Museums are democratising and inclusive spaces for critical dialogue about the pasts that matter to people. They work in active partnership with diverse communities to collect, preserve, research, interpret and exhibit their heritage, in order to contribute to human dignity and social justice, global equality and planetary well-being.
For anyone who has ever visited a museum, the word inspires an emotional response. Awestruck and energized, these places elevate visitors in ways that a brand could only dream of. Museums are a powerful cultural institution and an increasingly important asset for society. Yet, many museums struggle to reach their full potential to be inspirational.
But the field of museums has made great strides over the years to improve their ability to inspire. The success of museums has been fueled by the rise of purpose driven strategies, a commitment to empowering visitors and fostering collaboration. And as the field has matured, it has evolved from what Falk calls a “recharger” model—which he describes as a one-size-fits-all approach to visitor experience—to one that recognizes that visitors seek different experiences.
As Falk points out, “museums’ greatest strengths lie in their capacity to provide a multiplicity of experiences.” Indeed, a growing body of museum audience research shows that museums appeal to visitors for a wide range of reasons. Research by Susie Wilkening and James Chung, for example, has shown that some visitors seek awestruck experiences (e.g., the grand Hintze Hall), while others want to learn new things. But, research has also found that even the same museum can be used for these various purposes at the same time.
This has been facilitated by the development of the ICOM Define framework, a project that is redefining the definition of museum. The project has had the biggest outreach of any museum project in ICOM’s history, involving more than 126 of ICOM’s National Committees. It has involved four distinct rounds of consultation, resulting in the ICOM Define document that will be presented to the next Icom General Conference for a vote on a new definition.
However, critics have argued that the new definition is not progressive enough. As The Art Newspaper reported in 2019, some delegates at the conference were unhappy that phrases like decolonisation and repatriation—which have become central to the work of many museums in the developing world—did not make it into the final draft. And others, such as Thangwa Mufozulu of the South African National Museum, were frustrated that the new definition did not recognise the importance of re-examining collections to ensure they are ethically and culturally representative.
It will take some time to see how the final version of the ICOM definition shapes museum practice around the world. For now, the Define framework remains a tool that is invaluable for those who wish to shape their own futures and those of their audiences. It is a framework that encourages all Icom members to think critically about the role of museums in the twenty-first century, and to continue to engage with their local, regional and international communities.