Masters in Public Administration - MPA / In January 1997, Robben Island Museum (RIM) opened its doors to the public as a tourist destination. This was done without any formal management structure or strategic planning, to cope not only with its mandate as the first National Museum of the new democratic South Africa, but also to meet the demand of the great interest of visitors to see this prison where the icon of the liberation struggle, Nelson Mandela was incarcerated for 27 years. This operational take-off without formal administrative management structure and strategic planning was understandable given the social and political transitional climate in the country. The effect thereof as the old adage states ‘failure to plan is planning for failure’ seems to hold true for RIM who is struggling to become a well-managed national heritage site. RIM over the years have been beset with governance and management challenges and enjoyed continual bad publicity. The study’s aim was to bring an understanding of what the major governance and managerial challenges were and to make recommendations to address those. The study was guided by a central research question namely What were the administrative and management challenges of RIM and in what ways did it impact on the operational effectiveness of RIM as a national museum and World heritage site. A number of findings emanated from the study. A key one was that clarity of roles and responsibilities of the council and the management is required. Furthermore, the vision and mission of RIM must inform the formulation of strategies to give effect thereto. This in turn must be the base for the development of an appropriate organisational structure to implement the strategies. A number of recommendation stems from the research. An important one was that appointment must be on the basis of ‘fit for purpose’. This means that staff with the right skills and capacity should be appointed as a matter of priority. In conclusion, the findings of the study could be used by other heritage organisations faced with similar organisational challenges. / Robben Island Museum Training and Development Staff Bursary

In this thesis, I will examine the difficulties of documenting ephemeral art and the possible solutions that archivists, curators, artists and other museum professions have come up with. I will begin by presenting a background of the history of performance art, which was the impetus for all ephemeral art to come. Then I will present case studies of three artists: Allan Kaprow, Eva Hesse, and Richard Tuttle, and their archival processes, all of which provide very different approaches to similar artistic problems. Finally, I will discuss the implications of re-performance and re-creation of ephemeral artworks.

This thesis examines a widespread yet understudied tourism destination in Canada – the police museum. I visited and collected data at three police museums in the province of Ontario, Canada: the Toronto Police Museum and Discovery Centre in Toronto, the OPP Museum in Orillia, and the RCMP Musical Ride Centre in Ottawa. Engaging with Brown’s (2009) theory of “penal spectatorship”, I investigate how these sites (re)produce and circulate meanings about penality through their different representational practices. I identify three dominant themes and argue that the police museums foster social distance between visitors and those in conflict with the law. By sharing these findings, and along the way reconceptualizing the definition of police museum, identifying fifty-nine police museums in Canada, and presenting a Canadian police museum typology, this thesis lays some groundwork for expanding the horizons of penal spectatorship theory and penal tourism scholarship to the realm of policing.

It is widely acknowledged that without volunteer guides, or docents, most museums and galleries would find it impossible to offer education programmes as they are known today. Docents work in the critical interface between visitors and works of art, yet often they are viewed as being passive, and often ineffective, transmitters of the gallery's educational message. The literature on gallery education emphasizes docent "management", or the methods used to recruit, train, and supervise docents. But gallery staff must consider the docent’s beliefs, values, and viewpoints about art, and about education, for improvement of education programmes to occur. This study describes, and analyzes, the docent’s perspective of gallery education programmes, and the extent to which docents are actively engaged in the ongoing process of learning to help others learn. In order to obtain their perspective, six docents in two art galleries were engaged in long, semi-structured, and repeated interviews. These interviews were audiotaped and transcribed. Categories derived from the teacher's practical knowledge, such as subject, curriculum, instruction, self, and milieu, were used as a framework to describe and analyze the docent's practical knowledge. It was found that though the docents did indeed hold a coherent body of knowledge that originates in their practice, their theoretical knowledge of art was often an inadequate base on which to build an interpretation of the gallery's exhibitions. Differences were found in the educational goals of the gallery, and between the institution, and the docent’s educational values and purposes. Educators need to be aware or the shifting, complex, and sometimes paradoxical nature of the docent’s role. The docent’s perspective must be considered in the successful planning and implementation of education programmes. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

This thesis is engaged in financing of allowance organizations. The first part is focused on general characteristic of non -- profit organizations; in more detail on specifics the foundation, economy, funds creation and possibility their usage of allowance organizations. The practical part is applicable to conditions of a concrete allowance organization -- The Wallachian museum in nature in Rožnov pod Radhoštěm, founded by the state. The Wallachian museum is a national culture monument and the oldest open-air museum in the middle Europe. The thesis describes activities of museum, its organization and specifies relations to the founder, especially is focused on all accessible resources of its financing. Then is engaged in the economy of this subject, the analysis its costs and revenues, income from operation and its usage.

As an academic discipline, the earth sciences generate, use, and retain vast quantities of objects. This ‘material archive’ exists, first and foremost, as a functional scientific resource; the objects that it contains were never intended to express culture. Since the earth sciences rely heavily on claims that its objects of study remain the same as they were in nature, it follows that the specimens contained in university earth science collections are treated as objective scientific evidence. In this sense, the material that is collected, used and retained by earth scientists may appear to be devoid of culture – passive, inert and neutral.This thesis sets out to challenge these assumptions by treating university earth science objects and collections as material culture. In material culture studies, geological materials appear in a variety of different forms and contexts, however, such work has tended to focus on either their occurrence in the landscape, or their use as raw materials from which objects are made. Thus, while the earth sciences provide an abundant source of ‘material’ for material culture studies, rarely (if at all) do they seem to provide the culture. Furthermore, while the treatment of ‘natural’ objects as cultural artefacts has become increasingly popular in museology, much of this work has concentrated on the processes and practices that are enacted on these things in museums. Museology has therefore tended to consider these things in what effectively corresponds to their retirement, meaning that with few exceptions, little attention has been paid to their active use as functional scientific objects. This research explores the implications of treating university earth science objects and collections as material culture through the empirical investigation of contemporary object-related practices in UK earth science departments and university museums. As such this thesis addresses questions surrounding the relevance of existing theories and methods, in both material culture studies and museology, for exploring natural scientific objects and collections. These questions are approached through four thematic chapters concerned with the coming into being of earth science objects, their transformation into collection items, their functions, and their mobility.

The Exotic World Museum is a small amateur ethnographic museum created by Harold Morgan and founded on his extensive tourist travels with his wife Barbara. It consists of over 500 pictures, photographs, labels and artifacts which cover the walls and ceiling of the back room of Alexander Lamb's Wunderkammer Antiques, where it is currently housed. Through this museum, Morgan has created an identity for himself as a world traveler and a learned man. As such, the collection stands as a narrative of Morgan's life, portraying the identity he has projected for himself. Morgan constructs this identity by establishing authenticity through the Museum and tourist experience, by using the National Geographic as a projection in which to place himself, and by creating an encounter between Self and Other. As such, the study of Exotic World has larger implications in the context of the history of museums and of collecting in general. / Arts, Faculty of / Anthropology, Department of / Graduate

Museums are service-oriented information systems that provide access to information bearing materials contained in the museum's collections. Within museum environments, the primary vehicle for quality assurance and public accountability is the accreditation process of the American Association of Museums (AAM). Norbert Wiener founded the field of cybernetics, employing concepts of information feedback as a mechanism for system modification and control. W. Edwards Deming applied Wiener's principles to management theory, initiating the wave of change in manufacturing industries from production-driven to quality-driven systems. Today, the principles are embodied in the ISO 9000 International Standards for quality management systems (QMS), a globally-recognized set of standards, widely employed as a vehicle of quality management in manufacturing and service industries. The International Organization for Standardization defined a process for QMS registration against ISO 9001 that is similar in purpose to accreditation. This study's goals were to determine the degree of correspondence between elements of ISO 9001 and quality-related activities within museum environments, and to ascertain the relevance of ISO 9001-2000 as a technique of museum evaluation, parallel to accreditation. A content analysis compared museum activities to requirements specified in the ISO 9001-2000 International Standard. The study examined museum environment surrogates which consisted of (a) web sites of nine museum studies programs in the United States and (b) web sites of two museum professional associations, the AAM and the International Council of Museums (ICOM). Data items consisted of terms and phrases from the web sites and the associated context of each item. Affinity grouping of the data produced high degrees of correspondence to the categories and functional subcategories of ISO 9001. Many quality-related activities were found at the operational levels of museum environments, although not integrated as a QMS. If activities were unified as a QMS, the ISO 9001 Standard has potential for application as an evaluative technique in museum environments.

This study examined two art museum and school partnerships in order to learn how partnerships enable an integration of goals, participants' beliefs and values, and learning objectives. This study examined the partnerships through a social constructivist lens and used narrative analysis as way to interpret participants' stories about collaboration. The research found three major themes among participants' stories. Participants: a) valued good communication to establish relationships between partners, b) believed partnership offered students experiences that educated the whole person, and c) felt that students making meaning by interacting in the museum environment was an indicator of success. The study closes with discussion of the researchers' own constructions as they developed throughout the study.

The development of station design provided new dimensions to both the sense and sensation of space. This is to be recaptured in the design of the museum, which requires obtaining an understanding of the influence, implications and impact railway stations and their supporting infrastructure had on architecture, the cityscape and the urban fabric, due to their large size, area and enclosed volume. Station design has contributed to modern design through the need to satisfy the uninterrupted, free-space enclosure of large volumes, necessitating progress in the knowledge of the structural application of the new materials discovered during the Industrial Revolution from which the modern architect is still benefiting. The impact of stations in these three mentioned fields furthermore had an indirect impact on society. The determination of all these influences by stations and their design will form the research subject of this dissertation. / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted