name

The 1st Kitakyushu Municipal Museum of Art Council Meeting in FY 2008

business (of the day)

Report 1: Results of Business Implementation in Fiscal Year 2009
Report 2: Activities of the Friends of the Museum
Agenda Item: Evaluation of the Operation of Kitakyushu Municipal Museum of Art

Date & Time

Thursday, June 28, 2008, 2:00 p.m. - 4:00 p.m.

Location

Kitakyushu Municipal Museum of Art Education Room B

attendance

committee member

Hiroki Yoshitake (Chairman)

Professor Emeritus, Kyushu Zokei Junior College

Toshio Yamanashi (Vice Chairman)

Director, The National Museum of Art, Osaka

Wataru Nakamura

Counselor, Kitakyushu Chamber of Commerce and Industry

Chizuru Kawanami

Former Planning Supervisor and Curatorial Section Chief, The Museum of Art, Kochi

Yoshihiro Nagatsu

Professor Emeritus, Graduate School of The University of Kitakyushu

Akemi Ohba

Kitakyushu Artists' Federation

Miki Harada

Attorney at Law, Harada & Kawahara Law Office

Sachiko Shintani

Teacher, Yahata Chuo High School, Fukuoka, Japan

secretariat

Yukiharu Nishimura

Director, Kitakyushu Municipal Museum of Art

Motoaki Goto

Deputy Director, Kitakyushu Municipal Museum of Art

Yuji Kanegae

extension section chief

Mitsuhiro Hidaka

Chief, Extension Section, Extension Division

Takayuki Nasu

Chief of Curatorial Section, Curatorial Division

Yoshio Nagatomo

Branch Manager, Extension Division

Emi Nakayama

Extension Section, Extension Division

Akiko Okuda

Curatorial Section, Curatorial Division

Summary of Agenda

The Board received comments on the results of the implementation of the project and the evaluation of the operation in FY 2017.

minutes

secretariat

Introduction of personnel, and explanation of today's handouts and agenda

secretariat

The 1st Kitakyushu Municipal Museum of Art Council Meeting in FY 2008 will be held.

chairman

Now, the secretariat would like to begin with an explanation of Report 1, "Results of Business Implementation in Fiscal Year 2009" and Report 2, "Activities of the Friends of the Museum".

secretariat

(Explanation of Report 1, "Results of the Implementation of Projects in Fiscal Year 2009")
(Explanation of Report 2, "Activities of the Friends of the Museum")

chairman

Please let me know if you have any comments or questions about the explanation I have just given.

Admission Fee

committee member

How is the admission fee for an exhibition determined and on what basis?
In the case of co-sponsorship, will the revenues come from the City? How will it be distributed? Please tell us how it works in the first place.

secretariat

By ordinance, admission to exhibitions is limited to 2,000 yen, and admission to collection exhibitions is 150 yen. For each special exhibition, the admission fee is determined by the Executive Committee, taking into account income and expenses, and income is distributed according to the ratio of investment.

committee member

Regarding the admission fee, is there a ceiling and the Executive Committee will decide based on how many visitors are expected to come based on the past results?

committee member

It should not be decided by the Executive Committee, but by the Director.

secretariat

The executive committee is chaired by the director of the museum, so in that sense he is the director of the museum.

committee member

As a public museum, it would be strange if the director is not fixed.

secretariat

When a special exhibition is conducted in the form of an executive committee, the organization will be separate from the museum.

committee member

It would be strange if the museum here does not decide the entrance fee for this museum.

secretariat

It means that the decision is made privately within the executive committee, and as the director of the museum, he decides whether this amount of money is acceptable for it.

committee member

It's public money, so someone with city authority has to make the decision. Is the actual revenue act performed by the deputy director?

secretariat

Yes.

committee member

We need to sort that out and make it transparent. Decisions are not being made out of sight of the city.

committee member

As explained just now, in the case of the Executive Committee, the project cost is quite large, and we are making efforts to persuade them to really do it with admission fees and targets that are not commensurate with such costs, since it is a foundation operation. On the other hand, if we raise the admission fee revenue, the number of visitors will decrease. When we pulled TeamLab last year, we made a very persuasive presentation to the foundation, the prefecture, and the executive committee to discuss how many visitors would come from within the prefecture and to determine the amount based on a publicity strategy.

chairman

As I recall, the government only makes an income and expenditure that matches the admission fee for the regular exhibitions. For special exhibitions, newspapers and other media outlets would contribute funds, which would be added on top of the admission fee. The government only received income equivalent to that of the regular exhibitions.

About the Museum Tour.

chairman

Museum tours are offered to third grade students, but are there any plans to bring them to the museum at least once during their elementary and junior high school years?

secretariat

This year we started a museum tour for all 3rd grade elementary school students. What to do in the future, 4th graders and above, or junior high school students, will be determined based on the situation this school year. Some believe that 3rd grade elementary school students alone are not enough.

chairman

Are schools selected for museum tours by school district?

secretariat

The program covers 139 schools citywide.

chairman

What are the 18 schools that achieved last year's results?

secretariat

Last year, 19 schools in Yahatahigashi and Tobata wards were planned, but one school could not be implemented due to class closures caused by influenza.

chairman

What is the relationship between the 139 schools and the 18 schools?

secretariat

In 2008, the program is open to all third-grade students in the city, including the 18 schools where the program was held last year.

About the "Tanken Passport.

chairman

Why did you reduce the number of Tanken Passports issued from 89,000 to 10,000?

secretariat

89,000 copies were distributed to all elementary and junior high schools. This time, 89,000 were distributed to visitors on the museum tour and to visitors at the counter.

chairman

You mean that they were distributed to children who had some form of contact with the museum.

secretariat

Yes. This year we will distribute it to all 3rd year students coming on the museum tour.

chairman

Efficiency has improved.

chairman

The secretariat would like to request that the Kitakyushu Municipal Museum of Art evaluate the operation of the Kitakyushu Municipal Museum of Art.

secretariat

(Explanation of the agenda item "Evaluation of the Operation of Kitakyushu Municipal Museum of Art")

chairman

Any questions or comments on the Secretariat's explanation would be appreciated.

The description of the operational evaluation.

chairman

As committee members have commented every year, the evaluation of operations is not about what the issues are, but about what should be done in the future based on the issues. At the very least, those that receive a "B" rating should be written, as they are clearly aware that there are issues to be addressed. It would be meaningless to leave out this part of the report.

secretariat

We have heard that there have been such opinions for some time. This will be an issue again, but from FY30 onward, we would like to take a step in the direction of writing about the causes of issues where they should be written.

chairman

For example, regarding the item "promotion of research and joint exhibitions in collaboration with other museums," there are six museums that have collaborated with many other museums. For example, regarding the item "promotion of research and studies and joint exhibitions in cooperation with other museums," six museums have cooperated with many other museums. They are doing good things, but there is no indication as to how they should be evaluated as a result of their efforts. For example, how many people visited the museums in Kumamoto and Shimane? We don't have such information, and we don't know what the people who saw the museums thought of them, or whether they did or did not do their research. If we were to tour only in Kitakyushu City, the population would not increase that much, and we would have to figure out how to capture the number of visitors to the museum. We should at least try to show the number of people who have seen our works on loan as information. But we just hear "the number of visitors has decreased" or "due to the closing of the museum. The closing of the museum is not a challenge. It is a good thing. How should we make the most of this experience after the museum is closed? It would be a bit disappointing if what we did during the closure was just a stopgap measure. The next five-year plan calls for expanding collaboration with other museums, as mentioned in the previous document, but it will not last long if there is no evaluation perspective on how to properly evaluate the efforts that have been made by the museum.
Lastly, in the section on initiatives for the next 30 to 34 years, "Collaboration with other museums" is underlined.

secretariat

We will take it in stride.

Public Relations and Advertising

committee member

The most important part of publicity and advertising is to provide information for visitors, such as "what we are doing at the main building of the museum and the workshops we are holding," but there is no other part of self-promotion, such as "this museum is doing something meaningful for Kitakyushu City. However, there is no self-promotional aspect that says, "This museum is doing something meaningful for the city of Kitakyushu. It would be better to actively promote the external image of the museum by putting this information out there. In this sense, the current Moriyama exhibition and the Aoyanagi exhibition planned for next time are probably artists that the citizens of Kitakyushu do not know. I think it would be better to strategically publicize our own art in the direction of actively sharing what we have.

committee member

I agree with what you just said. Since we have been doing the evaluation for such a long time and with only this item, the points for evaluation are easy to understand indicators, once shared here. What it is for is many citizens, and new users, and many other things. If the purpose of the evaluation is to determine how it will contribute to the future, it should not be something that can only be seen by those who look deep into the site, like a pub-commentary, but should be conveyed in ordinary language. For example, collections, too, could mean making collections into assets. Few people would be able to understand the word "restoration" by itself. We need to explain the role of the museum in conveying the message to the public over the long term, and how it contributes to making the collection into a valuable asset. For example, the museum's message should be written in text, not just for this meeting or when requested by the media, but it should be actively posted on the museum's website. I hope that many museums will learn from the fact that they are advocating the restoration of their collections to such an extent, but on the other hand, the concerns I mentioned earlier do not disappear. It would be easier to understand if an exhibition were already scheduled, but it is possible to have a research system that may or may not take shape in the future, but is simply important research to capitalize on the collection, with a view to holding an exhibition in the future.
As for volunteer activities for education and dissemination, I would venture to say that the museum has achieved a great deal through its long history of success, and that it is doing what it is doing. The collection and exhibitions must convey the message of "what role this plays" and "what kind of enrichment it brings to everyone". I don't mean to be offensive when I say "educational dissemination" or "schools," but there is a fear that if they are enclosed in that way, they will be easily cut off when times get tough for museums in the future. So, I would like to see more things that would make non-participants, non-kids, non-parents with kids, or non-school personnel want to support it. That, in conclusion, would affect this indicator. looking at the website, there were many "under construction" on the educational dissemination page, but if teachers at the school site know that there are schools that are making use of such a system even if it is not available now, they may want to try it someday, and if it were such an art museum, they may be willing to If the museum is like that, there will be people who are willing to support it. This could be called public relations, but I think it could also lead to a great potential in terms of what an art museum is in the first place.
Because the museum has come so far, we need to come up with words that organically connect items to items so that they can be conveyed. If we put a little effort into permeating the message, rather than just focusing on publicizing the exhibition, it will be put to good use.

secretariat

I am not sure if this is an answer, but one of the major tasks of a museum is to collect, preserve, and restore. The other major task is to connect them to the next generation. For our museum, too, a major task is to connect the museum's assets and properties to the next generation. In this sense, it is necessary to connect our museum to the next generation through workshops and other activities, saying, "This is what our museum has," "These are the characteristics of our museum," and "This is the direction in which we are operating. In order to do so, we need to convey this information to the people who are presently here, and above all, to the children who will be the next generation. I would like to work on this while keeping this in mind.

《Filling in the cause of the issue》.

committee member

I also asked you to write about the issue causes, but issues are not only negative. For example, if the number of people increases, what caused the increase and what was well received? Verification and future measures, in short, the main part of this evaluation sheet should really be in the latter half, because there must be a link between self-evaluation and understanding of the causes of issues, and understanding of the causes of issues and understanding of future measures. For example, in the education section, there are areas where efforts were made that led to an increase in the number of participants, so it would be good to include a section that says, "We did this much and it led to an increase in the number of participants, so we will continue to maintain it in the future. The negative part is not the only issue, but the cause. In short, after analyzing the cause of the positive result, it would be better to write about whether the project will be maintained because of that, or whether it is unavoidable next time because it was not possible this time, etc. This would mean writing what is being done properly.

secretariat

I think this is the cause of the issue in the verification column, but I have just received comments on this from the chairman and others, so I would like to make sure that this is properly addressed in the next fiscal year and beyond.

chairman

I think you may have taken a narrow view of it only in relation to the evaluation indicators written in the goals, but that doesn't help you in any way to the contrary. That's not so obvious at a glance. If we could do all the services for school education, as I mentioned earlier in the secretariat, all over the place, that would be great, but it would cost as much money as possible and would be inefficient. If the direction to improve efficiency is written here as a future measure, there should be a way to write the issues and to identify the causes that suggest this in the issues section as well. The fact that efficiency has gone from 1% to 10 something percent is very efficient, isn't it? That may be true. However, I don't know if the children, who have no idea where the Kitakyushu Municipal Museum of Art might be, are taking it home with them. The things we receive as souvenirs of our visit are not so easily thrown away, and that is important.

committee member

When we started this kind of evaluation work, many years ago, there were many discussions. We also had a lot of discussions about how to simplify and organize the workload in order to avoid evaluation for evaluation's sake. As a result, we ended up with the current form, and now, in the verification section, the self-evaluation, the grade, the fact that the goals were met, and the other columns are blank. Some of the respondents also commented, "I would like to see a little more background. In the case of the self-evaluation, the text is as shown here, but when museums look back on their own work, they certainly do self-analysis, and it would be good if they could summarize that part of their work better. If there are a lot of blanks, it is easy to say, "This is a very simple evaluation, but I am having trouble evaluating it.

secretariat

Since you mentioned self-analysis, I would like to think about enriching the verification column a bit, including background and history.

committee member

As an afterthought, who in the museum would write such a thing? It is better to let younger people do it. By doing so, they will get an inside view of the museum's work, and of course, since they are the people on site, they usually think of it as their own work, but by doing so, they will become even more aware of their role in the process. It is better to have young people because the seniors can check it later.

committee member

I am also doing assignments and evaluations, and all universities are evaluations. It is true that the work is like evaluation fatigue for evaluation's sake, and if we continue to do this every time, we just "did it" and reached it, and it is only the result, but what is missing in this is the first part that even those who do the management can understand by doing this. It is not easy to understand it when it is done in pieces, so as a means of sharing it, it is not a document to send out to the committee members, but what is in this is the outer part, the external evaluation. In other words, unless you have a certain amount of "people," "materials," "money," and "information," you are begging for something you don't have, and the organizational structure of "people," "materials," and "money" is not included in this. Even in universities, the wall between faculty and administrative staff is extremely thick, and there is a lot of work that falls between the two, even though they seem to be neatly separated. Faculty members do not want to do this kind of work because they only do what they specialize in. The clerical staff is not happy about it. The relationship between curators and clerks is a bit similar in some ways. The clerks may change every three years, but they can use the business evaluation as a connecting tool. In other words, as they call it internal marketing, there is a logic that if the people in the internal organization try their best, it will lead to external connections as well. This is what the service industry and other industries are doing now. We are talking about how to motivate staff members and communicate this to the outside world, so we can use this as a tool. If we make matters an objective, it will take the form of someone working alone, so rather than being flat, it would be good to add a little bit of crispness, like, "This year, let's do this work together. If we try to do it all, we have to do it all, but rather than having everyone participate there, we would rather have a lot of management projects, management that generates, I know it's a tough word, but we inevitably end up talking about something like organizational structure, so money and so on. Within the current limitations, it would be better to make this work between you all and us. There is little point in being smug about how we did A or B, or whatever. It is better if it becomes a common tool between us and you. I think that we need to work in such a way that younger people do it, or curators and administrative staff do it without boundaries and fill in the gaps. Rather, we should focus on things like training programs for administrative staff. Call it staff development, and have the administrative staff be like school teachers. I felt that the administrative staff should be given tools to actively do the work of the curatorial staff, or the curatorial staff should be involved in budget negotiations.

secretariat

You have pointed out many things, and I will do my best to make them.

committee member

The curators who have been with us since the beginning of this project have been with us for 6 to 7 years. They are now full-fledged curators and understand many things, so they can no longer be called young people, but it would be good if we could actively work together.

chairman

How many self-assessments are made by the National Museum of Art?

committee member

Each museum makes a combined evaluation and report every year. There are also thick materials for the external evaluation committee. It is more difficult for the evaluation committee members. They have to read everything.

chairman

I used to make them too. In the end, it was like having two annual reports. I don't have much time to summarize issues, reflections, and ways to improve in the future. It's very hard to keep up with the administrative work. I have said many things, but all of us have a lot of work to do.

director

Every year we make an effort and our annual report is published in conjunction with this Council. The annual report is based on the materials we distribute to you.

chairman

Since this is a directly operated museum, there will not be a drastic review every few years, but the university is subject to an establishment review and must undergo a review every few years. That is why the annual evaluation report is important. That's when the university professors get together and look at the site survey and the report. It is quite demanding.

secretariat

In our case, there is no such thing institutionally, so we may have been a little naive in some respects.

committee member

But this evaluation system means that you have to make a five-year plan and then apply it.

secretariat

Yes, I would like to see a review of the project. We have to do a summary on this, and we will also need it for the next council meeting, so in that sense, every five years, but not on a regular basis, but there is no periodic review.

committee member

In the case of a university, it is an accreditation system, so we check that it is properly secured. In the case of art museums, they are required to make a five-year plan and use a management council, which serves as a quality check, or rather, a check to ensure that quality is being maintained properly. Therefore, the museum has a system in place to check everything from before to after the event, and to strictly enforce administrative procedures. This is not the case with museums, but from a fundamental point of view, it is better not to divide the check items too much. Since they are linked, it is important to analyze them. It is not a matter of "I did it. We would be grateful if you could consider this in the future.

committee member

The school has also created a self-evaluation form for causes and issues, which can be viewed immediately on the school's website. Since it is the issues and causes, it would be better to write not only about the bad times, but also about the things that were good, such as, for example, the fact that the school received an "A" rating, and the things that need to be done to link the "A" rating to next year's rating and beyond. For example, if it is possible to include numerical targets, it would be easier for outsiders to understand what the goals are when they look at the report.

committee member

Since you have made a great effort to cooperate with other museums, it would be good if you could make it easier to understand how it is being utilized.

chairman

In some aspects, the goals and evaluation indicators are set in a specific way so that the evaluation work can be done easily, but on the other hand, it is difficult to understand from the perspective of school teachers and the general public who come from other places, even those who are here now, although I understand because I have been looking at it for a long time. I can understand the figures themselves, but it is difficult to understand what they mean for the museum and for Kitakyushu City. Even the school indicator mentioned earlier, the general public cannot really understand unless we start from a macroscopic perspective, from a big picture macro viewpoint, such as how the museum is positioned this year or over the next five years within the context of the citywide schools it receives as a municipal museum. How many people did it this year, and what does that mean? I wonder if in 10 years, every citizen in his or her 20s will have been to an art museum. If everyone in the third grade of elementary school goes to an art museum, by the time those children turn 20, all 20-year-olds will have been to an art museum at least once. Without that, it is surprisingly difficult to understand this kind of thing. It doesn't ring a bell.

About Outreach.

committee member

In the case of music, there are delivery concerts, and it is not easy to show museum works, although there may be copyright issues, but there are very high-density images and films that can be used to show a person's "personality and works" like a simple micrography, as is the case with Turner and others. Wouldn't it be possible for a curator to bring such a thing to the school and show it to the students and explain the specialized way of looking at it? Actually, it would be best to have them come to the museum.

committee member

If I can bring a work to a class, I will bring it to the class and say, "This is one way to look at it. When I watch BS, there is Wakanoki and so on. We try to supplement or condense them, and then the experts explain them to the students. You mention here "implementation of learning programs in cooperation with schools. So-called elementary and junior high school students should be exposed to art, music, philosophy, and history as much as possible when they are how susceptible they are. The real thing is best, but once they start studying for entrance exams, such opportunities are lost. This will be the basis of their basic education when they go out into the world to work and have contact with foreigners.
Although we are not able to do everything in music and art, we go to elementary and junior high schools to let them touch the instruments and play them. Museums also go out. If they can't take it out, the museum will. In fact, it may be something that should be done in art education at schools, but if there are opportunities like this, it would be an incentive for people to go to exhibitions when they are held.

secretariat

What you pointed out is something we have been thinking about for a long time, and not only in the case of art, but also in the case of cultural institutions visiting schools to provide hands-on experience and explanations, but in the case of art, it is difficult to bring out the actual objects. However, in the case of art, it is difficult to bring out the real thing. Some museums have developed educational materials that can be delivered to visitors, and some museums are developing their own educational materials. We have discussed the possibility of doing something like this at our museum, but it has not been possible yet. In addition to having curators go to schools to do something, we are also looking for ways to do things with volunteers or by sending artists to schools.

chairman

It is called an outreach project. It is sample-oriented because resources are limited to museums. The science community seems to be very active, using videoconferencing systems and the like. They are good at publicity, but not on a daily basis. It is very hard, requires a lot of preparation, and is difficult. Especially in the case of museums, there are many items that cannot be taken out of the museum, so making a replica that can be appreciated will cost a lot of money and cause various problems. There are copyright issues and so on. It is very difficult.
In evaluation item C, it says 453 outreach participants, but what is the outreach?

secretariat

This time, the outreach is to work outside the museum, which is why we have not been going to schools in the past few years. We have been going out into the city, specifically to a large space on the first floor of the Riverwalk, or renting a corner of a children's facility. What is being discussed at the museum is that it is possible to go to specific schools, but since there are a good number of municipal elementary and junior high schools alone, it would make more sense to select places where there are an unspecified number of people interested rather than to broaden the scope of our activities, which is currently our priority.

chairman

In the Museum of Science, they also loaned out specimens. Same with outreach. Fossils, etc. that are hard to break, depending on the school's needs. A lot of ammonites are not a problem even if they are a little broken.
However, since the school has some of these items, it would be difficult to borrow something that the school does not have, although they would probably want to borrow something that the school does not have.

committee member

In terms of outreach, in the natural sciences or history, for example, the Kyushu National Museum has a collection for educational purposes. Perhaps the method of management is different. If you make it a prefectural property, like the Prefectural Museum of Art, you inevitably have to move things around and insure them. Then you can't take them to schools very often. If something were to happen, both the museum and the school would be in trouble.
As a peculiar example, Kumamoto Prefectural Art Museum has three sets of Chimei Hamada's prints, as I recall, one set for complete preservation, another for collection display, and another for educational purposes. Perhaps that should not be made a prefectural property. It is positioned as an educational collection, and we can make a case and take a few pieces with us and use them in various ways, such as talking about the war through the artwork at school. Instead of giving them to teachers, the museum would send one person to the museum, but it could be done casually, in an official car, without having to tailor a special car for the art and add insurance. This was a special case because of the presence of a benefactor, and also because of Dr. Hamada's favor.
In the case of the Kochi Prefectural Art Museum, replicas may be made to a certain degree, but even so, it is difficult to include replicas in the museum's budget. The tourism section also asked us to cover the cost of replicas of the gold folding screens, since the museum was celebrating the 150th anniversary of the Meiji Restoration and the Great Restoration, and we were asked to do so by the tourism section. The museum paid for the digital scrolls so that they could be used in schools and for outreach purposes.
About 15 years ago, Yamaguchi Prefectural Museum of Art had a curator go and teach a class with digital images. Having a teacher come in from the outside is often a good way to double-teach a class, but on the other hand, we made a very good book for teachers with a high-resolution CD and distributed it to all schools. The best way for the teacher to build a class is to hold a course for the teacher and then distribute that as well, a document that can be freely enlarged or printed out and endure. It was so well done that it was later published. We would make materials and provide them to schools with suggestions that would make it easier to use them in the classroom. The schools can use them. If you have this, you can teach this kind of class. With this kind of support, we might be able to do this. We also tried this approach.

chairman

Recently, Fukuoka Prefectural Museum of Art has also been actively asking prefectural historical museum and art museum staff to give lectures at schools and community centers. The community centers and schools do not have to pay the lecturers' fees. In short, they should do it as a public service, as a job for the prefecture. This would also serve as PR for the prefecture's cultural policies. The staff of the historical archives are very helpful because they give the lectures free of charge. A kind of museum service.

committee member

The curators who do this will only have more work to do, though.

chairman

It will be a curatorial score. That I did it right. If I were to go out on my own, I would have to take time off, and even though I would receive an honorarium, I would still have to report back, with various restrictions, but if I were to do it as a prefectural job, I would have to do it, although it would be more work and more difficult. It's a lot of work and a lot of difficulty, but we have to do it. I am doing a good job because I have documented it in the collection of materials that was recently sent to you.
What's hard to understand in a resource book is that when you say you've been on the same subject many times, and to the same places, it's like, "Huh?" I think. I wonder if it is a double publication. Perhaps it is not the same, but there must be something like a series of lectures, but it is difficult to understand how the materials are made. The theme is the same, the lecturer is the same, and the destination is the same. If they went many times, I think they are double-counting because at least we don't know what they did. I would like to see it stated.

chairman

Based on your comments, would you approve the finalization of the evaluation index for the museum in FY29?

≪ Commissioner.

No objection.

《Investment of external funds》.

committee member

The following are the details of the initiatives and evaluation materials for the five-year period from this fiscal year to the future. One is the need to bring in outside funding. I am sure that every municipality has been told to do this, but has the city of Tokyo told you to bring in outside funding for your museum?

secretariat

It doesn't.

committee member

When I go to these meetings at any museum, the topic of adding outside funding to the museum's operational evaluation is a hot topic.

secretariat

A government subsidy?

committee member

This includes government subsidies, as well as private grants.

secretariat

There is a case that the government subsidies will be taken as much as possible.

committee member

Perhaps the curators here are actually using the money to help implement exhibitions, but private organizations are now offering grants for exhibitions and curatorial research. In the sense of using such funds to enhance the museum, there is a way to make the acquisition of external funds an evaluation item that adds to the management of the museum. The number of places offering grants is increasing, and I think it would be a good idea to think proactively about receiving money.

《About Inbound》.

committee member

Another is the increase in the number of visitors from abroad. The response to this is to "enhance public relations for foreigners," and the accompanying initiative for FY 2008 is to "create an English-language version of the website." But is it enough just to make the website in English? In both Tokyo and Osaka, as the Cabinet Office says, they are doing things like making everything available in four languages, and although they are late in doing so, they have a budget of about 300 million yen for the entire National Museum of Art, which is adequate. Does Kitakyushu need to do this urgently? It will come eventually, so you should think about that.

secretariat

Currently, we have selected 30 items from the museum's collection and are only making an English version of the booklet. We are thinking of making Korean and Chinese versions in the future. As for the homepage, we are not working on it at the moment.

committee member

The movement is gradually spreading nationwide in preparation for the 2020 Olympics.

chairman

The Edo-Tokyo Museum has volunteers who speak five languages. We may have to take such steps sooner or later.
Regarding external funding, once national universities are incorporated, government subsidies will be reduced by one percent each, so they will have to solicit research funds from the public. The Agency for Cultural Affairs has prepared quite a few subsidies. The Agency for Cultural Affairs provides quite a few subsidies.

committee member

When the new Osaka Municipal Museum of Art came to us, it was about how to raise money from the local community and to do something like that, though not necessarily the basis for operation.

director

Thank you for the long and active discussion today. As the deputy director mentioned, we hope to digest the issues we received within the museum and make use of them in the next meeting. We would also like to make use of them in our operations.
Thank you for your time today.

secretariat

With this, the first Kitakyushu Municipal Museums Council meeting of FY 2008 is concluded.

Conference Materials