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1、Museum and public funding DECREASE IN PUBLIC FUNDING?A worldwide answer from Museums International Research Alliance on Public Funding For Museums(IRAPFM)I Museum and public funding International Research Alliance on Public Funding for Museums (IRAPFM)II LEAD PARTNER Chair on Museum Governance and C

2、ultural Law Universit du Qubec Montral Lisa Baillargeon:Co-Director,UQAM Yves Bergeron:Director,UQAM Michle Rivet:Lead Scientific Director Camille Labadie:Research Coordinator La Le Calv:Research Coordinator Heidi Weber:Research Coordinator INTERNATIONAL EXPERTS For Africa:Catherine Snel(Sanlam Arch

3、ive and Museum,South Africa).For Asia:Yang Jin,assisted by Ma Jinwen,Jia Yutong,Hou Zelin,Tan Zhongyan,Liu Nianqing(Shaanxi Normal University,China)and Wang Siyu,Beijing University.For Europe:Xavier Roig,assisted by Alejandra Canals Ossul(Universitat de Barcelona,Spain).For Latin America and the Car

4、ibbean:Luciana Menezes de Carvalho assisted by Luciene Pereira da Veiga Givisiez and Luiza Henriques Costa Pereira(UNIRIO,Brazil).For North America:Marc Lajoie,assisted by Lisette Carine Pedraza-Cala(Muse national des Beaux-Arts du Qubec,Canada).For Oceania:Conal McCarthy,assisted by Anna Abernethy(

5、Victoria University of Wellington,Aotearoa/New Zealand).ISBN 978-2-487970-02-1 I Executive Summary Overview The International Research Alliance on Public Funding for Museums(IRAPFM)has conducted a comprehensive study on the state of public funding for museums worldwide,highlighting the critical fina

6、ncial challenges facing these vital cultural institutions and the innovative strategies they adopt in response to a research project generated by ICOM-IMREC,the international research and exchange partnership established by ICOM and Shanghai University.This report,spearheaded by the Universit du Qub

7、ec Montral(UQAM)and supported by a global consortium of experts,offers a detailed analysis of funding trends,their impacts,and museums responses to them across different world regions.Additionally,the report proposes targeted calls for action to address these challenges,support the sustainability of

8、 museums and identify key areas for future research.Key Findings Decline in Public Funding:The study reveals a global decline in public funding for museums,exacerbated by the 2008 financial crisis and the COVID-19 pandemic.This reduction in funding has led to significant operational challenges,inclu

9、ding staff layoffs,reduced programming,and delayed projects.Notably,even when budgets remain nominally stable,inflation and increased responsibilities result in a real decrease in available funds.Shift to Self-Financing and Hybrid Models:Museums are increasingly turning to self-generated revenues an

10、d hybrid funding models that combine public and private sources.This shift is driven by the need to offset the instability of public funding and ensure financial sustainability.Governments are exerting pressure on museums to generate their own revenue,leading to a rise in self-financing efforts.Digi

11、tal Transformation and Community Engagement:The pandemic has accelerated digital initiatives,with museums developing online platforms,virtual tours,and digital exhibitions.Strengthening community engagement through outreach and educational programs has also become a crucial strategy for maintaining

12、relevance and attracting local funding.Regional and Institutional Disparities:There are significant disparities in funding between countries,as well as between national and smaller-scale museums.National museums often receive more stable funding,whereas smaller institutions struggle to compete.The v

13、aried types and themes of museum institutions also influence the level of funding they receive,some themes attracting more financial support than others.Increasing Competition:The expansion of the heritage field and the multiplication of private museums have intensified competition for funding.Publi

14、c museums are at a II disadvantage compared to private museums,leading to a two-tiered funding system.This increased competition pressures museums to innovate and diversify their revenue streams.Cultural Diplomacy:Governments often overlook the critical role museums play in cultural diplomacy.Enhanc

15、ed recognition and support for museums contributions to cultural diplomacy could improve funding and operational stability.Impact of New Definitions and Responsibilities:The new ICOM definition of museums,which includes broader responsibilities such as inclusivity and sustainability,has added pressu

16、re on museums to adapt and expand their missions.This expansion necessitates additional funding and resources,further straining financial capabilities.Proposed Calls for Action 1.For Museums:Insofar as possible,diversify funding sources by integrating private donations,corporate sponsorships and rev

17、enue-generating activities.Embrace digital tools and community-focused initiatives to build a loyal visitor base and increase financial resilience.2.For Governments:Implement multi-year grants adjusted for inflation,provide resources for digital transformation and ensure equitable funding across mus

18、eums of different statuses.Enhance transparency in funding allocation to reduce disparities and support the long-term planning of museums.Recognize and support museums role in cultural diplomacy.3.For ICOM:Advocate for increased and equitable public funding for museums globally.Develop guidelines an

19、d best practices for museums to enhance their self-financing capabilities and resilience.Promote the importance of museums in cultural diplomacy and support their efforts in expanding digital and community engagement initiatives.4.For Civil Society:Actively advocate for museums at all levels of gove

20、rnment,support museum associations,and participate in museum activities.Civil societys involvement is crucial for sustaining museums educational and cultural missions.Conclusion This report highlights the critical need for a sustainable financial framework for museums globally.By implementing divers

21、ified funding strategies,embracing digital transformation,promoting community engagement,and advocating for greater support,museums can navigate financial uncertainties and maintain their essential role in cultural preservation and education.This report also underscores the need for further research

22、 to ensure museums resilience and sustainability in an evolving financial landscape.The growing financial pressures and competition call for a unified effort to support museums in their expanded roles and responsibilities.III Acknowledgements ICOM IMREC initiated,managed and funded the Museums and P

23、ublic Funding Project.The IRAPFM would like to thank:The Steering Committee:Chair:Dr.Carol Scott,Chair of the Academic and Programming Board of ICOM-IMREC;Prof Franois Mairesse,member of the APB;Prof.Melissa Campos,member of the APB;Prof Laishun An,Director of ICOM-IMREC;Ludovica Antonucci,ICOM Capa

24、city Building Coordinator.The ICOM National Committees and Associations,as well as all museums throughout the world who meticulously filled out the survey.ICOM-Europe and ICOM-Korea,for letting us present our preliminary results in their conferences.Christian Agbobli,Vice-Recteur la recherche et la

25、cration,Universit du Qubec Montral(UQAM).Nathalie Bondil,Director of the Museum and Exhibitions departments of the Institut du Monde Arabe.Genevive Bliveau-Paquin and Chantal Prudhomme,of LInstitut de la statistique du Qubec.Patrick Coulombe,of UQAMs School of Management.Aleksander M.Janicki,copy ed

26、itor.Michel Ct,former director of the Muse des Confluences(Lyon)and the Muse de la civilisation(Qubec).All persons who took time to share and promote the survey through their personal and professional contacts.The IRAPFM wishes to express special thanks to ICOM-IMREC for generating,managing and fina

27、ncing this study.This Report expresses the views of IRAPFM and does not engage ICOM-IMREC.IV Foreword As Chair of the Academic and Programming Board of ICOM-IMREC and Head of the Steering Committee overseeing this research project into museums and public funding,it gives me great pleasure to write t

28、he foreword for the final report of this project.Public funding has been in decline in many parts of the world for nearly two decades.Gaining momentum following the global financial crisis of 2007/8 and growing to a crescendo during and after the Covid pandemic,these declines have put considerable p

29、ressure on the current and future sustainability of the sector.The problem has been forcefully brought to ICOMs attention through three research initiatives conducted over the last 5 years.In 2018,a survey sent to ICOM National and International Committees as part of a mid-term strategic planning ex

30、ercise revealed that the decline in public funding was the most pressing concern facing the sector.Three surveys conducted during Covid exposed the vulnerability of museums without public funding and,when a survey of the membership was conducted as part of research for the ICOM Strategic Plan 2022-8

31、,funding was again found to be the most important issue of concern for the global museum community.However,although there is a growing literature on the subject,the true range and extent of the problem has remained elusive.In part,this is because much of the published material has been generated in

32、specific regions of the world or has focused on the situation particular to one nation.In addition,successive world crises and their aftermath have tended to focus attention on a particular time-period rather than encouraging a longitudinal view of progressive patterns of decline.Responding to these

33、 concerns,ICOM-IMREC wanted to interrogate and bring some clarity to this subject on behalf of the global museum community.It prepared a research brief highlighting five major questions:What does the term public funding currently encompass and how is the term understood across the globe?Is declining

34、 public funding for museums a global phenomenon?Where,to what extent and what kind of declines are occurring?With what impact?and In areas where reductions are occurring,how are museums responding?Are there discernible trends emerging from new business models?We sought expressions of interest from c

35、onsortiums willing to explore how public funding is evolving and what this means for museums.We found a like-minded partner in the IRAPFM(International Research Alliance on Public Funding for Museums)led by the University of Quebec at Montreal assisted by a global consortium of museum researchers re

36、presenting each of the major regions of the world.V The result of their research over the last 18 months is a report which is a significant addition to the growing body of research on this subject.It provides evidence that,even taking regional differences into account,declining public funding for mu

37、seums is a global phenomenon with significant implications for the world-wide museum sector.It is one of the first studies to trace the trajectory of funding decline over nearly two decades and map how this progressive decline in traditional sources of income is creating an unpredictable funding uni

38、verse further exacerbated by geo-political tensions and the energy crisis.It encourages us to interrogate the language we use,providing nuanced insights into how the term public funding is evolving and addressing the increasingly fluid boundaries between notions of public and private museums which h

39、as important implications for the very definition of the term museum and the allocation of resources.Importantly,it reveals the resilience of museums as they develop innovative ways of generating other sources of income and generate new funding models.Finally,one of the great strengths of this repor

40、t is the breadth and extent of regional comparisons which locate the problem of funding within the different political and policy contexts within which museums are operating and illustrates the many ways in which they are responding.The first section discusses the findings of a quantitative survey w

41、hich explored the situation pre,during and post pandemic.It highlights the volatile and evolving nature of public funding in the last two decades bringing multiple impacts and challenges.Section two takes a deep-dive into these impacts and challenges with special attention to the ways in which museu

42、ms across six regions of the world are responding through new business models and innovative ways of resource-building.Looking ahead,the financial challenges facing museums are discussed in section three.The increasingly complex pattern of funding required for on-going sustainability,the imperative

43、to be selective about programme choices in the absence of resources and the challenges inherent in balancing financial necessity with ethical considerations are discussed in detail.Proactive advocacy to ensure the sustainability of the museum sector is the subject of the final section which contains

44、 recommendations for action by the museum sector,by museum associations,by civil society and by government.Public funding is a necessary component if the vitally important contributions that museums make to public value are to be sustained.This is report is a call to action;one which,as a sector,we

45、cannot ignore.Carol A.Scott Chair of the Academic and Programming Board ICOM-IMREC VI TABLE OF CONTENTS INTRODUCTION 1 Museum funding 1 Decrease in public funding?2 Thinking about public funding 3 Research objectives 3 Preferred methodological approach:A two-level methodology 5 Quantitative survey 6

46、 Qualitative survey 6 Structure of the report 6 CHAPTER I-QUANTITATIVE ANALYSIS:ANSWERS FROM ICOM NATIONAL COMMITTEES AND MUSEUM ASSOCIATIONS 7 Methodology 7 1.1.The situation of museums in responding countries 8 1.1.1.The responding countries 8 1.1.2.Museum funding in the responding countries 13 1.

47、1.3.The part of private funding 18 Summary 21 1.2.Pre-pandemic-2008-2019 21 1.2.1.Funding Fluctuations 22 1.2.2 Exploring new revenue streams 24 Summary 27 1.3.Public financing measures during the COVID-19 crisis 27 Summary 29 1.4.Post-pandemic 2021-2022 29 1.4.1.Funding Fluctuations 29 1.4.2.Explor

48、ing new revenue streams 32 Summary 35 1.5.Impacts of Funding Variations 35 Summary 42 1.6.Highlights 43 Summary 45 1.7 Conclusion 46 CHAPTER II QUALITATIVE ANALYSIS:ANSWER FROM MUSEUMS 47 Methodology 48 2.1 Africa 48 2.1.1 Overview 48 2.1.2 Funding Fluctuations 50 VII 2.1.3 Adapting To Funding Chall

49、enges 52 2.1.4 Key Finding 54 Innovative approaches 54 2.2 East Asia 55 2.1.1 Overview 55 2.2.2 Funding Flucuations 57 2.2.3 Adapting To Funding Fluctuation 59 2.2.4 Key Finding 61 Innovative approaches 61 2.3 Europe 63 2.3.1 Overview 63 2.3.2 Funding Fluctuation 64 2.3.3 Adapting To Funding Challen

50、ges 66 2.3.4 Key Findings 68 Innovative approaches 68 2.4 Latin America and the Caribbean 69 2.4.1 Overview 69 2.4.2 Funding Fluctuations 70 2.4.3 Adapting To Funding Fluctuations.73 2.4.4.Key Findings 75 Innovative Approaches 75 2.5 North America 76 2.5.1 Overview 76 2.5.2 Funding Fluctuations 78 2

51、.5.3 Adapting To Funding Challenges 80 2.5.4 Key Findings 82 Innovative Approaches 82 2.6 Oceania 83 2.6.1 Overview 83 2.6.2 Funding Fluctuations 85 2.6.3 Adapting To Funding Fluctuations 86 2.6.4 Key Findings 87 Innovative Approaches 87 2.7 Conclusion 89 CHAPTER III-LOOKING AHEAD:MUSEUMS CHALLENGES

52、 90 3.1 Financial Sustainability 90 3.1.1 Alternative sources of funding 91 3.1.2.Short-Term Budgeting 92 3.1.4 Professionals and Volunteers 92 3.1.5 Advocacy 93 3.2 More with less 95 3.2.1 Increased Responsibilities 94 3.2.2 Museums as third spaces 96 VIII 3.2.3 Environmental Sustainability 97 3.3

53、Ethical Considerations 98 3.3.1 Partnerships 98 3.3.2 Philanthropy and Donations 99 3.3.3 Accessibility 99 3.3.4 Governance 100 3.4 Conclusion 101 CHAPTER IV PROPOSED CALLS FOR ACTION 102 4.1 To Museums Throughout the World 102 4.2 To ICOM National Committees and Museums Associations 103 4.3.To ICOM

54、 104 4.4 To All Levels of Government 105 4.5.To Civil Society 106 Conclusion 107 CONCLUSION 109 Suggestions for Future Research 111 BIBLIOGRAPHY 123 LIST OF FIGURES 119 ANNEXES 121 I-Quantitative Survey I II-Qualitative Survey X III:Complete list of the characteristics from the surveyed museums XXII

55、I 1 INTRODUCTION An overall assessment of museum funding:some preliminary reflections Museum funding According to UNESCO(UNESCO 2020;2021),there are between 95,000 and 104,000 museums worldwide,with a wide variety of business models and funding sources.Within this diversity,there are three types of

56、logics structuring museum funding:the market logic,the public subsidy logic and the donation logic(Mairesse 2022).Museums can generate independent revenue by relying on sources such as entrance fees,shops,and space rentals.Second,museums can receive public funds,which include operational and project

57、-specific subsidies,as well as fiscal resources.Public funding can be direct or indirect and comes from different levels of government(states,provinces,regions and cities).Third,museums can turn to individual or collective patrons to bolster their funding.Friends of museums and fundraising campaigns

58、 are part of the logic of donation.1 As a result,the definition of public funding varies from country to country.Distinct political regimes and economic models,as well as new categories of museums,generate different understandings of the role of governments in museum funding2.Conversely,the distinct

59、ion between the public and private systems stems from divergent financing methods,but also,importantly,from the distinct status of different institutions(Mairesse 2022).However,in many cases nominal distinctions are increasingly giving way to hybrid models in practice(Herv et al.2011).Institutions s

60、tatus and funding methods do not always overlap,but the legal status of a given museum(private for-profit institution or non-profit organization)influences its goals and how it proceeds to achieve them(Ginsburgh and Nicolas 2022).The status of museums,which differs across various regions and politic

61、al structures,has an effect on funding.In addition,the large number of private museums,which are supported by various government programs(e.g.culture,science,sports,tourism,etc.)have a different understanding of public funding,which they receive in addition to private or independent funding,and so a

62、re comparable to other cultural industries.An analysis of public funding of museums in Canada shows it to be structured around three central axes:public and parapublic assistance,own-source revenues and private 1 Based on a synthesis of two entries in the Dictionary of Museology:Financement(Mairesse

63、 2022)and conomie Musale(Ginsburgh and Nicolas 2022).It should be noted that Nicolas and Gingsburgh have added a fourth main source of financing:investment income.2 Examples include:Canada(Canadian Heritage 2019),China(Bollo and Zhang 2017),Poland(Murzyn-Kupisz et al.2019),South Korea(Park and Kim 2

64、019),Brazil(Arajo Santos 2012),and Italy(Romolini et al.2020).2 funding.Detailed analysis clearly shows that museum funding has become complex(Institut de la statistique du Qubec 2007)and relies on additional sources of revenue.Decrease in public funding?Overall,beyond specific public policies on cu

65、lture,academic research has highlighted diverse challenges and transformations characterizing museum funding.Research articles and book chapters underline the decline in public funding and budget cuts(Frey and Meier 2006;Alexander 2018;Lee and Shon 2018;Prokpek and Ballarini 2022),while similar chal

66、lenges have also been reported by professional associations and government agencies in Ireland(Mark-FitzGerald 2016),Sweden(Myndigheten fr kulturanalys 2022;Riksantikvariembetet 2021)and Switzerland(Office fdral de la statistique OFS 2021).In 2006,Frey and Meier pointed out a certain paradox:The wor

67、ld of museums has changed significantly over the past decade and has become more important economically.Visitor numbers have increased in the United States and Europe,as museum visits have become one of the most important leisure activities and tourist attractions.Most museums,however,are struggling

68、 to survive and chronically lack financial resources.(Frey and Meier 2006,398)Beyond the issue of public funding,museums have been facing new challenges since the 1980s,with the commercialization of culture and a market-centric paradigm(Ekstrm 2020;Mathieu and Visanich 2022).The penetration of neoli

69、beral values(Alexander 2018)has led to the development of a museum-business model(Tobelem 2023),much criticized by researchers and museums(Arpin 2002).The emergence of international partnerships and the commodification of certain museums such as the Louvre and the Guggenheim(Chong 2019)are examples

70、of these developments.These realities also lead to increasing competition among museums for grants and public donations(Frey and Meier 2006).In a neoliberal world,can we speak of museum commodification(Ekstrm 2020)?Financing in times of crisis Fluctuations in the public funding of museums are a glob

71、al phenomenon,but vary considerably from region to region(Woodward 2012;Alexander et al.2017).While museums in all parts of the world have faced challenges,they have also shown resilience and adaptability.Museums have relied heavily on a combination of various funding sources,allowing them to hedge

72、against financial volatility,maintain operations and expand their programs(Rentschler and Hede 2007;Woodward 2012).The economic crisis of 2008(Bergeron 2009-2010)was a rude awakening for museums,which saw their funding,both private and public,decrease drastically,leading to staff losses,the cessatio

73、n of programming,and closures.All this has jeopardized museums mission of intergenerational transmission(National Committees of European Countries 2013).3 The COVID-19 pandemic also resulted in severe financial hardships,with temporary closures,drastic reductions in visitor numbers,and significant g

74、overnment disengagement.Emergency government support and private donations became essential to survival(Finnis et al.2011;American Alliance of Museums 2017).This period underscored the importance of having flexible and diversified sources of funding to withstand unprecedented disruptions(Woodward 20

75、12).While museums have resumed normal activities since 2022,global geopolitical instability,the energy crisis and climate change,to name but a few factors,have contributed to weaken cultural life and institutions.Museums,therefore,must move towards sustainability(Styx 2022).In summary,the economic c

76、risis of 2008 and the COVID-19 crisis of 2020 are important benchmarks for examining the challenges facing museums.Both crises forced museums to innovate and develop non-traditional sources of funding(Romolini et al.2020;Prokpek et al.2023).Although Lindqvist(2012)argues that economic crises have li

77、ttle effect on museums,citing their reliance on several sources of revenue,especially shareholders,to support their financial planning,the financial pressures on museums are undeniable.Around the world,even national museums do not receive sufficient funds to cover all their missions and mandates(Gre

78、ffe et al.2017).With a view to an initial exploratory study,a literature review made it possible to sketch out an initial inventory of knowledge on the public financing of museums.This inventory then allowed us to formulate a research proposal in alignment with the objectives of ICOM-IMREC.Thinking

79、about public funding Research conducted by ICOM between 2018 and 2021 revealed the following findings:3 1.The term“public funding”is traditionally associated with a government grant for ongoing operating costs,including salaries,programs,collections maintenance,public engagement,and general maintena

80、nce.2.In many countries,government subsidies have been declining steadily since the 2007-2008 global financial crisis,but there is little information on the extent to which this is a global trend or its magnitude and impact.3.In countries where public funding is declining,new business models are eme

81、rging,but analyses or evaluations of their long-term sustainability are not available.Funding was therefore identified by ICOM as one of the six priority areas for museums,but the situation is complex and the picture remains incomplete.In view of the issues raised by the 2007-2008 crisis,the COVID-1

82、9,as well as of ICOMs findings concerning the impact of a decrease in public funding for museums,the International Centre for Museum Research and Exchange(ICOM-IMREC)launched a call for research.The Centre,created in partnership by ICOM and the University of Shanghai,aims to“encourage museums around

83、 the world to engage in more diverse,inclusive and 3 As indicated in the ICOM-IMREC call for research.4 democratic cultural dialogue and collaboration.”The impact of decreasing public funding,which affects museums worldwide,is central among ICOM-IMRECs concerns.Research objectives As part of its cal

84、l for research,ICOM-IMREC solicited well-developed proposals from interested research partners to explore and formulate answers to four questions:What does the term“public funding”mean and how is it understood around the world?Is the decline in public funding for museums a global phenomenon?When cut

85、s to public funding are evident,to what extent do they occur and with what impact?How are museums reacting?Are new sustainable business models emerging?The project brief was sent out in July 2022 and was closed in October the same year.The International International Research Alliance on Public Fund

86、ing for Museums(IRAPFM),led by the Universit du Qubec Montral,was selected as the lead partner.Our proposal Our team :The involvement of experts from around the world To answer the four research questions,the lead partner(Research Chair on Museum Governance and Cultural Law at the Universit du Qubec

87、 Montral)proposed to form an international consortium of experts to cover various world regions:Africa(South Africa),Asia(China),Europe(Spain),Latin America and the Caribbean(Brazil),North America(Canada)and Oceania(Aotearoa/New Zealand).Organigramme 5 Preferred methodological approach:A two-level m

88、ethodology The global overview made it possible to formulate a research proposal.In order to meet the objectives of the research project,we proposed to combine,first,a statistical study and,second,a qualitative study which was conducted with a team of international researchers and museums.Quantitati

89、ve survey The statistical survey4 distributed to the national associations of ICOM member countries was designed to provide an overall picture of the financial situation of museums and to allow for a complementary analysis through the qualitative survey conducted with international experts.We initia

90、lly considered distributing the survey to both the national ICOM associations and all the various government ministries providing funding.However,since funding channels overlap many branches of government,as evidenced by the survey results,it became impossible to reach all the ministries concerned.I

91、n accordance with Canadian research policy,we sought and obtained ethical certification from the Universit du Qubec Montral(UQAM)Ethics Board for Research Involving Human(CIEREH).The board ensures the methodology of data collection from among individuals representing international organizations and

92、the use of that data with respect to protecting the confidentiality of survey participants.The statistical survey was sent to ICOMs 124 National Committees(NCs)through a series of email campaigns between June 2023 and April 2024.Other methods of contact were used when emails were not answered.The qu

93、estionnaire was administered online on a secure UQAM-hosted server.The purpose of the survey was to validate whether public funding for museums within the international museum network has declined in recent years.A total of 59 NCs from all continents responded to the survey.Structure of the question

94、naire The statistical survey garnered data on the current status and recent trends of funding obtained from governments and other sources.The sections of the survey were designed to allow for comparisons between the pre-pandemic period(2008 to 2019)and the post-pandemic period(2021-2022).The survey

95、questions concerned three major topics:the decline in public funding,other sources of funding,and public funding of museums.The design was intended to measure the impact of the COVID pandemic and the overall impact of a decrease in public funding.It should be noted that,in addition to questions conc

96、erning statistical data,several open-ended questions yielded a quantity of comments and testimonies that complement and clarify the quantitative data.In compliance with the requirements of ethical certification,all comments have been anonymized.4 See Annex I for the quantitative survey.6 Qualitative

97、 survey The second part of the study was based on a qualitative approach and was conducted by international experts familiar with specific geographical areas and museum ecosystems.The qualitative survey5 was carried out among a sample of museums proposed by the international experts,representing 20

98、to 25 museums per each geographical area under study,namely:Africa,East Asia,Europe,Latin America and the Caribbean,North America,and Oceania.The aim was to identify and document new financing and management models.The qualitative survey was complementary to the statistical survey and covered the sa

99、me pre-and post-pandemic periods.Museums were asked to describe the impact of the decline in public funding on their institutions and to highlight the innovative and alternative ways in which they responded.Each expert collected data between August 2023 and May 2024 in order to produce a comprehensi

100、ve regional report on their respective geographical area of expertise.A total of 119 museums responded to the survey,making it possible to identify a wide range of possible solutions and innovative approaches to the decline in public funding in each region.In addition,the lead partner conducted a li

101、terature review to complement,contrast and contextualize the findings.The international experts were invited to provide documentation if they wished.Structure of the report The first chapter presents statistical data from the quantitative survey of 59 ICOM NCs.As a global update on latest developmen

102、ts,it underscores emerging trends and new economic models,as applicable,in each region under consideration.The second chapter presents the emerging trends identified through the qualitative survey of 119 responding museums.The chapter is divided by major geographical area(Africa,East Asia,Europe,Lat

103、in America and the Caribbean,North America,and Oceania),identifying regional fluctuations in funding,describing museums responses,as well as discussing key findings,and highlighting innovative strategies.The third chapter examines concerns and points of interest emerging from the answers collected t

104、hrough to the quantitative and qualitative surveys,in particular sustainability and ethics,as well as the need for a more comprehensive understanding of museums innovative approaches to funding.The report concludes with a series of proposed calls for action addressed to museums,ICOM and its NCs and

105、museum associations,as well as all levels of government and civil society.5 See Annex II for the qualitative survey.7 CHAPTER I-QUANTITATIVE ANALYSIS:ANSWERS FROM ICOM NATIONAL COMMITTEES AND MUSEUM ASSOCIATIONS This chapter presents the results of the statistical survey conducted among responding I

106、COM National Committees(NCs),offering a comprehensive overview of their financial situation before and after the COVID-19 pandemic,including variations in funding and their impacts.Divided into four main sections,the chapter first addresses the survey framework and the participating countries,as wel

107、l as the definition of what constitutes a museum.It then analyzes the situation of museums before the pandemic(2008-2019),and afterwards(2021-2022).Finally,it explores the impacts of resulting fluctuations,with testimonies from respondents on the challenges and opportunities faced by museums in spec

108、ific countries.METHODOLOGY The statistical survey targeted ICOMs 124 National Committees(NCs).The statistical survey garnered data on the current status and recent trends of funding obtained from governments and other sources.The sections of the survey were designed to allow for comparisons between

109、the pre-pandemic period(2008 to 2019)and the post-pandemic period(2021-2022).The survey questions concerned three major topics:the decline in public funding,other sources of funding,and public funding of museums.The design was intended to measure the impact of the COVID pandemic and the overall impa

110、ct of a decrease in public funding.The statistical survey was sent to ICOMs 124 NCs through a series of email campaigns between June 2023 and April 2024.Other methods of contact were used when emails were not answered,including personal contacts on social media,as part of the permitted restrictions

111、of ethical certification in accordance with university research policies in Canada.A total of 59 NCs from all world regions responded to the survey.8 1.1 The situation of museums in responding countries This section provides an overview of the museum context in the responding countries,based on the

112、results of a statistical survey.It explores the challenges related to the definition,number,and funding of museums across different geographical regions.1.1.1 The responding countries Question:What country are you filling this survey for?Geographical Zone Total number of ICOM NCs Number of ICOM NCs

113、without available contact information Number of ICOM NCs with available contact information Number of ICOM NCs completing the survey Completed surveys as%of NCs with available contact information Africa 26 9 17 13 76%Asia 32 4 28 14 50%Europe 42 2 40 19 47.5%Latin America and the Caribbean 19 2 17 9

114、 52%North America 2 0 2 2 100%Oceania 3 1 2 2 100%Total 124 18 106 59 55.7%Figure 1.2.-Breakdown of responding ICOM National Committees by geographical area The survey received responses from 59 countries,representing a response rate of 55.7%across five continents(based on the NCs with available con

115、tact information).We Figure 1.1.-The Responding Countries 9 received no responses from 44 existing ICOM NCs,the majority of whom were concentrated in Asia and in Europe.It should be noted that 18 NCs,for the most part in Africa and Asia,could not be reached.6 Note that for three countries data were

116、collected with the help of either museum associations or individual researchers.Question:On estimate,how many museums are there in your country?If possible please tell us the exact number of museums in your country.Researchers agree on the difficulties of accurately estimating the number of museums

117、in the world(Guiragossian 2024).UNESCOs report The Worlds Museums in the Face of the COVID-19 Pandemic estimates that there are nearly 95,000 museums across five continents.It is important to note that their distribution is uneven.It is estimated that 65.1%of all museums are located in Western Europ

118、e and North America,12.8%in Asia-Pacific,12%in Eastern Europe,8.5%in Latin America and the Caribbean,0.88%in Africa and 0.5%in Arab countries(UNESCO 2021,5).Considering these statistics,the percentage distribution of respondents can be considered to represent an accurate reflection of the relative n

119、umber of museums in the major geographical areas.As apparent from Figure 1.3.,the overwhelming majority of respondents(41%)indicated that their countries have fewer than 100 museums.Then,in ascending order of number of museums,the second group(17%)represents countries with 101 to 250 museums;the thi

120、rd group(10%)reported having between 251 and 500 museums;the fourth group(12%)has between 500 and 1000 museums;and at the high end of the spectrum,two groups of countries have over 1000 museums:8%with between 1001 and 1500,and 10%with over 1501 museums.This is a good illustration of the diversity of

121、 the international museum network.It should be noted that only one country did not answer this question,which does not affect the data overall.Another issue was that some countries reported that they did not have official statistics.6 The National Committees were contacted based on the information a

122、vailable through the Committees directory accessible on the ICOM website(as of January 2024).Where contact information did not appear in the directory,was erroneous,or had changed,the NC was considered non-reachable.Other efforts,including through personal contacts on social media,were deployed to e

123、nsure that each NC was at least aware of the survey.Despite this,18 NCs proved unreachable.Figure1.3.DistributionofMuseumsAcrossRespondingCountries 10 When asked how many museums there are in their country,83%of NCs were able to indicate a precise or estimated number.It should be noted that 17%of co

124、untries did not answer the question.It may be surmised that some countries with large numbers of museums do not have precise statistics.While the majority of the responding countries indicated that the numbers were approximate,some countries were able to specify the composition of their museum netwo

125、rk:o In 2023 there are 11 government-owned museums,24 in the regions and 3 private owned museums as total 38.These 38 museums registered as legal entities by state registration.Also by 2020 there were 16 small museums run by university,different organizations,around 10 private museums and art galler

126、ies7.It should be noted that several NCs recognize that it is also difficult to draw an accurate picture of the composition of the museum network.Because the term“museum”is not protected,there is potential overlap between museums recognized by governments and museums created by companies or collecto

127、rs.This is why establishing a definition is important in order to clarify the status of public and private museums,and thereby to clarify the statistical data.Question:What is a museum in your country?How is it defined?In 2022,at the triennial conference in Prague,ICOM adopted the following definiti

128、on:A museum is a not-for-profit,permanent institution in the service of society that researches,collects,conserves,interprets and exhibits tangible and intangible heritage.Open to the public,accessible and inclusive,museums foster diversity and sustainability.They operate and communicate ethically,p

129、rofessionally and with the participation of communities,offering varied experiences for education,enjoyment,reflection and knowledge sharing.(ICOM 2022)A majority of respondents confirmed that they recognise this definition.The second largest group is made up of countries that reported having passed

130、 legislation defining what constitutes a museum.In most of these cases,the definition is based on the ICOM definition adopted in 2022 or its previous iteration(2007).It is likely that some national legislation has not yet been updated and that its recasting should be based on the current ICOM defini

131、tion.In some specific cases,the adopted definitions are inspired by certain elements identified in the ICOM definition,but also include notions specific to distinct national cultures.It is important to note that the principle of“non-profit institutions”is a common point among these definitions.7 Quo

132、tes in blue are drawn from the National Committees survey responses.Due to the sensitive nature of some answers and the anonymity required by the Ethical Certificate,as per North American research standards,all responses have been anonymized.11 Several NCs listed the main functions assigned to museu

133、ms within their countries.We have identified responses that mention the three main functions of museums(conservation,research,dissemination),as well as those that mention other specific functions.Thus,some countries associate the museum with notions of tangible,intangible or natural heritage,as well

134、 as with collections and places of collective memory.Some definitions emphasize the categories of museums recognized by states,i.e.national,private,community or“other types”of museums.Two countries indicated that they do not follow the ICOM definition and that they have not adopted strict rules to d

135、efine a museum,but specified that they have put in place tools to assess the quality of museums.One country stands out in stating that no definition has been adopted“due to an incredible range of types and structures for museum institutions.”8 Question:Do other institutions,such as libraries,communi

136、ty centers,historical sites,etc.,receive similar consideration and public funding?Many public institutions such as libraries,archives,community centres,historic sites and universities perform functions similar to those of museums and receive public funding.In some countries,these places of conservat

137、ion and enhancement of heritage are classified in the same categories as museums and are therefore considered museum institutions.Once again,this observation explains the difficulty of counting the exact number of museums and other types of institutions using the museum designation.Several responden

138、ts added that the network of publicly funded public libraries and community centres in their country generally offers free access to exhibitions and cultural or educational activities,thus creating unfair competition with museums.It should also be noted that the funding of libraries and cultural cen

139、tres,worldwide,represents greater investments than those granted to museums.In short,the funding boundaries are not always clear in the mandates of these public institutions.This situation creates a form of competition for financial support from governments.8 The following definition is accepted thr

140、oughout the United States and covers both tangible and intangible cultural heritage,as well as natural heritage:“The American Alliance of Museums is the only organization representing the entire museum field,from art and history museums to science centers and zoos”(AAM,n.d.).12 Question:Are there mu

141、seum associations in your country?Museum associations are an important part of the ecosystem.The presence of an association indicates that a group is dedicated to helping museums fulfill their various missions and can therefore help museums exert stronger impact,such as on governments,for example.IC

142、OMs NCs reveal that,in 81%of countries covered by the survey,museums are represented by a professional association,or even by several associations,through which they interact with governments.These associations take different forms.In several countries,the NCs act as museums main representatives,but

143、 in a majority of countries various associations represent museums and museum professionals.In countries with a large number of museums,professional bodies represent occupations such as curators,museologists,restorers and heritage interpreters.In countries with many museums,as is the case in Europe

144、and North America,institutions coalesce into national,regional,municipal and other associations of museums.For example,there are several hundred local museum associations in Finland.Elsewhere,associations bring together museums by type:art museums,history museums,archaeology museums,science museums,

145、society museums,childrens museums,associations of Maisons-Muses,and so forth.The associative world plays an important role in the museum network ecosystem.The terms that designate groups defending the rights of museums are revealing.There are many“associations,”“alliances,”“institutes,”“federations”

146、and“cooperation councils”of museums.Within this long list,we have identified categories that are more specifically related to museum management,including associations of museum administrators,cooperation councils of national museums and associations of private museums,all of whom develop management

147、and financing tools;other bodies include associations of museum volunteers,associations of museum stores,councils of museum directors,federations of ecomuseums,as well as associations of economuseums and those grouping corporate museums.It seems that the world of museums is conducive to the efferves

148、cence of an associative environment(Mairesse 2019,30).For example,the American Alliance of Museums(AAM)took care to list more than 80 different associations in answering the questionnaire,including museum associations in each state as well as various groups ranging from the American Association for

149、State and Local History,to the American Institute for Conservation of Historic and Artistic Works,the American Public Gardens Association,Figure1.4.PresenceofMuseumsAssociationsinRespondingCountries 13 the Heritage Rail Alliance,the Historic Naval Ships Association,the National Interpretive Associat

150、ion,the Natural Science Collections Alliance,and the International Museum Theatre Alliance.In short,the museum world is deeply engaged in various spheres of social activity.Consequently,it is unsurprising that the museum network is dedicated not only to the conservation and preservation of historica

151、l heritage,but is also committed to present-day social causes.1.1.2 Museum funding in the responding countries Museums rely on funding sources whose diversity is to a high degree influenced by governmental recognition and policy.This section delves into the various types of funding obtained by museu

152、ms,the proportion of museums that depend on private versus public funding,and the impact of government recognition.The analysis covers direct and indirect financial support,highlighting regional differences and the growing importance of self-generated revenues for museum sustainability.It also highl

153、ights regional variations in public funding and the impact of privatization laws.Finally,it provides a detailed analysis of the percentage of museums receiving public funds,revealing significant geographical differences.Question:How does government recognition of museums affect their funding?Opening

154、 with a qualitative component,this question received a variety of answers,testifying to the multiplicity of museum funding models and rules of governance.Public funding is generally distributed by three levels of government:central,regional,and municipal.In 80%of countries,the museums are recognized

155、 by these three levels of government and this recognition has a crucial effect on public funding.National museums and“recognized”private museums The so-called“national”museums are funded by governments,but these are few in number.It is usually these national museums that represent countries in inter

156、national relations.In the vast majority of countries,the network is generally made up of private museums,recognized and financed in part by line ministries.It should be noted that this status gives them greater autonomy than national museums.Some states have an evaluation process in place to determi

157、ne whether a museum can be recognized and funded by the state,but the majority do not.Ministries In many countries,museum funding is the responsibility of various ministries(culture,education,science,tourism,finance,defence).In contrast with national museums,financial support for private museums is

158、not always recurrent and is often based on special projects funded by governments(e.g.digitization,construction of reserves,renewal of permanent exhibitions,educational programs).14 Two types of financing Two types of financial support for museum institutions can be identified.The first may be terme

159、d direct financing,where the recognition of public museums by the state corresponds to regular financial support;it is most often indexed,although several respondents pointed out that this type of funding is not always sufficient to support museum missions.The second type,indirect financing,relies o

160、n laws and financial policies that promote patronage and donations through tax credits to companies,individual patrons,and foundations.This type of financing is particularly prevalent in the English-speaking world,including the United States,which has very few national museums,with the exception of

161、the Smithsonian Institute in Washington and the national parks system.Museums generally have the status of non-profit organizations and depend on self-financing through own-source revenues:ticketing,product sales,public funding,and the establishment of foundations with mandates to raise funds and ge

162、nerate revenue.It should also be noted that some countries have adopted laws to privatize national museums,as was the case in the Netherlands with the adoption of a special law in 1993,which nevertheless stipulated that buildings and collections remain the property of the government.In many countrie

163、s,public funding only covers operating costs and so museums must develop stand-alone revenues in order to carry out exhibitions and special projects.This trend serves to instill a corporate culture focused on increasing own-source revenues within the museum ecosystem.Most importantly,respondents emp

164、hasized that own-source revenues are increasingly important and even necessary.As private museums become increasingly numerous,public museums face fiercer competition in soliciting funds from companies and sponsors.Question:What percentage of museums receive public funds?We attempted to identify mor

165、e accurately the percentage of museums receiving public funding.In 37%of the responding countries,more than three-quarters of museums(76-100%)receive public funding.In the second tier,representing 22%of the countries,between 51%and 75%museums are publicly funded.For the rest,in 29%of the responding

166、countries,less than 50%of museums receive public funding.Note that 12%of surveyed countries did not answer this question.Figure1.5.1.-PercentageofMuseumsReceivingPublicFundsinRespondingCountries 15 When we look at the results by geographic area,we see that support from various levels of government i

167、s varied.Museums receiving public funding are more numerous in Europe:in 58%of European countries,more than 76%of museums are publicly funded.We see also that countries with the fewest publicly funded museums(0-9%of the total number of museums)are in Africa.Overall,the data vary widely from one coun

168、try to another,even within the same geographic area.There was little available data for Oceania and Latin America.Question:Are the following levels of government responsible for funding museums?In our sample(Figure 1.6.),museums in 51 countries receive funding from the central government.Museums in

169、33 countries receive funding from regional or state governments.Meanwhile,10 countries indicated that yet other levels of government provided museum funding.When asked which other levels of government are responsible for funding museums,respondents identified villages,cantons,independent government

170、institutes,central banks and specific ministries,among others.It is observable that funding levels vary considerably between central and local governments.Question:Please list any and all other levels of government that are responsible for funding museums.Answers to this question made it possible to

171、 note that many public bodies are responsible for financing museums and there is no standard model outside the ministries Figure 1.5.2.Breakdown by geographical zone Figure 1.6.Level of government that funds museum in responding countries 16 dedicated to culture and education.In several countries,mi

172、nistries of culture oversee heritage and museum bodies.Governments entrust the management of museum funding to various ministries and public agencies,such as ministries of Culture,Arts and Heritage,of Antiquities and Culture,of Communication and Culture,of Religious Affairs and Culture,of Infrastruc

173、ture,of Transport,of Agriculture,of Defence,or of Education(in the case of university museums).It is clear that different countries have different understandings of which spheres of government should be responsible for funding museums.Several government bodies have developed structures specifically

174、dedicated to museums and heritage,such as:Brazilian Institute of Museums(Ibram),National Culture Fund(FNC),the National Institute of Historical Heritage(Iphan),National Arts Foundation(Funarte),Municipal and State Secretaries for Culture and Local Cultural Institutions,as well as other government ag

175、encies.Considering this multiplicity of public institutions responsible for museum financing,it would likely be difficult,if not impossible,to identify all such institutions across all ICOM member countries in order to draw up a truly exhaustive portrait.Question:Has the government implemented indir

176、ect financing measures for museums(such as tax deductions for acquisitions,tax credits,fundings for special projects)?Please comment on your answer.It is sometimes difficult to clearly identify the limits of“public funding.”We can observe that several countries have adopted legislation that promotes

177、 private financing by granting tax credits.In other words,companies and individuals can support museums and thus avoid paying some taxes.In reality,governments promoting these policies relinquish themselves of a share of revenue,but also offload a share of museum financing responsibilities to the pr

178、ivate sector.In order to gauge the prevalence of such approaches,we asked the following question:“Has the government put in place indirect funding measures for museums(such as tax deductions for acquisitions,tax credits,funding for special projects)?”More than half the surveyed countries(53%)answere

179、d in the affirmative(Figure 1.7.1.).Figure 1.7.1.-Presence of Indirect Financing Measures 17 Figure 1.7.2.shows that indirect funding for museums exists in all regions of the world,highlighting its global importance as a financial support model.However,the presented data is based only on responses r

180、eceived from the National Committees,meaning that the full picture might not be entirely represented.Despite this limitation,the information gathered provides a good overview of regional trends.Europe stands out with a strong presence of indirect funding measures,suggesting more developed institutio

181、nal support,while all responding countries in North America have indicated the presence of indirect funding.In Latin America and the Caribbean,and Oceania the balance between museums with and without indirect funding suggests a diversity of financial models and potentially varied cultural policies.M

182、eanwhile,Africa and Asia show a lower representation of museums with indirect funding,indicating either a more limited use of this mechanism or a lack of responses from some stakeholders.These regional trends reveal heterogeneity in the implementation of indirect funding measures,offering a foundati

183、on for better understanding the different approaches adopted worldwide.This aspect of indirect funding is important and 60%of respondents provided comments with additional information;what follows is a summary of those statements.While several countries have introduced special programs in recent yea

184、rs,there has also been indirect support for museums through the creation of new taxes to finance national cultural funds,for example through a tax on gambling.The examples most often cited by respondents concerned special budgets to support museums and the cultural sector more broadly.Typically,gove

185、rnments provide capital grants through special programs or loans for self-financing projects.Certain governments have launched initiatives to support the acquisition of works and objects.The Flemish government,for example,operates a program for the purchase of objects of“national importance”to devel

186、op collections that remain government property but are hosted by accredited museums on a permanent loan basis.In Canada,the Cultural Property Export and Import Act allows private collectors to obtain tax credits in exchange for donations to museum collections,thus also alleviating the need for acqui

187、sition budgets.The fair market value of these cultural assets of national interest is 100%deductible from the donors income.In the case of countries reporting that governments had not adopted any new measures,it is noted that pre-existing measures continue to apply and contribute to the public fundi

188、ng of museums,as evidenced by these comments:Figure 1.7.2.-Presence of Indirect Financing Measures(Breakdown by region)18 o The main source of funding for museums(private and public museums)is taxation,with the exception of the Federal Law on the Promotion of Culture which allows companies to deduct

189、 100%of the money donated to cultural projects and institutions from their taxes.o No,the government has not actually implemented indirect funding measures for museums(such as tax deductions for acquisitions,tax credits,funding for special projects).One country in particular reported an observation

190、that appears relevant to explaining the decline in public funding for museums:rising energy costs,specifically,as well as the rising costs of materials,transport and labour,have contributed to growing inflation.Several others also pointed out that significant inflation since the pandemic has had a d

191、irect impact on the salaries and operating costs of museums.While this factor did not feature prominently in most answers to the survey,there is no doubt that it would be important to explore the impact of inflation,which has contributed to increasing the economic pressures on museums.This is especi

192、ally true for countries where public funding is primarily dedicated to museum operations,but funding for exhibitions and other activities must be sought from private partners.o I would just like to point out that“remaining stable”means decreasing in practice,because the level of costs has increased

193、considerably.So were actually seeing a decrease,even though the numbers are the same.Many museums especially smaller ones are in very uncertain financial situations due to a sharp rise in the costs of energy,labour,materials and indeed almost everything,but budgets are still the same!1.1.3 The part

194、of private funding Museums worldwide depend on a mix of direct and indirect funding sources in proportions that are significantly influenced by government recognition and policies.This section identifies the proportion of museums funded by private sources and explores how access to different types o

195、f funding impacts museums financial stability and operational capabilities.Question:What proportion of museums in your country receive the majority of their funding from private sources(Ex.:Non profit organization,company museums,foundation,etc.)?19 Testimonies indicate that the most successful muse

196、ums are financed through external partnerships with entities such as banks and large companies,and sometimes they are financed by cooperative services,as well as by the public.This is a strategic advantage since public museums are only funded through special projects.This trend towards the developme

197、nt of private funding contributes to the transformation of the museum ecosystem overall through the spread of modes of operation previously adopted only by private museums by seeking out alternative forms of financing.Question:Are there museums which operate with a combination of private and public

198、funding?If yes,how are they classified and could you explain their funding model,when they are neither private or public?The proportion of countries by geographic area reporting hybrid financing methods makes clear that this mode of financing predominates on all continents.In North America and Ocean

199、ia,100%of NCs structure their budgets by combining public and private funding.This practice is also significant in Asia(64%),Europe(68%)and Latin America and the Caribbean(67%).The situation is different in Africa,where less than half(38%)receive private financing.It appeared important to identify d

200、istinctions between public and private museums.Respondents were asked to describe the funding model for museums that are neither exclusively public or exclusively private.This question,touching on a complex issue,obtained a response rate of 58%.The answers reveal potential avenues for understanding

201、transformations in museum funding over the past two decades.Respondents pointed out that distinctions between public and private museums are based on legal definitions and on administration methods.Some countries found it difficult to answer this question and indicated that they did not have detaile

202、d information.They also acknowledged that it would be important to conduct a survey on this subject to Figure 1.8.-Proportion of Museums Receiving the Majority of Their Funding From Private Sources Figure 1.9.-Museums Receiving Public and Private Funding 20 better understand the changing financial e

203、cosystem of museums.However,as one respondent commented,it is recognized that:o For most museums,funds are crucial in achieving their goals.There are several funds,often linked to public bodies.Each fund has different objectives and systems.Some funds are linked to lotteries,others to certain govern

204、ment policies or through bequests and other sources.Hybrid financing Some respondents questioned hybrid financing models as administered in their country:o They have a split personality,they are mostly located in government-owned buildings and some of their employees come from the government.However

205、,the collection,activities and their administration are private.In addition to funding from various levels of government for certain museums,there exist project-based funding programs open to public and private museums.Respondents pointed out that some museums in their country are not officially con

206、sidered“museums”,but nevertheless meet the functions of museums as defined by ICOM.Examples include university museums and associative museums.Diversity of financing methods Respondents mentioned various sources of autonomous income:ticketing,room rentals,shops,sale of services,philanthropy,legacies

207、,foundations,donations,private donations,patronage,support from businesses,time contributions from associations of friends or members,lotteries or even churches associated with exhibitions and mediation projects.In recent years,many museums have organized crowdfunding campaigns.However,some responde

208、nts noted that this strategy requires considerable effort and that its costs are especially high.Respondents also pointed out that these activities are sometimes time-consuming for museum staff.Survey answers show that in some countries museums deficits are covered by public funds,but this is not a

209、prevalent reality and museums which are not supported by various levels of government must manage their deficits independently.This forces them to review their priorities and their programs of activities.Finally,respondents pointed out on several occasions that the emergence over the past two decade

210、s of private art museums financed entirely by companies or foundations has created competition for the public museums model.A significant trend:self-financing Respondents point out that self-financing has been a trend observed for almost two decades:o All museums funded by public funds(state,regiona

211、l or local)must do their best to obtain income from private sources,as funding from the state,21 region and local authorities is not sufficient to keep museums running.This demand has increased from the government over the past 15 years.o In some private museums,a large part of the financial resourc

212、es necessary for its operation come from:receipts from entrance fees,while part comes from government subsidies.Many private museums have a high rate of self-income(entrance fees,shops,etc.),and in many cases the deficit is covered by public funds from the state or local authorities.The line ministr

213、ies usually ask the museums they support financially to generate as much autonomous revenue as possible,often sourced from non-profit foundations,associations of friends,and crowdfunding.Hybrid museums It seems that increasing numbers of museums operate in an intermediate zone between public and pri

214、vate institutions,creating a new category of hybrid museums.This change has led some governments to define this new category.In Latin America,for example,they are defined as“gestin mixta”mixed management museums.In some countries,respondents reported another form of hybrid institution where museums

215、are owned or operated by charitable organizations,which allows them to be exempt from taxes.1.2 Pre-pandemic-2008-2019 This part of the survey explores how public funding for museums evolved between 2008 and 2019,the decade leading up to the Covid-19 pandemic.The period saw varied financial trends,w

216、ith nearly half of the respondents reporting budget decreases,while others noted increases or stable funding levels(when adjusted for inflation).The disparities in funding fluctuations reflect a diverse global landscape,with museums in some countries experiencing significant increases in financial s

217、upport,while others SUMMARY The funding landscape for museums is complex and varies significantly across different countries.Government recognition plays a critical role in providing direct financial support,while indirect funding mechanisms,such as tax incentives,also contribute significantly,espec

218、ially in countries with strong traditions of private patronage.The trend towards increasing self-generated revenues highlights the growing need for museums to adopt more entrepreneurial approaches to secure their financial stability.Understanding these diverse funding models is essential for develop

219、ing effective strategies to ensure the sustainability and growth of museum institutions worldwide.22 faced substantial cuts.Understanding these pre-pandemic funding patterns provides essential context for assessing the pandemics impact on museum finances.1.2.1 Funding Fluctuations This section explo

220、res changes in public funding for museums in the period 2008-2019.It examines whether budgets have increased,decreased or remained stable,and discusses the impact of these changes.We will also address the percentage of public funding in museum budgets and the disparities across different types of mu

221、seums and regions.Question:In the last ten years(between 2008-09 and 2018-19),how did public funding change?On estimate,by how much did it increase or decrease?This was one of the central questions of this study.Almost half of respondents(42%)indicated that between 2008 and 2019,their budget had dec

222、reased,while 27%said that their budget increased in the same period.Another 31%specified that their budget remained stable and that their funding kept pace with the level of inflation.In 8 countries(13%of the responding countries),public funding decreased by 10-25%and the decline was 36%and more in

223、6 countries(10%).On the other hand,public funding for museums increased by 10-25%in 6 responding countries(10%),and by as much as 26-35%in 3 countries(5%).This reveals significant global disparities.Note that some countries,although they stated that public funding remained stable,still indicated a v

224、ariation.This is reflected in Figure 1.10.2.Figure 1.10.1.-Funding Fluctuations between 2008 and 2019 Figure1.10.2.-BreakdownofFundingFluctuationsBetween2008and2019 23 Question:In 2018-2019 for museums that receive public funding,approximately what percentage did this funding represent in their annu

225、al budget?In2018-2019,museumsin37%oftheresponding countries received onaverage between 71%and 100%oftheir annual budget from publicfunding.Insecondplace,17%oftherespondentsindicatedthatmuseumswere publicly funded at 51-70%oftheir annual budget.In 19%of therespondingcountries,museumsobtainedlessthan1

226、0%oftheirannualbudgetfrompublicfunding.Question:Did all museums receive similar amounts or are there significative differences between museums?It was important to ascertain whether,within individual countries,museums receive similar or disparate amounts of public funding in order to determine whethe

227、r there are significant differences between museums.The response rate for this important question was 92 percent.As the question was open-ended,we collected a significant amount of feedback through which to better understand the situation in which museums operate.Overall,respondents were unanimous i

228、n saying and demonstrating that there are significant differences in public funding for museums.We also recall the gap between the funding of national museums and regional or municipal museums(see Figure 1.6.,above).One rule emerges from the comments:the sums received by museums do not correspond to

229、 a linear distribution.Rather,the distribution of funds takes into account such factors as the physical dimensions of the establishments,their number of workers,the programming of exhibitions and dissemination of educational activities,and the execution of projects of political interest to the legis

230、lature,among others.Respondents emphasized that the level of funding received by nationally recognized institutions is a function of both previous funding and periodic government evaluations.In addition,museums recognized as operating on a nonprofit basis received less financial support.In addition

231、to recurrent financial support,governments develop special programs such as,for example,collections digitization,the improvement of storage facilities or the creation of online content.Figure 1.11.-Percentage of Public Funding in Museums Annual Budgets for 2018-2019 24 Some respondents noted that th

232、e line ministries did not always keep track of the fluctuations in the annual budget of museums,so that this data is rarely accessible or known.In some countries,the rules of distribution for public funds are not transparent :o It is difficult to know the answers to such questions overnight.o Govern

233、ment funding for museums fluctuates in this country.Because of the problem mentioned earlier where every time the government increases our budget,a portion comes back unused,so they reduce the funding in the next cycle.The money spent by the National Museum on stationery exceeds the total budget all

234、ocated to community museums.I dont think before/after Covid will provide useful indicators.The problem here is the poor because of the distribution of funds.Again,the watchdog is also the benefactor.I think that is the real problem.As long as there is no real separation of powers,this problem will p

235、ersist.I believe in the good intentions of the central/superior government.And honestly,they just cant understand why community museums keep complaining and fighting.1.2.2 Exploring new revenue streams This section explores the emergence of new revenue streams for museums between 2008-09 and 2018-19

236、.While some respondents saw no change,many reported innovations like increasing own-source revenues,digital culture development,and public-private partnerships.Question:In the last ten years(between 2008/09 and 2018/19),did museums explore alternative sources of revenue?In the ten years leading up t

237、o the pandemic,71%of respondents said that they explored new sources of funding.However,20%indicated that they had not taken such steps and 9%did not answer the question.Strategies to increase own-source revenues include investments,the multiplication of museum points of sale,and sponsorships.Severa

238、l countries have chosen to focus on the development of digital culture in order to reach new audiences,beyond in-person Figure 1.12.1.-Alternative Sources of Funding,2008-2019 25 visits,by offering educational and cultural online activities.Some trends emerge from the examples provided by respondent

239、s.Museums are developing self-financing strategies and public-private partnerships are growing in number.As a result,there has been an increase in the budgets of museums taking on broader mandates,including added responsibilities with regard to tangible and intangible heritage,the development of dig

240、ital culture and engagement with pressing social issues,such as the displacement of populations,poverty,climate change,wars and economic crises.In addition,a number of responses pointed out that the emergence of new private museums creates competition for public museums in the search for financial p

241、artners:o There are more private museums(6 out of 8 have been founded in the last 10 years).o Over the past 15 years,we have seen an increase in the number of private museums.Like us,we see a new generation of officially independent institutes,but highly dependent on local authorities.o The creation

242、 of at least three new museums managed and financed 100%by the private sector.Respondents point to new practices such as the production of NFTs,or“non-fungible tokens.”9 There are still few studies analyzing this phenomenon,which should be explored more in-depth.10 In terms of trends,respondents not

243、ed that there is a change in the governance model for museums:o The OS(social organization)model appeared at this time.The OS is a private company that operates a public museum with private legal status but with public funds.While respondents agree that shift towards commercial operations is inevita

244、ble,some countries point out that this logic is not applicable everywhere,as exemplified by the Moldovan National Committee:o According to the legislation of the Republic of Moldova,museums are not allowed to carry out commercial activity.However,museums are 9 NFTs are unique digital assets relying

245、on blockchain technology to establish their authenticity and ownership.Unlike cryptocurrencies like Bitcoin or Ether,which are fungible and can be traded interchangeably,each NFT is unique and cannot be replaced by another.10 For further information,see:Valeonti et al.2021;Blais 2023.26 increasingly

246、 trying to attract partnerships with economic agents to promote the institutions image and attract investment.Question:If you answered“yes”to the previous question,what sources provided income?(Select all that apply)We identified nine categories of museum funding sources.The most widespread source o

247、f funding according to the survey was sponsorship,reported by 93%of respondents,followed in second place by marketing at 90 percent.In third place,government subsidies and associations of friends and volunteers were tied as sources of revenue for 85%of respondents.Independent income was reported by

248、68%of respondents and donations associated with sponsorships were cited in 54%of answers.Crowdfunding,in seventh place,was cited in a fairly high proportion of 51%of answers,while investments appeared in 34%of responses.The alternatives aimed at generating other revenues are diverse.Some countries i

249、dentified regular sources of independent revenue,i.e.space rentals,membership fees,the sale of publications,and increased ticketing revenues.The contribution of partners such as educational institutions,funds for European projects or embassies was also highlighted.It should be noted that the“other”c

250、ategory represents 12%of the responses.The examples listed in the survey are varied.These include land rentals,museum space rentals,private financing,the European Projects Fund,increased admission fees,the sale of publications and agreements with UNESCO and the AFCP(U.S.Ambassadors Fund for Cultural

251、 Preservation)as well as partnerships with educational institutions(College and University).Figure 1.12.2.-Breakdown of Alternative Sources of Funding Between 2008 and 2019 27 1.3 Public financing measures during the COVID-19 crisis While public funding measures were implemented in a number of count

252、ries to support museums during the COVID-19 crisis,the operations of these institutions were significantly impacted for almost two years.To understand these effects,we asked respondents to share their experiences and provide specific examples.Question:Were there any public financing measures put in

253、place for museums during COVID 19?Are these measures still in place?Those who answered“yes”More than half of respondents(51%)indicated that exceptional measures were put in place to support museums during the pandemic.Some museums used an employee retention tax credit.Some countries chose to defer f

254、ee payments.While some states maintained their financial support at a stable level,other countries only financed operational services and staff salaries.In addition,governments have honored contracts for security,cleaning,disinfection systems,visitor temperature control,IT,contactless payment system

255、s,and improvement of air conditioning systems,among other measures.Special programs were put in place to subsidize museums utility costs and grants were disbursed to support the activities of museums closed during the pandemic.In short,those countries chose to take advantage of this period of crisis

256、 to improve museum infrastructures.Respondents reported that although institutions received the necessary equipment at the time,such as protective screens and hand sanitizer,the lockdown led to a decrease in public investment in museums,since public budgets were redirected towards pandemic response

257、measures.These measures have created a significant gap between approved budgets and budgets received in practice.SUMMARY From 2008 to 2019,public funding for museums fluctuated significantly,with nearly half of museums experiencing budget cuts,while others saw increases or stable funding.This period

258、 highlighted the diversity of financial realities across different regions and types of museums.Additionally,many museums began exploring new revenue streams,such as digital initiatives and public-private partnerships,to address financial challenges,including increased competition.These pre-pandemic

259、 trends are crucial for understanding the financial impacts which museums faced during the Covid-19 pandemic.28 While most national museums were not affected,museums that rely on own-source revenues(entrance fees,shops,cafes,space rentals)needed to find new sources of revenue.In cases where museums

260、faced serious funding problems,some had access to additional stipends from central,regional or municipal governments to cover the costs of rent and staff in order to offset loss of income from cancelled events.Special cases were reported by respondents as,for example,due to complex political context

261、s,some museums had to cope with budgets that only allowed for 50%of salaries to be subsidized.Those who answered“no”Almost half of respondents answered“no”(49%)to the question.They noted that no special budget measures were adopted to support museums during the pandemic.In some cases,all museums wer

262、e closed,so there was no activity or funding.This choice had consequences for museum staff in several countries.One respondent cited a noteworthy case:o Oh boy.Government here never faltered in sponsoring museums.Central government that is.But I remember me personally not having food in my house dur

263、ing this period because I work for a community museum.National Museum workers never really felt the effects of the pandemic.There is just so much disparity.You would be better served sending one questionnaire for community museum workers and one for National Museum workers.We are worlds apart.And I

264、think that because the National Museum is by far the most visible,there is a belief that it is the standard for all museums.That we are all doing ok.This couldnt be further from the truth.Measures still in effect Among those who answered“yes”to the question,we asked if measures adopted during the pa

265、ndemic were still in place11.Surprisingly,10%of museums said that some measures are still in place such as hand washing and social distancing.One respondent underlined a positive effect of the crisis,insofar as the country chose to maintain the development of museums digital offer.Respondents noted

266、that there is virtually no financial support for infection control measures.In some cases,museums still offer the possibility of teleworking part-time.11 The COVID crisis and its repercussion on museums were discussed in the ICOM Report Muses,professionnels des muses et COVID-19 (ICOM 2020)and the U

267、NESCO Report“Museums around the World:In the Face of COVID-19.”(UNESCO 2021).See also the sub-section“Adapting to Funding Fluctuations”in Chapter II-Qualitative analysis:answers from museums for the responses given by individual museums.29 1.4 Post-pandemic 2021-2022 The period following the COVID-1

268、9 pandemic brought significant changes to the museum sector,marked by funding fluctuations,comparisons to pre-pandemic years,disparities in financial support,and the exploration of new revenue streams.This section delves into the evolving landscape of public funding,the challenges faced by different

269、 types of museums,and the innovative strategies employed to sustain operations and adapt to the new normal.Through detailed analysis and survey data,we gain insight into the financial health of museums and their efforts to navigate a post-pandemic world.1.4.1 Funding Fluctuations Between 2018 and 20

270、22,public funding for museums experienced significant variability.This section explores the overall changes in funding levels,highlighting both increases and decreases as reported by survey respondents.Question:Between 2018/19 and 2021/22,how did public funding overall change?SUMMARY Responses from

271、museum representatives reveal a diverse range of experiences regarding public funding measures during the COVID-19 pandemic.While over half of respondents reported receiving significant financial support that helped sustain operations and enhance infrastructure,others struggled with decreased public

272、 investment and the necessity to seek new revenue sources.The continuation of some measures,like digital initiatives and health protocols,indicates a lasting impact of the pandemic on museum practices.This period highlighted the disparities in funding between different types of museums,pointing to t

273、he need for more customized and equitable funding strategies in the future.30 We wanted to measure how public funding had evolved overall between 2018 and 2022.While 22%of respondents indicated that funding had remained stable,37%indicated that funding had increased,while 39%indicated that funding h

274、ad decreased.Question:Between 2018/19 and 2021/22,did the following entities decrease their funding?This question was used to estimate the level of increase and decrease in public funding.However,38%of respondents indicated that state funding has increased,while 31%noted that public funding has decr

275、eased.It should be noted that the proportion of those who did not respond was 22%.When asked if central governments have decreased funding,39%of respondents said“yes,”while 31%answered“no”(See Figure 1.14.).When asked about local governments,the decline seems less significant:20%of respondents said

276、they had seen a decline in financial support from local governments.It should be noted that 27%of respondents indicated that this question did not apply and that 32%did not answer the question.We observe very similar results at the municipal level.A quarter of respondents indicated that municipal fu

277、nding had decreased,while 20%noted that public funding had remained stable.Some respondents were careful to provide nuance regarding municipal funding in the light of emerging social issues.Some also specified that while funding has not decreased,inflation and higher operating costs contribute to re

278、duce resources necessary for museums to carry out their mission:Figure 1.13.-Changes in Public Funding Between 2018 and 2022 Figure 1.14.-Central Government Funding Between 2018 and 2022 31 o The amount allocated to museums in small towns has decreased due to the need to reduce spending and redirect

279、 to the health sector.o I just checked this option so I could add this information:Funding hasnt decreased,but there hasnt been enough compensation for inflation and the rise of energy costs(when the war in Ukraine started).Question:Do all museums receive similar amounts or are there significative d

280、ifference between museums?This question garnered a response rate of 86%.The responses clearly describe significant disparities in the financial support of museums.We have retained several comments that shed light on these disparities.There is a disparity in received amounts between museums,due to mu

281、seum sizes.The sums received by museums do not correspond to a linear distribution,but rather take into account the physical dimensions of the establishments,the number of workers,the programming of exhibitions and dissemination of educational activities,as well as the implementation of projects of

282、political interest to the state.This reality is different for each museum and each government,since it is linked to regional and local policies.Overall,smaller(i.e.local and regional)museums are often more dependent on government funds,as they generate less income because they attract fewer visitors

283、 and charge lower entrance fees.Several respondents said that private sponsors often prefer to support larger and more prominent museums,since donating to these institutions provides more notability.According to respondents,the drop in funding sometimes varies between 15%and 85%.The funding structur

284、e has changed in the last decades,as there are often fewer visitors and fewer events,resulting in a decrease in the contribution of financial partners.Respondents noted the marked gap between state institutions and other museums:o Salaries,maintenance costs,and other expenses related to small projec

285、ts(e.g.museum website design,purchase of physical accessibility aids,publications,etc.)are all provided by the Crown.Non-state museums,even those generously subsidized by the state,receive public funds for the modernization of their operations but not for their maintenance or for the salaries of emp

286、loyees.Some countries responded that there were no differences in the financial support of museums,pointing out that the situation has remained stable since before the pandemic.Also,the state budget is shared among all branches of the institution.32 Respondents noted in some cases that there has bee

287、n a 10%increase in government funding since the pandemic.It should be noted that it has always been easier for private museums than for public museums to solicit donors,patrons and companies.1.4.2 Exploring new revenue streams In response to the operational challenges brought on by the COVID-19 pand

288、emic,museums have increasingly sought out alternative sources of revenue.This section investigates how museums have adapted their funding strategies between 2018 and 2022,highlighting significant changes and the emergence of new business models to sustain their operations.Question:Between 2018/19 an

289、d 2021/22,did museums explore alternative sources of revenue?If you answered“yes”to the previous question,what sources provided income?(Select all that apply)Considering that the COVID crisis and more specifically the closure of museums had an impact on operations,we wanted to know if museums had ta

290、ken advantage of the pause to identify new sources of revenue.The result obtained is significant,since 73%of respondents answered“yes,”although 24%of respondents said they had not looked for new sources of income.We asked those who answered“yes”to the previous question to identify the new sources of

291、 income.We had prepared eight possible choices as well as an open category.Respondents were asked to select all options which applied.We can observe a relatively equal distribution for five sources:sponsorship(47%),government subsidies(46%),donations(44%),friends and volunteers(41%)and independent i

292、ncome(41%).A second group of less popular strategies included:brand marketing(29%),investments(20%)and crowdfunding(24%).It appears Figure 1.15.1-Alternative Sources of Funding Between 2018 and 2022 Figure 1.15.2.-Breakdown of Alternative Sources of Funding Between 2018 and 2022 33 that a majority o

293、f museums rely on traditional funding source.Crowdfunding,which appears to be a trend often seen in mainstream media,is not very prevalent in the answers.The category of“Other”accounts for 14%of responses.Some of these responses could have been included in the specific categories above,but it is und

294、erstandable that for some countries these are new practices.Examples include rental income and sponsorship,the sale of handicrafts,and subsidies for European projects.It should be noted that one country was reported as considering the reintroduction of paid admission to national museums and it would

295、 be interesting to know whether this measure would bring in sufficient revenue to compensate for the losses due to pandemic disruptions.Figure 1.15.3.illustrates the use of alternative funding sources by national committees across various regions between 2018 and 2022.Europe emerges as the most dive

296、rsified region,with high utilization across nearly all funding types,particularly government grants,donations,and independent income.Africa also displays a balanced distribution,with notable emphasis on government grants,independent income,and patronage/sponsorship.In contrast,Asia shows a moderate

297、spread across funding sources,although crowdfunding and commercialization are less prominent.North America,Oceania,and Latin America&the Caribbean have considerably lower engagement with alternative funding sources,with North America showing limited use across most categories and Oceania and Latin A

298、merica/Caribbean indicating minimal to no use,especially in crowdfunding and investment.This data highlights regional disparities,with Europe leading in diversified funding while other regions show limited access or utilization of alternative financial resources.Figure 1.15.3.-Alternative Sources of

299、 Funding Between 2018 and 2022,breakdown of use by region.This graphic shows the number of national committees who have indicated that these alternative sources of funding were used in their country.34 Question:Did you see any new business models emerge in museums between 2018/19 and 2021/22?This qu

300、estion received a response rate of 86%.New business models and new revenues were reported by 39%of respondents,and they are coming from multiple sources.Responses mentioned the commercial turn of museums,increased donations and patronage,new revenues generated by digital technology and crowdfunding,

301、as well as the appearance of new private museums.With regard to the commercial turn,respondents point to the increase in independent revenues from the rental of spaces,investments in museum outlets,the sale of products,as well as new shops,restaurants and bookstores.Respondents also cited new exhibi

302、tions and special events organized for partners.Donations seem to have multiplied.One respondent noted that all national institutions generate autonomous revenue through philanthropy,sponsorship,memberships,retail and investments,adding that:“even though COVID-19 has had an impact on their ability t

303、o generate own-source revenues,they have returned to this model as a way to raise funds that are in addition to public funds.“Support from new patrons was also highlighted:o The emergence of Major Patrons,who undertake investment projects,such as the renovation and expansion of museums,as well as th

304、e financing of international architectural competitions.Respondents indicated that museums have become aware of the potential of digital technology to generate revenue through online platforms by reaching new audiences through the implementation of ongoing community programs.As a result,there has be

305、en an increase in the development of digital platforms and virtual museums.New partnerships with universities and research centres are being discussed.As well,some institutions are developing crowdfunding strategies in order to compensate for the drop in revenue due to the decrease in visitor number

306、s.Several respondents pointed out that there has been an increase in the number of private museums over the past fifteen years.Some governments are developing policies for new models of public funding for cultural organizations.A distinction is made between basic public funding for the day-to-day ru

307、nning of museums,covering staff salaries,social insurance and maintenance Figure 1.16.-Emergence of New Business Models Between 2018 and 2022 35 costs,and so-called“additional public funding,”which varies annually according to specific projects.As opportunities for public funding become more limited

308、,private museums are multiplying.One of their funding strategies is to develop projects financed through international donations and sponsorships.Finally,one respondent pointed out that the museum sector has been attempting to develop new and innovative sources of revenue for several years.The trend

309、 is therefore not new,but is becoming more widespread in many countries and across different categories of museums.1.5 Impacts of Funding Variations Variations in funding for museums can have profound and far-reaching impacts on their operations,staffing,visitor engagement,and overall sustainability

310、.This section examines the consequences of funding decreases from 2018 to 2022,highlighting challenges faced by museums globally.By analyzing responses from various countries,we aim to provide a comprehensive overview of how funding fluctuations have affected the museum sector,focusing on job losses

311、,operational changes,visitor attendance,and outreach programs.Understanding these impacts is crucial for developing strategies to support and sustain museums in the future.Question:Between 2018/19 and 2021/22,what were the impacts of the funding decrease in your country?We identified four recurring

312、impacts,i.e.job losses,changes in operating operations,variations in visitor attendance,and fewer outreach programs.We included an open category for other impacts.The responses clearly indicate that the most prominent impact was a drop in visitor numbers(63%),particularly due to COVID.Some responden

313、ts indicate decreases as large as 50%.The second most-reported impact was a decrease in outreach programs(54%).Impacts on museum operations were reported SUMMARY The post-pandemic period,from 2021 to 2022,has significantly impacted the museum sector through various changes in public funding and nota

314、ble efforts to explore new revenue streams.While some museums saw increases in funding,others experienced declines,reflecting a complex and shifting financial landscape.Comparisons with pre-pandemic funding levels reveal slight overall declines,but also highlight emerging trends and disparities.Muse

315、ums have demonstrated resilience and adaptability by adopting innovative financial strategies to sustain their operations in this challenging new environment.36 by 49%of respondents,while 34%reported job losses,as many museums were temporarily closed.One respondent reported that 25%of jobs had been

316、lost in their country.In terms of museum operations,respondents reported a high number of limited or cancelled activities.Exhibition programs in some museums were affected due to lack of funds to meet planned schedules.For some museums,savings made through cancellations of activities made it possibl

317、e to cover the loss of income,but many museums experienced difficulties in covering operating costs.However,it appears that community museums for the most part continued their activities despite staff layoffs.The open-ended question on the impacts of cuts to public funding was designed to collect de

318、tailed data and allowed us to identify specific information about the effects of public finding decreases on museums.Declining incomes and financial crisis Respondents pointed out that in some countries the drop in attendance resulted in a decrease in state funding.As museums own-source revenues dec

319、line overall,promotional activities are limited and museums produce fewer exhibitions.In some countries,the pandemic has had the effect of reducing the number of museums opening days.The financial crisis has also led many museums to cancel acquisitions,equipment purchases and research missions.The g

320、lobal inflation which has followed the pandemic,combined with a decrease in the number of visitors,has created a difficult situation for museums.As a result,revenue from entry fees has decreased,causing staff cuts in many museums,affecting the museums service offer and the preservation of heritage:o

321、 The reduction in funding between 2018/19 and 2021/22 has led to a decrease in outreach programs,limiting educational initiatives and community engagement by museums.This financial decline has impacted employees,leading to lower wages,budget cuts and the creation of financial pressures.Museums have

322、faced operational challenges,including potential closures,reduced staff,and limited capacity for acquisitions and new exhibitions.Decreased funding has hampered technological advances and infrastructure,affecting digital initiatives and creating challenges for the preservation of cultural heritage.F

323、igure 1.17.-Impact of Funding Decrease Between 2018 and 2022 37 Decline in attendance and in own-source revenue Respondents noted that the decline in visitors resulted in a decline in own-source revenue due to factors including lockdowns,travel restrictions and public health concerns.There is no dou

324、bt that COVID-19 and the lockdown created significant challenges for museums.There has therefore been a loss of income within the cultural-economic fabric.Obviously,this situation,combined with travel restrictions in cities and provinces,led to a drop in the number of visitors to museums.While some

325、jurisdictions lifted pandemic restrictions sooner,others maintained strict measures.For example,schools switched to online learning,and contributed to the decline in attendance for museums.Respondents also noted that the decline in visitors was more significant in museums located outside major citie

326、s.Impacts of job losses Some public museums did not experience job losses,but had to cut staff hours and salaries to manage the decline in their educational and cultural activities.There has been a decline in educational and cultural activities.Many respondents reported that the crisis context led t

327、o the loss of jobs and the consequent lack of staff to meet the needs of visitors.A report conducted by ICOM-Brasil,indicates that 30%of museum professionals suffered salary cuts and 20%were laid off during the pandemic.Changes in museum schedules also complicated the reception of visitors.In this c

328、ontext of crisis,it became more difficult for museums to reach new audiences.Museums cancelled research projects and exhibitions and the companies supplying museums could not operate normally.War and energy crisis Two other issues emerge from the analysis:climate change and,in Europe,rising energy c

329、osts.While COVID and other factors are circumstantial,one respondent rightly pointed out that the energy crisis and rising energy costs in Europe are putting museums to the test.o Climate issues:since the war in Ukraine,energy costs have risen considerably.It was very alarming at first,but the level

330、s are still higher than before.Most museums are housed in buildings that are difficult to heat.I remember at the museums congress in 2022,many directors said that COVID had been difficult,but that energy costs were even more difficult to manage.On November 22nd,national elections were held.Quite une

331、xpectedly,one party that has won(PVV)declares in its election 38 programme that it wants to put an end to all subsidies to culture and art.I dont know how this will affect our sector in the(near)future.Nb.we have just recovered from the heavy budget cuts devoted to culture in 2011-2012.It was just a

332、 policy for a limited period of time,but it caused a lot of damage to the cultural infrastructure.Climate of uncertainty-demotivation Some respondents highlighted a feeling of abandonment by central governments and the context of crisis in the museum world:o The museum sector was very affected durin

333、g this period and did not receive any support from governments.o Cultural policy does not give enough importance to museums,even if the ministry creates museums,it does not provide them with enough resources to develop and undertake activities other than exhibitions.o The most direct impact that has affected museums has been the political situation,which has affected all areas of development in th