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With over 4.5 million objects and specimens from both the natural and human worlds, Manchester Museum, part of The University of Manchester, is the largest University Museum in the United Kingdom. By virtue of its position within The University of Manchester, learning and research are central to Manchester Museum’s work. The Museum has a track-record of educational work, from the ‘Children’s Museum Club’, a travelling school loans service set up in 1954, to the founding of a dedicated Education Department in 1981. Throughout its long history, the Museum has always held objects and collections at the heart of its popular learning offer. More recently, the growth of the learning team led to the creation of a set of learning principles to underpin its work. These principles – that learning should be object-centred, dialogic, imaginative, personalised, multi-sensory, collaborative and exploratory – are all based on inquiry-based learning and aim to foster a research-based disposition in learners.

As a University Museum with engagement at its heart, Manchester Museum is now looking to transform the third floor of its building into a space themed entirely around ‘research’. This redevelopment, due to open in March 2015, will see the creation of a new visitor research space – ‘The Study’. This unique development will extend the successful inquiry-based learning approach used with schools and colleges, into a public research space for all visitors, with collections at its heart.

Indigenous entrepreneurship and hybrid venture creation represents a significant opportunity for Indigenous peoples to build vibrant Indigenous-led economies that support sustainable economic development and well-being. It is a means by which they can assert their rights to design, develop and maintain Indigenous-centric political, economic and social systems and institutions. In order to develop an integrated and comprehensive understanding of the intersection between Indigenous entrepreneurship and hybrid ventures, this chapter adopts a case study approach to examining Indigenous entrepreneurship and the underlying global trends that have influenced the design, structure and mission of Indigenous hybrid ventures. The cases present how Indigenous entrepreneurial ventures are, first and foremost, hybrid ventures that are responsive to community needs, values, cultures and traditions. They demonstrate that Indigenous entrepreneurship and hybrid ventures are more successful when the rights of Indigenous peoples are addressed and when these initiatives are led by or engage Indigenous communities. The chapter concludes with a conceptual model that can be applied to generate insights into the complex interrelationships and interdependencies that influence the formation of Indigenous hybrid ventures and value creation strategies according to three dimensions: (i) the overarching dimension of indigeneity and Indigenous rights; (ii) indigenous community orientations and (iii) indigenous hybrid venture creation considerations.

Due to the impact of the pandemic that enforced mass closures and lock downs, galleries, libraries, archives, and museums [GLAM] institutions around the world were required to re-think how they interacted with the public. As a result of the measures that enforced isolation, distancing, and increased hygiene requirements, the usefulness of virtual technologies as a storytelling medium has come into sharper focus. This chapter will explore the emergence of augmented reality as a viable post-COVID-19 solution to meaningful digital narrative creation and user interaction in the museum environment. This chapter will concentrate on the development of a project between the University of South Australia [UniSA] and the South Australian Museum [SAM] to explore how it might be possible to create sustainable immersive stories within this environment.

This chapter describes a participatory case study undertaken at a museum in New Zealand, involving a varied range of museum stakeholders. The research investigated aspects of museum performance assessment in the context of public accountability from the perspectives of different communities of interest, including Maori, the indigenous people of New Zealand. The complex research design involved identifying key stakeholders, and then conducting focus groups with a diversity of stakeholder types. Through a brainstorming process, these groups co-created texts which formed the raw data for the study. The stakeholder-generated texts were interpreted at various stages to produce ‘Possible Performance Statements’ which reflected the understandings and concerns of the various stakeholders in relation to the case museum's performance. Adopting the concept mapping approach developed by Trochim, the focus group participants then sorted the statements into conceptual constructs which made sense to them, and also rated the statements according to their relative importance as criteria for assessing their museum's performance. Proprietary software that is used to analyse the sorting and rating data produced concept maps and pattern matches which facilitated interpretation of the participants’ perspectives. The visual representations of the quantitative analyses enabled qualitative consideration leading to the development of a framework for museum performance assessment which would be more holistic and locally relevant and which would address stakeholder concerns.

The application of this intricate hybrid research design provided lessons which suggested other ways to gain richer data and deeper insights from the concept mapping approach, especially in a cross-cultural context. Participatory approaches which allow collective, as opposed to individual, interpretation of the co-created texts may be more suitable in certain cultural contexts, in this instance among Maori participants. The approach adopted was resource-intensive, requiring tight organisation and flexibility, greatly assisted by piloting the processes and using a professional editor to prepare the texts for interpretation by the participants. To maximise the insights from the focus groups, audio-recording of the research participants’ discussions as they generated their texts relating to museum performance assessment should be considered, as well as involving participants in the interpretation of the concept maps.

Purpose: In the experience economy, the main challenge for museums is not only to attract visitors but also to preserve artworks. Given this circumstance, this chapter aims to offer an overview of how these cultural organisations have emerged as labs of the future culture, where all kind of technological experiments are tested so as to fulfil their mission.

Design/methodology/approach: This chapter is based on extensive literature review on issues related to robots, artificial intelligence and service automation (RAISA) in the museum sector. Examples illustrate the role of technology in the experience design and preservation of cultural resources.

Findings: 1) A chronological framework of museums’ orientations is established to understand the evolution toward the technology-driven present period. 2) Robots, artificial intelligence and service automation have a meaningful contribution to make in guaranteeing visitor arrivals. 3) This technological phase requires a tourism workforce with new skills.

Research limitations/implications: Few academic studies concerning to the use of robots, artificial intelligence and service automation in the museum sector were found. Hence, more empirical studies are required to completely corroborate the chapter’s suggestions.

Practical implications: An enlightening path for the service design of multisensory and participatory is proposed, as a useful guide for heritage managers, marketing practitioners and tourism planners.

Originality/value: Museum management has been always receiving the attention of managers, policymakers, scholars, among others. Insights of how technology enhances heritage preservation and the improvement of museum services throughout numerous examples can direct them to increase knowledge and adopt these practices.

This chapter examines changing attitudes towards exhibiting Chinese immigration in New Zealand. Drawing on archival research and qualitative interviews with subject experts and visitors, three museums are discussed: national narratives at the New Zealand Maritime Museum in Auckland and The Museum of New Zealand Te Papa Tongarewa in Wellington; and regional representations at the Toitū Otago Settlers Museum in Dunedin.

The exhibition analysis shows that multicultural narratives of tangata tiriti immigration including Chinese only became prevalent in the 1990s, when changing attitudes in society at large and progressive immigration legislation influenced strategies of display.

These modernised national narratives propagate a multicultural paradigm. However, exhibiting Chinese immigration history constitutes only a small part of the larger mission of national museums. Accordingly, narratives of Chinese immigration remain superficial, serving celebratory representations of ethnic communities, while racism and discrimination are an important, but not central aspect of these narratives.

At the regional level, Toitū re-invented itself into a social history museum with a more inclusive and reconciliatory agenda, with a redesign in 2013 subsuming Chinese immigration into an intercultural narrative, featuring alongside other minority groups with a focus on cultural contact and exchange.

Nevertheless, all three museums still rely on narratives based on minorities and majorities arranged around a stable hegemony. Consultation and cooperation with Māori also reveal the wish to be presented as first people, set apart from tangata tiriti. That way biculturalism seems to act as a dividing force spatially, but thematically both immigration histories are more and more intertwined.