Instagram as a participatory tool: A comparative analysis of six Spanish museums
Article Sidebar
434)
Main Article Content
Authors
Abstract
224
Digital media is usually understood as a tool that helps the social and participatory ideal of museums and cultural institutions to materialize. This ideal has its roots in the reflections that, since the 1980s, new museology and critical museology movements have developed around the renewal of cultural organizations: a transformation that places the visitor at the center of the institution, revises their stories about its collections and invites institutions to be more participative with the public. Seeking to identify the characteristics that these theories adopt in practice, this article investigates the forms of participation implemented on Instagram by six Spanish cultural institutions: Museo Nacional del Prado Museum, Museo Nacional Thyssen-Bornemisza, Museo Nacional Reina Sofía, Museo Guggenheim Bilbao, Museo de Arte Contemporáneo de Barcelona (MACBA) and Centro de Cultura Contemporánea de Barcelona (CCCB). By way of a content analysis of their publications over the span of 6 months, patterns and trends have been identified within the communication strategies of these organizations. The results indicate a clear predominance of minimalist participatory forms (those oriented towards access to practical information and the discovery of collections) over maximalist modalities related to collaboration or co-creation. In general terms, there is also a considerable presence of audiovisual formats in the publications analyzed, showing the great capacity of these institutions to adapt to the latest changes in Instagram.
Keywords
References
Anderson, G. (2004). Reinventing the museum. Historical and Contemporary Perspectives on the Paradigm Shift. Lanham: Altamira Press.
Andréu Abela, J. (2002). Técnicas de Análisis de Contenido: una revisión actualizada. Sevilla: Fundación Centro de Estudios Andaluces.
Aznar, J. (2014). ¿Sirven para algo las redes sociales en el sector cultural? Anuario AC/E de Cultura Digital 2014 (pp. 101-112). Madrid: Acción Cultural Española. Retrieved from https://www.accioncultural.es/media/ /Adj/Anuario_ACE_2014.pdf
Bardin, L. (1996). Análisis de contenido. Madrid: Akal.
Barrio-Fernández, T. (2014). La participación de audiencias en museos de arte. Bibliografía general y estudio de caso del Museo de Navarra. Príncipe de Viana, 259, 37-61. Retrieved from https://dadun.unav.edu/handle/10171/59840
Black, G. (2018). Meeting the audience challenge in the “Age of Participation”. Museum Management and Curatorship, 33(4), 302-319. https://www.doi.org/10.1080/09647775.2018.1469097
Bosello, G. & van den Haak, M. (2022): #Arttothepeople? An exploration of Instagram’s unfulfilled potential for democratising museums. Museum Management and Curatorship, 1-18. https://www.doi.org/10.1080/09647775.2021.2023905
Budge, K. (2017). Objects in Focus: Museum Visitors and Instagram. Curator: The Museum Journal, 60, 67-85. https://www.doi.org//10.1111/cura.12183
Caerols-Mateo, R., Viñarás-Abad, M. & Gonzálvez-Valles, E. (2017). Redes sociales y museos: análisis de la campaña en Twitter para el Día Internacional de los Museos y Noche de los Museos. Revista Latina de Comunicación Social, 72, 220-234. https://www.doi.org/10.4185/RLCS-2017-1162
Capriotti, P. & Losada-Díaz, J. C. (2018). Facebook as a dialogic communication tool at the most visited museums of the world. El profesional de la información, 27(3), 642-650. https://www.doi.org/10.3145/epi.2018.may.17
Capriotti, P., Zeler, I. & Oliveira, A. (2021). Assessing dialogic features of corporate pages on Facebook in Latin American companies. Corporate Communications: An International Journal, 26(5), 16-30. https://www.doi.org/1108/CCIJ-10-2020-0149
Carpentier, N. (2012). The concept of participation. If they have access and interact, do they really participate? Revista Fronteiras-Estudios Midiáticos, 14(2), 164-177. https://www.doi.org/4013/fem.2012.142.10
Carpentier, N. (2015). Differentiating between access, interaction and participation. Conjunctions. Transdisciplinary Journal of Cultural Participation, 2(2) . https://www.doi.org/10.7146/tjcp.v2i2.23117
Claes, F. & Deltell, L. (2013). Museos sociales. Perfiles museísticos en Twitter y Facebook (2012-2013). El profesional de la información, 23(6), 594-602. https://www.doi.org/10.3145/epi.2014.nov.06
Codina, Ll. & Pedraza-Jiménez, R. (2016). Características y componentes de un sistema de análisis de medios digitales: el SAAMD. In R. Pedraza-Jiménez, Ll. Codina & J. Guallar (Eds.), Calidad en sitios web. Método de análisis general, “ecommerce”, imágenes, hemerotecas y turismo (pp. 15-39). Barcelona: UOC.
Cordón Benito, D. (2016). Los Museos y el uso de las narrativas transmedia en las redes sociales. In J. V. García Santamaría & F. Pérez Bahón (Eds.), Los medios digitales españoles: procesos de cambio e innovación. Cuadernos Artesanos de Comunicación. La Laguna: Latina.
Desvallées, A. (1981). Muséologie (nouvelle). In Encyclopaedia universalis, Supplément, 2 (pp. 958-961). Edimburgh: Encyclopædia Britannica.
Drotner, K. & Schrøder, K. C. (2017). Museum Communication and Social Media. New York: Routledge.
Fernández-Lores, S., Crespo-Tejero, N. & Fernández-Hernández, R. (2022). Driving traffic to the museum: The role of the digital communication tools. Technological Forecasting and Social Change, 174(1). https://www.doi.org/10.1016/j.techfore.2021.121273
Gómez-Vílchez, S. (2012). Museos españoles y redes sociales. Evaluación de preferencia y participación. Telos: Cuadernos de comunicación e innovación, 90, 79-86. Retrieved from https://telos.fundaciontelefonica.com/archivo/numero090/museos-espanoles-y-redes-sociales/?output=pdf
Gonzálvez Vallés, J. E., Caerols Mateo, R., Cabezuelo Lorenzo, F. & Viñarás Abad, M. (2021). Communicate Contemporary Art without Visiting the Museum without Visiting the Museum: The Reina Sofía Museum during the confinement by Covid-19. Revista Internacional de Cultura Visual, 8(2), 203-218. https://www.doi.org/10.37467/gkarevvisual.v8.2974
Holdgaard, N. & Klastrup, L. (2014). Between control and creativity: challenging co-creation and social media use in a museum context. Digital creativity, 25(3), 190-202. https://www.doi.org/10.1080/14626268.2014.904364
Hooper-Greenhill, E. (2000). Changing values in the art museum: rethinking communication and learning. International Journal of Heritage Studies, 6(1), 9-31. https://www.doi.org/10.1080/135272500363715
Jensen, B. (2013). Instagram as cultural heritage: User participation, historical documentation, and curating in Museums and archives through social media. Digital Heritage International Congress (DigitalHeritage), 2, 311-314. https://www.doi.org/10.1109/DigitalHeritage.2013.6744769
Kelly, L. (2013). The Connected Museum in the World of Social Media. In K. Drotner & K. Schroder Museum Communication and Social Media: The connected museum (pp. 54-71). London: Routledge.
Kidd, J. (2011). Enacting engagement online: framing social media use for the museum. Information, Technology and People, 24(1), 64-77 . https://www.doi.org/10.1108/09593841111109422
Kidd, J. (2018). Transmedia heritage. Museums and Historic Sites as Present-Day Storytellers. In M. Freeman & R. Rampazzo (Eds.), The Routledge Companion to Transmedia Studies (pp. 272-278). London: Routledge.
Krippendorff, K. (1990). Metodología de análisis de contenido. Teoría y práctica. Barcelona: Paidós.
López, X., Margapoti, I., Maragliano, R. & Bove, G. (2010). The presence of Web 2.0 tools on museum websites: a comparative study between England, France, Spain, Italy, and the USA. Museum Management and Curatorship, 25(2), 235-249. https://www.doi.org/10.1080/09647771003737356
Mateos-Rusillo, S. & Gifreu-Castells, A. (2018). Transmedia Storytelling and Its Natural Application in Museums. The Case of the Bosch Project at the Museo Nacional del Prado. Curator. The Museum Journal, 61(2), 301-313. https://www.doi.org/10.1111/cura.12252z
Mayfield, R. (2006). Power Law of Participation. Retrieved from https://ross.typepad.com/blog/2006/04/power_law_of_pa.html
Ministerio de Educación, Cultura y Deporte (2015). Museos + sociales. Un mayor compromiso social de los museos de la Secretaría de Estado de Cultura. Retrieved from https://www.culturaydeporte.gob.es/dam/jcr:b16771f7-9f4f-40d6-aca8-30d9fb1f8dc6/plan-museos-soc.pdf
Moreno Sánchez, I. (2015). Interactividad, interacción y accesibilidad en el museo transmedia. Zer. Revista de Estudios de Comunicación, 20(38), 87-107. https://www.doi.org/10.1387/zer.14784
O’Hagan, L. (2021). Instagram as an exhibition space: reflections on digital remediation in the time of COVID-19. Museum Management and Curatorship, 36(6), 610-631. https://www.doi.org/10.1080/09647775.2021.2001362
Oliveira, A. & Capriotti, P. (2013). Gestión estratégica de los públicos en museos. De la identificación a la comunicación. Profesional de la información, 22(3), 210⎼214. https://www.doi.org/10.3145/epi.2013.may.03
Riviére, G. H. (1989). La muséologie. Cours de muséologie, textes et témoignages. París: Bordas Editions.
Ryan, M. L. (2017). Transmedia Storytelling as Narrative Practice. In T. Leitch (Ed.), The Oxford Handbook of Adaptation Studies (pp. 527-42). Oxford: Oxford University Press.
Simon, N. (2007). Hierarchy of Social Participation. Retrieved from http://museumtwo.blogspot.com/2007/03/hierarchy-of-social-participation.html
Simon, N. (2010). The participatory museum. California: Museum 2.0.
Stuedahl, D. (2011). Social Media and Community Involvement in Museums. A Case Study of a Local History Wiki Community. Nordic Museology, 1, 3⎼14. https://www.doi.org/10.5617/nm.3142
Taylor, J. & Gibson, L. K. (2017). Digitisation, digital interaction and social media: embedded barriers to democratic heritage. International Journal of Heritage Studies, 23(5), 408-420. https://www.doi.org/10.1080/13527258.2016.1171245
Tinto Arandes, J. A. (2013). El análisis de contenido como herramienta de utilidad para la realización de una investigación descriptiva. Un ejemplo de aplicación práctica utilizado para conocer las investigaciones realizadas sobre la imagen de marca de España y el efecto país de origen. Provincia, 29, 135-173.
Valtysson, B. (2022). Museums in the age of platform giants: Disconnected policies and practices. International Journal of Cultural Studies, 1-18. https://www.doi.org/10.1177/13678779221079649
Vassilakis, C., Antoniou, A., Lepouras, G., Poulopoulos, V., Wallace, M., Bampatzia, S. & Bourlakos I. (2017). Stimulation of reflection and discussion in museum visits through the use of social media. Soc. Netw. Anal. Min, 7(40), 1-12. https://www.doi.org/10.1007/s13278-017-0460-3
Villaespesa, E. (2013). Diving into the Museum’s social media stream. Analysis of the visitor experience in 140 characters. In MW2013: Museums and the Web. Portland, USA.
Villaespesa, E. (2019) Museum Collections and Online Users: Development of a Segmentation Model for the Metropolitan Museum of Art. Visitor Studies, 22(2), 233-252 . https://www.doi.org/10.1080/10645578.2019.1668679
Viñarás, M. (2009). Departamentos de comunicación en museos: la planificación estratégica de la comunicación en instituciones artísticas y culturales. Global Media Journal Edición Iberoamericana, 6(11), 36-54.
Viñarás, M. & Caerols, R. (2016). Redes sociales y patrimonio: el caso de cinco museos especializados. Opción, 32(8), 968-988.
Watkins, J. & Russo, A. (2007). Participatory Design and Co-creativity in Cultural Institutions. Retrieved from https://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.90.8676&rep=rep1&type=pdf
Weil, S. (1999). From being about something to being for somebody: The ongoing transformation of the American museum. Daedalus, 128(3), 229-258. Retrieved from https://www.jstor.org/stable/20027573
Weilenmann, A., Hilliman, T. & Jungselius, B. (2013). Instagram at the museum: Communicating the museum experience through social photo sharing. CHI 2013: Changing Perspectives. https://www.doi.org/10.1080/09647775.2022.2073563
Witcomb, A. (2003). Re-imagining the Museum: Beyond the Mausoleum. London: Routledge.
Zingone, M. (2019). Instagram as Digital Communication Tool for the Museums: a Reflection on Prospectives and Opportunities through the Analysis of the Profiles of Louvre Museum and Metropolitan Museum of New York. European Journal of Social Science Education and Research, 6(3), 53-63. https://www.doi.org/10.26417/ejser.v6i3.p53-63
Details
Article Details
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
RIGHTS TRANSFER
By submitting the article for evaluation and subsequent publication in Communication & Society, the AUTHOR exclusively assigns the rights of public communication, reproduction, distribution and sale for commercial exploitation to the University of Navarra through its Publications Service, for the maximum legal term in force -the entire life of the author and seventy years after his death or declaration of death-, in any country, and in any of the current and future edition modalities, both in print and electronic versions.
In the event that the article is not accepted for publication , this transfer of rights lapses with the communication of the refusal to the AUTHOR.
The AUTHOR affirms that the article is unpublished, that it has not been sent simultaneously to another publication medium and that the rights have not been transferred exclusively previously. He is responsible to the University of Navarra through its Publications Service for the authorship and originality of his work, as well as for all pecuniary charges that may arise for the University of Navarra through its Publications Service, in favor of third parties due to actions, claims or conflicts arising from the breach of obligations by the AUTHOR.
