Museum marketing in the context of cultural diversity

Размещено на http://www.allbest.ru/

Museum marketing in the context of cultural diversity

Kozhakhan Zh.N., Head of Scientific Department Museum of Folk musical instruments named after Ykhlas

Abstract

The article is devoted to understanding the role of the modern museum - an active subject of intercultural communication in the era of economic globalization - in localizing (leveling) social tensions preceding the “conflict of cultures” with the participation of social communities representing the “host” side, and foreign cultural, foreign language social groups of migrants.

Keywords: museum marketing, culture, cultural diversity, national authenticity, cultural identity.

The activities of museums constitute an important area of public life and are part of the cultural, historical, scientific and educational system in society, social education, and the organization of leisure activities of people in accordance with their needs for self-development.

Changes in the politics and economy of our country at the end of the twentieth century significantly influenced the role of museums in society and the content of their activities.

The transition from a planned, command administrative system to a market system put museums in new operating conditions that had not existed before and to which museums were not adapted.

The formation of democratic foundations for the management of business entities has led to a significant increase in independence in the activities of museum institutions, including in the system of their financing in market conditions. These new economic conditions for their functioning, as well as the new attitude of society to the museum, museum values, the system of relations between society and the museum, and the use of museum space, have brought forward the need to use new management technologies and revise the structure of the museum institution. In modern conditions, museums need to create such structures of their institutions that would function adequately to the needs of society, taking into account the conditions of a market economy. After all, the previous structures of Russian museums with strictly fixed functions of departments and responsibilities of employees, focused on a “quiet” environment, have lost their relevance today.

Museums today are experiencing many difficulties in meeting the everincreasing demands of consumers. Old methods of work turned out to be ineffective in the new conditions of social life. Therefore, there is a need for museums to use innovative technologies in their activities designed to change the content and methods of work.

Among the methods used today, museum marketing is of particular importance, as it helps to act confidently in the market of cultural goods, monitor and predict the changing needs of visitors, create a museum product that meets the modern needs of the population, and attract extra-budgetary funds.

Museum marketing, as the experience of foreign museums shows, helps to increase the flow of visitors by increasing the level and quantity of services offered, a new information system, creating a modern image of the museum, making its activities competitive in the market of cultural goods and influencing changes in public identity.

Museum marketing, as a result of its skillful application in practice, based on the specifics of the work of museums, becomes a culture-forming factor [1].

In modern conditions of economic activity, museum institutions are already calm about marketing. Elements of museum marketing can be seen in all museums, regardless of their form of ownership, size or subordination.

The fact that previously museum workers associated marketing with the -commercialization of museum activities is today perceived positively as a tool for promoting the museum in society.

Museum marketing, like any other phenomenon, has its pros and cons. The positive side, according to A. V. Kalyakina, is that “museums have the opportunity to improve their financial situation, earn additional funds by creating commercial programs, attract interest in cooperation and attract sponsors, and expand the circle of partners. Adapting to working in market conditions, museums are coming to realize the need to develop new forms of presenting material and topics that are attractive to society. By analyzing social cultural needs and trying to satisfy them, museums can influence the formation of the future intellectual and cultural image of the nation. And this element of interactivity is one of the greatest strengths of cultural marketing.

The negative aspect is the commercialization of museum activities and the focus on meeting market demands. This negativity is rather of mental origin. Overcoming it is directly related to the elimination of the sacred perception of the museum [2].

Of course, complete commercialization of the museum is undesirable, since it can lead to an imbalance of museum functions, a reduction in research and educational work, as well as a “blurring” of the social purpose of the museum as an institution designed to preserve, study and promote universal human values. Requirements for museums by senior management to “earn money themselves” and “comply with the standards established by law” force employees to “bite into” commercial relationships with great effort, paying attention to the solvency of the segment, rather than the useful role of the museum. The imbalance in the perception of “museum - museum marketing - paying client” in the changing cultural and economic reality is a common state.

The complication of social connections, social tension through political and economic games on the world stage gives rise to a new sociocultural reality, engulfed in extremist sentiments.

A game on national grounds, tied to economic dominance, leads to destabilization of the social environment, therefore, in order to level out aggression and create a background of “emotional silence,” museum institutions must reconfigure their marketing from promoting paid services to promoting the value of a person and his life within the framework of cultural diversity.

All over the world, the materialistic concept of human development, where the basis is the accumulation of maximum profit and the accumulation of material wealth, is increasingly being questioned. This concept is not able to resolve the contradiction between “economic man” and “cultural man”. By refusing to take into account human cultural diversity, strategies for developing society through statehood risk maximizing the shortcomings they are designed to overcome.

Today, cultural diversity is the presence of many cultures in the biosphere under the conditions of a dialogue of cultures, manifested within the framework of freedom, equality and tolerance.

“If the world becomes uniform and we all begin to exist as one planetary culture,” states Karl Rapaille, “then we will lose the cultural identity that formed us” [3].

The loss of cultural identity is one of the main threats to Russian mass culture in the future. This thesis is presented in her article by E. P. Matuzkova, quoting O. Pakhlevskaya's statement that “without culture there is no identity, without identity there is no civic feeling, no civil liberties” [4]. To prevent this from happening, museum institutions must shoulder the burden of responsibility for cultural identification. To become that beacon that, in the raging passions of Western culture, will allow Russian people to have the opportunity to compare it with the standard and reconfigure (reboot) if necessary.

Influencing consumers of cultural goods, drawing attention to the cultural values of the place where the museum is located is equally necessary for both local residents and visitors. The migration wave, when it is poorly controlled (for example, the problem in Europe), does not allow citizens of foreign cultures to quickly culturally assimilate, especially representatives of other religious and confessional views.

The synthesis of cultural values of migrants and their sublimation into domestic culture today is not easy.

The economic and psychological problems of such citizens overshadow the desire to learn about the new cultural environment in which they find themselves.

The language barrier is not the only obstacle to mutual understanding. Nationally specific features of different components of communicant cultures can complicate the process of intercultural communication. These components include: traditions, rituals and customs; everyday culture; daily behavior or habits of representatives of a certain culture; national pictures of the world, implying a peculiarity of thinking; artistic culture is a mirror of the cultural traditions of the people [5].

The disclosure of these components directly affects the role of the museum that it implements in society, completely resonating with its mission and objectives.

The problem of perceiving a foreign culture, which gives rise to a “conflict of cultures,” is inherent in the very process of intercultural communication: understanding the native culture leads to the repulsion of a foreign culture, which is assessed through the prism of one's own culture.

In conclusion, it should be noted that museum institutions can and should be mediators in establishing a dialogue of cultures, whose work is to remove the “hardships” of their stay and assimilate such categories of citizens. The use of museum marketing will contribute to the “acclimatization” of migrants into a new cultural space. However, this work must be carried out simultaneously in two directions so that the following condition is met: “migrants must value the new culture, and local residents must positively perceive migrants who want to join their culture” [1]. Only in the interconnection of this condition is an effective result possible.

museum social tension culture migrant

References

1. Klyuev Yu.V. Museum marketing in the context of modern culture. - Kemerovo: Kuzbassvuzizdat, 2008. - 191 p.

2. Kalyakina A.V. Marketing in the museum. The main stages of development and implementation of marketing policy // Directory of the head of a cultural institution. - 2004. - № 2. - P. 60-67.

3. Rapaille K. Cultural code: how we live, what we buy and why. - Moscow: Alpina Business Books, 2008. - 167 p.

4. Matuzkova E.P. Cultural identity: to the definition of the concept // Bulletin of the Baltic Federal University. I. Kant. - 2014. - Issue. 2. - pp. 62 68.

5. Odegova O.V. Contact with foreign language culture through conflict in the context of intercultural communication // Bulletin of Tomsk State University. - 2009. - № 324. - P. 136-138.

Размещено на Allbest.ru