at the British Museum is used as an in-depth study – utilising mixed methods and an interdisciplinary approach to analyse curatorial and legal decisions, as well as visitor feedback. To-date there are no official or standardised guidelines for the acquisition, cataloguing, or display of sexually explicit artefacts. It is intended that institutions will benefit from my analysis of the changing perceptions of shunga and of previous shunga collections and exhibitions when dealing with shunga or other sexually explicit items in the future.

Museums can be productive sites for the study of society, because they are spaces where the constitution of knowledge about the past is made visible through public display. Playing an important role in the performance and legitimisation of national culture, museums in Scotland pay particular attention to the education of children. It is often claimed that children can gain an understanding of their history through physical engagement with museum collections. Both the ‘past’ and the ‘future’ are thus constituted within the museum. Through an exploration of children’s education at the National Museum of Scotland and The Lewis Chessmen: Unmasked touring exhibition, I argue that efforts by museums to exert control over ongoing processes through which subjects and objects, past and future, nations and heritage are constituted can be deeply challenged by children and museum objects, both of whose status remain inherently dynamic and unstable. Despite the museum’s claims to have “real things [objects] revealing stories”, objects rarely reveal narratives beyond those exerted upon them. They are, instead, materially and relationally constituted in particular places, at particular times. The same ‘instability’ applies to children visiting the museum. Children engage with the material stuff of the museum in surprising and unpredictable ways. This dynamic, multisensory interaction enables children to pursue personal projects, which do not necessarily adhere to the agendas of the museum. Yet, children often do go along with the museum’s narratives, commonly accepting what they are told by adults about the objects they are handling. They are also deeply concerned with the authenticity of these objects. Whether an objects is ‘real’ or not, however, is not necessarily judged by the same standards shared with the museum. Children’s awareness of a ‘real’ object’s metonymical presence not only enables an experiential encounter with the past, but also enables them to work out their own positions within the power structures of the museum; testing their own concerns relating to trust, truth, value and the process of becoming adults.

Doctor of Education / Department of Educational Leadership / Gerald D. Bailey / The role and function of museums in education has been debated along several lines of inquiry. For the majority of museum institutions, the most vital, consistent audience they have comes from the public and private schools in their communities. This is critical for museums trying to maintain relevancy in the national education climate that has increased emphasis on curriculum and testing standards. Founded in 1990, the Negro Leagues Baseball Museum (NLBM) in Kansas City, Missouri has preserved and taught African American baseball history from the late 1800s through the 1960s. Although the museum had received positive commentary from visitors, and well received attention from the international press, it had not undergone any major changes to its design since it opened its permanent facility in 1997. Of chief concern to the museum was its ability to attract school age learners with their teachers to the institution. The museum had a number of layers by which it presented historical information and each layer needed some level of evaluation. There were a number of informative examples of museum evaluation and assessment available for review, but no tool or model existed specifically designed to assist museums in evaluating exhibition content for educational value. This study reports on methods by which the Negro Leagues Baseball Museum (NLBM) could improve and enhance exhibitions. It explored the current trends and scholarship involving museums and education, museum exhibition evaluation, and Negro Leagues historical scholarship. A multi-step research processed evolved for use in the study, featuring detailed literature reviews and interviews from educators, historians, museum professionals, and a grant awarding foundation expert. This study targets museum professionals responsible for interpretation and creation of exhibitions, including curatorial staff and museum educators. The study also informs other museum leaders regarding the process by which high quality educational material is created for the museum environment. A set of important themes and evaluation questions were formed as a result of the interviews and literature review. The study offered critical thinking questions for the evaluation process and suggests recommendations for implementation. The study also implies action plan strategies for implementation of an evaluation process.

Dialogue is a tool that can be used to promote learning experiences amongst audiences in contemporary art museums, in particular due to the potential difficulty of interpreting this type of art. This study argues that when dialogue between the museum and audience promotes balanced opportunities to express ideas and information, the museum can also learn. The museum can share the learning findings about audiences with the rest of the staff members through a professional dialogue, which may impact, creating positive change on future museum practice, in order to facilitate exhibitions, programmes and activities better targeted to audiences. The research explores the concept of learning dialogue using interviews, content analysis, and a theoretical framework related to learning and dialogue in museums. The study also analyses the role of learning and education, and their context in contemporary art museum practice in Mexico, using critical texts and practical evidence from interviews with educators, curators and directors. The thesis investigates, in particular, the case study of the Enlaces programme at the University Museum of Contemporary Art (MuAC). This is a learning activity where the Enlaces participants, who are university students, receive training about the specialist knowledge required to understand contemporary art. The participants aim to create further dialogue with audiences with the purpose of provoking questions, reflection and understanding of MuAC’s contemporary artworks and exhibitions. Findings from the Enlaces participants’ interviews reveal a learning dialogue with audiences, resulting in a model that considers the interaction of three categories of dialogue: visual internal, content and participatory dialogues. Furthermore, the research demonstrates that the interactions between the Enlaces participants and MuAC staff stimulate peer dialogue, professional dialogue and limited dialogue. The analysis of findings results in a model for professional learning dialogue based on the interaction between three key areas: communication, recognition and teamwork. The research proposes an optimal scenario where there is professional and audience learning dialogue taking place, these then feedback to the museum cyclically, allowing audiences to contribute and influence the organisation.

Philosophiae Doctor - PhD / In 1998 the University of the Western Cape together with the University of Cape Town, and the Robben Island Museum introduced a Post-graduate Diploma in Museum and Heritage Studies. This programme was innovative in that not only did it bring together two universities in a programme where the inequalities of resources derived from their apartheid legacies was recognised, but it also formally incorporated an institution of public culture that was seeking to make a substantial imprint in the post-apartheid heritage sphere as part of its structure. In 2003 this programme attracted substantial funding from the Rockefeller Foundation and was rebranded as the African Program in Museum and Heritage Studies (APMHS). While this rebranding of the programme might seem to be innocently unproblematic and commendable as part of the effort at re-insertion of South Africa into Africa after the isolation of apartheid, an analysis of the concepts employed in the rebranding raises serious theoretical, conceptual, and disciplinary questions for heritage studies as an academic discipline and for its connections with other fields, especially the interdisciplinary study of Africa. What are the implications of a programme that brings together the concepts of 'African-Heritage-Studies'? Does the rebranding signify a major epistemological positioning in the study of Africa or has it chosen to ignore debates on the problematic of the conjunction of the concepts? This study address these issues through a historical and philosophical analysis of the programme, exploring how it was developed both in relation to ideas of heritage and heritage studies in Africa and, most importantly by re-locating it in debates on the changing meaning of 'Africa' in African studies. / South Africa

Magister Artium - MA / Since the end of apartheid and with that the construction of a new South Africa, archaeology has experienced what can be seen as a resurgence in the public domain. With the creation of a new nation imagined as existing since time immemorial, there has been an emergence of archaeological pasts providing evidence of a nation believed to have existed before apartheid and colonialism. Due to this resurgence of interest in the pre-apartheid and pre-colonial pasts, there has been a ballooning of research and exhibitions around paleontological finds, rock art sites and Iron Age sites indicative of early state formation. This has transported the nation back into what Tony Bennett has called 'pasts beyond memory'. Where mainstream archaeology focuses on sites which reflect a history outside of a colonial past, maritime archaeology has had difficulty. Being a discipline with its main object of focus being the shipwreck, it is difficult to unravel it from a colonial legacy. In an attempt to move away from these older notions of 'public' through the allure of the shipwreck, some maritime archaeologists have looked at different mechanisms, or what I call 'modes of representation', to construct new South African publics. Two such mechanisms are discussed in this thesis: the temporary exhibition of the Meermin Project, and the Nautical Archaeology Society courses on Robben Island. This is in contrast to the older Bredasdorp Shipwreck Museum, where I argue by using Greenblatt’s notion of 'resonance and wonder', that the wonder of the object salvaged is the central feature of the way it constructs its publics. This thesis discusses how a group of maritime archaeologists, located at Iziko Museums and the South African Heritage Resources Agency, attempted to construct new publics by locating resonance with its subject in an exhibition, and by making new archaeologists through a hands-on course.