Global marketing chapter 1 notes

Cable Protection A study commissioned by TNB that looked at future port plans for the coming years and included potential dredging requirements, highlighted the need for the cable be buried to an unprecedented depth of over 12 metres. At this depth, the cable would be fully protected throughout its life without creating any restrictions on the possible expansion of the port.

Global marketing chapter 1 notes

COWSPIRACY: The Sustainability Secret

Co-Creating with Visitors Co-creative projects originate in partnership with participants rather than based solely on institutional goals.

A community group may approach the museum seeking assistance to make a project possible, or the institution may invite outside participants to propose and work with staff on a project of mutual benefit. While co-creative and collaborative processes are often quite similar, co-creative projects start with community as well as institutional needs.

There are three main reasons that cultural institutions engage in co-creative projects: To give voice and be responsive to the needs and interests of local community members To provide a place for community engagement and dialogue To help participants develop skills that will support their own individual and community goals The directors of co-creative projects often see their institutions as community-based organizations in service to the needs of visitors, rather than as providers of services the institution perceives as valuable.

Staff members and community partners work closely to achieve their shared goals. The project development process is often co-determined by the preferences and working styles of participants. The result is a project that is truly co-owned by institutional and community partners.

Their community process is based on a dedication to empowering community members to tell the stories that are most meaningful to them, and community members are engaged in every step of exhibition development.

The Wing Luke has been recognized for its achievements in participatory exhibition development, but it has also received honors for producing exemplary audience-facing exhibition products.

Chapter 1: Principles of Participation

Stories of Asian Pacific American Garment Workers, which featured first-person narratives collected and designed with a team of fifteen garment workers, was named best exhibition by the Western Museums Association. This is an institution that knows how to use a co-creative process to create high quality products.

The Wing Luke Asian Museum includes this year-old preserved import-export store. The TV in the middle of the exhibit features the stories of Jimmy Mar, former owner-operator of this local business.

As Chew put it in There has always been an assumption that the work that we do should be guided by the community here and now.

Chapter 8: Co-Creating with Visitors – The Participatory Museum

There is an assumption that the museum is a portal for reflection for the outside world rather than a fortress of knowledge that people enter. There has been an assumption that change and the development of the relationships that we need to do our work will take a long time. We are not about stuff and projects but about relationships and stories that rise up from the community.

The story is more important than the stuff. The museum is more a place of dialogue than stated facts. As Velma put it: Ron has given me a lot of pride in being Filipino. The Wing Luke community process is simple to understand and hard to implement.

Their handbook reads like a Zen koan: The work requires flexibility. We willingly relinquish control. The process begins with an open exhibition proposal model. Staff members and community advisors pick the projects to pursue and launch a two-to-three year development process.

The project team is composed of three groups: A Core Advisory Committee of community members with specific and diverse connections to the topic at hand, who lead the project development Staff, who facilitate the process as technical advisors, project administrators, and community managers More informally engaged community members, who participate as contributors and collaborators to the project The exhibit development process is facilitated by staff but steered by the Core Advisory Committee CAC.

The content, timing, and decision-making process for each project changes based on the dynamics and needs of the particular community with whom each project is developed. Once the overall concept is defined, the CAC recruits other members of the community to contribute artifacts or stories, perform research, and provide outreach programming for the exhibition.

Meanwhile, the staff provides support in design, research, and community facilitation.

Global marketing chapter 1 notes

Staff members often manage interpersonal relationships alongside shifting project schedules. Museum staff members lead design and fabrication, with CAC members offering input and curatorial direction over artifact selection, multi-media story creation, and general design to ensure it remains in line with exhibition goals.

CAC members are invited to drop by at any point during fabrication and installation and are occasionally asked to help install particular artifacts or elements. There are special opening events for all participating community members, and participants are solicited both formally and informally for evaluation on the exhibitions.

In addition, community members often develop and lead educational programs alongside volunteers and staff members during the run of each exhibition. Because the co-creative process is the only way that exhibitions are developed at the Wing Luke Asian Museum, the audience experience is not differentiated from that of other types of exhibits or programs.

Global marketing chapter 1 notes

The audience is considered in exhibition design insofar as the co-creation process is set up to deliver a product that is meaningful and relevant to a range of diverse communities. The museum performs summative evaluations of all exhibitions, measuring audience numbers and impact as well as growth and impact of new community connections.

The museum is very specific in stating its indicators of success: We observe significant community participation in museum programs.Networking. Find a mentor, friend, or new contact. Connect with over 1 million global project management peers and experts through live events, learning seminars and online community.

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