Marketing Report on The Potteries Museum and Art Gallery, Hanley

The Ceramics and History Exhibitions are displayed traditionally and chronologically behind panes of glass however research into museums has shown conclusively that visitors do not like to see things from behind glass.12 The temporary exhibitions are an exception to the more traditional displays, allowing for the visitor to interpret the show how they will and usually more approachable.

Interpretations13 accompany each of the artefacts, written by the curator responsible for the installation, without consulting anyone from other departments. They are informative to children and non-specialist but this ignores enthusiasts/specialists, who may require weightier information. They are inconsistent in style and depth of information. It is not clear who they are written for or what the intentions of the curator were.

Opening Hours:

The museum's markets do not appear to have been considered when designating opening hours. Adults working regular nine to five jobs cannot visit the museum during the week. Children and students outside of school hours face the same problem. 'The Potteries' is only open for three hours on a Sunday, closing the window even further for those who may only be able to visit on the weekends.

Access to the permanent collection for researchers is limited because there is not a comprehensive database. Although many of the works have been catalogued and listed in the computer system, almost 50%14 of artefacts in store are not recorded and cannot be delivered to researchers.

Signage:

The layout of PMAG is complicated and although there is a significant amount of signage, it is embossed on gold plates and is lost amongst the brown and cream décor of the museum. Those with impaired vision, the elderly and the young would find it difficult to navigate around the premises.

Provisions for the Disabled:

Disability Awareness training is paid for and conducted by the local council and involves all administrative and curatorial staff. The curators at the museum show consideration to the physically impaired minority groups when designing a show, allowing space for wheelchair access between cabinets and in some galleries, there is contrasting coloured carpet to guide the visually impaired. One exhibition was created by physically and mentally disabled artists in 1998, involving both able and disabled users. However there is no one neither trained to inform the disabled of these implementations or guide them around the museum creating barriers their access of the museum.

Design for Ethnic Minorities:

There has been one textiles show, 'Mirror Bead and Thread' displaying Asian dress and textile art, appealing to the significant number of Pakistanis in the locality. Although this indicates a move towards targeting specific markets, the museum is unaware of attendance and the satisfaction levels of those minority groups.

Consideration for Families:

The most significant market segment (children) has not been considered enough when designing the PMAG. There is a children's activity centre in the Ceramics and History Exhibitions and there are adequate baby changing facilities available, but there is no seating or picnic area. There is nothing provided for children in the Arts Exhibitions, a barrier for family access to almost half of the museum. As a result, a large number of visitors do not visit the first floor15. The Tea Room offers nothing specifically for children and no baby chairs.

Internal Organisation

Internal communication within the West Midlands Renaissance Hub is very good; frequent consultations with the organisers, especially concerning educational initiatives, sharing workshop programme ideas and collections. Ian Lawley has very regular meetings with the council and a very good relationship with the local government.

There is poor inter-departmental communications with few, if any AGMs. Various curators do not consult with one another and never with the marketing department unless for printing promotional material.

Since June 2004, there has been no Marketing Officer and 'because of a period of cutbacks the position was frozen so marketing day to day promotions was delegated to the managers'16. The Marketing Assistant, Mark Evans is a university student on a part-time placement. There is no marketing leadership; instead marketing is relegated to publicity and selling.

3.1.2 Market Intelligence

Market Intelligence was conducted by:

Stoke-on-Trent City Council:

* 'Performance Plan' collected very general market intelligence has been collected from residents, asking about the overall satisfaction of the museum services in the area 17.

* It is in the process of conducting a more detailed survey and results will be published in 2005.

* All staff questioned, apart from the Head of Museums were unaware of the research and the results.

Renaissance in the Regions:

* Extensive market intelligence of both users and non users in the whole of the West Midlands Hub has been conducted using the services of MORI. 1 visitor out of 20 was asked their personal information and opinion.

* Results not yet published or specific to the individual museums.

* With such limited resources, such research will be vital to PMAG however because it focuses on the West Midlands region it will not be it will not identify the needs of the most relevant communities and the social trends which may exist in Stoke-on-Trent.

PMAG:

* COLLECTIONS:

* Data is available stating the number of visitors, school groups and websites, displayed to the staff at the private entrance to the museum.

* Visitor Survey forms can be found at each of the exhibitions, asking for the user's personal details and opinion of the particular show.

Surveys are rarely filled out and in most cases are difficult to find. Because the users are never asked to participate and are not supplied with a pen, it can be assumed that the information from these surveys is from visitors who wish to express grievances or particular pleasure. This would create a problem by providing an unbalanced assessment. Any action taken on the basis of this information would discount those who have less extreme opinions.

Although attempts were made to understand the users, there is little proof that they were actually undertaken. Very few results have been published, the information which is made available does not include any information regarding user satisfaction and more surprisingly, none of the officers at PMAG are aware of their conclusions. This implies that the majority of opinions and figures obtained by market research have been neither analysed nor taken into consideration when creating an exhibition, or operating at any level within the organisation.

* EDUCATION DEPARTMENT:

* Teachers must complete a questionnaire with an interpretation of the children's appreciation

* Regular consultations with the school teachers.

All information is taken into serious consideration when designing workshops and sometimes customised to satisfy the needs of a single teacher. When there is negative feedback, rather than dropping the session entirely or choosing not to publicise its presence, staff seek to change and improve with the teachers input. Feedback and research is the main aim when offering incentives if applying for new programmes.18

* OTHER:

There is no market intelligence carried out with the users of the various adult workshops, the Tea Room, the internet staff, the wider community or non-users.

3.1.3 Promotions

* 'Museums Passport Scheme' costing £7.50/adult £6.50/child offers unlimited visits to all 4 public museums19 in the city, vouchers for nearby attractions, 10% in museum shop

* 10% off at the museum shop for students and members of 'Museum Friends'

* Museum Shop sales, up to 30% off are announced on small handwritten signs placed next to the merchandise

* Free workshops and £50.00 towards transport costs is offered to schools that subscribe to new trial sessions.

The PMAG conducts some promotional activities which may increase the visitors' figures; however they are not communicated to the public. Promotional activities are focused around the museum exhibitions and the shop only, overlooking the other services and products.

3.1.4 Communication

Frontline: The personal contact with the front-line staff on the enquiry phone-line and an information desk is variable. From first hand observation, the well presented, older staff members are exceptionally helpful with general enquiries. However when by telephone and email, responses to enquiries are slow and even impolite.

Web Site20: Contains a contact email address, information on the exhibitions, 2000 photographs of the collection, a education area and book shop. It appears that there is only a website because the council thinks they ought to have one as part of New Labour's agenda to be technologically advanced. The web site is an example of how 'The Potteries' is failing to be a market oriented organisation and its layout is strangely reflective of the museum itself for a number of reasons:

. The address is obscure and only accessible through the council website or a search engine.

2. The design is as dated as the museum's décor with dour colours and few photographs.

3. It is complicated to navigate and the 2000 artefacts listed on the site are difficult to find and do not appear to be in any order.

4. Many of the pages are not operating and the site search engine has never worked. And finally,

5. The listings are not up to date.

Promotional Material:

This includes21:

* Flyers with general information, current exhibitions found in PMAG foyer, tourist information stands in tourist bureau, public/private leisure facilities, Potteries Shopping Centre, Keele/Staffordshire University Receptions, Local Hotels

* Attractive flyers for temporary exhibitions, found only in PMAG foyer, tourist bureaus

* Black & white photocopied flyers advertising workshops and lectures found only in PMAG foyer

* Exhibition listings and press releases written by the curator of the show, edited by the Marketing Assistant, sent to all the local and regional newspapers, free press, internet sites

* PMAG address and description in all tourism bureau literature

* Glossy brochures listing all workshops sent to schools in Stoke-on-Trent LEA, Cheshire, Shropshire, Staffordshire

* Colourful banner on the exterior of the Museum advertises current temporary exhibition, can be seen from the road

* Posters in the foyer advertising the show, events, workshops

Promotion of PMAG is left to chance and undertaken individually within the various departments. The opinion that promotion is insufficient is shared by most of those interviewed at 'The Potteries'. A number of criticisms:

. It is unclear who is responsible for promotional activities. Ian Vines is charge of the promotion of Arts Exhibitions while the Marketing Assistant is in charge of the promotions of the PMAG in general. Vines states that the two operations often 'over-lap'22 but that there is an unwritten understanding of where the line between the two is drawn. Resultantly, there is a serious lack of cohesion in the promotional material, the communication and the product design of the museum.

2. No common theme found in promotional literature, website or advertisements. PMAG logo was developed in 1997/8 when the museum changed its name from City Museum and Art Gallery as part of a marketing strategy but is used rarely and extremely inconsistently, little association can be made between the materials.

3. 'Spray all' and hope for the best approach to the promotions. No targeting to specific age or ethnic groups, instead there is generic material which the exhibitions officer/curator/graphic designer think is appropriate for everyone.

4. Promotion aimed at the local community only. Although over 75% of users are from the Stoke-on-Trent area, there is no effort at all to communicate with a wider audience.

5. Very little to suggest that 'The Potteries' uses any of their limited market intelligence when designing their promotional material and their methods of communication. The attitude is that the potential user or current user will seek out information.

3.1.5 Delivery

Delivery is very difficult to monitor in a museum because not only must the delivery of the product/service be assessed but also the benefit that it brings and the education it provides to the Stoke-on-Trent area. The educational benefits that the museum may have are not measured. It should be noted that responsibility lies with the users who must choose to educate themselves when visiting the museum.

Most users are return visitors indicating that many most are satisfied23 thus some of the organisational goals are being met. Addressed in the earlier critique of market intelligence, there is little is known about the satisfaction levels.

The opinion is held by all of the staff at PMAG that they are not is not delivering to all sectors of the community in particular: Ethnic Minorities and Pre-School Children24. Many university students at nearby Keele University are unaware of the museum and even fewer know about the current exhibitions25.

There is no system in place to deal with user complaints. They may express their opinions on the difficult to find surveys but there is no comments box, and complaints are dealt with ad-hoc, if they are ever made.

3.2 Orientation

Given the evidence from the Critique of Marketing Effectiveness, PMAG combines elements from product, sales and market orientation. It is clear that some elements are product oriented; in particular the preservation of the collection is the number one concern. Conservation, acquisitions and exhibitions consume the largest proportion of PMAG's budget and the product is designed around this. The exhibitions are also dependant on the collection and the availability of expertise and are therefore not influenced by the wants of the public.

More aspects of PMAG are sales oriented. The museum has made a considerable effort to conduct market intelligence, and seeks to understand the public but a system is not in place to neither obtain this information nor disseminate it to the staff. The information it does have does not include satisfaction levels and is not used to shape the product/service. PMAG assumes that they will retain their visitors because of its size and reputation. The interpretations and exhibitions are designated according to what the museum officers think that the public wants, not what market intelligence actually shows. Priority is given to government targets and marketing is considered little more than an 'add-on' of promotions and advertising26. Promotional activities and material is designed with the aim of increasing visitors, not to satisfy the customer.

Nevertheless, there are some elements of Market Orientation. This can be found especially in the Education Department where extensive market intelligence is being carried out with consultations, surveys with teachers. Audience figures at the PMAG show that the visitor profile matches that of the community. All of the staff interviewed regard serving the public to be the most important market of PMAG and there is customer service training for all staff.

In conclusion, the PMAG combines elements of all three. I would judge it to be mostly Sales Oriented because although there is a willingness to satisfy the public first and foremost, market intelligence is in place and there is a serious effort to publicise the museum, there is nothing implemented to allow this. Its downfall is more about a lack of marketing comprehension, understanding of the market and capability of delivering adequately as well as considerable barriers which prevent the PMAG from becoming fully market oriented.

4. Barriers to Utilising Marketing at PMAG

4.1 Resources

Like many public sector organisations, demands are insatiable and resources are forever limited27. Funds must cover the cost of maintaining a world-class collection and there is a serious focus on saving costs. Tessa Jowell, the Culture Secretary announced that grants will be linked with the consumer price index and this is likely to lead to budget cuts.28 Of the £267 million promised to the Renaissance project only £70 million has materialised and because it is only a pilot project, its future is uncertain29.

4.2 Lack of Information

According to the Head of Museums, the lack of information is the biggest barrier to utilising marketing. Despite a number of market intelligence operations, not enough comprehensive information has been gathered due to cost issues and the massive task at hand. As a result, curatorial staff must rely on their opinion and first hand market research. This leads to ignoring the non-users and extremely subjective interpretations of the market.

4.3 Accessibility

Admittance often depends more on the availability of parking that exhibition itself 30 and this no longer exists in Stoke-on-Trent. There are not enough resources to cover transportation service for schools and this is a major deterrent from subscribing to the workshops, especially schools further a field.

4.4 Problems with Competition

DIRECT COMPETITION: There are eight museums in the Potteries area alone. Each museum must continuously persuade the funding bodies that they are a justifiable expenditure of tax payers' money. Paradoxically, while competing over funding, museums must also borrow artefacts and expertise from each other. At PMAG, it is complicated because all four public museums in the Potteries share one Managing Director.

INDIRECT COMPETITION: Leisure activities and causes worthy of donations only increase overtime, posing major problems for museums. The development of technology is a major threat, offering more new and exciting interactive activities on a completely different level to the museum multimedia experience.

4.5 Government

4.5.1'Renaissance in the Regions':

* Sets targets which hinder the operations within the PMAG i.e. a certain number of students must be brought into the museum as part of the education programme. Targets may be met but do not consider meeting the demands of the user, and quality of the programmes offered. This seeks to satisfy the third party producers (the government).

* Themes must be followed, i.e. 'In the Footsteps of Giants'31 involving all museums in the West Midland's Hub albeit museum every museum has a completely different collection and market.

4.5.2 VAT:

* If the museum charges admission tax can be reclaimed32. If a museum does not charge, it must pay VAT on all operations. Although charging is permitted, visitor figures drop dramatically by 30%33.This creates a dilemma over whether or not to charge and a reassessment of what is more important, the accessibility of the museum to the whole community or the sustainability of the museum collection.

4.5.3 Schools:

* Budget cuts in schools are also a barrier due to government forces. Activities which are considered 'add-ons' are dispensable.

4.6 Reluctance of Staff

Staff have serious moral objections to the market orientation of museums:

4.6.1 Charging:

As part of a marketing strategy, charging may be a way to overcome intangibility and lack of resources. Any suggestion of charging was immediately rejected by the Collections Officer, insisting that the museum must be free for all.

4.6.2 De-Accessioning:

Although most of the collection remains in storage, has never been exhibited and is not present on the database, the Collections Officer dismisses any selling of the artefacts in order to raise funds with the aim of improving the museum.

4.6.3 Staff as Participants

There is unwillingness from curatorial staff to act as participants. They fail to recognise that the public regard them as public facility not superior guardians of the collection and thus must act accordingly. They see themselves as specialist educating the ignorant and this creates a barrier to gathering first hand market intelligence, understanding the market and designing a show correspondingly.

4.7 Lack of Good Quality Temporary Exhibitions

Compared to the 1990's, there are few good quality and inexpensive touring exhibitions. Famous artists and exciting exhibitions (i.e. Ancient Egypt in 1995) brings in record numbers of visitors. Many pieces have been bought by art dealers and exhibitions have become so expensive that only the larger and private museums i.e. the Tate and V&A can afford to buy in the shows. PMAG must rely on its own collection and the mundane temporary exhibitions in order to meet the high expectations of the public.

4.8 Elitism vs. Populism

Museums have always been institutions established and run by elites for elites34. Nonetheless, there is always a problem when organising an exhibition whether the elite should be ignored in order to appeal to the general public. Is elitism is actually a bad thing and does avoiding elitist shows inhibit the cultural education of the masses? It is argued that a populist show can result in a loss of the curator's integrity who panders to the publics wants for entertainment over educational, challenging exhibitions.

The public are intimidated by the elitism of art and galleries often have much lower visitor's figures than museums due to the 'cerebral nature' of the art35. This is one of the reasons why visitors remain on the lower floors at PMAG.

4.9 Nature of the Public

People often have the opinion that a museum is boring, uninviting and intimidating. This attitude is due to the history of museums which shows which existed exclusively for the educated elite, imposed by charging and hours for the working class36. This is also due to the cold and dark environment of a museum, and, the threatening architecture. Introducing marketing elements is not sufficient if deep-rooted inaccurate beliefs are still evident. The fact that the general public consider museums elitist is perpetuated by the PMAG's location next to the library and two theatres which also suffer from the same outdated assumptions.

Many communities in Stoke-on-Trent do not leave their close neighbourhood37 and do not assimilate into British culture; this is especially the case for the Black and Asian population in the city. PMAG is a celebration of national and local culture which has little relevance to many ethnic groups. In some extreme cases, after the riots of June 200138, there is a rejection of British Culture by the victimised minorities.

4.10 Nature of the Museum

4.10.1 Collection

Objects do not exist for exhibitions. PMAG has an active role in the preservation and presentation of our heritage and the care for the collection is a priority. The collections in the PMAG are valuable and often delicate. Rooms must be temperature controlled with minimal light to preserve the artefacts as much as possible. Users' comfort must be sacrificed for the good of the collection. It is difficult to apply marketing to this aspect because it cannot be measured and can neither directly nor immediately satisfy the desires of the market.

4.10.2 Security

There must be full security if any area of the museum is open. This poses a problem for visitors who may feel uncomfortable with the surveillance and also raises the operational costs.

4.10.3 Identifying the Market

One of the main objectives of PMAG is to satisfy its users and the wider community. It is difficult therefore, to develop market orientation within the PMAG whereby the whole of society is satisfied. Not only must the museum appease the regular visiting, white, middle-class family groups but it must reach out to the ethnic minorities, museum sceptics, the physically challenged and young professionals; all with very different needs and wants.

The needs of the market are not easy to identify either. There is no specific need to meet in a museum 'as there is food to eat or for soap to wash'39. It is a difficult concept to market something which has neither a clear market nor distinct objectives.

4.10.4 Pure Service

Intangibility, inseparability, heterogeneity, perishability and lack of ownership, are all obstacles to utilising marketing40.

* Intangibility: The experience of a museum is difficult for the customer to grasp, and there is nothing that the user can take away with them. The delicacy of the artefacts prevents almost any element of interaction. It is impossible to explain what a visit to a museum might involve in any leaflet, poster or press release.

* Inseparability: The enjoyment or educational value can not be separated from the consumption of the museum experience. It is not clear what exactly is being consumed either. Is it education, entertainment, food at the Tea Room? The delivery of the service is complicated because the user is involved in the service.

* Heterogeneity: No single visit to the PMAG can be the same; standardisation is impossible due to the various and ever changing exhibitions. Quality assurance and the measuring the museum experience are extremely difficult.

* Perishability: The museum experience cannot be physically stored resulting in fluctuations in demand. The museum must continue operations when empty, as well as when full.

* Lack of Ownership: Although the public indirectly own the museum, they can not take home the artefacts.

The traditional marketing mix (The Four P's) is therefore not adequate and more elements specific to service marketing must be applied.

5. Consultant Recommendations for the Future

There are a number of recommendations which can address the inadequacies and the barriers that the PMAG faces.

5.1 Recommendations for Marketing Effectiveness

5.1.1 Product Design

* Cosmetic renovations of the whole museum. This can be achieved at a low cost, simply through replacing the dark carpet which darkens the whole premises.

* Reach those who would not otherwise visit a museum by holding market places on weekends, in the disused gallery space. Entering the museum for whatever reason increases awareness of the other products/services.

* Picnic area and a children's play area would encourage more families to visit for longer and enhance the experience for the parents who will find the visit more manageable.

* Signs must be made even more comprehensible to increase accessibility for all visitors.

* The PMAG should remain open later to improve accessibility for working adults and students especially. To avoid unsustainable costs, either a trial of staying open one night a week for adults or remain open on Sundays, and close on Monday like many shops and restaurants.

Internal Organisation

* Communication must be encouraged between departments with more general meetings involving all members of each sector. More social activities between the staff of each department would encourage interaction. This could include social outings i.e. bowling, dinner at a restaurant.

* The hiring of more volunteers would be beneficial to the curatorial sections. Simple tasks such as documentation, packing and filing of artefacts can be conducted while the collection officers can work more closely on the intricate research of specimens.

* Roles must be clearly defined by the Head of Museums. There is too much confusion concerning responsibilities of promotion, the curating of exhibitions and the writing of interpretations.

* A better database of the artefacts must be developed, allowing for better access and efficiency. Collections officers can then spend time on vital projects.

* All important officers and staff members should be involved all members in 'Renaissance' hub meetings in order to fully understand all the objectives and demands of the initiative.

5.1.2 Market Intelligence

* More must be done, especially with non users. Surveys should be drawn up and enforced for all services at PMAG including all workshops and the café. Pencils should be provided and the attendants should ask every 7th visitor to complete the questionnaire41.

* Better market intelligence on minority groups to identify their needs and the barriers which prevent them from attending PMAG. This can be achieved through visiting social centres i.e. churches, mosques, disability benefit offices.

* A computer database will facilitate the access and organisation of the information.

* Most importantly, all of this information should be collected, published and given to every member of staff at an explanatory meeting held by the Marketing Officer

5.1.3 Promotions

* Promotions in the shop of in the café should be publicised outside of the museum to encourage people inside of PMAG.

* Value meals, offering a full lunch at a discounted price could be offered with little loss in revenue for The Tea Shop. All customers must walk through the ground floor to reach the café and will therefore be encouraged to visit the exhibitions.

5.1.4 Communication

Corporate Identity

* A corporate identity and culture should be created. By using the current logo, a corporate image can be developed and recognisable over time. This must be a long term, consistent strategy and must involve front line staff uniforms, the logo and identical type face used for all the literature and website. Market research must be done to identify what kind of image PMAG hopes to project.

Universities:

* PMAG must have a closer relationship with the nearby universities.

* Thousands of students are not considered in operational and communicative activities of PMAG and are a huge source of users.

* The educated/elite population of Keele and Staffordshire would be regular visitors of the exhibition and workshops.

* Draw on students as volunteers/free labour.

Technology:

* In today's technologically advanced environment, the PMAG website must be attractive and simple to use.

* The website must incorporate the logo for brand development, echoing the colours of the printed promotional material.

* Email and enquiries should be dealt with faster more efficiently and training should be conducted to improve communications with the public.

* There is a number of new IT and web design companies in the Stoke-on-Trent area, charging less than companies located in London and Manchester.

Publicity/Advertising:

* Christmas time promotion of PMAG Shop, with the aim of attracting non-visitor shoppers.

* Considering the proximity to the centre of Hanley, this could be done simply and cheaply with posters and banners on the outside of PMAG.

* Increase in publicity over the holiday time to remind parents of an educational activity for children during the school vacation.

* PMAG display in the entrance of public library (next door) would encourage people to make the small journey from one cultural experience to another. Libraries and museums are associative and similar institutions and their markets are similar.

* Advertisement should be employed on a regional/national level. Flyers/adverts/information in 'Renaissance' West Midland's hub partner literature would be a low cost recommendation.

* Money should be invested in posters in the centre of Hanley, at bus stops, and in cinemas to target younger people in particular.

* Urdu/Arabic and other non-English language promotional material should be distributed to ethnic minorities.

* Relations with the local press should be developed. BBC Radio Stoke aims to promote the local area and is very open to input from PMAG. A guest speaker expert on a topical show talking about local heritage might be a chance for promotion of PMAG.

5.1.5 Delivery

* Outreach Projects: In order to support mission of the museum, reaching those marginalised by society. This would include organising workshops, going out of venue the to hospitals/old age homes, churches/mosques/community centres.

* Pre-School Children: A new section of the Education Department must be set up on order to reach this sector.

* University Curriculum: The education department should support the university curriculum in order be inclusive of all members of society.

* Younger, more ethnically diverse staff: Employed as attendants and front-line operators to increase accessibility for the groups that the museum are not meeting (students, ethnic minorities)

* Complaints Procedure: A full time complaints officer should be on-site; this could include training one of the key attendants or receptionists who is equipped to deal with both complaints and the role of an attendant. General complaint/suggestion forms should be available in every venue.

* Updated Collections Database: allowing for better access and makes them more efficient, curators can spend time on other things

5.2 Recommendations for Marketing Barriers:

5.2.1 Resources

* Corporate sponsorship: local/regional business with a relevant interest in the collections could donate resources in exchange for posters and product displays in PMAG, better relations with community, increase in company profile. Recommendation: Spitfire Ale sponsorship of the Spitfire jet exhibition.

* Re-Organisation and De-accession of the Collection: Assess the relevance of each piece to the collection and sell those which have none and which are not likely to have in the future. This must be lead by the head of museums due to the serious reservations that the Collations Officers and Curators may have.

* Conservation: Instead of sending away artefacts for conservation at a considerable cost to PMAG, it would be economical to either:

. In conjunction with the 4 Stoke-on-Trent Council museums, a specialist

conservationist should be employed OR

2. a conservationist could be designated for the whole of the West

Midland's 'Renaissance' hub.

* Hire PMAG: charge businesses for hosting product launches/executive assemblies in a unique and celebrated location with the Tea Room catering for parties.

* Children's Birthday: Educational party scheme could be organised with a workshop, food and entertainment. This would also reach pre-school children.

5.2.2 Lack of Information

* More market intelligence: New surveys must be created for all PMAG services and staff. Staff must be trained to encourage users to complete surveys

* Student Volunteers: Marketing departments at universities could work with PMAG to conduct market research as part of their degree, keeping costs low.

5.2.3 Lack of a Marketing Officer

* Using the excellent communication with the 'Renaissance Hub', a Marketing Officer must be found. Leadership in any marketing management is absolutely necessary for full market orientation.

5.2.4 Problems with Competition

* Competition and improved performance would be encouraged if there were separate head officers for each of the four public museums. There must be considerable distinction between the four museums, only achievable through differing marketing strategies and leadership.

5.2.5 Government

* By generating its own revenue, PMAG will be less constrained by governmental budget cuts and able to satisfy its targets as well as meeting the museums own.

5.2.6 Reluctance of Staff

* More marketing training for curatorial staff so that they understand the importance of the users is the only way to transform the old elitist and reluctant attitudes of the staff.

* Barriers between the staff and the public must be broken down. This can be achieved through consultation with the public, the Friend's association and time spent on the museum floor with visitors. This should be enforced by the head of museums.

5.2.7 Lack of Good Quality Temporary Exhibitions

* Developing even better relationships with museums in the 'Renaissance' Hub and across Britain would allow for the borrowing of items to create a more exciting exhibition.

* Increases in revenue will allow for buying in more expensive touring exhibitions.

5.2.8 Elitism vs. Populism & Attitude of Public to Museums

* In addition to mixing the elite staff with the masses on a regular basis, the divide between the museum and the gallery should be narrowed. Moving some of the Art Gallery collection downstairs nearer the History exhibitions will increase accessibility to those intimidated by art.

* More market intelligence should be carried out on the interpretations to satisfy both the non-specialists and the academics. A printed guide for experts could be offered at the information desk.

* To increase the advancement from the History and lower floor exhibitions to the upper floor, ceramics and art exhibitions, an object/specimen of the month could be displayed in the entrance foyer. An attractive interpretation written for the less knowledgeable and information about the exhibitions on the first floor would attract the 'art sceptics' and attempt to dispel the elitism of art galleries.

5.2.9 Nature of the Museum

* To overcome the issue of intangibility, more exhibitions should be created to allow hands-on experiences. This would have to use more hardwearing artefacts such as fossils, replica chinaware, interactive art displays.

* To overcome a lack of ownership, exhibition programmes should be made available at a low cost at the entrance so that the user has evidence of their visit. This would also aid tangibility.

* In order to compensate for the necessary atmospheric controls, a lighter décor is the only possible solution, suggested in Product Design. PMAG could over compensate for darkness in the exhibitions with a very bright foyer, café and other services.

6. Conclusion

based on second hand information from MORI research from Interview with Ian Lawley (Head of Museums) 18/12/2004 I. in appendix

2 a decrease of 3.54% in the past 3 years

3 www.keele.ac.uk, www.staffs.ac.uk

4 www.statistics.gov.uk accessed 12/12/2004

5 2.6% compared to 1.4% nationally (ibid www.statistics.go.uk)

6 The Designation Scheme identifies and celebrates outstanding collections of national and international importance their quality and significance.

7 Creative Partnerships is a scheme to support the national curriculum to enrich school life by making the best use of the UK's creative wealth

8 Op Cit. Ian Lawley

9 Bryant, J (1998) The Principles of Marketing: A Guide for Museums

0 Email from Ian Shaw (Information Assistant-collections development Officer) III in appendix

1 Interview with David (Member of the Public) 5/12/2004 VI in appendix

2 Sargeant, A (1999) Marketing Management for Nonprofit Organizations

3 term used for the small biographical or explanatory cards which accompany an artefact or an exhibition

4 Girish Sethna (Fine Art Collections Officer), interview 13/12/2004 VII in appendix

5 Op. Cit. Ian Vines

6 Op. Cit. Ian Lawley

7 City of Stoke-on-Trent, Best Value Team (2004) Performance Plan 2004-2005 pp 64

8 Information from interview with Alison Tinning (Education Officer) 17/12/2004 VIII. in appendix

9 Gladstone Pottery, Ford Green Hall and Etruria Industrial Museums

20 IX. in appendix

21 X. in appendix

22 Interview with Ian Vines (Art Exhibitions Officer) 18/12/2004 XI. in appendix

23 Op. Cit. Ian Lawley

24 Op. Cit Ian Lawley

25 From first hand observations

26 From interview with Emma Harrison (Bookings and Administration Assistant) 13/12/2004 XII. in appendix

27 Lees-Marshment, J (2004) The Political Marketing Revolution pp 142

28 Brooks, R (2004) 'Jowell cash squeeze alarms big museums' The Sunday Times 12/12/2004

29 Serota, N (2004) 'A Renaissance in Peril' The Guardian 18/05/2004

30 McLean, F (1997) Marketing the Museum Routledge (London) pp 81

31 A theme to link events, exhibitions, programmes across the W. Midlands based on the reputation as the centre of industry

32 Anderson, R (1998) "Is Charging Economic?" Journal of Cultural Economics 22:179-187 p180

33 Ibid. Anderson p 184

34 Op Cit. McLean (1997) p 24

35 McLean, F (1995) 'A Marketing Revolution in Museums?' Journal of Marketing Management 11 601-616

36 Hudson, K (1998) 'The Museum Refuses to Stand Still' Museum International 197:50:1

37 Op. Cit. Lawley

38 Bright (2001) 'Stoke hit by race riots as youths pelt police' The Observer, 15 Jul 2001

39 Op. Cit. McLean (1997) p 22

40 Op. Cit. McLean (1997) p 74

41 Method used at the MET Museum, New York USA: Informal Interview with Jack Lewis, (Information Desk Attendant) 1/12/2004 XIII. in appendix

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