Mr Tabak:
You're behind the proverbial eight ball, to be sure!
Were I in your shoes, I would approach this as if writing a grant or
accreditation document-however condensed. You didn't say how brief the memo
had to be-two pages or so?--but I certainly wouldn't cut it arbitrarily.
Sounds too important to not state your case to the fullest in a confident,
persuasive tone.
My thoughts about content: Don't take anything for granted. Spell out
exactly what the museum's mission is, why the mission is vital to the
community; then be specific about how the programs support and extend that
mission. Why are they important, relevant, significant? What is their
strategic value? How does an ongoing schedule of programs support your long
range plan? Why is the total sum greater than the sum of the parts? Try to
use fresh language, something that doesn't sound like every other grant we
all prepare. (At the same time, a little CEO terminology or language might
not hurt. Short of calling visitors clients!)
Don't take anything for granted. Do your readers know, really know, what
audiences your programs serve? In my experience even staff members can be
in the dark. (Don't forget about partners or audiences that are
organizations, institutions. And web users, too.) Tell them HOW these
programs affect people's lives. In what way does the Balch offer programs,
topics etc. that absolutely no one else does? What about attendance-often
the bane of history museums? Where are the bright spots? Growth or
consistency, and in what areas? Can you point to the future and say, "This
is where we'd like to be going." (Someone on the list can probably cite
statistics on admissions/program revenue as a percentage of operating
expenses. Isn't it pretty low for most museums?)
That idea that exhibitions and programs are our public face is a cliché yet
it must be stressed-or restated in a new way. How can you demonstrate that
your programs have publicity value in both the short and long term. The
usual things come to mind: an active program schedule serves as a constant
reminder of your presence to a broad range of individuals and organizations
(funders, donors, grant agencies, politicians, other decision makers and
supporters, the media); it enhances the museum's reputation as a leading
public authority and important educational institution; and, it positions
the museum as a distinctive, if not unique, public forum for the discussion
of community issues.
Finally, what can you say about the value of your work to the people who
actually do it? Hasn't your program schedule helped build staff expertise
and allowed staff members to make important contacts within the community
(community leaders, teachers, academics, business people)? We shouldn't
forget (or apologize for) the interwoven, interdisciplinary nature of museum
work. Demonstrate its worth, celebrate its potential, and put a face on
both your staff and your audience.
Hope some of this helps. Good luck.
Dean Krimmel
Curator
University of Maryland School of Nursing Museum
-----Original Message-----
Sent: Thursday, June 15, 2000 9:04 AM
To: [log in to unmask]
Subject: Explaining the value of museum, education, programs; and
related costs
Dear Museum Colleagues:
I am asking for your help and insight in explaining the value our work to
some people less directly involved. Our CEO has asked me to help prepare a
memo for some of our trustees, as I will explain.
Our institution includes both a research library/archive and a museum
(including exhibits, museum education programs serving thousands --
primarily school students, with some adults --each year, and public programs
(films, lectures, ethnic music or other cultural programs.)
I am to prepare a brief memo on the value of the museum-related programs
[museum exhibits and collections, museum education, public programs] to the
institution and community. Of course, as the word "value" can also hint at,
there is also a budget/financial piece of this question. Some program areas
bring in money (museum education in particular, which also brings in
something like 85% of our audience) although it may not cover the staff and
other direct program costs. My sense in general is that in small and medium
museums and institutions programs/admissions fees don't cover expenses.
Some trustees are connected to the museum/program area. Some are relatively
new and don't have strong feelings that I know of. And a few trustees are
attracted to the model of the Historical Society of Pennsylvania (formerly a
museum and research library/archive) which a couple of years ago closed its
museum and redefined itself solely as a research library/archive,
transferred its thousands of artifacts to another museum, and decided to
(theoretically) limit "exhibits" to display of selected documents or
materials about the HSP itself.
And I need to have this memo in early next week! Your thoughts on
explaining these issues to those with a less direct connection will be
helpful.
Thanks!
Robert Tabak
Director of Programs
Balch Institute for Ethnic Studies
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