name

The 1st Kitakyushu Municipal Museum of Art Council Meeting in 2028

business (of the day)

Report 1: Results of the Implementation of Projects in FY 2008
Report 2: Activities of the Friends of the Museum
Agenda Item: Evaluation of the Operation of Kitakyushu Municipal Museum of Art

Date & Time

Wednesday, July 10, 2028, 2:00 p.m. - 4:00 p.m.

Location

Kitakyushu Municipal Museum of Art Education Room B

attendance

(Commissioner)

Toshio Yamanashi (Chairman)

Director, The National Museum of Art, Osaka

Wataru Nakamura

Counselor, Kitakyushu Chamber of Commerce and Industry

Mana Oshima

Dean, Faculty of Human Sciences, Kyushu Women's University

Hiroko Koga

Principal, Kitakyushu Municipal Tsutsui Elementary School

Miki Tani

Representative of NPO Child Rearing Think Tank

Miki Harada

Attorney at Law, Harada & Kawahara Law Office

Akemi Ohba

Kitakyushu Artists' Federation

Noriko Toyama

Principal, Kitakyushu Municipal Takesue Elementary School

Sachiko Shintani

Teacher, Yahata Chuo High School, Fukuoka, Japan

Hideko Moriyama

Deputy Director and Curatorial Manager, Kurume City Museum of Art

Kumi Kawahara

Business Manager, The Yomiuri Shimbun's Western Head Office

(Secretariat)

Yukiharu Nishimura

Director, Kitakyushu Municipal Museum of Art

Motoaki Goto

Deputy Director, Kitakyushu Municipal Museum of Art

Yuji Kanegae

Chief of Extension Division, Kitakyushu Municipal Museum of Art

Mitsuhiro Hidaka

Head of Extension Section, Kitakyushu Municipal Museum of Art

Takayuki Nasu

Chief Curator, Kitakyushu Municipal Museum of Art

Emi Nakayama

Kitakyushu Municipal Museum of Art, Extension Division

Tomoko Ochiai

Kitakyushu Municipal Museum of Art, Curatorial Division

minutes

Report 1: "Results of Business Implementation in FY 2008
Report 2: "Status of Activities of the Friends of the Museum"

secretariat

Explanation of Report 1 and Report 2

chairman

I would like to ask your opinion on the current report. It was a rushed explanation, so you may want to ask for more details.

committee member

Is there any reason why the number of members of the Friends Society is down to 83.3?

secretariat

The reopening last year had the effect of increasing the number of members considerably, but the membership period is only one year, and there is a lack of continuity.

committee member

He said there was an increase before that and a slight decrease.

chairman

Is there nothing else?

committee member

Regarding the number of visitors to the exhibition, we would like to know the original plan and target number of visitors.

secretariat

The planned and targeted number of visitors is 113,000. The number of visitors is set at approximately 30% of the total number of free admission by invitation or other means.

committee member

Regarding the revenue part, I think it is the museum's ability to help itself, or rather, the city's burden. The difference between the budget and the settlement of accounts is 22 million yen, but a look at the details shows that the museum's income from book sales, etc. was budgeted at 130 million yen, but the settlement of accounts was 22 million yen, indicating that the city's burden has increased by 100 million yen. The budget estimate and target are too high, and there is a difference of about 100 million yen from the actual figure. Why is this?

secretariat

Plan and budget for each special exhibition to be covered without spending city funds. In the end, about 30% of the total amount will be the closing amount. Last year, there was a difference of 80 million yen.

committee member

The book sales income includes admission fee income, etc., does that mean?

secretariat

Included.

chairman

You are saying that the expenditure for holding exhibitions was 144 million yen for 123 exhibitions including the main building, annexes, and Kurosaki.

secretariat

No, it is not. Only collection and special exhibitions. 140 million yen for 12 projects.

chairman

This is 126 million yen in the settlement of accounts. Does this mean that they have made a considerable effort in terms of expenditures?

secretariat

It is a cost reduction.

committee member

If the number of visitors is decreasing, I understand that the revenue budget will decrease, but with the current situation where numerically the number of visitors is increasing over FY29, how can the revenue decrease?

secretariat

The overall number of visitors to the museum is not related to the income from this exhibition's special exhibitions. Incidentally, the number of visitors to the special exhibition in fiscal year 2009 was 79,000. The corresponding number is 72,000. This is the number of visitors in relation to the cost of the exhibition.

Agenda Item: Evaluation of the Operation of Kitakyushu Municipal Museum of Art

chairman

First, the secretariat will ask for an explanation.

secretariat

Explanation of Kitakyushu Municipal Museum of Art Management Evaluation

chairman

We would like to receive positive feedback. Do you have any comments on evaluation item 1?

committee member

Regarding the restoration plan, with an annual restoration budget of approximately 1 million yen, how do you plan to improve the condition of the artworks and restore those that need to be restored? I am not sure how much restoration can be done with 1 million yen.

secretariat

As to the amount of money you mentioned, it is a very difficult amount and is decreasing every year.
This amount includes the cost of transportation for the restoration, so it is not the amount of the restoration itself. The top priority works to be restored during the year are discussed on a case-by-case basis; a list of restorations as seen by the curatorial staff was made about five years ago. Even if we actually request an estimate, we cannot make a professional list because the budget for inviting a restorer to estimate the cost of transportation is also very tight, and even if we plan for 10 or 20 years, there are works that may be loaned overseas 10 years from now, and the order of urgency may be difficult to read. First of all, we have a list in the state, but what we actually restore in a given year is decided on a case-by-case basis as needed. This time, since the Kihei Aoyagi exhibition is coming up soon, we had put that at the top of the list, but since the current exhibition, Masaaki Terada, is not in good condition, we gave priority to this one.

chairman

In addition to the museum's situation here, when it comes to restoration and conservation in general, the cost of restoration is the same no matter how expensive or how inexpensive the work is, completely different from the original value of the work and from its monetary value. The restoration cost is the same no matter how expensive or how inexpensive the work is. For example, the National Museum of Fine Arts has an annual restoration fee of 90 million yen. Even so, only 10 to 20 works can be restored at most. However, the problem is not just about the money; it is better to have a restoration specialist take a look at the work once, and the museum needs to restore the most frequently used pieces first, including those on loan. On the other hand, the Nagoya City Art Museum receives donations of works by city artists whose names do not usually appear in art histories. However, there are many badly damaged pieces, but the museum accepts them and preserves them for future generations.
We are collecting more and more with the idea that by conducting a certain amount of research, we can verify how art in the region has spread. Each museum may have its own policy, so we are not obliged to do the same, but we collect damaged works according to each museum's approach. The storage rooms are filled with battered works. What is important, we believe, is to preserve the art of the region. Restoration is based on the idea of valuing the history and current state of local art, which is the basis of each museum. Even if there is no money, collect first. Priority is given to restoring the most frequently used pieces first. However, the one million yen budget for conservation is not necessarily used only to clean the artworks. However, in some cases, it is possible to generate the money for exhibition expenses from the exhibition budget, so I understand from my own experience that the actual situation cannot be described here due to the various efforts of curators.

secretariat

Since budgets are extremely tight, some restorations were done in conjunction with the exhibition in the exhibition project budget, and some restorations were done in such a way that when they were lent overseas, we would lend them to them if they were restored.

committee member

I understood the reality of the situation. I happened to be in Italy and was able to observe the restoration process in a museum. I thought that the admission fee alone would not be enough to cover the cost of the restoration, as it must be subsidized by the government. I guess the money is spent in a different way.

chairman

The national budget of 90 million yen is only for works owned by the national museums. Unlike France and Italy, the national government does not actively pay for restoration. Rather, in the case of the national government, there is an organization for cultural properties that focuses on museums rather than art museums, which handles old art from before the Edo period and is very generous in its restoration. The national policy is to turn culture into tourism. To this end, the government spends a great deal of money on restoration of old art and cultural assets of buildings, according to what tourists from abroad want to see. But that is not the case with post-modern art.

chairman

My question is, the first part of the work talks about databases, but what do you consider database maintenance as something that is being done here?
In other words, what is the database to be created? Is it a work of art?

secretariat

Yes, it is. There are two types of databases, one for the museum's collection and the other for library materials, and the reason we put them up on the council as a major goal is because they are the most lagging behind. When a new museum is built, it starts with database maintenance as soon as it opens, but this museum has been in existence for 45 years, and as for books, we have been organizing them with library cards and basically managing them on a paper basis, and have not been able to digitize them.
The main reason is that we have not made any progress in terms of databases or, first of all, digitization. We have been gradually inputting books retroactively, but we are still receiving many donations, so it is quite difficult to input new books that are increasing every day and also to input books retroactively at the same time. Since we had to move for renovation work, we have not been able to distribute the books, take them out of cardboard boxes, and arrange them in the correct order, which is also a stage before digitization. On the other hand, we were able to inspect all of the works during the move, check their condition, and properly count the number of works. It remains to be seen how this will be reflected in the database, and although we are writing down the condition of the works in a chart, or rather, in a list of the works, and there are some points such as scratches here and there or detachments here and there, it is quite difficult to digitize what has been done on paper, and the condition of the works is still in a paper-based format. The condition of the works is still paper-based, but we will digitize the names of works and artists so that they can be easily searched. In the future, we will make them available to the public. We do not think we will be able to make all items available to the public, but our goal is to make the contents that can be made available to the public. If we don't set that as our goal, we will consider transparency and the interests of citizens, and we would like to make that our ideal. However, that has not caught up with us at all.

chairman

This is called an ideal, but it is not a high ideal. The database is a very international movement, and when it comes to Japan, there is a big problem. When it comes to works owned by Japan, it is not possible to conduct research from abroad. This is because Japan does not have a database. For example, foreign countries are interested in searching for data on Manet's Degas works, which we have here. This is not only because we are behind in database development, but also because we are not sure if we are using something that can be systematized on an international level. In particular, you held the 1968 exhibition here. The curator of the Tate Gallery in London wants a copy of that catalogue. In this way, foreign, Western, and Asian researchers are beginning to take an interest in Japanese art. At that time, they need to know not only Degas's works but also those of Japanese artists in order to conduct research. We are preparing for such an era that will soon be upon us. On the other hand, a database of books will allow people in this region or throughout Japan to search outside the museum for information on what that museum has or what materials it holds. If they know that the museum has something, they will come here to check it out. We can estimate the frequency of use of the museum's collection. This kind of thing is just around the corner. The problem is, however, that in Japan, neither the people at the museums nor the government agencies that have control over them recognize the need for such a system. Therefore, they do not feel the need to do so. However, the need for such a system is being felt around the world, and it is actually beginning to be implemented, so a response is needed to deal with the situation. The Agency for Cultural Affairs is subsidizing measures to create a database of regional art, especially after World War II. As I mentioned before, the National Museum of Art received subsidies from the Agency for Cultural Affairs of 3 million yen each year for three years to create the database. There are a few systems for such subsidies, so it would be better to do it while checking them out. I do not know how many books are in the collection here, but if there are 10,000 books, for example, it would be very difficult to create a database of them. Moreover, it is not a job for the curatorial department, but we started to make a database of books available to the public for the first time in November of last year. For this work, there were five part-time staff members in the library, and they organized the entire database. The data entry was outsourced. It cost 10 million yen a year in this way. There is a domestic system that allows cross-search of all museums, art galleries, and libraries. Such a system is now being put in place. This system is not limited to the national government, so it will spread to the rest of Japan. If we don't deal with the coming of such an era, we will be left behind. We need to address issues from that perspective.

committee member

What we are doing is manageable as long as we have the people and the money. The collection here is very substantial, and collecting is continuing, and I think the costs associated with restoration would be much higher. For example, the Fukuoka City Museum of Art has a person in charge of restoration and conservation, and I feel that this museum needs such a person as well. As for the books, is the inputting of data now being done by staff? This must be tough. Even in our small museum, we outsource the organization of books. Even so, we can't keep up. The number of books we have is different, but we still can't keep up. We have a lot of budget requests, and we are still unable to place orders. We put barcodes on books.

chairman

Now, do you have any comments on the two public disclosure of evaluation items?

committee member

My question is, you mention here the item of visitor satisfaction, and I assume you are referring specifically to the satisfaction of visitors through proactive efforts, but what exactly are you referring to?

committee member

How do you look at the questionnaires? I am in charge of corporate training, and I believe that some questionnaires are written in a way that is discerning to the person who made them, and some are written seriously, meaning that the free-entry column should be read carefully and utilized in the next project.

committee member

I also have the same idea. I think it is important, but I wonder if it would be good to have a little outside perspective. How to look at it, in the end, could be through questionnaires, visitor observation, evaluation among curators, etc. I think it would be good to include the perspective of the museum as a whole, not just the curatorial staff.

committee member

So, I would like to ask how exactly the secretariat envisions connecting what has just been said.

secretariat

We are now discussing the possibility of creating a survey form based on discussions within the museum on how to make this type of survey and how it could be utilized. We are thinking of making use of it. There was some discussion that the questionnaire might not be useful, but we would like to consider that as well.

chairman

Given the new survey questions devised by the museum.

secretariat

Yes. Also, the location of the survey. For example, we would like to proceed while envisioning various locations such as airports, train stations, and outside of the museum.

chairman

There are people who specialize in creating these survey items, and it would be good to hear their opinions. In other words, the questionnaires that the clerks and The questionnaires that curators and clerks working in museums think about are inevitably biased. There are perspectives that differ from these perspectives, so it would be good to survey such vendors and listen to what they have to say. It would also be effective to consult with them to analyze the results.

secretariat

We will refer to them. We would also consider carefully looking at and analyzing the survey results. There are many ways to do this, such as direct interviews, but we would like to conduct an in-depth survey rather than a general questionnaire. We would like to conduct a more in-depth survey than a general questionnaire.

chairman

One of the recommendations for improving management is that consideration of visitor satisfaction may lead to the creation of easy-to-understand plans, but there is a subtle problem with this. However, there is a subtle problem with this, and it is very difficult to reconcile the museum curator's conception of the exhibition with what the general public thinks of the exhibition.
If we easily go along with the public's requests, the museum's activities will often fall apart. We should be careful about this.

secretariat

As a supplementary note, the committee members talked about the level of satisfaction, which is included in the evaluation item 2, but in the five-year plan prior to the creation of this five-year plan, the evaluation of the exhibition was based on the overall evaluation of how the exhibition was, including the evaluation of the content of the project, the number of visitors, and the level of satisfaction. The exhibition was evaluated in the following way.
Therefore, no matter how good the content of a project was, if the number of visitors was low, it would receive a C rating, while a project with no curatorial involvement would receive an A rating if it drew tens of thousands of visitors. Therefore, we decided to separate them. The evaluation of the project itself was placed in evaluation item 2, and the museum's overall visitor satisfaction was divided into evaluation item 4.

chairman

Regarding Evaluation Item 3: Interaction, do you have any comments on the new volunteer program, museum tours, and surveys on these tours?

committee member

A new volunteer system was launched, and 42 volunteers received training and were divided into three groups to work under the new structure. However, we have identified the support for volunteers to work on their own initiative as an issue to be resolved in the future. However, the company has stated that it would like to support volunteers to work voluntarily in the future as a solution to the problems they face.

secretariat

Volunteers were recruited last year, training began in September, and after completing the training period, they have just started their activities. In a typical training program, volunteers who provide explanatory commentary study the works they are to explain and acquire knowledge and skills. After dividing into three groups, for example, the appreciation group began by choosing a work to view and studying it on their own, and the content of the work was also studied by the curator. The curator would not say, "Please explain this work in this way. The curators do not say, "Please explain this work in this way," so it is difficult for them to make their debuts. We are still in the process of learning. On the other hand, the Documentation Group has begun clipping newspapers and other materials that are not easily seen by the general public. The project team members are also currently working on plans and examining what they can do to make them a reality. It may be some time before the public can see the results.

committee member

By the way, what kind of age group, male/female ratio, or any other 42 trends? I hear there are a lot of elderly people.

secretariat

There are 8 men and 34 women. The oldest is 81 to 22 years old. The average age is 59.

committee member

It's quite diverse. I think it has become a lifelong learning experience for these people.

committee member

In the section titled "To resolve issues," you mention "Follow-up training will be conducted for museum tour guides. What kind of people are guiding museum tours now, and what kind of people do you expect to be trained?

secretariat

As for the guides, they are staff dispatched by the outsourced dispatch company. Follow-up training is still being conducted. We are still conducting follow-up training, but for those who are not responding well, we ask them to stay on and conduct follow-up training.
We are considering setting a separate date for follow-up training, which would be sometime after July.

committee member

Regarding the guides, are you saying that they are outsourced and the follow-up is done by the curators and the museum?

secretariat

There are four curators and four clerical staff in charge, and they will be in charge.

committee member

Regarding the museum tours, 101 schools responded "satisfied" or "somewhat satisfied," and I think the fact that the negative opinions that had initially been feared were not heard is an important factor in the evaluation of this year's tours. I think the fact that we did not hear any negative comments, which was our initial concern, will be the evaluation of the tour this time. We would like to know how the children are actually viewing the museum and what kind of conditions they are experiencing.

secretariat

Most of the students are new to the program, but they enjoy and actively talk about it. I do not just explain things to them, but exchange opinions about what they have told me. I do not just explain the museum tour to them. Many of them come with their families after the museum tour.
One school, unsatisfactory, indicated that it was a time issue, which has been improved, but unsatisfactory results were seen regarding the time to start in the afternoon.

committee member

How many people per group?

secretariat

Eight people.

committee member

Is the number of people who can be asked questions rather easily?

secretariat

Yes.

committee member

I would very much like to see every child in Kitakyushu have visited this museum.

committee member

I mentioned that I had heard negative feedback, but when I was involved in the planning, my biggest concern was whether we all had to turn out. With so many school events, It would take time for the teachers to get them out, and some of the teachers have a high threshold for going to art museums, so there was an aspect of me that worried that there might be opinions that would oppose the idea. However, when we actually opened the museum, we did not hear any such opinions from the teachers, and on the contrary, we heard many comments that it was good for the third graders. At first, there were some who thought that 5th and 6th graders would be better, but I suggested that 2nd to 4th graders would be better if we were going to show them, and in fact the teachers were very happy with 3rd graders. The teachers, however, were very pleased with the third graders. The guides were not intrusive and were receptive to the children's opinions, and there were more positive comments from the children, such as that they enjoyed the tour and were surprised by the beauty of the museum and would like to visit it again.

committee member

All of the education and extension programs have increased a lot compared to the previous year, both in number of people and frequency. I wondered how they were able to increase so many so suddenly and how they were able to turn them around in terms of labor. I wondered how they were able to increase so many so suddenly and how they were able to handle it labor-wise.

committee member

Gallery Talks don't cost money?

secretariat

It does not cost. The curator will conduct the project.

committee member

Regarding museum tours, how long do they stay? I know it will be an individual response, but what are the schools' needs for museums? What do you want them to learn? What do you want them to learn, and what do they want to learn?

secretariat

The length of stay, but there are several courses, and they are 40 minutes long: 10 minutes for a general explanation, 40 minutes for the course, 15 minutes for a recap, and then you leave.
In the meeting with the school, one of the issues that arose in the previous year was time constraints. There was a request that the time for lunch was not suitable. The school briefing session was cancelled because it was unnecessary to have a prior explanation and to reduce the workload of the school faculty.

chairman

Among the things we will work on to solve the problem, it says that we will consider ways to approach teachers from the museum side, do you have any advice on this?

committee member

Some teachers are quite interested in art museums, while others are more backward-looking, saying that they don't know much about painting. Therefore, I think it is necessary to provide opportunities for children to learn what they learned and how they enjoyed themselves during the museum tour. As was mentioned earlier, children enjoy coming back from museum tours very much, and they work very hard to paint the wonderful works they found at school. When they come to the museum, they are divided into groups and a guide explains the museum so that the homeroom teachers can go with them without worry. The homeroom teachers at our school took it upon themselves to respond by calling or visiting the museum beforehand to discuss what kind of artwork they wanted to show.

chairman

Participation shows how interesting it is. As for the museum, when you say that you will consider ways to approach teachers, do you mean that you will consider ways to approach teachers in your efforts to solve problems, in accordance with the opinion that schools where teachers are active are also active in museum activities, and schools where teachers are passive are often passive in their activities?

secretariat

Yes, it is. I wasn't aware that it changes from teacher to teacher, so I realized for the first time that I had to think about such things, or that I had to take measures against teachers.

chairman

You can talk to the committee members about how to get the teacher's attention.

secretariat

We would like the committee members to advise us at the stage of concretizing the project.

committee member

I think the barriers between teachers have been lowered with the start of the museum tour. In the past, only interested teachers who wanted to participate in the tour would sign up because it was an appreciation class. This time, since it is a city-wide event, if many teachers experience it, the scope will expand considerably.

chairman

The system will be established not only as a museum project, but also as a citywide project. I know it must be difficult for the teachers onsite, who have to deal with both museums and art galleries.

committee member

The other grades have more opportunities to go out, so it is easier for 3rd graders to go out.

chairman

Do you have any comments on evaluation item 4, Public Relations?

committee member

I think they are using SNS for publicity activities, but they are also opening Twitter for special exhibitions, and the standard of judgment is the number of visitors, but I think there have probably been publicity campaigns on TV as well, and in this age of smartphones, many people gather information on their smartphones. In this age of smartphones, people gather information from their smartphones, so it would be better to judge numerically not by the number of visitors, but by the number of accesses and followers, and to change the perspective to what should be done to increase the number of visitors.
Do you have an SEO strategy in place? Measures to be taken to get caught up in search.

secretariat

We are not doing that. There are measures to address the number of followers and access to the site, but all we are really doing is sending out information.

committee member

The first step would probably be. As we think about the future, we need to take a solid SEO approach. It would be better to open a homepage, but when people search for an art museum, they will probably enter "Kitakyushu Municipal Museum of Art," which will bring them directly to the museum, but there will be people who will search for the exhibition they saw in a commercial. However, there may be some people who will search for the exhibition in such a way that they will say, "What was the exhibition I saw in the commercials?

committee member

As it pertains to the Friendship Association, it says that bus tours will be considered, including cooperation with cafes, but does this mean cooperation with the bus tour destinations?

secretariat

This is to propose a bus tour using Cafe Musee. For example, we have proposed a tour in which visitors come from Yamaguchi, have dinner at Cafe Musee, and see the exhibition, but the bus company has been slow to approve.

committee member

I have assisted with cafes at other museums, but the one at the museum was created with the concept of something natural, something where people can dine while looking outside. If we can create something that conveys our commitment to something particular, something that people would like to eat here, they may stay there and have a meal with us.

chairman

The National Museum of Art was suddenly required by the Japanese government to offer services in English, Chinese, and Korean starting last year, and we started despite the lack of money, spending about 300 million yen for five national museums.
When we did this response, we made all the captions or explanations of the works, chronology, greetings, etc., in four languages. We did not include captions because they would have taken up too much space and would have interfered with the viewing experience. It costs a lot of money to do that. What I am saying here is not that we should prepare the money properly, but that we should create a national center with dictionary functions to standardize the expressions of art in the four languages and the reading of Japanese artists, but it is not easy to achieve this. The museum system that was put out by the National Institutes for Cultural Heritage will have a department where people with dictionary functions can gather. While making use of this, there is no mistake that in the future four languages, especially since Kitakyushu is close to Korea, should be created while recognizing that such a thing exists and inquiring about strategic matters. I am not sure if it would be good to have nationwide unification, but there is a growing possibility that a unified translation will be possible. Incidentally, when my museum did four languages, we had a Korean national as a part-time curator. The Chinese language was outsourced to a Chinese national living in Osaka. If you are going to do this, it is easier to contact such museums.
One more recommendation for operational improvement is the enhancement of alcoholic beverages, but since there is a trend for museums to move away from alcoholic beverages, it would be better to consider a better balance between this and the alcoholic beverages.

secretariat

Of course, it is only a cafe.

committee member

The Fukuoka City Art Museum recently reopened and the restaurant there is having a beer garden, which I hear is rather crowded. In Kyushu and Fukuoka Prefecture, the number of visitors to art museums seems to be fixed, and it seems as if those people are making the rounds. When an art exhibition is held here that is doing well, and then another art exhibition opens at a different museum, the number of visitors to that museum suddenly decreases and they move to this museum. In order to do so, I thought that having third grade elementary school students come to the museum would also increase the foundation, and I hoped that food and drink would provide an opportunity for them to see what the museum is like, enjoy the food and drink, and have such a good experience with culture.

chairman

I too think this view would make a great beer garden.

chairman

Do you have any comments on evaluation item 5 Environment?

chairman

Are all the lights LED?

secretariat

The main building has been converted to LED in all areas that the public comes in contact with.

chairman

Utility costs will go down by a million yen.

secretariat

The annex is not LED. The lighting will be switched in the future, and this will be considered.

chairman

We need to have a budget for the initial investment.

chairman

Any comments on the whole thing?

committee member

About the data, revenue and expenditures, there are some areas that are difficult to read without indicators.
For example, a comparison to last year or an average would be helpful.

secretariat

In FY 2009, the settlement of accounts was about 1 billion yen. Since FY 2015, there have been large-scale renovations, so there have been waves in the financial results. I think it will level out from now on.

chairman

May the Council approve the operational evaluation proposed by the Secretariat?
(No objection)
The Council approves the Secretariat's proposal for the evaluation of the operation of Kitakyushu Municipal Museum of Art.

Conference Materials