Finding the Missing Link for the Successful Promotion of Cultural

Public Ecologies of Art Finding the Missing Link for the Successful Promotion of Cultural Tourism in Hong Kong – a Comparative Study of the Hong Kong Museum of Art and the Macau Museum of Art Made in Japan -The Great Odalisque 1964 （Martial Raysse） Yeung May Yee, Mimi On 23 November 2006, the Museums Advisory Group (MAG) of the Consultative Committee on the Core Art and Cultural Facilities of the West Kowloon Cultural District (WKCD) submitted a report on its recommendations on museum facilities in the West Kowloon Cultural District, after having conducted a detailed study of 10 world class museums overseas. The Advisory Group recommended the setting up of a new and forwarding-looking cultural institution in WKCD, whose objectives are to study, promote and showcase the visual culture of the 20th and the 21st centuries from a ‘Hong Kong perspective’ and a ‘now perspective’, coupled with a global vision.1 The institution to be set up 1 Press Release, WKCD Museums Advisory Group makes innovative recommendations, Hong Kong 1 Public Ecologies of Art ‘M+’ (Museum Plus) would consist of four initial broad groupings: ‘Design’, ‘Moving Image’, ‘Popular Culture’ and ‘Visual Art’ (including ink art). M+ will study and showcase visual culture in an unorthodox manner, encourage interaction and pro-actively establish a platform for dialogues with audience. It will also facilitate research and education. Its facilities will include exhibition space, a dedicated outreach and education centre, a library cum archive, bookstore, screening facilities as well as artists-in-residence studios. As one of the four proposed museum themes of M+, namely visual art, overlaps with the main theme of the Hong Kong Museum of Art (HKMA), its establishment will likely compete or even eclipse HKMA in areas like funding, quality of exhibits and patronage. This paper attempts to review the performance of Hong Kong Museum of Art by comparing it to the achievements of the Macau Museum of Art. The purpose is to explore the roles and functions of Hong Kong Museum of Art with respect to our cultural policy and the challenges it faces under the pressure of the proposed M+ in the backdrop of flourishing museums in the nearby region. The Macau Museum of Art is being selected for the comparative study because of the acclaimed achievements of Macau in the last decade, which has placed Hong Kong on the defense. On 3 December 2006, Macau Government Tourist Office (MGTO) reported over 17 million have visited Macau in the first ten months of 2006, a 15.85% increase over same period last year and since the 1999 handover, Macau has experienced an astonishing rate of development in cultural tourism.2 Although the study of world-class museums conducted by MAG does not cover the Macau Museum of Art, this unique museum has been gaining momentum in contributing to the cultural tourism of Macau and in promoting local Art. The Museums of Hong Kong: Management and Philosophy As at 1 October 2006, there are 24 museums in Hong Kong. Among them 13 museums and one film archive are managed by the Leisure and Cultural Services Department (LCSD). The remaining 10 museums are run by tertiary institutions, non-profit or private organizations, Correctional Services Department and Hong Kong Police Force respectively. Government, 23 November 2006. 2 Macau celebrates recording-breaking 20 million visitor arrivals, Macau Government Tourist Office, 3 December 2006 2 Public Ecologies of Art In Michelle Henning’s book Museums, Media and Cultural Theory, museums have the function of reproducing ideologies and confirming the existing order of things, or they can become instruments of social reform. A review on the cultural policy of LCSD will shed light on the philosophy of Hong Kong Museum of Art and how the museum is managed. Contrary to Raymond William’s suggestion that culture is ordinary, Hong Kong’s cultural policy identifies three tiers of ‘culture’, namely everyday life culture, high culture and spiritual culture. The HKSAR Government has assumed a responsibility in promoting high culture, as quoted from Hong Kong Cultural Policy (Home Affairs Bureau, 21 April 2006) ‘The Government can and should exercise influence through its policy primarily on high culture (i.e. culture and the Art).3 High culture is defined as the artistic creation and presentation including music, literature, theatre, visual Art. It takes education and cultivation of artistic flair to appreciate the culture which reflects the guiding values and artistic flavour of the society.4 The objective is to create an environment which is conducive to the freedom of artistic expression and creation, and the wider participation in cultural activities. The policy comprises the following major elements: y respect freedom of creation and expression y provide opportunities for participation y encourage diversified and balanced development y provide a supportive environment and conditions (venues, funding, education and administration)5” Roles of Museums The roles of museums in a society have been changing rapidly as communication and dialogue with visitors becomes increasingly important. In the past, museums mainly performed the role to collect, document, preserve, exhibit and interpret material 6 evidence and associated information for the public benefit. 3 Hong Kong’s Cultural Policy - (Home Affairs Bureau), Consultative Committee on the Core Art and Cultural Facilities of the West Kowloon Cultural District, 21 April 2006, page 2 4 Defined in the Hong Kong Cultural Policy 21 April 2006 5 ibid 6 The old definition adopted by Museums Association (MA). Set up in 1889, the MA is the oldest museum association in the world to look after the interests of museums and galleries. Today it is still 3 Public Ecologies of Art Nowadays, museums are expected to communicate with the community as well as to keep pace of its developments. They would not only acquire, conserve, research and exhibit, but they also communicate and inspire for the purposes of study, education, enjoyment and appreciation of material evidence of people and their environment, and to enhance the quality of the people’s life.7 The Hong Kong Museum of Art is dedicated to the preservation and collection of works of art, and to present a mix of exhibitions, education and extension programs aiming at enhancing the public’s appreciation of and interest in art. Another core function of this museum is to promote Hong Kong art on the local and international horizons.8 Given the roles and functions of the art museum outlined by LCSD, a comparison between the two museums is being made under the following categories: its governance, hardware and software (including exhibition, promotion of local art and art education and enhancement of public’s appreciation). A comparison chart is attached at the Appendix. A Comparative Study - The Hong Kong Museum of Art (HKMA) and the Macau Museum of Art (MMA) Background The Hong Kong Museum of Art is managed by the Leisure and Cultural Services Department (LCSD). Established in 1962, it was first housed in the City Hall, before being relocated to its present purpose-built premises by the Hong Kong Cultural Centre in 1991. The museum also has a branch, the Flagstaff House Museum of Tea Ware. The subject of this study is the Hong Kong Museum of Art situated at 10 Salisbury Road, Tsimshatsui. The Macau Museum of Art was established in 1999 managed by the Civil and Municipal Affairs Bureau. The mission of the Macao Museum of Art is to display the specialty of traditional oriental culture combined with the artistic flavour of the Western civilization. entirely independent of government and is funded by its members. The MA now has approximately 5,000 individual members, 600 institutional members and 250 corporate members. 7 The roles of museums currently adopted by the United Nations Educational Scientific and Cultural Organization (UNESCO), the Museums Association and the International Council of Museums. 8 Current Provision of Museums in Hong Kong, 24 April 2006, p2 – Consultative Committee on the Core Art and Cultural Facilities of the West Kowloon Cultural District, Museum Advisory Group 4 Public Ecologies of Art Governance Since 1 January 2000, LCSD has taken over the role of providing and managing public museums in Hong Kong. There is no museum-specific legislation for the governance of museums in Hong Kong.9 In March 2003, the Culture and Heritage Commission recommended that the Government should establish a statutory body (i.e. a Museum Board) to coordinate the overall development of public museums. The Audit Commission recommended that the Secretary for Home Affairs and the Director of Leisure and Cultural Services should consider benchmarking the practice of the LCSD with that of overseas cultural metropolises in the governance of museums, in particular, the setting up of a statutory governing body. The Consultancy Report published in March 2003 noted that there was no Master Plan for the long-term development of museums in Hong Kong. In resonance, the Audit Report in April 2006 revealed that LCSD museums only prepare their own business plans, and plans for exhibition and programs to be organized in the coming years.10 In November 2004, the Committee on Museums was set up to advise the Secretary for Home Affairs on policies and strategies in the development of arts and culture and on matters related to the provision of public museum services. It is noteworthy that the Committee takes up an advisory role with no statutory authority, and any recommendations made by the Committee is not legally binding to the Government. The museums of Hong Kong are operated under the government bureaucracy. The museums do not have a Director, but they have a Chief Curator and under him are curators of various ranking, such as Curator and Assistant Curator.

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