CULTURAL PORTALSGATEWAYS TO A GLOBAL COMMONS
FOREWORD 1
EXECUTIVE SUMMARY 2 Objectives Actions FuturePlans
RESUMEN EJECUTIVO 4 Objetivos Actividades Planesafuturo
SOMMAIRE EXÉCUTIF 6 Objectifs Actions Plansd’avenir
INTRODUCTION 8
INFORMATION GATHERING AND NETWORK KNITTING 9 Culture.mondo InternationalSurveyofCulturalPortals InternationalRoundtable,CulturalPortals:NewChallenges&GoodPractices
CHARACTERISTICS OF CULTURAL PORTALS 12 ObjectivesofPortalArchitects:WhyBuild? AudienceforPublicCulturalPortals:Forwhomaretheybuilding? ContentProvidedbyCulturalPortals:Whatisofferedtotheaudience? StructureandGovernanceofPortals
PORTALS AND CITIZEN ENGAGEMENT 16 Participation Diversity Access
CULTURAL PORTAL MANAGEMENT 18 CollaborativeApproaches:networks,cross-sectoralcollaborationsandpublic-privatepartnerships OwnershipandGovernance RoleofGovernments:rationalizingpolicyandinvestmentwithaudienceneeds User-focusedAudienceDevelopment MeasuresofSuccess
WWW: FORWARD SLASH/FUTURE 26
ACKNOWLEDGEMENTS 27
APPENDIX: ROUNDTABLE PARTICIPANTS 28
Inthenearfuture,thecompletepublicationwillbeavailablefordownloadinseverallanguagesatwww.culturemondo.org.ThisExecutiveSummaryispresentedinEnglish,FrenchandSpanish,theworkinglanguagesoftheCulture.mondoRoundtable.
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Developing knowledge societies and
promoting cultural diversity depend on
real-life services that actively engage
online users. The Culture.Mondo network
is tackling these challenges by sharing
experiences and expertise from portals
across the globe. The survey uncovered
fascinating insights into the contributions
portals are making to cultural life, and is
enabling international collaboration.David Dawson, HeadofDigitalFutures,MLA(UK)
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Tenyearsago,hardlyanyoneworkinginculturaldevelopmentwouldhaveguessedthespeedandmagnitudewithwhichonlineculturalportals
wouldemerge.TheWWWtookoffin1990;thefirst‘Culturenets’appearedafewyearslater.In2005culturalportalshavebecomeanalmostessentialelementinpublicpolicytoolkitsacrosstheglobe.
Forthoseofusinvolvedinculturalportaldevelopment,adviceremainsscarce.Inforawheree-culturemanagementandpolicyareconsidered,thefocusismoreoftenonthepracticeofdigitization.However,culturalportalshaveadifferentvocationandspecificproblems.Whiletheyrangeinsize,scope,servicesandmanagementstructure,theseonlinespaceshaveonethingincommon-thedrivetoengageandexcitepeoplewiththerichnessanddiversityofcultureandthewaysthatitshapesourlives.Developingasuccessfulportalandonlinebrandisnoteasy.Itisacrowded,competitiveandcommercialmarketplaceshapedbydominanttechnologyandplayers.Culturalportals-asnewpublicspaces,aresuccessfulwhentheyareanalternativetomainstreamentertainmentsites,respondingtoamoresubtlesetofaudienceneeds.Atthesametime,theymustoperateasgoodbusinessesanddemonstrateclearmeasuresofsuccessinordertojustifythesupportofthepublicpurse.Asonlinepublishers,culturalportalshaverespondedtothesechallenges: Almostallarebuildingcomprehensive,
authoritative,uptodatelistingsservices. Manyofferroutesintoonlinecollections. Othersprovideinteractivetools. Someofferlively,dailyeditorialthat
contextualizesandenlivensculturalstories. Someprovideaplatformforcitizensto
expresstheirowndiversevoices. Somefocusonaneducationalagendato
inspirelearning. Allarepassionateaboutcultureandits
valuetoourworld.
Butwhatwilltheseportalslooklikeinfiveyears?Whatwillthevirtualvisitorofthefuturewanttoexperience?Howculturalportalsdeveloptheircontentandtheiroperations,thewaystheyleadorfollownewtechnologies,thepartnershipstheybuildandtherulesthatgovernthemwillshapetheirsuccessinthisfuture.
TheCulture.mondonetworkemergedin2005tohelpthoseofuswhoareconceiving,managing,marketingandfundingculturalportalstobetterunderstandthecomplexityoftheseissuesandexploretheirsolutions.Thisreportpresentsourfirstsmallstepstowardsanintenselycollaborativeglobalinitiative.Welookforwardtolearningtogether,reachingoutandbuildingsomegreatonlineculturalexperiences!
Vladimir SkokCulture.ca/Culturescope.ca
Jane Finnis24HourMuseum(UK)
FOREWORD
OnbehalfoftheInternationalSteeringCommittee
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Objectives
Theobjectivesofculturalportals,oftheCulture.mondonetworkandofthispublicationitselfareinterconnected.
Althoughculturalportalsareasdiverseasthecountriesorculturalgroupsthatbuildthem,theircreationismotivatedbyacommongoal:toengageandinformcitizensandtoencouragethemtoexploretheiridentity,cultureandcreativity.
Fromahandfulofportalsestablishedinthemid1990s,thefieldhasexpandedbythehundreds.Over300portalswereidentifiedandinvitedtoparticipateinanonlinesurveythatwascompletedinearly2005.Manymoreculturalportalsareunderdevelopment.Culture.mondohasgrownoutoftheintersectingandoverlappinginterestsofindividualculturalportals.Thisemerging,informalinternationalnetworkofportalsseekstoencourageandadvancecommunicationamongportalarchitects,developers,managers,promotersandfunders;italsoseekstobringtheseconversationsintotheinternationalarena.
Culture.mondoseekstofacilitatethedevelopmentofanonlineglobalcommunityofpublicculturalportals,asavehicleforthemto: Connectinternationally; Shareknowledge; Collaborate;and Disseminatebestpractices.
Thispublication,CulturalPortals:GatewaystoaGlobalCommons,supportstheCulture.mondoobjectiveofsharingknowledgeacrossthespectrumofculturalportals.ItalsosetsouttodescribethedevelopmentandworkofCulture.mondoandtosituatethenetworkandtheculturalportalsthatfuelitwithinawiderdigitalconversation.InternationalworkinggroupssuchasCulture.mondoadvancethediscussionsandactionsthatmakethecaseforbroadaccesstotheInternet,thereby
embracingcitizensworldwideandsupportinganextgenerationofculturalcreators,consumersandparticipants.
Actions
Tomeetitsobjectives,Culture.mondoundertooktomaptheinternationalfieldofculturalportalsthroughanonlinesurveythathasprovidedacontextforthedevelopmentofthenetwork,settheagendaforaninternationalroundtableofculturalportalsandinformedthispublication.
Ininvitingparticipationinthesurveyandthenetwork,Culture.mondohasoptedforanopenandflexibledefinitionofcultural portal,whichincludesnationalculturalportals,thematicportalsandculturalobservatories.Portalsaremostoftennational;however,someareregional(withinoracrossnationalborders),orsupranational.
Thesurveyhasshownthatthenumberofportalsisincreasingataphenomenalrateandthat,collectively,theyarereachingaglobalaudienceofmillions.Ithasunderscoredthevalueoftheculturalportalinensuringaccess,embracingdiversityandencouragingparticipationbycitizensintheirculture.
Issuesanddiscussionspresentedinthepublicationoftencentreonportalvisitors,Internettravellerswhostepthroughthegatewayoftheculturalportaland,insodoing,areinvitedontoaglobalcommonsofculture—intersectingandconnectingwiththeirowncultureandwithculturesfromaroundtheworld
Culture.mondodesignedandfacilitatedanInternationalRoundtableofculturalportalsheldatExpo2005,Japan(June6–8,2005)entitled“CulturalPortals:NewChallengesandGoodPractices.”Discussionsfocusedonkeymanagementissuescurrentlyfacedbyportalarchitects:partnerships,governance,contentmanagement,andmarketingandaudienceneeds.
EXECUTIVE SUMMARY
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Eighteenculturalportals(fromallregionsoftheworld)andUNESCOparticipatedintheCulture.mondoRoundtable.Participatingportalsreflectedarangeanddiversityinnature,stageofdevelopmentandscopeandpresentedamixofpublic,private,collaborative,national,regionalandinternationalculturalportals.Asaresultofthismeeting,activemembershipinthenetworkhasmorethandoubled,withconnectionsintoallregionsoftheworld.
Culture.mondohasestablishedaWebpresenceatwww.culturemondo.orgwherenetworkmembersarekeptapprisedofactivities,resourcesareavailableandlinkstoover80culturalportalsfacilitateaccesstoawiderangeofculturalinformation.
Future Plans
TheCulture.mondocommunityofpracticeaimstoincreaseparticipationfromculturalportalsandstrategicbodiesworldwide.Knowledgeexchangedacrossportalswillensurethatestablishedportalscansharebestpracticeswitheachotherandsupportthedevelopmentofnewportalsaroundtheworld.However,informationflowsinmanydirections—thefreshtakeofemergingportals,thetenacityofless-resourcedportalsandtheingenuityofyoungportalarchitectswillconstantlyprovidenewviewsandperspectivesonthechallengesofportalgrowthanddevelopment.
Asitexpandsandgrows,Culture.mondoiscommittedtomaintaininganopen,nimbleandflexibleorganizationthatisresponsivetotheinterestsandaspirationsofitsportalmembers.Culture.mondodoesnotproposeamultinationalbureaucracyoramassivepublic-facingdestinationwebsite.Culture.mondoisnottiedtoanyonenationalagenda,ortoasingleapproachtoanyaspectofportaldesignandmanagement.
Thenetworklooksforwardtoexchangeandcollaborationwithotherrelatedinitiatives,regionallyandmultinationally,includingMICHAEL,theInterAmericanNetworkofCulturalPolicyObservatoriesoftheOrganisationofAmericanStates(OAS),theNetworkofCulturalPolicyObservatoriesandUNESCO.
Thenetworkplanstoseekoutpartnersinordertoundertakefurtherresearchandinformation-sharingtosupporttheexchangeofknowledgebetweenportals.Thisinitiativewillbenefitboththeportalbuildersandtheindividualcitizensworldwidethatenterintothisnewglobalcommonsthroughtheirchosenculturalportalgateways.
www.culturemondo.org
Culture.mondo is an
emerging, informal network
that encourages and
facilitates communication Vladimir SkokCulture.ca/Culturescope.ca
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Objetivos
Losobjetivosdelosportalesculturales,delaRedCulture.mondoydeestapublicaciónestáninterrelacionados.
Aunquelosportalesculturalessontandiversoscomolospaísesolasagrupacionesculturalesquelosconstruyen,sucreaciónestámotivadaporunpropósitocomún:involucrareinformaralosciudadanoseincentivarlosaexplorarsuidentidad,culturaycreatividad.
Deunpuñadodeportalesestablecidosamediadosdelosañosnoventa,suuniversohacrecidonotablemente.Másde300fueronidentificadoseinvitadosaparticiparenunaencuestaporinternetconcluidaaprincipiosde2005.Unacantidadsuperiordeportalesculturalesestáendesarrollo.
Culture.mondosurgiódebidoalosinteresesdelosportalesculturales,loscualesseintersectanysetraslapan.Estaredinformalyemergentedeportalesbuscaestimularlacomunicaciónentrelosarquitectos,desarrolladores,administradores,promotoresyfundadoresdedichosportales;tambiénseproponellevarestadiscusiónalámbitointernacional.
Culture.mondobuscafacilitareldesarrollodeunacomunidadglobalenlíneadeportalesculturalespúblicos,comounvehículoparaqueéstos: seconecteninternacionalmente; compartanconocimientos; colaboren;y difundanmejoresprácticas
Estapublicación,Portalesculturales:puertasalacomunidadglobal,apoyaelobjetivodeCulture.mondodecompartirconocimientosentreeluniversodeportalesculturales.ProponedescribireldesarrolloyeltrabajodeCulture.mondoysituarestaredyalosportalesculturalesquelaalimentanenunaconversacióndigitalmásamplia.GruposinternacionalesdetrabajocomoCulture.mondoimpulsanlasdiscusionesyacciones
queaboganporunaccesomásamplioainternet,enlazandoalosciudadanosdetodoelmundoyapoyandounanuevageneracióndecreadoresculturales,consumidoresyparticipantes.
Actividades
Paraalcanzarsusobjetivos,Culture.mondorealizóunmapeointernacionaldelosportalesculturalesatravésdeunaencuestaporinternetquediocomoresultadoelcontextoparaeldesarrollodelared,estableciólaagendaparalamesaredondadeportalesculturalesygeneróinformaciónparaestapublicación.
Alconvocarlaparticipaciónenlaencuestayenlared,Culture.mondohaoptadoporunadefiniciónabiertayflexibledeportalcultural,lacualincluyeportalesculturalesnacionales,portalestemáticosyobservatoriosculturales.Conmayorfrecuenciasetratadeportalesnacionales;sinembargo,algunossonregionales(dentrooatravésdefronterasnacionales)osupranacionales.
Laencuestahamostradoqueelnúmerodeportalesseincrementaaunritmoexplosivoyque,colectivamente,estoslleganaunaaudienciaglobaldemillones.Hasubrayadolaimportanciadelosportalesculturalesparaasegurarelacceso,darcaucealadiversidadypromoverlaparticipaciónciudadanaenlacultura.
Lostemasylasdiscusionesquesepresentanenestapublicaciónsecentranfrecuentementeenlosvisitantesalosportales,losviajeroseninternetquecruzanlaentradadelportalculturaly,alhacerlo,soninvitadosaunacomunidadglobalcultural–queintersectayconectasupropiaculturaconculturasalrededordelmundo.
Culture.mondofuediseñadoryfuefacilitadordelaMesaRedondadePortalesCulturalestituladaLosportalesculturales:nuevos
RESUMEN EJECUTIVO
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desafíosybuenasprácticas,quesellevóacaboenlaExpo2005deJapón(6a8dejuniode2005).Lasdiscusionesseenfocaronenaspectosclavedemanejoqueactualmenteenfrentanlosarquitectosdelosportales:socios,administración,manejodecontenidos,mercadotecniaynecesidadesdelasaudiencias.
Dieciochoportalesculturales(detodaslasregionesdelmundo)ylaUNESCOparticiparonenlaMesaRedondadeCulture.mondo.Estosportalesreflejaronunadiversidadensunaturaleza,niveldedesarrollo,campodeacciónypresentaronunamezcladeportalespúblicos,privados,mixtos,nacionales,regionaleseinternacionales.Comoresultadodeestareunión,losmiembrosactivosdelaredcrecieronmásdeldoble,conconexionesentodaslasregionesdelmundo.
Culture.mundohaestablecidounapresenciaenelciberespacioconsupáginawww.culturemondo.orgenlacuallosmiembrosdelaredsemantienenaltantodeactividades,recursosdisponiblesyligasamásde80portalesculturalesquefacilitanelaccesoaunamplioespectrodeinformacióncultural.
Planes a futuro
LacomunidaddeCulture.mondoseproponeincrementarlaparticipacióndeportalesculturalesycuerposestratégicosdetodoelmundo.Elconocimientocompartidoentreellospermitiráasegurarquelosportalesestablecidospuedancompartirmejoresprácticasyapoyareldesarrollodenuevosportalesalrededordelmundo.Sinembargo,lainformaciónfluyeenmuchasdirecciones:losnuevosenfoquesdeportalesemergentes,latenacidaddelosportalesquecuentanconmenoresrecursosyelingeniodelosarquitectosdeportalesjóvenesqueconstantementeproveerándenuevospuntosdevistayperspectivassobrelosretosdecrecimientoydesarrollodelosportales.
Conformecrezcayseexpanda,Culture.mondo
secomprometeamantenerunaorganizaciónabiertayflexiblequerespondaalosinteresesyaspiracionesdesusportalesmiembro.Culture.mondonoproponeunaburocraciamultinacionalounportaldecaraalpúblicocomodestinomasivo.Culture.mondonoestáatadoaningunaagendanacionaloaunenfoqueexclusivoenningúnaspectodediseñoymanejodeportales.
Laredestáenesperadeintercambiarinformaciónycolaborarconotrasiniciativasrelacionadas,tantoregionalescomomultinacionales,incluyendoMICHAEL,laOrganizacióndeEstadosAmericanos(OEA),laReddeObservatoriosdePolíticasCulturalesylaUNESCO.
Laredplaneabuscarsociosafindellevaracabomásinvestigaciónycompartirinformaciónparaapoyarelintercambiodeconocimientoentreportales.Estainiciativabeneficiarátantoalosdesarrolladoresdeportalescomolosciudadanosindividualesentodoelmundoaqueentrenaestanuevacomunidadvirtualatravésdelportalculturalqueelijan.
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Objectifs
LesobjectifsdesportailsculturelsduréseauCulture.mondoetdelaprésentepublicationsontinterreliés.
Bienquelesportailsculturelssoientaussidiversifiésquelespaysougroupesculturelsquilesontcréés,leurréalisationestmotivéeparunobjectifcommun:faireparticiperetinformerlescitoyenstoutenlesencourageantàexplorerleuridentité,leurcultureetleurcréativité.
Àpartird’unepoignéedeportailscréésaumilieudesannées1990,ledomaines’estétenduàdescentainesdesites.Plusde300portailsculturelsontétérépertoriésetinvitésàprendrepartàunsondageenlignecomplétéaudébutde2005.Plusieursautresportailsculturelssontégalementendéveloppement.Culture.mondoestnédel’intersectionetduchevauchementdesintérêtsdedifférentsportailsculturels.Ceréseauinformelinternationaletémergeantdesportailschercheàencourageretàfaireprogresserlacommunicationentrelesarchitectes,créateurs,gestionnaires,promoteursetbailleursdefonds.Ilviseaussiàtransposercedialogueàl’arèneinternationale.
Culture.mondochercheàfavoriserledéveloppementd’unecommunautéglobaledesportailsculturelspublicsenligneentantquevéhiculede: Connexioninternationale; Partagedesconnaissances; Collaboration;et Diffusiondespratiquesexemplaires.
Cettepublication,Lesportailsculturels:Passerellesversunecommunautéglobale,soutientl’objectifdeCulture.mondoencequiatraitaupartagedesconnaissancesserapportantauxportailsculturels.EllechercheégalementàdécrireledéveloppementetletravaildeCulture.mondotoutententantdesituerlesportailsculturelsquilecomposentauseind’unplusvastesystèmede
conversationvirtuelleglobale.LesgroupesdetravailinternationauxcommeCulture.mondostimulentlesdiscussionsetactionsquidéfendentunaccèsélargiàInternet,etrejoignentlescitoyensdumondeentierafindesoutenirlagénérationdefuturscréateurs,consommateursetparticipants.
Actions
Afindesatisfairesesobjectifs,Culture.mondoaentreprisdecartographierledomaineinternationaldesportailsculturelseneffectuantunsondageenligne.Celui-ciafournilecontextenécessaireàl’élaborationduréseauetàladéfinitiond’unordredujourpourunepremièretablerondeinternationaledesportailsculturels,enplusdeservircommepointdedépartàlaprésentepublication.
Ensollicitantlaparticipationausondageetauréseau,Culture.mondoaoptépourunedéfinitionsoupleetouvertedecequ’estunportailculturel,quicomprendlesportailsculturelsnationaux,lesportailsthématiquesetlesobservatoiresculturels.Lesportailssontpourlaplupartnationaux.Parcontre,certainssontrégionaux(àl’intérieuroudépassantlesfrontièresnationales)ousupranationaux.
Lesondageadémontréquelenombredeportailsaugmenteàunrythmephénoménaletque,collectivement,ilsrejoignentunauditoireglobaldeplusieursmillionsdepersonnes.L’efficacitédesportailsculturelsàpromouvoir,auprèsdescitoyens,l’accès,ladiversitéetlaparticipationàleurculture,acertainementétésous-estimée.
Lesquestionsetlesdiscussionsprésentéesdanscettepublicationsontsouventcentréessurlesvisiteursdesportails,cesinternautesquifranchissentleseuilduportailcultureletqui,cefaisant,participentàunecommunautéculturelleglobale,oùs’entrecoupentleurproprecultureetcellesdumondeentier.
Danslecadredel’Expo2005auJaponCulture.
SOMMAIRE EXÉCUTIF
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mondoaorganiséetanimé,du6au8juin2005,unetablerondeinternationaledesportailsculturelsintitulée«Portailsculturels:Nouveauxdéfisetpratiquesexemplaires».Lesdiscussionsontportésurlesprincipauxenjeuxdegestionauxquelsfontprésentementfacelesresponsablesdecesportails:partenariats,gouvernance,gestiondescontenusetbesoinsdelacommercialisationcommedespublics.
Dix-huitportailsculturels(provenantdetouslescoinsdumonde)etl’UNESCOontprispartàlatablerondedeCulture.mondo.Lesportailsparticipantsreprésentaientunevastegammediversifiéeparleurnature,leurstadededéveloppementetleurportée,toutenprésentantunmélangedeportailsculturelsprivés,publics,collaboratifs,nationaux,régionauxetinternationaux.Àlasuitedecetterencontre,leseffectifsduréseauontplusquedoubléparlasuitepours’étendreàtouslesconfinsduglobe.
Culture.mondoaétablisaprésencesurleWebauwww.culturemondo.org,oùlesmembresduréseausontinformésdesactivitésettrouventdesressourcesutiles,ainsiquedesliensversplusde80portailsculturelsquifacilitentl’accèsàunepanopliederenseignementsculturels.
Plans d’avenir
LacommunautédepratiquedeCulture.mondoviseàinciterlaparticipationdesportailsculturelsetdesorganismesstratégiquesdumondeentier.L’échangedeconnaissancespermettraauxportailsbienétablisdepartagerleurspratiquesexemplairesentreeuxetdesoutenirledéveloppementdenouveauxportailsdeparlemonde.Cependant,l’informationcirculedansdemultiplesdirections.L’apporttoutfraisdesportailsémergeants,laténacitédesportailsmoinsbienpourvusetl’ingéniositédesjeunesarchitectesdeportailsfournirontunapportincessantdenouveauxpointsdevueetdenouvellesperspectivessurlesdéfisliésàlacroissanceetaudéveloppementdesportails.
Toutenpoursuivantsondéveloppement,Culture.mondos’engageàconserveruneorganisationàstructureouverte,légèreetsouple,capabledes’ajusterauxintérêtsetauxattentesdesportailsmembres.Culture.mondoneproposepasunebureaucratiemultinationaleouuneimmensedestinationpublique.Culture.mondon’estreliéàaucunintérêtnational,niàaucuneapprocheparticulièredelaconceptionetdelagestiondesportails.
Leréseauattendavecimpatienced’échangeretdecollaboreravecd’autresinitiativesconnexes,régionalementcommeinternationalement,dontMICHAEL(inventairemultilinguedupatrimoinecultureleuropéen),l’OrganisationdesÉtatsaméricains(OAS),leRéseaudesobservatoiresdepolitiqueculturelleetl’UNESCO.
Leréseauprévoitrechercherdespartenairesafind’entreprendredesrecherchesetdepartagerplusderenseignementsdanslebutdesoutenirl’échangedeconnaissancesentrelesportailsculturels.Cetteinitiativeprofiteraàlafoisauxconstructeursdeportailsetauxcitoyensdumondeentier,quiaccèdentàcescommunesglobalesparl’entremisedeleursportailsculturelsfavoris.
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Publicculturalportalsaredigitaldoorwaystoculturalcollections,assetsandactivities.Althoughtheyareasdiverseasthecountriesorcultural
groupsthatbuildthem,theircreationismotivatedbyacommondesire:toencouragecitizenstoexploretheiridentity,cultureandcreativity.TheInternethasfacilitatedthegatheringandorganizationofinformation,eitherbytheindividualuser,orbyintersectingportalinterests,sothatviaeachportaltheInternettravellerstepsintoaflourishingglobalcommonsofculturalexperience.
Fromahandfulofsuchportalsestablishedinthemid1990s,thefieldhasexplodedbythehundreds.Over300portalswereidentifiedandinvitedtoparticipateinanonlinesurveythatwascompletedinearly2005.Manymoreculturalportalscouldbeaddedtothemappingorareunderdevelopment.1Culturalportalarchitectsaremostoftenpublicsectorornon-profitorganizationswithsignificantpublicfundingandsupport.TherapidexpansionofthefieldreflectsthegrowthintheInternetitself,butitalsospeakstoanunderstandingofthepoweroftheInternettoengageanddelivermeaningfulcontent.Heraldingashiftinhowbasicpublicpolicyobjectivesaredelivered,itisessentialtobettertrackandunderstandthisworldwidemovement.
Itisworthnotingthatsomeportalsarenotnew,somuchasareorientationofearlier,moreestablishedonlineinitiatives.Examplesofthisincludewebsitesemanatingfromministriesofculture,orothernationalculturalinformationsystems.Thisreorientationreflectsthedesiretoadapttochangingaudiences,aswellastoInternetuserneedsandinterests.
Culturalportalshaveariseninresponsetospecificsectoralornationalinterests.LiketheInternet,however,theirdevelopmentisaffectedbyindividualusers,bytheconstantwavesandchangesinthewiderdigitalworldandthroughconnectionswithinternationalcounterparts.
Culture.mondoistheresultoftheintersectingandoverlappinginterestsofafewculturalportalsthataremindfulofthemovementthatisafoot.Itisanemerging,informalnetworkthatencouragesandfacilitatescommunicationamongthoseresponsibleforcreating,developing,andmaintainingpublicculturalportals,worldwide.InternationalworkinggroupssuchasCulture.mondoadvancethediscussionsandactionsthatargueforbroadaccesstotheInternet,therebyembracingcitizensworldwideandsupportinganextgenerationofculturalcreators,consumersandparticipants.
INTRODUCTION
The ability for ordinary people to discover other cultures is perhaps
the most important feature of our times. Through the direct
experience of other cultures, individual citizens come to a better
understanding of their own culture.Hervé Fischer•Président/fondateur•FIAMCanadaFédération internationale des associations de multimédiaInternational Federation of Multimedia Associations
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1Thelongestestablishedportalsthatrespondedtothesurvey(launchedin1995-96)arelankskafferiet.skolutveckling.se(Länkskaf-feriet(TheLinkLarder),SwedenisapedagogicalsiteforSwedishpu-pils,especially10–15year-olds);Swissart.net(ContemporaryartistsinSwitzerland);Museum.ru(Russianmuseums);ilam.org(losMuseosyParquesdeAméricaLatina);obs.coe.net(EuropeanAudiovisualObservatory);andscran.ac.uk(alearningimageservice,Scotland).
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Culture.mondo
Culture.mondowasconceivedinJune2004attheEuropeanUnionMinervaInternationalDigitizationConferenceinDublin,Ireland,whereanumberofculturalportalauthoritiesbegandiscussingcommonchallengesandsharingbestpractices.AnInternationalSteeringCommitteecametogetherinBrightoninDecember2004andcomprisesCulture.ca(Canada),Kultur.nu(Sweden),Cultuurnet.be(Belgium),24hourmuseum.org.uk(UK),Collectionsaustralia.net(Australia)andCulture.fr(France).SubsequenttothemeetingoftheInternationalRoundtableofNationalCulturalPortalsinJune2005,thesteeringcommitteewasexpandedtoincludeCulture.tw(portalindevelopment,Taiwan)andecultura.gob.mx(Mexico).
TheCulture.mondogoalistofacilitatethedevelopmentofanonlinecommunityofpublicculturalportals,asavehicleforthemto: Connectinternationally; Shareknowledge; Collaborate;and Disseminatebestpractices.
TheCulture.mondonetworkhasoptedforanopenandflexibledefinitionofculturalportal—onethatincludesnationalculturalportals,thematicportalsandculturalobservatories.Thesecanbedefinedasfollows: Nationalculturalportal:seekstopresent
and/oraggregatediversemultidisciplinaryculturalactivitywithinacountry,includingsuchelementsasorganizations,events,culturalinformationandeditorialcontent.
· Thematicportal:providesregional,nationalormultinationalinformationforspecificdisciplinesorculturalsectors,suchasmuseumsormusic.
Culturalobservatory:aculturalresearchand/orpolicydevelopmentcollectivethatmayproduceaWebportalthatpresentsinformationandresearchwithinaregion,countryorgroupofcountriesandinsomeinstancesprovidesadigitalworkingenvironmentforanetworkofresearchers.1
Themajorityofculturalportalsarenational,inthesensethattheircontentrelatestoactivitywithinandacrossthecountryoforigin.Thematicportalsandculturalobservatoriesarenoexception—notwithstandingthespecificparameterswithinwhichtheygathercontent,theyarefrequentlynationalinscope.Someportalsstudiedareregional,withinoracrossnationalborders,orsupranational.
InDecember2004,Culture.ca(Canada)agreedtobetheinitialhostoftheCulture.mondosecretariatandofferedtohostaninauguralRoundtablein2005.Inthespiritofdistributedresponsibilityandsharedresources,itwasproposedthatthesecretariatrotatetoanothermemberportalinJune2006.SteeringCommitteemembershavecontributedleadershipandknowledge,technicalandnetworksupport,andhumanandfinancialresourcestothedevelopmentofthenetworkanditsinitiatives,includingthelaunchofanonlineinformationcentreandsharedInternetspace,www.culturemondo.org.TheSteeringCommitteefunctionsinanadhocmannerandexpectstoformalizeitsstructurewhenthereisincreasedparticipationbyawiderangeofculturalportals.Portalsvarysubstantiallyinsizeandinthehumanandfinancialresourcesavailabletothem.ItisthegoalofCulture.mondotoseekoutandsupportparticipationfromallcornersoftheglobeandfromcountrieswithportalsofeveryscale,ateverystageofdevelopment.
INFORMATION GATHERING AND NETWORK KNITTING
International Steering Committee, Brighton 2004
Back row: JaneFinnisDriesCoppensHansNissensAnaDurán
Front row: VladimirSkokKelliFraser
1 AccordingtoAugustinGirard,formerHeadoftheDépartementdesÉtudesetdelaProspectiveoftheFrenchMinistryofCultureandCommunications,“AnObservatoryisaplaceofnegotiation,ofinteractivity.Itdoesnotdeliverjudgements.”
10
International Survey of Cultural Portals
Inrecognitionofthedramaticincreaseinthenumberofnational,regionalandsupranationalculturalportals,thefirstundertakingoftheCulture.mondosteeringcommitteewasthecreationofaninternationalon-linesurvey.Thesurvey,concludedinMarch2005,wasundertakenbyDecimaResearchInc.,withfundingfromCulture.caandCultuurnet.be.Theoverallobjectiveofthesurveywastoprovideabasisforunderstandingthisemergingphenomenonfromaportalmanagementandculturalpolicyperspective.
Thispreliminarysurveysoughtto: Mapreadilyapparentculturalportals
worldwide; Gatherbasicmanagementandpolicy-based
informationonthestateofculturalportaldevelopmentaroundtheworld;
Comparesituationsanddiscovercommonchallenges;
Identifytrendsinculturalportaldevelopment;
Highlightexamplesofgoodpractice; Informotherportalsaboutthe
Culture.mondoconcept; Setthestageforthefuturedevelopmentof
theCulture.mondonetwork.
WorkingwithDecimaResearch,theInternationalSteeringCommitteeidentifiedandinvitedparticipationfrom370portalorganizations;ofthese,80organizationscompletedatleasthalfofthesurveyandwereincludedinthestatisticalanalysis.1 These80culturalportalsarenowlinkedontheCulture.mondowebsite,providingthevisitoraccesstoauniquewindowonculturalinformationandresourcesfromaroundtheworld.
Withinthelimitsoftime,resourcesandreferences,everyattemptwasmadetoreacharepresentativesampleofworldregionsandtypesofportals.However,thesurveyisneithercomprehensivenorexhaustive.Giventheabsenceofliterature(includingstudiesanddirectoriesofexistingportals)whichmighthaveguidedthisfirstsurvey,Culture.mondorecognizestheneedforadditionalworktocoverallregionsoftheworldandfurtherinvestigateparticularaspectsofportalmanagement.
Thesurveyresultspointedtosignificantgapsininformation,particularlyinareasrelatedtovisitorstatisticsandportalfinancing.Thesegaps,andthedifficultyofreachingagreementonwhattoinclude,underscoretheneedforfurthertargetedresearch.Portalswereaskedtoself-identifyasoneofthefollowing:anationalculturalportal(31%);aspecializedthematicportal(i.e.dance,music,theatre,museums—51%);anobservatoryonculturalpolicy(18%).Notsurprisingly,thesurveyrevealedtheexistenceofportalsbuiltatlevelsotherthannational,butthatservedanational,supranationalorinternationalinterest;thisindicatesthebroadergeographicandcontextualrealitywithinwhichsomeportalsoperate.Mostoftheportalssurveyedareeithernon-profit,withahighpercentageofgovernmentfunding(46%),orgovernment-run(27%).Veryfewoftheportalswithinthesurveysampleareprofit-makingorbusiness-oriented(3%).Thesefactorsaloneindicatethattheportalsfacesimilarchallenges.Theyalsounderscoretherealitythatitisextremelydifficulttomakeasolidprivate-sectorbusinesscaseforthedevelopmentandoperationofculturalportals.Itisthepublicdomaininwhichtheyrestmostcomfortably.
INFORMATIONGATHERINGANDNETWORKKNITTING
1ThesummaryoverviewpreparedbyDecimaandananalysisofthesurveyresponsesareavailablefordownloadonwww.culturemondo.org.
11
Culture.mondo Roundtable
Expo 200�, Aichi, Japan
International Roundtable, Cultural Portals: New Challenges and Good Practices.
TheCulture.mondoInternationalSteeringCommitteedesignedandfacilitatedaninternationalroundtableofculturalportalsentitled“CulturalPortals:NewChallengesandGoodPractices.”1hostedbytheCanadaPavilionatExpo2005(Japan).Theresultsofthesurveyprovidedthepointofdepartureforthediscussions.Targetedroundtablesaddressedfoursignificantareasofconcern:partnerships,governance,contentmanagement,andmarketingandaudienceneeds—topicsthathadbeenidentifiedbytheInternationalSteeringCommitteeandsurveyrespondentsaskeymanagementissuescurrentlyfacedbyportalarchitects.
Eighteenculturalportals(fromallregionsoftheworld)andUNESCOparticipatedin
theCulture.mondoRoundtable.2Theywerediverseinnature,stageofdevelopmentandscopeandrepresentedamixofpublic,private,collaborative,national,regionalandinternationalculturalportals.
TheRoundtableinitiativewasintenselycollaborative,underliningacoreaspectofculturalportalsaroundtheworld.Thetwodaysofdiscussionandnetworkingestablishedtheframeworkforacommunityofnationalportalscommittedtosharedknowledge,increasedparticipation,distributedresponsibilityandinternationalcollaboration.AsaresultoftheRoundtable,themembershipofthesteeringcommitteeexpandedtoinclude
portalarchitectsfromTaiwanandMexico.Thenetworkalsoagreedtocontinueannualface-to-facemeetingsandcommittedtoongoingexchangeandcollaborationviatheonlinecommunityofpracticedigitalhubonCulturescope.ca.
INFORMATIONGATHERINGANDNETWORKKNITTING
UNESCO views favourably
any steps taken to strengthen
and extend links between
national cultural portal
authorities around the world.
The Organization heartily
welcomes the holding of such
a Roundtable as this, and
hence I am pleased to grant
UNESCO’s sponsorship to
the event.Koïchiro Matsuura•Director-General•UnitedNationsEducational,ScientificandCulturalOrganization•Paris, May 27, 2005
❛
❜ 1 Thetwo-dayevent,June6–8,waspartofathinktankandsympo-siumheldattheExpo2005CanadaPavilioninAichi,Japanentitled“CulturalNewMediaDays,”jointlyorganizedbytheDepartmentofCanadianHeritagee-ServicesBranch,theCanadianHeritageInformationNetwork(CHIN)andCanadianCultureOnline(CCOL).
2AlistofparticipantsisincludedintheAppendix.
12
Ononehand,thesurveyofculturalportalsanditsanalysisreinforcedtheknowledgeandexperiencesofthesurveyorganizers;onthe
other,itunearthedunexpecteddetailsandraisedquestionsandchallenges—allofwhichencouragedtheCulture.mondoInternationalSteeringCommitteetocontinuepursuingtheirsharedgoalsofincreasedpublicengagement,networkbuildingandknowledgeexchange.
Objectives of Portal Architects: Why Build?
IntheconstantlyexpandingvirtualagorathatistheInternet,whatmotivatesculturalportalbuilders—betheynon-profit,governmentagents,orindividualsonamission—tohangouttheirdigitalwaresandopentheirdoorsforbusiness?Thepublicsectorbuilder-orsponsor,inthecaseofnon-profitportals-isdrivenbyarangeofpolicyimperatives:generaloronlineservice-deliverystrategies,ormorespecificpolicyconsiderationsintheareasofculture,tourismoreducation.
Notsurprisingly,thosewhoconceiveoftheseculturalportalswanttostandout.Theywanttobetheone-stopshop—thebest,oreventheonlycrediblesourceofculturalinformationwithintheircountry,theirstratumoftheculturalsector,ortheirparticulararts
discipline.Theirprimaryinterestinprovidingtimely,credibleandvaluableinformationtotheircitizens,membersandsitevisitorsshapesthestructureoftheportal,nomatterhowsmall;itaffectsgovernanceandguidesthegrowthandevolutionofportals,regardlessoftheirstageofdevelopment.
TheincreasedappetiteforinformationandservicesontheInternethasmadeitimpossibleforthepublic,privateandnon-profitsectorstoignorestakingaclaimfordigitalrealestate.Forsomeelementsofthepopulationthisisnowtheonlywaytoreachthem.PortalbuildershaveoftencometotheInternetviaasidedoor—theyaregovernmentministriesoragenciesalreadymandatedtoservetheircitizensthroughavarietyofchannels,andtheInternetisoneofthese.Alternatively,theyarefacilitiesororganizationsseekingtousethepoweroftheInternetasamarketingtooltoexpandandreachnewaudiences.Whileitmayhavebegunasanadjuncttoothermeansofengagementanddissemination,theWebportalnowstandsasatooluntoitself—onethatrequiresaspecializedapproachtoitsmanagement,marketingandmaturation.
Thematicportalsandculturalobservatories,oftendevelopedbyserviceorganizationsornetworksandmember-driven,fullyrecognizethebenefitsandpowerofaggregationthatenableeffectiveconnectionwithabroadaudience.Eventhesmallestandpoorestmemberorganizationisensuredapresence,thankstothecollectiveweightofthegroup.
Havingacceptedtheundeniablycompellingreasonsforbuildingtheirportals,thearchitectsarestrivingformore.Theywanttoreachlarger,morediverseaudiences,tobeuniversallyaccessibleandtoincreasemeaningfulengagementwithindividuals.
Theyare,however,financiallychallenged.Someareteeteringbetweenconflicting,orwaning,stakeholder(andfunder)interests.Allrequireandseekpartnersandcollaboratorstomovetheirportalforward.
CHARACTERISTICS OF CULTURAL PORTALS: SIMILARITIES AND DIFFERENCES
Tourism is vital to the Moroccan economy.
The decision to create culture.ma –
a quality cultural portal for Morocco –
is driven by the need to provide visitors
with authoritative and credible information
that will foster and build tourism.Said Ennahid•culture.ma(indevelopment)
❛
❜
1�
Hans Nissens, cultuurweb.be, presents the new site to Bert Anciaux, Flemish Ministerfor Culture, Youth, Sport and Brussels Affairs
Whilemostportalsofthisnaturearearelativelyrecentphenomenon,somehavebeeninbusinesssincetheearlydaysoftheInternet.Thegoals,aspirations,barriersandchallengesfacedbyportalbuildersaresimilar,regardlessofthestageofdevelopmentoftheportal.Infact,giventhespeedatwhichthetechnologyisadvancing,itsrelativeaccessibilityandtherateofpenetrationoftheInternet,manynewcomersfindthemselvesatthesamelevelofdevelopmentastheiroldercounterparts.Knowledge-sharingisrichandrewardingwhentheconversation,byitsverynature,includestheyoungandtheemergingalongsidetheseasoned.
Audience for Public Cultural Portals: For whom are they building?
Whilethereiscertainlycross-overintheirprimaryaudiences,thereisaspecificpatternwithineachofthethreeportalgroups:forallculturalobservatories,theprimaryaudienceismadeupof“culturalexperts,professionalsandpolicymakers.”Thisparticulargroup,almostexclusively,identifiestheirreachasinternational;theyclearlyhaveastronginterestinsharingandcomparingresearchanddata.Ofthenationalculturalportals,80%identifiedtheiraudienceas“thegeneralpublic—localresidents;”theyhadasurprisinglylowinterestinthe“visitplanners/tourists”market.1Thematicportalsnotedanevenlesserinterestinthetouristmarket.2Andtheyranked“localgeneralpublic”(44%)lowerthan“culturalexpertsorprofessionals”(76%)or“localculturalenthusiasts”(50%).
Withrespecttoaudienceneeds,developmentandmarketing,onemustrecognizeandunderstandthesedifferences,asdifferenttools,approachesandpartnershipsarerequiredtoreachspecificusers.“Broadeningreach,”“gettingmoreusers”and“increasingtraffic”wereoftenincludedinthethree-yearobjectivesofboththenationalculturalportalsandthethematicportals.Inordertoshare
bestpractices,itisimportantfortheportalstorecognizewhotheyaretryingtoreachandthentoconsiderhowbesttoachieveandmeasuresuccess.
Itisinstructivetoconsiderwhoidentifiesthe“target”audience.Howoften,ifatall,doestheportalbuilder—oranywebsiteforthatmatter—reviewandconsiderwhethertheyare,infact,reachingtheirtargetaudience?Aretheassumedandactualaudiencesmutuallyexclusive,ormutuallybeneficial?Onceastructureoraservicemovesfromthe“real”worldintothedigitalrealm,doestheaudiencechangeand,ifso,howreadyisthesitebuildertoadaptandadjust?Andwhatof“accidentalaudiences”—usersthathappenonthesiteforreasonsthebuilderhadnotconsidered?Howcantheseunexpectedparticipantsbecomeanewfocusandanewwayofconsideringpublicengagement?
Mostoftheseculturalportalsseethemselvesasjustthat—multipledoorwaysorsignpoststomorespecificinformationandservicessoughtbytheuser.Theyperformadelicatebalancingact,actingtoensuretheuseriseffectivelydirectedofftheculturalportal,whileencouragingthemtoinvestigateanddiscoverthebreadthofinformationofferedontheportalitself.This“stickinessdilemma”continuestochallengeportalbuilders,especiallywhenconsideringmeasuresofsuccess.Dovisitorsfrequentthesiteonce,ormanytimes?Dotheystayonforlessthanaminute,orbrowseforseveralminutes?Howlongaretheymeanttostick?
1 only41%ofnationalculturalportalsindicatedtouristsasaprimarymarket.
2only33%sawtouristsasaprimaryaudience.
Belgium:cultuurweb.be
14
Content Provided by Cultural Portals: What is offered to the audience?
Theparticularangletakenbyculturalportalsdependsontheirstartingpoint.Thecontentmayrelatetoasinglediscipline(contemporarymusic,Russianmuseums,etc.)withinacountry(oracrossafewcountries)or,morebroadly,toanentirecountry(artsandcultureacrossthemanyregionsandtimezonesofCanada).Withintheseparameters,portalsstrivetobeinclusive,comprehensiveandrepresentative.Withintheculturalportalgroup,cultureisbroadlyandlooselydefined,shapedbytheportalbuildersandtheirvisitors.
Therewasanopen-endedquestioninthesurveythataskedtheportalstoidentifytheiruniqueposition,oroffering.Averyhighnumber(inallthreecategories)addressedthevaluesofauthenticity,reliability,timeliness,credibilityandcompletenesswithrespecttothecontenttheyprovide.Thegoalsofcompleteaccess,one-stopentryandinteroperabilitywerecommonlynoted,bothbyestablishedportalsandthoseunderdevelopment,orintheearlyyearsofoperation.
Mostculturalportalspresentacombinationofcentralizedanddecentralizedcontent;veryfewofthemrelyonlyondecentralizedcontentandabout30%useexperiencedwriters(thisrisesto50%innationalculturalportalsoverthreeyearsold).Contentissuesaredifferentintheculturalobservatorieswhich,forthemostpart,donotgeneratethecontent,butrelyonsubmissionsfromtheirresearchnetworks,allofwhicharemadeupofexperiencedprofessionals.However,observatoriesexercisesignificanteditorialoversightandaninterestinprovidingcomplementarycontentontheirsiteformembers—opinionpieces,analysis,newsletters,etc.
Inkeepingwiththeirgoalofensuringcomprehensivecontent,themultidisciplinarynationalculturalportalssurveyedcovera
widerangeofdisciplines.Thediscipline-specificthematicportalsrevealadeeplayeringofinformation.Successinachievingthisdensitydependsonresources.Asinofflinepublishing,theprovisionofreliable,timelyandwide-ranginginformationreliesonanetworkofwritersandcorrespondents—aninfrastructurethatisnotpresentinmanyportals.Theabilitytoprovidecontentthatisunavailableelsewhere—eitherbyvirtueifitsspecificity,itsthoroughness,oritsuniqueness—isapreoccupationofmostportals.
Anoverviewofthecontentandservice-provisionareasofthesurveyrevealsthat60%ofthethematicportalsandthenational
culturalportalsincorporateeventscalendarsintotheirsites.Ofthesesameportals,50%presentfeaturesandspecializededitorialcontent(inthenationalculturalportalgroupalone,thisrisesto65%).Approximatelyonethirdhaveincorporatedsoundand/orvideoandonlyahandful(5%)offeronlineticketingservices.Whiletheportalshaveexpressedaninterestininteractivityintheirthree-yearobjectives,lessthan30%currentlyincludeblogs,forums,working-groupspace,votingorotherparticipatorytools.Tosomedegree,thiscanbeattributedtocost.Giventhehighinterest,however,thisrelativelylowpercentagereflectsthechallengesgovernmentsinparticularfaceinprovidinguser-drivenspaceswithintheirportals.
Contentisgenerallytime-sensitive,althoughlesssointhecaseoftheobservatoriesgroup.Anotherkeyelementintheuniquepositioningoftheportalsisthevalueoftimelyandfrequentlyupdatedcontent,theprovisionofwhichrequiresdedicatedstaff.Inthecaseofnationalculturalportals,nonereportedlessthanweeklyupdating;fully48%update
Mexico:e-cultura
CHARACTERISTICSOFCULTURALPORTALS
1�
daily.Thematicportalsaremorevariable;asagroup,theirscaleofoperationcoversawiderrange,somoreofthemhavedifficultyupdatingonaregularbasis.48%updatedaily,28%weeklyand24%monthlyorless.Culturalobservatoriesupdatemuchlessfrequently.Only17%updatedaily,41%weeklyand42%monthlyorless.
Contentistheraisond’êtreofallculturalportals.Asthecontentandnumberofcontributorsgrow,managingthecontentbecomesaquestionofresourcesandjugglingpriorities.AsdescribedbyMichelBlondeau,culturalportalneedsaredifferentfromthoseofmanyotherportals.Therearefewculturallysensitivedevelopersandthereislimitedexperiencewithuser-centricdesignanddelivery.Culturalcontentmanagementtoolsandsolutionsarenotreadilyavailableoraffordable.1
Structure and Governance of Portals
Whileafewportalshavegood-sized,full-timestaff,manymoreoperatewithacombinationofsmallstaff,out-sourcing,distributedmanagement,sharedaccountabilityandvolunteercommittees.Theportalsstudiedexhibitasignificantrangeinscale,fromone-personvolunteerinitiativestofull-timeteamsofmorethan20,withwidenetworksofcontributingcorrespondents.Ifweconsidera“smallorganization”toincludeonetothreestaffmembers,48%fallintothiscategoryinthenationalportalsgroup;bythissamedefinition,73%ofthematicportalsand81%ofculturalobservatoriesare“small.”The
combinationofasmallstaffandvolunteerspresentschallengesinachievingconsistencyandlong-termdevelopment.Someportalsoperateasa“cell”withingovernment,withsecondedstaff,ortheyareanarmofgovernment,orofalargernationalorganization.Whilethisprovidesstronginfrastructuresupportandsomeassurancesofquality,italsopresentschallengesintheareaofgovernanceandinharmonizinggovernmentprioritieswithaudienceneeds.Portalsthatareadevelopmentoroffshootofearlierofflineoronlineinitiatives,(publicorother),oftenstartwithabuilt-inorganizationalandgovernancestructure,whichmayormaynotbeappropriatetothenewonlineenterprise.
Whenportalsdependonpartnersthatarelocatedacrossacountry,orlayered(atmunicipal,regionalornationallevels)withinaregion,managementandgovernanceoverdistancepresentauniquesetofchallenges.Whilediversityisanasset,theabilitytoachieveconsistencyandquality—bothcriticalindicatorsofsuccess—impliessignificanthumanandfinancialresources.Itoftennecessitatestrainingonthepartoftheleadorcentralhubintheportalnetwork.
Inordertoensurecontentissustainable,credible,comprehensiveandavoidsduplication,portalsseektodevelopandsecurepartnershipsinallaspectsoftheirwork,witharangeofprivate,non-profitandpublicsectorcollaborators.Theconsiderationssurroundingpartnerships,servicesandgovernanceareinextricablylinked;portalsmustcarefullyplanhowtheywillintegratenewpartnersintoportaldevelopmentandwhattheimplicationsareforportalmanagementandgovernance.
1MichelBlondeaupresentedcontentmanagementoptionsandstrategiestotheInternationalRoundtableparticipants.
Hell is managing other
people’s content.Michel Blondeau•CEO/IdeaGuyecentricarts.com,Toronto. Canada
❛❜
Sweden:kulturnätsverige
CHARACTERISTICSOFCULTURALPORTALS
16
Participation
Manyofthenationalportalsindicatedthattheyarestrivingtobe“thebest,”“themostcomprehensive,”“themostcomplete,”or“thefirstpointofaccess”forthecitizensoftheircountry.Theywanttheircontenttobeinclusiveandtorepresentthebreadthofactivityintheircountry,includingregionalandruralparticipation.Theywanttoensurethebroadestparticipationpossiblebycontentpartnersandtheyvaluepartnershipwithculturalorganizations.Publicawarenessoftheirportalsisaprimaryobjective.
Portalshaveindicatedsignificantinterestindevelopingmoreinteractivecomponentsfortheirsites.Theywanttoengagetheirusersmore,toinviteincreasedparticipationandfeedback.Currently,only26%ofthegovernment-ledportalsincorporateinteractivefeatures(weblogs,voting,forums,etc).Thisrelativelylowlevelofinteractivityreflectsthechallengetheyfaceinprovidinganopenandunvetteddigitalspace.Thetechnologyisreadilyavailableandgenerallyaffordable,asevidencedbyitsuseinmanynon-governmentsitesanditsadoptionbysitesatveryearlystagesoftheirdevelopment.Interactivityisakeypriorityofmanyrecentlyestablished(withinthelastthreeyears)non–profitportalsfunctioningoutsideofgovernment.However,thegoaloffosteringcitizenengagementthroughwide-open24/7accessremainsproblematicforgovernment-runsites.
Publicpolicymandatescompelculturalportalstobecome“realconnectors”ofpeopletoresources.User-centred,citizen-centred,network-based,partnership-orientedaretermsfrequentlyusedbyportalarchitects.ThepotentialfortheInternettoprovideapointofentrytodialoguethatcanfeeddirectlyintopolicydevelopmenthasnotgoneunnoticed.Forthistobeacrediblevehicleforthecitizenandavaluabletoolforpolicymakers,portalsmustensurethattheplatformtheyprovidegivesvoicetocitizensandensurestheywillbeheardwithoutmisrepresentation.
Diversity
Allofthenationalportalshaveaninterestinpromotingtheircountry’sculturalwealth—firsttotheirowncitizens(theirprimaryaudience)andalsointernationally.Diversityandinclusivenessarekeydrivers,asevidencedboththroughtheresponsestotheopen-endedquestion:“Whatareyourthree-yeargoals?”andtheresponsesthatconsistentlyassignprioritytolocalaudienceswithinthetargetaudiencesidentified.
Multidisciplinaryportalsdefineculturebroadly;ingeneral,itisnotlimitedto“thearts.”Eachportalreflectstheindividualcharacterofthecountryitself,itsunderstandingofcultureanduser-directedneeds.
Sites,particularlythosebuiltondecentralizedcontentprovisionandmanagementhavealsofoundwaystoincorporatethefullscopeofactivities,frommajororganizationsthroughtolocal,community-levelparticipation.Oftenthisisrealizedthroughpartnershipsthatallowcomprehensivelocalandregionalinformationtobeincludedinthenationalportal.
PORTALS AND CITIZEN ENGAGEMENT
Canada:culture.ca
17
Access
ThecorebusinessofthesepublicportalsisconnectingwiththeircitizensandtheInternetisbecominganevermoreaccessiblemeansofachievingthis.ThecommitmenttoaccessisexpressedingovernmentstrategiessuchastheCanadianCultureOnlineStrategy,inwhichthekeyelementsofaccessandvisibilityaretheunderpinningoftheCulture.cagateway.Shortandlonger-termobjectivesidentifyusabilityandinteroperabilityasameanstoensurethebroadestaccesspossible.
PortalssuchasIlam.org1,basedinCostaRica,andecultura.gob.mxfromMexicoconnectmanysmallerwebsitesandportalsinasinglenationalormultinationalentrypointtoprovideaccessbyasbroadanaudienceaspossibletothewidestrangeofculturalactivitypossible.Collaborationssuchasthese,thatbringtogetherorganizationsandinitiativesatdifferentstagesofdevelopment,withvaryingresourcebases,presentbothchallengesandopportunities.Notallpartnersarriveataprojectwiththesamelevelofunderstandingorknowledge.Somearerichinresources,othersareresourcepoor.Trainingbecomesakeyelementofthecollaboration.
Inresponsetotheopen-endedquestionsintheonlinesurvey,manyportalsreportedthattheyincludeintheirthree-yeargoalseffortstoreachspecificusers,suchasyouth,childrenandschools.Thesurveyindicatedthatgovernment-ledportalshaveasignificantinterestinbroadeningtheirreachtoincludeschoolstudents.Becauseoftherelativelysophisticatednatureoftheircontent,
thematicportalsandobservatoriesadoptamoretargetedapproachtocollegeanduniversitystudents.
Accessgoesbeyondsimplybridgingthedigitaldividethroughconsideredtechnologychoices;itincludescarefulattentiontolanguage,designandcontent.Successfulconnectionsbetweenportalsandtherangeofaudiencestheyservearethosethatmaketheculturalcontentaccessibleinalanguagetheaudienceunderstands.Anexampleofthisisthe24HourMuseum’s“ShowMe”featurethatreachesouttochildrenintheirownlanguage.
TheconceptofaccesshastakenonamuchexpandedmeaningwiththeInternet.Accessiscertainlynotlimitedtothecitizensofindividualcountries;inmakingthedecisiontoestablishanationalculturalportal,theportalbuilderisensuringthatthecultureinquestionissharedaroundtheworld.Itisanoutward-lookingexercise,ratherthanoneaimedatprotectingorpreservinginanarrowsense.
Thepublicportalseitherhave,oraspireto,broadstakeholderinterest.Steeringcommittees,advisorygroupsandcross-programcommitteesareidentifiedasameanstoensurerepresentationandmeaningfulconnectionto,arangeofgroups.Managingthiscomplexinterconnectionofstakeholdersisnotaneasyorstraightforwardtask;itisanimperativethatsetspublicportalsapartfromthosewithmorecommercialinterests.
Portalscitethevalueofrepresentative,consultativeandcollaborativecommitteesandadvisorygroupsinensuringbalancedcontentselectionandaccess.
1losMuseosyParquesdeAméricaLatina
UK: ShowMe
The government’s role is not to
decide what “culture” is, but to
provide a platform for it.Alvaro Illanes Garcés •Cibernetica.cl(Chile)
❛❜
18
Thefollowingisnotacomprehensiveoverviewofeverymanagementissuefacedbyculturalportals;rather,itidentifiessomeofthemanagement
aspectsthatareuniquetoportalmanagement.Itaddressesissuesspecifictoworkinginanonlineenvironmentandintheintersectingspacebetweentheonlineandofflineworlds.Primarily,itreflectsthemainchallengesreportedthroughthesurveyandtheRoundtabledeliberationsatExpo2005,Japan—areasinwhicheffectivenetworkingandsharingofbestpracticescanbemostuseful.
Collaborative Approaches: networks, cross-sectoral collaborations and public-private partnerships
Regardlessofsize,culturalportalspursuepartnersandcollaboratorsforahostofreasons:toensurethattheymeettheirobjectives,tounderscoretheirauthenticityandoftenjusttokeepthedooropen.Portalsseekoutandworkwithcontentpartners,editorialpartners,technicalpartners,strategicpartners,marketingpartnersandfinancialpartners.Inwhathasbeendescribedas“aneweraofcooperation”1,portalshaveforgedpartnershipswithandacrossgovernment,withbusinesses,otherportalsandinformationproviders,culturalandnon-culturalorganizationsofallsizes.Therangeanddiversityofnetworksspansmultinationalinitiatives,suchastheEuropeanUnionportal,MICHAEL2,tograssrootspartnershipsbetweenusersandcreators,suchascult.bginBulgaria,withmyriaddiverseandindividualsituationsinbetween.
MICHAELcurrentlycomprisestheUK,ItalyandFranceandhassetouttoprovideinteroperableelectronicaccesstoaggregatedmultilingualculturalinformation.Cult.bgplaces“usercontentprovidersandcitizensatthecentre,”havingrealizedearlyonthatitsmostsignificantpartnersareitsusers.
Cross-ministerialpartnershipswithingovernmentcanmaximizeportaleffectiveness.Inadditiontodevelopingpartnershipswithministriesofculture,nationalculturalportalsareworkingwithministriesofeducation,tourism,scienceandindustry.Whiletheculturalsectoriswellawareoftheimpactthatculturehasoneducation,tourismandentertainment,thisimpactisnotalwaysrecognizedbytheothersectors.Identifyingsharedaudiencescanhelptomakethecaseforcollaboration.Portalauthoritiesthathavesuccessfullybrokendownbarriersandgalvanizedcross-departmentalinterestearlyoninthedevelopmentoftheirportalhavedramaticallyenhancedtheeffectivenessandreachoftheportal.
1PhilippeAvenier,culture.fr2 MICHAEL:MultilingualInventoryofCulturalHeritageinEurope
http://www.michael-culture.org.MICHAELisadevelopmentfromMINERVA,aEuropeanCommissioninitiative,establishedinthelate1990s,thatsoughttoinvestigate,coordinateandsupportpolicydevelopmentwithrespecttodigitization.
CULTURAL PORTAL MANAGEMENT
EU:MICHAEL
19
Additionallayersofpartnershavesurfacedfromtheportalsthemselvesasnewnetworkshaveemerged.ThereiskeeninterestinpartneringbetweenCulture.mondoparticipantsinareasofcontentandtechnologysharing,informationgatheringandpossibleexchangeofexpertise.MICHAELiscurrentlyinnegotiationwiththeeTENforfundingforanewphaseoftheproject,MICHAELPlus.Thiswillextendtheprojecttoeightnewcountriesby2006(Finland,Malta,Greece,Hungary,Poland,CzechRepublic,theNetherlandsandGermany).TheMICHAELconsortiumhopesthattheprojectwillextendtoincludeallEUcountriesinthenearfuture.Whiletodatetherehasbeenlimitedprivatesectorinvolvementinthedevelopmentofnationalculturalportals,portalbuildersareincreasinglyforginginnovativepartnershipsbetweentheprivate,publicandnon-profitsectors.Technicalissues,particularlyinthedevelopmentalstage,areoftenhandledthroughoutsourcing;sucharrangementshavebeencitedassuccessfulbusinesspartnershipsandexchangesofservices.Partnershipswithotherpublications,printandelectronicmediaandalternatedistributionvehiclesfacilitatethemovementofcontentinandoutoftheWeb.
Thevarietyofpartnershipsandtheimperativesthatdrivethesecollaborationsimpactsignificantlyon
themanagementandgovernanceofportals.Successfulpartnershipsrequireahighlevelofcommitmentandbuy-infromallcollaborators;long-term,effectivecontributiononlyresultswhenallpartnersperceivevalue,haveastrongsenseofownershipintheportalandrecognizetheirsharedandintersectingaudiences.
Theportalauthoritymustbeabletomanageexpectationseffectively,supportpartnersastheyarriveatacommonunderstandingandlevelofexpertise,andensurecooperationaroundsharedgoals.Thesegoalsmustremainfrontandcentreduringplanning,implementationandevaluation.
Cultnat.org has been propelled by cross-ministerial interests that
include culture, tourism, libraries and education. The partners may
have differing agendas, but ultimately their interest is ensuring
that we build our cultural content into an excellent Website and
make it available to the widest audience possible.Reem Bahgat•Cultnat.org,Egypt
EGYPT:cultnat
❛
❜
20
Ownership and Governance
Whilethereisadecidedcommonalityofpurposeinnationalculturalportals—celebratingcultureandreachingabroadaudience—eachportalfacesaverydifferentstructuralandgovernancechallenge.Thesizeandscopeoftheportalsrangefromsmallvolunteer-ledinitiativestosubstantialorganizationswithcomplexmanagementstructuresandaconfirmedresourcebase.Asmentionedearlier,manyhavestrongtiestogovernmentandsomeare100%public.Limitedcommercialopportunityhasmeantthatthisisanarenathatdoesnotattractsignificantprivatesectorinterest—exceptwhenculturalinterestsintersectwithotherinterests,suchasentertainmentandtourism.
Governancequestionscanbedistilledto“Wholeads?”and“Whopays?”Sincemostoftheportalshavestrongtiestogovernment,thequestioncanbefurtherarticulatedas:Whatdrivespublicportaldevelopment—culturalorotherpolicyagendas,oraudienceinterestsandneeds?
Manyofthelarge,costly,nationalprojectshaveoriginatedwithgovernment,whocontendwithstrongpolicyinterestswithrespecttopublicaccess,representationanddiversity.Thegovernmentpresence,andthedegreetowhichportalsareunderstoodas“official”governmentsites,affectstheirgovernance.Ownershipatanofficial,nationallevelcertainlyhasitsbenefits,notleastistheavailabilityofresourcesand,forsomeusers,credibilitytotheinformationprovided.Butcangovernment-ledsitesgrowunfettered?CantheymovenimblythroughtheexpandinginformationgalaxyandtechnologicalchangesoftheInternet?Sitesthatareindependentofgovernment,butdrivenbysimilarpolicyconsiderations,canoftenexperimentmorefreelywithemergingtools.Theycanmorereadilytrynewwaysofinteractingwithaudiences.Savvypubic
sectorleaderslooktothemasatestinggroundfortheirownengagementwiththepublic.
Long-termviabilitycan,ofcourse,besecuredthroughconsistentfinancing.Long-termrelevanceishardertopurchase.Whentheownershipofthesitemoredirectlyinvolvestheuser,thisrelevanceisperhapsmoreassured.Thisisthecaseformanynon-profitstructures,culturalorother,thatrelyontheunflaggingeffortsofvolunteerstomitigatetheirlackofresources.Suchportalsactivelyengagevolunteercommittees,advisorygroupsandspecialistpanelstomaintainameaningfulconnectionwiththeirusersandstakeholders.
The week Cult.bg went live, we were shocked
by how few visitors we had — something was
very wrong. Our site, which had all kinds of
“official credibility,” and our audience were not
connecting. In short, we completely revamped our
approach; we moved from a centralized editorial
position to encouraging reader contribution and
put the ownership of Cult.bg firmly in the hands
of young creators and users — pretty soon visitor
traffic shot up and it keeps on growing.Galia Dimitrova •Cult.bg,Bulgaria
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NATIONALCULTURALPORTALMANAGEMENT
Bulgaria:cult.bg
21
Partnershipsandcollaborationsdiscussedearlieralsoaffectgovernancestructuresanddecisions.Inordertokeeptheiraudienceengaged,portalsmustbedynamicandevolving;theirgovernanceapproachshouldevolveintandemwiththegrowthandchangewithintheorganization—perhapsfrompublictoprivateornon-profit,asappropriate.
Whatisclearisthatgovernancearrangementsvary.Asculturalportalsevolve,theirlong-termsuccesswilllieintheirabilitytoadaptandshiftasnecessary,keepinginmindtheownershipinterestsoftheirsite.Flexibility,responsivenessand“light-touchgovernance”arerequired,bothinestablishingpublicportalsandmaintainingtheirconnectionandrelevancetoaudiences.
Role of governments: rationalizing policy and investment with audience needs
InresponsetotheInternationalSurveyofCulturalPortals,thethree-yearobjectivesmostfrequentlycitedbythegovernment-runportalswereasfollows: Tobethebest,orthemostcomprehensive,
sourceofinformationforthepublicandpolicymakers;
Toraisepublicawarenessandincreasethenumberofvisitors;
Toencourageanddeveloppartnershipsincontentprovision,managementandfinancialareas;
Tobroadenaccessregionallyandtoschools;
Toprovidenewservicesandinteractivity.
Thekeyprioritiesofcitizenaccessandparticipationarecertainlyevidentintheseobjectives.Providingauthentic,diverseandtimelycontentrequiresasignificantinvestmentthatsomegovernmentsarewillingtoprovide.Itislogicalforgovernmentstobeinthebusinessofestablishingculturalportalsonanationalscale.However,canagovernmentportalsuccessfullyrespondtogovernmentprioritiesandministerialobjectivesandserveaudienceneedsatthe
Culture.fr grew out of the official website of the French Ministry
of Culture. This afforded us a solid resource base and the
invaluable wealth of experience built over years of national
cultural Web presence. We are now more autonomous and
distanced from any official point of view: it has a more relaxed
feel and a freer sense of expression.Philippe Avenier • culture.fr
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France:culture.fr
NATIONALCULTURALPORTALMANAGEMENT
22
sametime?Dothesegoalsconflict?Doestheconflictcreateidentityproblems?Partnerships,collaborativearrangements,advisorycommitteesanddecentralizedcontentdevelopmentwithingovernmentportalssuchasthoseofMexicoandFrancehavehelpedtobalancetherealitiesofgovernmentownership.
TheimmediacyoftheInternetandthetoolsavailableforinstantaneousinteractionwiththedigitalvisitorcertainlymakeitpossibletomaintainaconstantanddynamicdialoguewithaudiences.Interactivityanduserinvolvementisanareaofgrowinginterestforbothestablishedandnewsites.However,itischallengingforgovernment-runsitestoadoptandfullyutilizethesefeatures—sometimesforpurelytechnicalreasonsandothertimesbecausetheirveryopennesschallengescautiouseditorialpolicies.
Governmentsareinapositiontofundtheseinitiativeswellandfacilitatetheirsuccessfulincubation.Byputtingtheinitiativeatarmslengthfromgovernmentandthroughcontinuedmeaningfulconnectiontotheaudience,governmentcanenableanappropriateandresponsivegovernancestructuretodeveloporganically.Insodoing,itcanensurequalityserviceprovisiontotheuserandfacilitateagovernancestructurethatismoreresponsivetotheaudienceprofile,interestandneeds.
Unfortunately,portalsthathavebeendevelopedwithgovernmentfunding,becauseofaspecificpublicpolicyagenda,faceincrediblechallengeswhenthesepoliciesshiftandfundingiswithdrawn.
User-focused audience development
Inoneparticularrespect,theculturalportalisnodifferentfromanyotherculturalundertakingororganization.The“builditandtheywillcome”philosophydoesnotwork
fortheculturalportal,justasitdoesn’tworkforatheatre,agallery,afestivaloreventhegreatestshowonearth.
DevelopingaudiencesisaprimaryconcernofallRoundtableparticipantsandcertainlyofthesurveyrespondents.However,mosthaveveryfewresourcestodedicatetomarketingandsomeareconstrainedbytheirgovernancestructureinthescopeofmarketingthatcanbeundertaken.Thoseportalsthathavegrownoutofofflineengagementswithaudiences(museums,forexample)notethattheonlineworldisverydifferentandmanypre-conceivednotionsaboutmarketingmustbeleftatthegatewaytothedigitalworld.
We are mistaken in
thinking that successful
offline marketing tools
and techniques can just be
tweaked for the online world,
that our online visitors are the
same as our real-world visitors
– not so. We must look more
closely at our online users
– really get to know them and
then develop user-focused
strategies specifically for them.
We cannot simply recast
traditional offline
approaches. Kevin Sumption • CollectionsAustraliaNetwork
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NATIONALCULTURALPORTALMANAGEMENT
2�
Portalsunderstandtheneedforeffectiveonlineandofflinemarketingoftheirsites.However,marketingalonedoesnotensureaudiencegrowth,regardlessoftheamountofresourcesbroughttobear.Thekeyfirststeptosuccessfulmarketingistoknowandunderstandtheaudience:Whoaretheusers?Whydotheyvisittheportal?Howdotheyusetheinformationtheygainfromtheportal?Auser-focussedapproachiscritical,alongwithanunderstandingthatitisnotpossibletobeallthingstoallpeople.
TheCulturalPortalSurveyaskedrespondentstoidentifytheir“primaryaudience.”Aquestionhasbeenraisedastohowaccuratelytheyhaveidentifiedtheaudiencesfortheirsites—whethertheyarerealorperceived.Learningmoreabouttheonlineaudiencedirectlywouldcertainlyclarifythematter.“Accidentalaudiences,”orusers,canarrivefromunexpectedquarters.Awarenessoftheseaudiencesnotonlyassiststheportalbuilderinmarketing,butalsoinconsideringchangestotheproduct.
Manyparticipantshaveundertakensomelevelofaudiencesurvey,fromelaboratestudiestomoresimplepop-ups,seekingtodiscoverage,location,interests,andsoonoftheirusers.Regularaudienceanduserinvolvementisimportantfordesigning,curatingandeditingcontenttokeepsitesfreshandrelevant.TheCulture.mondonetworkhavecommittedtosharingtheirtools(onlinesurveys,etc.)andresearchoutcomeswithaviewtobetterunderstandingandcomparingaudiences.
Audienceinformationanduserprofilescanalsoassistportalbuildersinattractingappropriateadvertisers,shouldtheportalhaveenoughregulartrafficandelecttopursueadvertisingtogeneraterevenueforthesite.
Basedonthesurveyresponses,thepercentageofbudgetthatportalsdevotetomarketingisgenerallyquitelow.Anaverageof7.5%hasbeendedicatedtomarketingbynationalculturalportals,4%bythematicportalsand
approximately2.5%byculturalobservatories.Giventhatmanyportalsidentifybroadeningaudiencesandusersasanobjective,butfewhavetheresourcesorabilitytodoso,itwillbevaluabletoshareinnovative,low-costmarketingapproachesandexperiences.
Onlinemarketingisusedsignificantlybyallgroupsofportals(87%ofnationalculturalportals,83%ofthematicportalsand75%ofculturalobservatories).Themostprevalentonlineinitiativesaretheinclusionoflogosandlinksandtheexchangeofinformationwithotherculturalorganizations—over50%inallgroupsusedthesemethods.Fully60%ofthesurveyrespondentsinthenationalculturalportalsuseonlinebanners,comparedwith19%inthethematicportalsand25%oftheobservatories(observatoriesalsoincludetheirbannersonnon-culturalsites).
In the overcrowded Internet
world, promotion, positioning
and marketing of the cultural
portal is required to deliver
on the access and visibility
objectives that shaped it.Mostafa Zommo • DirectorGenerale-Services,DepartmentofCanadianHeritage
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NATIONALCULTURALPORTALMANAGEMENT
Australia:CollectionsAustralianNetwork(CAN)
24
Mostofthepaidmarketingindicatedbyallthreegroupswasdirectedatprintmaterial—fliers,postersanddirectmarketing—inanefforttotargetspecificusergroups.Allundertooksomenewspaperadvertisingandsomedidtelevisionadvertising—thelatter,however,wasdonealmostexclusivelythroughexchangeofservices.
Inthenationalculturalportalsgroup30%undertakeregularmarketingsurveysand72%havedoneatleastonesurvey.Inthematicportalsthefiguresarelower:13%doregularsurveysand37%havedonesome.Culturalobservatoriesreportthatmembershipandusersatisfactionaremorefrequentlyusedmeasures.Thenatureoftheirworkissuchthattheyhavemoredirectcontactwithasmaller,moreeasilyidentifiedandcloselyconnecteduserbase.
InformationwillbesharedimmediatelywithintheCulture.mondonetworkandwillbenefitboththemoreestablishedportalsandthoseunderdevelopment.Tipsforlow-costmarketingandwaystoharnessonlinetechnologiestospeedtrafficdirectlytoaportalarevitaltotheirhealthandsurvival.Recentreportssuggestthatover80%ofusersrelyonsearchenginesasthefirstportofcallforinformation.Thisreinforcestheimportanceofoptimizingcontentandimprovingvisibilityonsearchengines.
RSS1andotherpushtechnologiesarethefutureoftheWeb;culturalportalsneedtounderstandtheirpotentialandcosteffectiveness.RSSiswellestablishedinthepublishingindustryasastandard.BroadcasterssuchastheBBChavehundredsofRSSfeeds,butcultural-sectorpublishingisslowontheuptake.
The24HourMuseumlaunchedthefirstculturalRSSnewsfeedintheUKin2003.Sincethen,thesite’straffichasmorethatdoubledeachyearandover70%ofpeoplearriveatapageotherthanthehomepageduetothesite’s“google-friendliness.”
Measures of Success
Theotherimportantconsiderationwithrespecttomarketingistheissueofmeasuresofsuccess.Whatarereasonableandvaluabletrackingandassessmentcriteriaandhowcantheseperformanceindicatorsbecomparedandassistinthesharingofbestpractices?Moreover,inthecaseofpubliclyfundedportals,whatevidencecanbeminedtosupportthesignificantpublicfundingthatisinvestedintheseonlineinitiatives?
Knowingmoreabouttheaudienceallowsforbetterevaluation:Whoistheaudience,whydotheycomeandhowdotheyusetheinformation?SharingaudienceprofilesacrosstheCulture.mondonetworkcanassistinbuildinganinformationbasefromwhichtoconsidermeasuresofsuccess.
“Success”intheonlineworldismostoftenmeasuredbyquantifiableresultsthatcountvisitors,pageviewsortimespentonthesite.However,itisnotpossibletoknowfromanumbersanalysisalonethedegreetowhichtheportalhasbeensuccessfulonitsownterms,itspercentageofmarketshareandsoon.Theuser-centredapproachtomarketinganddevelopmentdiscussedearlierkeepsthefocusontheaudienceandonconnectiontothepublic,aperspectivethatmustalsobereflectedinperformanceindicatorsandevaluation.
1ReallySimpleSyndication(RSS)Tofindoutmorevisit:www.24hourmuseum.org.uk/etc/formuseums/TXT31577_gfx_en.html
NATIONALCULTURALPORTALMANAGEMENT
UK:24HMnewsfeedviewedonpartnerwebsite
2�
Portalarchitectscanbeconsumedbyperformanceindicators—numbersandstatisticsthatcanimpressanddismaycriticsandsupportersalike.Whilethereisacertainvalueinnumbersandquantifiableresults,thesenumbersaremostusefulwhenpresentedinthecontextofhowone’ssitecomparestoothers.Internationalcontextisinstructiveandcanbeextremelyusefulinconversationswithstakeholders,contributorsandinvestors.
Aclearerandmoredetailedpictureoftheworldofpublicculturalportals,drawnthroughmeaningfulperformanceindicators,willmakeiteasiertocompareandcontrastthemtothecommercialonlineworld—astudythatwouldbeworthundertaking.
Inpartnershipwithotherstrategicinitiativesatthenationalandinternationallevels,Culture.mondoisinterestedindevelopingclearguidelinesandusingcommontrackingtoolsthatwillassistinmeasuringoutcomestoobjectivesandwillalsobuildaresourceofcomparativeinternationaldatathatcanresonateonanationallevel.
Inadditiontoconsideringthenumbersofvisitorsandrelatedstatistics,itisimportanttofindwaystoassessthequalityoftheonlineexperienceandthevalueoftheinformationprovided.Therightquestionsmustbeaskedinordertomeasuresuccessagainsttheportal’sgoals.Frequentandmeaningfuldialoguewithusersbothinformstheassessmentprocessandconnectstheusermorefullywiththeportal’sdirection.
By pushing our content into the heart of search engines we’ve
upped our visitor numbers and got our cost per user down from
49p to 5p in four years. We look at this alongside other less
quantitative stuff like numbers of downloads and email enquires.
We also monitor our relationship with the sector we represent,
how many times do people update their museum entry or send us
a press release — altogether this paints a pretty good picture of
impact and reach.Jane Finnis Director• 24HourMuseum,UK
UK:24HourMuseum
❜
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NATIONALCULTURALPORTALMANAGEMENT
26
Participants at the Culture.mondo Roundtable
Expo 200�, Aichi, Japan
Culture.mondoseesahealthyfutureinitsnetwork.Fromasmallcoresteeringcommittee,thenetworkhasexpandedtoacommittedgroup
ofmorethan20portals(andgrowing).Themorethan80portalsthatparticipatedinthesurveyarealreadyavailabletovisitontheCulturemondo.orgsite.ThisinternationalnetworkofportalsiscommittedtocontinueworkingtogetherandhavechosentousetheinteractivehuboftheCanadianCulturalObservatory,Culturescope.ca,asavirtualworkandmeetingplace.
Tocomplementanddeepentheexchangeandengagementaffordedbythisonlineworkingspace,thenetworkisplanningasecondface-to-faceRoundtablein2006—establishingapatternforannualmeetingstobehostedbymemberportalsfromaroundtheworld.
TheCulture.mondocommunityofpracticeaimstoincreaseparticipationfromawiderangeofculturalportalsandstrategicbodiesworldwide.Knowledgeexchangedacrossportalswillensurethatestablishedportalscansharebestpracticeswitheachotherandsupportthedevelopmentofnewportalsaroundtheworld.However,informationflowsinmanydirections—thefreshtakeofemergingportals,thetenacityofless-resourcedportalsandtheingenuityofyoungportalarchitectswillconstantlyprovidenew
viewsandperspectivesonthechallengesofportalgrowthanddevelopment.Thenetworkrecognizesthepotentialofactivecontentpartnershipsandtheopportunitytocreateandpresentnewmaterialthatcrossesnationalboundariesandreachesouttoandconnectswithaudiencesintheglobalarena.
Asitexpandsandgrows,Culture.mondoiscommittedtomaintaininganopen,nimbleandflexibleorganizationthatisresponsivetotheinterestsandaspirationsofitsportalmembers.Culture.mondodoesnotproposeamultinationalbureaucracyoramassivepublic-facingdestinationwebsite.Culture.mondoisnottiedtoanyonenationalagenda,ortoaspecificapproachtoportaldesignandmanagement.
Thenetworklooksforwardtoregionalandmultinationalexchangeandcollaborationwithotherrelatedinitiatives,includingMICHAEL,theInterAmericanNetworkofCulturalPolicyObservatoriesoftheOrganisationofAmericanStates(OAS),theInterAmericanNetworkofCulturalPolicyObservatoriesandUNESCOinthepost-CulturalDiversityConventionworldnowthatithasbeenadoptedbytheGeneralConference.
Thenetworkplanstoseekoutfundingpartnersinordertoundertakefurtherresearchandinformation-sharingtosupporttheexchangeofknowledgebetweenportals,forthebenefitoftheportalbuildersandtheindividualcitizensworldwidethatenterintothisnewglobalcommonsthroughthenationalculturalportalgateways.
Culture.mondoseesthepotentialforculturalportalstobeatthevanguardofnewonlinetoolsandtechnologyandtochampioninnovativeparticipatoryexperiencesandcitizenengagement.Asinformationandknowledgebecomesevenlesstetheredtoaparticularplaceorspace,asinformationismobilized,culturaltravellerswillbeabletoexperiencetheircultureandthecultureofothersthroughmultiplemeansofaccess.
WWW: FORWARD SLASH/FUTURE
27
Culture.mondoaroseoutofthecollectivevisionandleadershipofmembergroupsandthankstotheimpetusprovidedbyCulture.ca.ItbenefitsfromtheongoingsupportoftheDepartmentofCanadianHeritage,thepartnerthathoststhenetworksecretariat.TheworkofCulture.mondohasbeenledbyanInternationalSteeringCommittee,allofwhosemembershavegenerouslycontributedtime,energyandexpertisetoensurethatanideahasbecomeareality.
CulturalPortals:GatewaystoaGlobalCommonshasbeeninformedbytheCulture.mondoonlinesurvey.SpecialthanksareduetotheCulture.mondoInternationalSteeringCommitteeand,inparticular,toHansNissens,Cultuurnet.beandVladimirSkok,NetworkChair,Culture.ca/culturescope.ca(Canada)forchampioningfinancialsupportfromtheirrespectiveorganizations.
FurthercontributionstothepublicationweremadebytheCulture.mondoRoundtable(Japan,June2005),ameetingmadepossiblebytheeffortsandresourcescontributedbytheDepartmentofCanadianHeritageandthegenerosityoftheCanadianPavilion,Expo2005.
TheproductionofthispublicationisthankstothefinancialcontributionsofMICHAEL(MultilingualInventoryofCulturalHeritageinEurope),andtheCollectionsAustraliaNetwork(CAN);wewishtoexpressoursinceregratitudetoDavidDawson(MLA,UK)andKevinSumption.MembersoftheInternationalSteeringCommitteehavepaidmeticulousattentiontothetext.ParticularthanksgotoJaneFinnis,24HourMuseum,whoalsocoordinatedthedesignandproduction.
Culture.mondo International Steering CommitteePhilippeAvenier,Culture.fr (France)AlfonsoCastellanos,Ecultura.gob.mx (Mexico)Guy-MarcDumais,Culture.ca (Canada)AnaMariaDurán,Kultur.nu (Sweden) JaneFinnis,24hourmuseum.org.uk (UK)IlyaEricLee(portal in development, Taiwan)HansNissens,Cultuurnet.be (Belgium) VladimirSkok,Chair, / Culturescope.ca / Canadian Cultural Observatory (Canada) KevinSumption,Collectionsaustralia.net (Australia)
Culture.mondo SecretariatMarie-FranceLettre(2005-06)Marie-NoelShank(2005)KelliFraser(2004-2005)www.Culturemondo.org+18199979785
Analysis, Roundtable facilitation and writing: KatherineWatson,Meta4
Editing BarbaraLaskin, Meta4Meta4CreativeCommunicationsInc.isbasedinOttawa,Canadaandspecializesincommunicationsservicesforpublicandnon-profitinstitutions.katherine@meta4creative.ca
PhotographyPages2,4,6,9,16©24HourMuseumPages11,26©Culture.ca
DesignDavidO’Connor([email protected])
Basedontheculuturemondo.orgwebsiteMichael Blondeau,eccentricarts.com Toronto, Canada
ACKNOWLEDGEMENTS
28
www.virtualmuseum.ca
TheVirtualMuseumofCanadacelebratesthestoriesandtreasuresthathavecometodefineCanadaoverthecenturies.TheVMCharnessesthepoweroftheInternettobringCanada’srichanddiverseheritageintoourhomes,schoolsandplacesofwork.Contact:[email protected]
www.culture.fr
Culture.frisproducedbyFrance’sMinistryofCultureandCommunicationsincooperationwithnumerouspartners.Itisavailabletothelargestpossibleaudience,offersaculturalagenda,aselectionofsites,informationonthousandsofculturalorganizationsaswellasarticlescoveringallaspectsofculturallife.Contact:[email protected]
www.cultnat.org
Inthreelanguages,www.cultnat.orgpresentsprojectsinEgyptianculturalandnaturalheritagedocumentation,namelyarchaeological,architectural,natural,folklore,music,photographic,manuscripts,andsoforth.Italsoincludesapublicationslist,pressreleases,news,feedback,andFAQs.TheuniquenessoftheWebsiteliesinthewiderangeyetspecializedcontentthatitpresents.Contact:[email protected]
www.ecultura.gob.mx
E-culturaoffersapanoramaofon-lineMexicanculturethroughitsnewsletterservice,dailynewssection,children’ssection,billboardcoveringmorethan80institutions,abookshop,andamuseumshop.Itincludesdatafromfestivals,museums,artistsandgroups,archaeologicalsites,artseducationprograms,andlinkstoculturalWebsitesthroughouttheworld.Contact:[email protected]
www.cibernetica.cl
Thisfreemulti-portalWebsiteisadministeredbyagroupofyoungpeoplewhounderstandtherelevanceoftechnology,education,andculture.Withglobalcontentpertainingtotheinformationsociety,cibernetica.clpromotesuniversalaccesstotheInternet,telecommuting,knowledgenetworks,thecreationofdigitalinheritance,andpromotionofemergingarts.Contact:[email protected]
www.cult.bg
Cult.bgisaportalandculturalserverpresentingcontemporaryartandcultureinBulgaria.Duetoitsopenstructure,ithasmanagedtoinvolvemostoftheculturalinstitutions,artorganizations,andartistsinBulgaria.Itprovidesfreeservicestohelpartistsandorganizations,suchasWebhosting,emailaccounts,mailinglistsetc.Contact: [email protected]
www.visitingarts.org.uk
VisitingArtsseekstostrengthenandenrichinternationalawarenessandunderstandingintheUKthroughtheartsandculturalexchange.ItscountryCulturalProfilescompriseextensiveoverviewsanddetaileddirectorylistingsofeveryculturalsector(arts,media,andheritage)withinaspecificcountry,createdtoencourageandfacilitatereciprocalinternationalculturalexchange.Contact:[email protected]
www.culture.ca
Culture.caisaninitiativeoftheDepartmentofCanadianHeritageincollaborationwithpartnersfromtheprivateandpublicsectors.ItisapublicspaceandknowledgeplatformwherevisitorsfromaroundtheworldcanaccessdynamicinformationonthediversityandvitalityofculturallifeinCanadathroughacomprehensivesetofculturalresources.Contact:[email protected]
www.kultur.nu
CulturenetSwedenhasbuiltalargesystematicallyorganisedcatalogueoflinkstoallsortsofSwedishculture;artists,musicians,writers,actors,theatregroups,dancers,libraries,archives,museums,galleries,bookstores,governmentalagenciesconcernedwithculturalmatters,organisations,research,educationetc.Theservicesalsoincludes“Whathappens?”,anonlineeventcalendar.Contact:[email protected]
www.24hourmuseum.org.uk
The24HourMuseumistheUK’snationalvirtualmuseum.Itpublishesdailyarts/museumnews,exhibitionreviewsandin-depthtrails.Itpromotesnon-profitUKmuseums,galleries,andheritageattractionsandseekstoengageaudienceswithculture.ItisoneofthemostsuccessfulculturalWebsitesintheUKattractingmorethan500,000visitorseachmonth.Contact:[email protected]
APPENDIX: CULTUREMONDO ROUNDTABLE PARTICIPANTS
29
http://ocpa.irmo.hr/
Ocpa.irmo.hrispresentlytheonlyregionalWebresourcecentreandclearinghouseforcollecting,maintaining,analyzing,updating,anddisseminatinginformationonculturaldevelopmentinandfortheAfricancontinent,andforservingasaknowledge-basedpolicyanalysismechanism.Itstimulatesinformation,research,training,andcooperationrelatingtoculturalpoliciesinAfrica.Contact:[email protected]
www.asef.org
Inresponsetothedemandsofculturalpolicymakersandpractitioners,ASEFproposedaprocessentitled“CulturalPartnershipMapping”aimedatcreatinganAsia-Europeportalfacilitatingexchangesbetweenregions.Theproposedbi-regional,multidisciplinaryportalservesasaninterfaceforgovernmentsandartistsincludingavirtualspaceforculturalcollaboration.Contact: [email protected]
www.collectionsaustralia.net
ThisyearAMOLwasrelaunchedasCollectionsAustraliaNetwork(CAN).CANworkswitharchivesandlibrariesacrossAustraliatomaketheircollectionsaccessible,promotingexhibitionsandeducationprograms.ThroughCAN,teachers,students,andculturaltouristscanaccessobjectrecords,images,aswellasaspecialistprimaryandsecondaryschooleducationresourcegateway.Contact:[email protected]
NEW ZEALAND (in development)
TheportalwillprovideaccesstoNewZealandculturalinformationheldbybothgovernmentandnon-governmentculturalagenciesandorganizations.Theportalwillbeanevents-basedWebsitewithinformationonculturalgoods,services,events,andproductstodiverseaudiencesbothnationallyandinternationally.Contact:[email protected]
www.culture.tw (in development)
Culture.twisacollaborativeeffortbetweentheCouncilforCulturalAffairsandNationalDigitalArchivesProgram(NDAP)ofTaiwan.Theculturalportalunderdevelopmentwouldholdthedigitalcontentofthecultural,biological,ethnic,andgeographicaldiversityofTaiwan.It’sinspiredbyNDAP’spriorexperienceincross-disciplinarycollaborationbetweencontentexpertsandinformationtechnologists.Contact:[email protected]
www.ilam.org
www.ilam.orgfacilitatesLatinAmericanmuseumstobecome“links”betweencultures.ItcontainsadirectoryofmuseumsandparksinLatinAmerica,anewsletter,educationaloffers,linkstoon-lineexhibitions,thematiccategoriesofsites,documentationcentre,aforum,andgenerallinks.ILAMorganizesmuseologicalworkshopsandrunsavirtualvolunteersprogram.Contact:[email protected]
www.cultuurweb.be
TheFlemishculturesitemakesiteasyforthegeneralpublictofindtherightinformationquicklywithancalendarmodule,searchmodule,electronicnewsletterandlinkdatabase…Visitorscancreateapersonalprofilesandcanrateorgiveopinionaboutculturalactivities.Informationaboutreservations,pricesandticketingisavailableoncultuurweb.be.Contact:[email protected]
www.portal.unesco.org/digiarts
TheUNESCODigiArtsPortaldisseminateshistorical,theoretical,artistic,technical,andscientificresearchinthefieldofelectronicanddigitalarts.Itpromotesinformationexchangeamongartists,scientists,andtechniciansfromdifferentgeo-culturalregions.Itsupportsandencouragestheuseofelectronicsoftwareforelectroniccommunicationandcreation.Contact:[email protected]
www.culturescope.ca
ThisculturalobservatoryconnectstotheissuesaffectingCanada’sculturalvitalitytostimulatediscussionandpolicydevelopment.Itsresourcesincludespecializeddataandstatistics,digitizedpapers,news,andevents.CulturescopeGroupsprovideavenueforpassword-protectedexchangeanddiscussionsbetweenculturalprofessionalsonprojectsandnewdevelopments.Contact:[email protected]
www.culture.ma (in development)
Althoughitisstillintheideastage,progressisbeingmadeonculture.ma,aculturalgatewayforMorocco.Theprojectwillbeconductedwiththeassistanceofthefollowingkeyplayers:AlAkhawaynUniversityinIfrane(www.aui.ma),theMoroccanMinistryofCulture(www.minculture.gov.ma),theMoroccanministryoftourism(www.artesnet.gov.ma),andtheL’OfficenationalMarocaindutourisme(www.tourisme-marocain.com).Contact:[email protected]
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