1Museum leaders play a crucial role in transforming museums by embracing new skills and acquiring new knowledge. Since the 1990s, museum professions have diversified. The roles and training programs have expanded and developed (Caillet, Van-Praët and Martinot-Lagarde 2001) with the emergence of new positions such as collections care and exhibition technicians, restorers, educators, as well as marketing officers and project managers (Boylan 2006a; Ruge 2008). This diversification has further accelerated over the past 15 years, with new areas of expertise emerging, alongside the establishment of new museum forms such as foundations and interpretation centres, as well as new professional statuses, including independent consultants (Raoul-Duval 2018). Strategies for local community engagement, audience development, participation, and inclusion have particularly required the deployment of skills and techniques for audience research and knowledge (Black 2011). Additionally, new forms of patrimonialization and musealization, such as the conservation, exhibition, and interpretation of intangible heritage, have demanded the development of new adapted skills (Boylan 2006b). Digitalization has led to the emergence of unprecedented roles, consequently altering the internal organizational environment (Marty 2007) – a trend accelerated by the global COVID-19 pandemic. It has also provided an opportunity for the development of professional skills through the dissemination of specialized international online courses, such as Massive Open Online Courses (MOOC) (Kameas and Polymeropoulou 2020). For instance, four profiles have been identified by the European Mu.SA project: digital strategy manager, digital collections curator, digital interactive experience developer, and online community manager (Carvalho and Matos 2018). Thus, museum professions require new approaches, leading to new forms of management, interpretation, and democratization (White 2016). These evolving roles underscore the importance of adaptability and lifelong learning within the museum sector.
2At present, the issue of sustainable development is particularly invigorating the community of museum professionals. Sustainability, in this context, is defined as the capacity to integrate into a long-term strategy that safeguards resources for future generations, involving the inclusion of society and stakeholders, the circular economy, and environmental development (Paehlke 1999; Dresner 2002). This contemporary shift towards enhancing the social and economic impact of cultural heritage builds upon the foundation laid by the new museology and ecomuseums in the 1970s, notably following the Santiago Round Table organized by UNESCO (United Nations Educational, Scientific and Cultural Organization) and ICOM (International Council of Museums) in 1972 (Varine 2017; Lanzinger and Garlandini 2019). Today, this discourse has become global, affecting even the most traditional institutions, which are criticized for being unsustainable and a significant concern for future generations, particularly in terms of collection acquisitions (Merriman 2008). The transition of all museum spheres towards sustainability is thus not merely an opportunity but a necessity, even a priority, demanding the recognition and adoption of new paradigms (Campolmi 2013). The museum institution is thus identified as a catalyst for societal improvement through community engagement and the enhancement of well-being (Brown 2019), which must shift towards a visitor-centric perspective (Di Pietro et al. 2014). A pertinent question arises regarding the transformations affecting all professions. This shift towards sustainable development, indeed appears to demand new skills, but also a stance and strategies that imply a profound and gradual transformation of management, administration, and thus, museum professions.
3As a major player in the museum professional field, ICOM positions itself at the forefront of discussions concerning sectoral developments. In December 2023, it has notably announced the launch of an ICOM Award for Sustainable Development Practices in Museums (ICOM 2023a). The goals and targets aim to address key areas for humanity and the environment: people (end poverty and hunger, ensuring human potential in dignity), planet (protect it through sustainable practices, resource management, and climate action), prosperity (enable all to lead prosperous lives in harmony with nature), peace (promote peaceful and inclusive societies), and partnership (mobilize resources through a global partnership for sustainable development). ICOM has also recently published a special issue of its journal Museum International on the theme of museums, sustainability and sustainable development (Legget and Labrador 2023). Additionally, in the last years, ICOM has dedicated the International Museum Day to topics related to sustainability. While this sustainable era is gaining momentum, ICOM is at the heart of a new strategy. But what about the vision of its professional members?
- 1 As an Erasmus+ funded project, CHARTER (Cultural Heritage Actions to Refine Training, Education, an (...)
4We conducted a preliminary survey at the ICOM General Assembly in Prague from August 20 to 28, 2022. It was intended to focus on the new perspectives of the sector, according to its professionals, and consequently, the internal transformations that appear to be taking shape. Even before all the actions and reflections conducted by ICOM in 2023, we identified several challenges related to sustainability. In this article, we aim to present and analyse these preliminary findings, which we argue are the driving force behind the major change that can already be observed and could be seen in the coming years as local and international initiatives. This preliminary study, conducted within the framework of the CHARTER Alliance research1, focused on identifying emerging professional profiles and competences within the European museum landscape. Specifically, it sought to elucidate the skill needs of museums by delving into the perspectives of their managers and experts.
5The ICOM General Assembly in Prague encompassed a diverse program featuring conferences, round tables, meetings, excursions, and both the extraordinary and ordinary assembly of ICOM. The primary focus of this global event centred around the pivotal vote on the new museum definition (ICOM 2023b).
6The new definition was officially adopted at the General Assembly with a substantial approval rate of 92.41%. It can be argued that this decisive vote significantly shapes the trajectory of professional needs and skills in the museum sector. Notably, in contrast to the prior definition in force since 2007, the updated definition introduces innovative concepts. These include the verbs “to collect” and “to interpret”, the adjectives “accessible and inclusive”, the adverbs “ethically and professionally”, and the nouns “diversity”, “sustainability”, “reflection”, and “enjoyment”. Moreover, it incorporates the critical notions of the “participation of communities”, “varied experiences”, and “knowledge sharing”.
7Given that the definition undergoes revision approximately every ten years, this recognition indicates a forward-looking perspective. In this context, there was a compelling interest in exploring the insights of museum professionals and experts concerning the emerging professional skills in the sector. So, what are the needs of museums according to its professionals and experts?
8The methodology applied in this preliminary study involved conducting interviews through informal discussions outside of the structured sessions, at workshops and conferences. The interviews were based on spontaneous sampling, within the broader framework of participant observation. The aim was to gather reflective insights into emerging professions, which were subsequently summarized and documented. To understand some of the trends, we interacted with 20 members of ICOM from the European region. Thus, this preliminary research was not intended to be quantitative and representative, but rather an exploratory survey highlighting trends in the international evolution of the museum field through qualitative methods.
9It is essential to acknowledge that this preliminary study was conducted at an international conference convening museum professionals and researchers with a specific interest in the fields covered by the event. This should be considered within the context of discussions, particularly in connection with the new museum definition and the conference’s central theme, The Power of Museums. Thus, this exploratory survey is complemented by field observation, interactions and topic points raised during the discussions at ICOM Prague 2022. A non-directive interview approach was specifically adopted, engaging in discussions with professionals and posing questions about sector needs in the context of these conversations. Responses are shaped by the interviewees’ expertise, their involvement in the museum field, and the trends discussed during the events in Prague. Therefore, we will present a few key elements raised concerning the themes addressed throughout the week, including leadership, heritage protection, new technologies, solidarity projects, and sustainability.
- 2 For further information, refer to the website that describes the areas available at: https://charte (...)
10The results are correlated with the main themes addressed at the event, as well as the five heritage expertise areas identified by CHARTER: “preservation and safeguarding”, “traditional crafting and knowledge”, “dissemination and communication”, “knowledge of cultural heritage”, and “planning and management”.2 The analysis is grounded in the identification of competencies and skills, along with the recommendations that emerge from this exploratory study. It involved a flat sorting of demographic profiles, as well as a cross-analysis of topics discussed and terms employed by professionals, thereby revealing overarching trends that were intersected with the expertise areas identified by CHARTER.
11The professional profiles within the museum sector in Europe are highly diverse, covering a broad spectrum of specializations and goals (table 1). Roles range from digital project management and curation to directing art schools and museum education. Institutions include national museums, universities, art schools, and research centres. Key areas of expertise involve audience development, collection policies, community engagement, conservation, education, innovative management and development, sensitive mediation, and international outreach. Professionals, spanning from 25 to over 65 years old, show a balanced gender distribution and a growing focus on sustainability, cutting-edge technologies, and collaborative efforts with universities to shape the future of museums across Europe.
Table 1 – Professional profiles interviewed
12The interviewed professionals worked in four different organizations – museums, heritage sites, universities, or NGOs – representing four types of professional roles: Museum Leadership, Research, Curating and Collections Management, and Audience and Community Engagement (fig. 1a and 1b). They operate in Direction, Museology, Curating, and Management of Collections, as well as Audience and Community Programs. In the middle of their careers (36-56 years old), these profiles are primarily from Central and Western Europe. The questions pertaining to needs in the museum sector align with the specializations of these professionals and resonate with the themes discussed at the conferences in Prague. This logical correlation underscores the emergence of new needs and skills within the museum sector.
Fig. 1a. Organizations
Fig. 1b. Professional roles
13The qualitative method adopted remains, as previously mentioned, preliminary. Prior to the investigation, this approach seemed appropriate for implementing a dynamic and flexible protocol. This allowed for active participation and observation at conferences and networking while deepening the approach through discussions with professionals in an informal and anonymous setting. In post-investigation, however, we identified a methodological bias. It would have been beneficial to deepen these exchanges through subsequent structured interviews or even focus groups, which would have allowed participants to gain more perspective beyond the conference context – which already focused on sustainability topics. Nonetheless, this does not detract from the value of the survey results and their contributions to the broader trend in the museum studies community of observing contemporary trends within the sector’s professions.
14The identified needs were discussed without a predefined area of connection. Therefore, during the analysis phase, we undertook systematic identification and categorization to create conventional groupings. We considered these needs according to the five areas of expertise identified by CHARTER – positioned as a reference segment for observing future trends in the heritage sector. They are presented below in the order of interest evoked: (i) planning and management, (ii) dissemination and communication, (iii) preservation and safeguarding, (iv) traditional crafting and knowledge, and (v) knowledge. At this stage, the focus is on highlighting the themes and key words that emerged during our exploratory investigation (table 2). These findings will subsequently be discussed from the perspective of sustainable development.
Table 2 – Areas of expertise related to the skills examined
15Museum organization emerges as a primary area of need. The challenges identified can be categorized into three areas involving various hierarchical, internal, and external stakeholders. Governance, organizational management, employee development, and cultural field networks are key actors requiring the development of new professional skills.
16The first crucial aspect is recognizing the existing skills in classic museum functions –conservation, research, communication, presentation. Governance plays a pivotal role in this process by investing in staff, enabling museums to consolidate and develop. This primary need is providing museums with the resources to expand, creating positions for young professionals, and reducing precarious positions. Professionals emphasize the importance of more autonomy in financing and hierarchical organization, particularly concerning public policies. Although not specific to Europe, this observation underscores the urgency of creating an environment that fosters the visibility and evolution of museum structures and their professionals. This perception is echoed not only in Europe but also in international perspectives from professionals in Brazil, Canada, USA, and Japan.
17It is also recommended that professionals within the museum structure acquire new skills related to contemporary events and themes. An essential aspect is understanding sustainable development issues, involving the development of skills in sustainable programming. This includes integrating recycling practices into exhibition design and organizing workshops for internal awareness. Professionals emphasize the importance of developing partnerships and adopting an experimental learning approach. Internal awareness of sustainability issues should precede public initiatives. Another area of internal competence to be developed is hybrid curatorial practices, particularly relevant in the context of the recent Covid-19 pandemic. This highlights the necessity for museums to systematically learn how to curate exhibitions in both traditional and virtual formats.
18For instance, a museum director emphasized the systematic learning of curating exhibitions in both traditional and virtual formats, highlighting the need for logical and mechanistic approaches. Additionally, professionals underscore the importance of developing skills tailored to the needs of small museums, which often prioritize community proximity and operate differently from larger institutions. This underlines the necessity to differentiate managerial and strategic approaches based on the specificities of smaller structures and their connection with local communities – an aspect that will also be discussed in the context of communication. Thus, teams should acquire new skills in alignment with societal trends, adapting to each museum’s possibilities. This highlights the need for flexibility, encouraging museums to be adaptable and prepared to modify traditional operating methods through a reflective and innovative approach, considering their capacities and roles in society.
19Besides, in response to these changes, professionals emphasize the need of developing networks and fostering experimentation. Some stress the urgency of breaking away from traditionalism, advocating for the education and sensitization of professionals to embrace new trends and foster innovation across all areas, aiming for less bureaucratic and conventional approaches. To achieve this, professionals focus on the importance of cultivating international skills and engaging in dialogue within a museum community open to sharing practices and collaborations. In this context, interregional organizations like ICOM play a crucial role in facilitating such permeability.
20Another critical aspect involves strengthening collaboration between museums and universities. While these collaborations exist, according to a curator-museologist, there is room for enhancement. Museums, at times, approach subjects in novel ways, but universities may already possess research and knowledge on these topics. Therefore, there is a need to cultivate skills related to museum-university relations, emphasizing collaborations and joint projects to expand and consolidate these practices. This entails developing skills that align with international standards, fostering partnerships, and promoting collaborations between museums and universities, equipping professionals with the tools to navigate current directions effectively.
21These insights revolve around recognizing existing competencies, advocating for greater professional autonomy, adapting to contemporary trends with a long-term perspective, and consolidating external relationships with peers and academics. They indicate a collective intent to sustain the shared mission of museums by fostering dialogue with stakeholders. This involves processes of consultation, engagement, and participation in internal decision-making and subsequently external decisions, aligning with the evolving societal landscape.
22The second aspect of professional development for museums focuses on outreach practices and audience communication. Professionals highlight three noteworthy areas: participatory practices, experimental approaches, and the integration of innovative technologies. These strategies aim to not only engage existing audiences but also cultivate connections with traditionally underserved demographics.
23Professionals underscore the significance of acquiring skills to implement participatory practices within museums. This involves expertise in involving visitors in various stages, including curatorial design, planning, interpretation, and dissemination activities related to the representation of their cultures – whether local or within local communities. Creating participatory exhibitions is deemed a priority, particularly in museums with traditional approaches. This is especially crucial in smaller museums with limited resources, where there might be a tendency to prioritize collections due to constraints in both interest, and financial and human resources.
24Engaging with local communities positions the museum institution as a central figure in society. Beyond an economic focus on attracting more tourists, museums must learn to create platforms for interaction and diversification of local audiences, incorporating both digital and interpersonal aspects. Professionals emphasize the importance of training teams to consider non-traditional audiences, involving the identification, support, engagement, and retention of these audiences while maintaining ongoing interaction. This reflects a desire to enhance the museum’s role and expertise concerning the public, especially with minority communities – a pivotal concern that will be addressed subsequently. These aspects signify an inclination to move away from traditional frameworks and a commitment to experimenting with adaptable and open approaches to the public.
25Within this context, certain curators and audience specialists draw attention to the rise of experiential and sensory approaches that demand novel professional competencies. They emphasize specific mediation techniques within exhibitions that surpass conventional boundaries and engage visitors through their bodies and senses. To achieve this, museums must first identify mechanisms enabling the recognition and consideration of these practices before attempting to connect with the public. Once again, collaboration among museums and with universities appears to be a pathway for acquiring skills to broaden and enhance mediations and interpretations of heritage through sensory approaches influencing both curatorial practices and educational tools. An additional skill involves project coordination with artists or experts from diverse disciplines to foster creativity and well-being.
26In this context, an independent professional specialized in educational project design underlined the significance of art therapy as an approach that can generate narratives connected to the museum. The emphasis on well-being and care is crucial within these trends, aiming to move away from the traditionalism of museums and, in turn, educate and sensitize professionals to contemporary issues and new trends through experimental and more innovative approaches.
27Finally, the integration of innovative technologies is crucial for the evolving professional needs of museums. As mentioned earlier, there is a need to curate exhibitions in a hybrid manner, particularly in conceiving virtual exhibitions alongside with traditional in situ displays. This competency is deemed essential for outreach and engagement with both existing and non-traditional audiences. New technologies serve as a bridge, offering museums opportunities to connect with communities that were once geographically distant. A critical aspect involves developing expertise in collections digitization, leading to the creation of public and educational activities. Museums are urged to cultivate multimodal and transmedia approaches, fostering meaning and value around their tangible and intangible heritage. This orientation aims to engage the public and attract new audiences. It entails not only developing skills in digital media but also establishing sustainable funding models for these tools.
28Dissemination, communication, and visitor engagement emerge as strategic domains for museums’ development. Professionals express a desire to adopt new practices and diversify audiences through innovative approaches. This aligns with a vision of the museum that places greater emphasis on the role of visitors and communities. Whether through human, technical, or digital tools, identifying strategic levers is crucial to raising awareness across the entire museum organization. This involves concerted efforts to secure financial resources and professional expertise. Proficiency in relational, networking, and financing skills, along with sociological and cultural knowledge, is deemed essential for achieving this objective. Engaging in cross-community partnerships and relationships, leveraging external expertise (such as artists, academics, and well-being specialists), is considered a viable approach to implementing these strategies.
29Concerning heritage preservation and safeguarding, the perspectives shared by professionals vary, reflecting the diversity of their expertise. Nevertheless, three areas of interest emerge, focusing on collection policies, storage management, and the recognition and advancement of the conservator-restorer profession.
30The establishment of policies for museum collections should undergo innovation, according to insights from a museum curator. In the case of a new department being created, currently engaged in the musealization of objects, this professional suggested that the collection policy should be more actively involving communities and leverage new technologies. The dual integration of community participation and technological mobilization is seen as essential for researching, constructing, and interpreting collections through a consultative policy aligned with contemporary practices. Emphasizing the early digitization of collections is proposed as a strategic approach, regardless of the nature of the heritage, encompassing tangible and intangible aspects, as well as scientific, technological, and artistic dimensions. This recommendation underscores the importance of departing from tradition and embracing current and innovative practices in collection management.
31The second identified competence in heritage preservation and safeguarding concerns storage management. An expert underscored the urgent need for standardized skills encompassing planning, organization, space utilization, furniture arrangement, and monitoring. Throughout their career, this professional has observed a deficiency in competencies related to storage management, leading numerous museums, including larger ones, to confront significant challenges in storage reorganization. To address this issue, the expert recommends that museums prioritize knowledge of storage organization methods when hiring new personnel. Additionally, establishing internal oversight mechanisms, led by a trained organizational referent with developed skills in collection analysis, logic, method, and diligent monitoring of museum storage, is deemed essential for effective storage management.
32The third area of interest in heritage preservation and safeguarding revolves around the professional profile and expertise of conservator-restorers. The director of an institution specializing in training for this profession highlighted the insufficient consideration of this aspect. According to them, this oversight is partly due to resource constraints in museums and a competitive dynamic that exists with internal conservators. Consequently, conservator-restorers often work independently. Addressing this issue is not necessarily about developing new skills but rather about recognizing the existing skills and providing them with increased visibility.
33These professional recommendations underscore the need for innovation in current professional skills and the elevation of existing expertise that often lacks visibility within museums. Questions are raised about the shortage of financial and human resources, leading to essential roles in heritage preservation, such as conservator-restorers, being outsourced. Additionally, museums may seek the assistance of international authorities and external consultants to ensure the effective functioning of the institution, particularly in areas like collection building policies and storage reorganization.
34In the domain of crafts and traditional knowledge, a notable development involves the identification of new skills, particularly related to the engagement of indigenous and minority communities. These skills are highlighted both in the context of musealization and collecting, as well as in the interpretation and dissemination of knowledge concerning the tangible and intangible heritage associated with these communities.
35Professionals emphasized the need of closely collaborating with local communities. Project managers are urged to cultivate skills in community inclusion and participation to ensure representation and engagement. This entails a requirement for knowledge in anthropological and sociological models to be applied in the process of community inclusion and co-curating. This expertise should facilitate long-term collaboration rather than adopting a one-off strategy. Teaching the fundamentals of knowledge, relationship building, inclusion, and community participation becomes imperative, especially for those often overlooked in society, in order to transform the museum into a space of emancipation.
36A community manager, representing an emerging profession, highlighted that the museum and its team lack an understanding of inclusive approaches. Another museum director narrated their curatorial approach in designing a temporary exhibition related to sub-Saharan African cultures, where they invited an African expert to co-lead the project. This approach aims to enhance local representation and legitimacy, particularly given the historical conflicts and hegemonic relationships between European and African regions.
37The identified competencies align with those mentioned earlier in the context of dissemination and communication. However, in this instance, it is crucial to underscore the expertise required for engaging in meaningful dialogue with communities, minorities, and traditional knowledge. This emphasis becomes even more pertinent in the context of museum’s decolonization, demanding specific and prior knowledge in these areas.
38The last point concerns to general museum knowledge and research on both tangible and intangible heritage. This domain is intricately connected with the previously discussed elements, as the information often intersects with various fields. However, it encompasses more than traditional knowledge, extending to all forms of collections established in the past and currently under study.
39According to professionals, the acquisition of knowledge today demands new models of interpretation, irrespective of the collection’s nature. This entails expertise in novel approaches to identify, comprehend, and interpret collections. In this regard, contextualizing heritage within its historical and musealization processes becomes crucial, especially concerning the decolonization of European museums, such as traditional knowledge. Professionals emphasize the need for a reflective examination of their museums’ history, requiring a critical perspective on collections and proficiency in history, sociology, and anthropology.
40Collaborations with universities are proposed to introduce these skills, highlighting a heightened awareness of issues that encourage a revaluation of the overall history of European museums – whether artistic, anthropological, or scientific. This reflects a call for a renewed discussion on museology.
41The key themes emerging from the results are closely tied to audiences and communities, participation, experimentation, creation, non-traditional approaches, organization, and networks. The prominence is on the public and in institutions restructuring, stressing a sense of proximity achieved through strategies of inclusion and engagement. Professional needs appear to revolve around relational and organizational skills, particularly the ability to work within networks (with artists, audiences, communities, peers, and universities). Thus, it seems that museums are positioning themselves as societal actors oriented towards stakeholders, seeking innovative modes of experimentation, and expressing a desire to break away from conventional models.
42Museum professionals stress the need to acquire new skills related to contemporary events and sustainable development issues. This includes integrating recycling practices into exhibition design and organizing internal awareness workshops. In such context, internal awareness of sustainability issues should precede public initiatives. It is also necessary to develop hybrid curatorial practices, especially after the context of the COVID-19 pandemic, which entails learning to curate both traditional and virtual exhibitions. In particular, small museums need to adapt their managerial and strategic approaches to respond to their community proximity, highlighting the need for flexibility and innovation in operational methods.
43Professionals emphasize the importance of developing networks and encouraging experimentation to break away from traditionalism. This includes educating and sensitizing professionals to current trends and fostering innovation in all areas, promoting a less bureaucratic approach. International skills and dialogue within the museum community are essential for sharing practices and encouraging collaborations. Collaborations between museums and universities must be strengthened, allowing museum practices to align with international standards and promote cooperative projects.
44Dissemination and communication with audiences are strategic domains for museum development. Professionals point out the importance of participatory practices, experimental approaches, and the integration of innovative technologies to engage existing audiences and attract underserved audiences. Implementing participatory practices, particularly in traditional and small museums, is then crucial to involve visitors in all stages of curatorial design. Training teams to consider non-traditional audiences, including minority communities, and experimenting with open and adaptable approaches are essential. This includes hybrid curation of exhibitions, combining virtual and traditional formats, and collections digitization to create public and educational activities. Museums need to develop multimodal and transmedia approaches to enhance the value of their tangible and intangible heritage while establishing sustainable funding models for these tools. Integrating communities and new technologies is essential for research and collections interpretation. In the field of crafts and traditional knowledge, engaging indigenous and minority communities seems to be essential. This requires skills in community inclusion and co-creation of cultural events, based on anthropological and sociological models. Professionals must closely collaborate with communities to ensure representation and long-term engagement.
45Furthermore, general museum knowledge and research on tangible and intangible heritage demand new interpretation models, such as a reflection on the history of collections and museums, in collaboration with universities, to encourage a revaluation of museological practices and a better understanding of colonization and decolonization processes. These recommendations highlight the need to innovate and enhance existing skills while developing new competencies to address contemporary challenges. Museums must adopt a flexible and collaborative approach to strengthen their role in society and adapt to emerging trends.
46Based on the functions identified by CHARTER, these skills primarily align with engagement and use (valorisation, interpretation, communication, exhibition, dissemination), research and development education (identification of cultural heritage, development of people, formal programs for professionals), and governance and policymaking (decision-making, legal constraints, monitoring, advocacy). While not exhaustive, this findings into current trends suggests that museum professionals are positioning themselves as socially engaged practitioners. It indicates a demand for increased expertise and skills to actively participate in museum practice. This trend should not be viewed as a disinvestment in heritage conservation; rather, it reflects a different commitment that emphasizes interpretation and legitimization through community participation.
- 3 With the participation of Margarita Reyes Suárez (Colombian Institute of Anthropology and History), (...)
- 4 With the participation of the Ugandan activist Hilda Flavia Nakabuye, Ondřej Dostál (Mendel Museum (...)
- 5 With the participation of Seb Chan (Australia’s national museum of screen culture), Nanet Beumer (R (...)
47Several indicators may help to contextualize this trend. First, we can place these needs in perspective considering the themes raised during the ICOM Prague 2022 conferences. The general theme – “The Power of Museums” – gives an overview of the claims of museums as engaged actors. Indeed, the keynote speeches focused on topics such as “museums and civil society” to encourage working with communities3, “sustainability: museums and resilience” to discuss about environmental concerns4, “vision: museums and leadership” to find resilience facing contemporary challenges (Prokůpek, Loots and Betzler 2023), and “delivery: museums and new technologies” to engage with the public remotely.5 Therefore, the topics discussed were related to the occupational trends identified in this exploratory survey.
48Several roundtables and meetings have been convened to delve more profoundly into these engaged themes, especially concerning the topics of communities and public participation, which are prevalent in contemporary museological discourse (Weil 2002; Sullivan and Middleton 2021). Such events included Stephen E. Weil's lecture on “LGBTQ+ Museums”, the “ICOM Solidarity Projects” roundtable, and meetings of the European Observatory on Memories (EUROM) and the International Coalition of Sites of Conscience.
49These topics were displayed in the main program, so they had a higher visibility than other ICOM subcommittee conferences and thematic workshops – meaning that probably the professionals we interviewed attended these conferences or at least knew about them. The environment was therefore already conducive to the discussion, affirmation and visibility of these professional needs that go beyond the classic and traditional functions of the museum – not to mention the place of these subjects in the light of current events related to the pandemic, the war in Ukraine and climate change. Ultimately, these trends translate into the need for professionals to acquire skills to be in alignment with these concerns, strategies and practices.
50Sustainability seems to be the key to understanding these professional needs. As a reminder, the ability to be part of a long-term strategy protecting resources for future generations that involves the inclusion of society and stakeholders, the circular economy and environmental development (Paehlke 1999; Dresner 2002). The last 25 years, several trends have been observed by researchers in terms of sustainability and museum development with interest growing exponentially. This is largely in line with the areas of interest outlined above.
51Guidelines on museum management and advice on best practices are being disseminated. Generally, a comprehensive reflection is being conducted to rethink the entire organization of museums towards environmental awareness (Sutton 2015). For instance, the trend of frantic collecting is being questioned, in a context where museums may face issues in managing existing collections: «museums are continuing to collect far more material than they dispose of, which means that their collections continue to grow inexorably. This makes museums seem inherently unsustainable institutions», asserts Merriman (2008, 17). He suggests, for example, that the future success of a museum should be measured not by the number of objects in collections, but by the relationships established and maintained with its communities. This interest also covers collections care, as well as their restoration (Silva and Henderson 2011; Saunders 2022). Thus, tangible and intangible heritage becomes the subject of a radical reflection on the meaning of patrimonialization, as well as on the techniques for preserving objects. This may involve developing new training programs and hybrid conservation professions that consider museum exhibits and their acquisition as a social opportunity, and its current sustainable impact, grounded primarily in the present society.
52The question of identity emerges in this broader context of rethinking the meaning attributed to the museum. According to Naguib (2013), more traditional institutions should draw greater inspiration from the actions of ecomuseums and engage in programming as vectors of active social and cultural learning within society. To achieve this, it is suggested, for example, to revisit the construction of narratives as well as the documentation processes on collections and to initiate more horizontal interpretation processes, both within the museum and with the populations. Integrating communities, local audiences, and visitors becomes a priority, with genuine support for the community by understanding their needs (Di Pietro et al. 2014; Orea-Giner, De-Pablos-Heredero and Vacas Guerrero 2021). This includes attentively listening to the visitors’ experiences, to not only engage the public but also to understand and accommodate their needs for calm, rest, and possible solitude within the museum (Alcaraz, Hume and Mort 2009). This also concerns to digital practices, which enable an equitable access to cultural content, as was disseminated during the pandemic (Ahmed, Qaed and Almurbati 2020).
53In these contexts, the development of international relations emerges as a key element. It involves constituting and nurturing a broader movement of consultation, involvement, and action (Pop and Borza 2014), where different stakeholders can meet and exchange perspectives and actions to undertake (Stylianou-Lambert, Boukas, and Christodoulou-Yerali 2014). In a word, the sustainable development approach concerns ecology, economy, and society, not only within the museum but throughout its entire community, as well as future training programs. It is about creating synergies in all areas, which also emerge from the findings of this preliminary survey.
54The themes of the ICOM Prague 2022 conference, coupled with the expressed skills and needs of professionals, signal a clear alignment with these emerging trends in the museum sector. The newly adopted ICOM definition underlines the multi-layered challenges museums face, emphasizing concepts such as sustainability, interpretation, accessibility, inclusion, diversity, ethics, and community participation. These “novel” elements suggest a transformative shift in the role and responsibilities of museums. One can argue that the acceleration of this process may be attributed to the global impact of the pandemic, the increased distance from the public, the climate and energy crises, and recent armed conflicts. Museums are positioning themselves as influential actors with significant social, economic, and ecological implications, prompting the urgent acquisition of new skills and a commitment to breaking away from conventional approaches.
55Museums strategy and involvement generally reflect a turn towards a more sustainable economy observed in these past years. Sustainability is indeed seen as a strategic opportunity for corporations – in all domains as an inevitable choice for their survival in the coming decades (Zollo, Cennamo and Neumann 2013; Eccles, Ioannou and Serafeim 2014). The shift towards sustainability in the identified professional needs and skills may reflect a broader commitment to a long-term, stakeholder-oriented, and beneficiary-focused museum practices within the economy.
56From an environmental perspective, for instance, efforts could be directed towards awareness through exhibitions and themed events (Villeneuve 2013; Muñoz-López et al. 2021), which has been briefly mentioned in this article. This might also involve reconsidering the use of collections to reduce the international impact of loans (Gobbato 2022). More concrete contributions could address museum design by adopting biodiversity-friendly planning (Fehér and Ásványi 2023). Additionally, ecological frugality could be maintained by transitioning to LED lighting systems (Balocco and Volante 2018). Furthermore, this involves a commitment to green and sustainable electricity networks (Mueller 2013). From an economic standpoint, focus could be placed on local employment development. Museums could also enhance collaboration with local service providers (Alcaraz, Hume and Mort 2009; Lanzinger and Garlandini 2019). Another tool could be the establishment of CSR (Corporate Social Responsibility) reports, like the non-financial reports of for-profit companies, to identify positive externalities and actions taken (Edwards 2007; Zutshi et al. 2021).
57There is a broader range of possible actions, and there are technical aspects of sustainable development yet to be identified by professionals. This means that the sector may require skill development in this area, as exemplified by actions taken by ICOM, for instance. In the end, this aligns with the overall perception expressed by professionals regarding the development of new skills that are in line with our times.
58The preliminary study conducted at ICOM Prague 2022 sheds light on emerging trends and demands in various areas of museum professionalism. The identified areas of focus include planning and management, outreach, and communication, preservation, and safeguarding, crafts, and traditional knowledge, as well as general knowledge. The overarching trends highlight a shift towards greater connection with audiences, increased community involvement, a departure from traditional approaches, and a push for experimentation across all aspects of museums. Museums are not only expressing a willingness to align with these trends but also positioning themselves as model actors and catalysts for change.
59These professional needs reflect a broader ambition to transform museums into sustainable organizations aligned with the principles of sustainability. This aspiration extends beyond the limits of the museum and permeates various sectors, be they public, private, or non-profit. The underlying goal is to equip professionals with the necessary skills to navigate these transformative changes, enabling museums to not only adapt but also to play a significant role in the evolving landscape. The recent museum definition by ICOM in Prague and the actions surrounding such process reinforce these transformative elements.
60Hence, this preliminary study suggests a significant hypothesis: museums aspire to be more competitive and efficient in the evolving landscape, particularly by enhancing their teams’ proficiency in sustainability. This hypothesis highlights the importance of considering sustainability indicators in future studies within the museum and heritage sector. Furthermore, integrating these findings into new training programs could foster innovative museum skills from the outset, making the sector more adaptive to substantial changes.
61Indeed, the demand for sustainability in museums sets a precedent that could naturally extend to other cultural and heritage fields. Whether in governance and policy development, management, engagement, preservation and safeguarding, research and development, or in education, the emphasis on sustainability reflects a broader shift in the cultural and heritage sector. This trend signifies a growing awareness of the need for long-term viability, ethical practices, and community engagement across various domains, ultimately shaping the way cultural institutions operate and contribute to society – that recent actions by ICOM confirm.
62Further research into these evolving professional needs within the museum sector will be crucial for better understanding and addressing the challenges and opportunities it presents. This ongoing exploration can inform the development of innovative training programs that cater to the specific demands of the field, ensuring that professionals are equipped with the skills and knowledge required for effective and sustainable museum practices. As the sector continues to evolve, staying attuned to these changing dynamics will be instrumental in shaping the future of museum and heritage sustainability.
63The author would like to thank François Mairesse for his support in the completion of this research. The author also extends thanks to the anonymous reviewers of the MIDAS journal for their very insightful comments that helped improve the draft of this article.
64This research was supported by the Sorbonne Nouvelle University, the Paris-Nord University, Labex ICCA, and the CHARTER Project (621572-EPP-1-2020-1-ES-EPPKA2-SSA-B).
