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Os museus do século XXI valorizam crescentemente a diversidade dos seus públicos, os quais apresentam necessidades específicas associadas a fatores como a nacionalidade, faixa etária, contexto social, económico, cultural ou étnico, perfil educativo e condição de saúde. É fundamental que os museus se empenhem em tornar-se espaços acessíveis para todos os públicos, comprometendo-se a eliminar barreiras, sejam elas físicas, sociais, intelectuais ou sensoriais, que possam limitar a participação plena dos diferentes grupos minoritários. Uma das estratégias para tornar o museu mais acessível passa por desenvolver e implementar recursos e materiais multissensoriais. Estes recorrem aos cinco sentidos do corpo humano, para além da visão e da audição, mas também o tato, olfato e paladar. Esta abordagem, particularmente benéfica para os públicos com deficiências sensoriais, é designada por comunicação multissensorial.
Tendo o museu uma política de acessibilidade e sendo desenvolvidas exposições e atividades de natureza multissensorial, torna-se relevante a sua comunicação junto dos diferentes públicos.
Neste estudo procurou-se analisar se existe uma convergência estratégica entre a função das Relações Públicas e a comunicação multissensorial de modo a promover a inclusão social de pessoas com deficiências sensoriais no Museu Bordalo Pinheiro e no Museu Calouste Gulbenkian, ambos situados na cidade de Lisboa. O primeiro encontra-se sob tutela pública, enquanto o segundo está sob tutela de natureza privada. Importa, ainda, referir que se optou por realizar um estudo comparativo entre estes dois museus.
Os resultados obtidos evidenciam que a inclusão social constitui uma prioridade para estes museus. Nesse sentido, têm vindo a ser desenvolvidos diversos recursos acessíveis e multissensoriais, aplicados tanto às exposições como aos programas educativos, de modo a responder às necessidades dos públicos minoritários, nomeadamente pessoas com deficiências sensoriais. Verificou-se, também, que os museus adotam estratégias para comunicar a componente acessível das suas exposições e programas educativos a esses públicos. Contudo, com base nos dados recolhidos, não é possível determinar, de forma conclusiva, a existência de uma relação entre a função estratégica das Relações Públicas e as práticas de comunicação multissensorial nos museus estudados.
Twenty-first century museums increasingly value the diversity of their audiences, who have specific needs associated with factors such as nationality, age group, social, economic, cultural or ethnic background, educational profile and health status. It is essential that museums strive to become accessible spaces for all audiences, committing themselves to eliminating barriers, whether physical, social, intellectual or sensory, that may limit the full participation of different minority groups. One of the strategies for making museums more accessible is to develop and implement multisensory resources and materials. These appeal to the five senses of the human body, not only sight and hearing, but also touch, smell and taste. This approach, which is particularly beneficial for audiences with sensory impairments, is known as multisensory communication. Given that the museum has an accessibility policy and develops exhibitions and activities of a multisensory nature, it is important to communicate this to different audiences. This study sought to analyse whether there is strategic convergence between the role of public relations and multisensory communication in promoting the social inclusion of people with sensory disabilities at the Bordalo Pinheiro Museum and the Calouste Gulbenkian Museum, both located in Lisbon. The former is publicly owned, while the latter is privately owned. It is also important to note that we chose to conduct a comparative study between these two museums. The results obtained show that social inclusion is a priority for these museums. In this regard, various accessible and multisensory resources have been developed and applied to both exhibitions and educational programmes in order to meet the needs of minority audiences, particularly people with sensory disabilities. It was also found that museums adopt strategies to communicate the accessible component of their exhibitions and educational programmes to these audiences. However, based on the data collected, it is not possible to conclusively determine the existence of a relationship between the strategic function of Public Relations and multisensory communication practices in the museums studied.
Twenty-first century museums increasingly value the diversity of their audiences, who have specific needs associated with factors such as nationality, age group, social, economic, cultural or ethnic background, educational profile and health status. It is essential that museums strive to become accessible spaces for all audiences, committing themselves to eliminating barriers, whether physical, social, intellectual or sensory, that may limit the full participation of different minority groups. One of the strategies for making museums more accessible is to develop and implement multisensory resources and materials. These appeal to the five senses of the human body, not only sight and hearing, but also touch, smell and taste. This approach, which is particularly beneficial for audiences with sensory impairments, is known as multisensory communication. Given that the museum has an accessibility policy and develops exhibitions and activities of a multisensory nature, it is important to communicate this to different audiences. This study sought to analyse whether there is strategic convergence between the role of public relations and multisensory communication in promoting the social inclusion of people with sensory disabilities at the Bordalo Pinheiro Museum and the Calouste Gulbenkian Museum, both located in Lisbon. The former is publicly owned, while the latter is privately owned. It is also important to note that we chose to conduct a comparative study between these two museums. The results obtained show that social inclusion is a priority for these museums. In this regard, various accessible and multisensory resources have been developed and applied to both exhibitions and educational programmes in order to meet the needs of minority audiences, particularly people with sensory disabilities. It was also found that museums adopt strategies to communicate the accessible component of their exhibitions and educational programmes to these audiences. However, based on the data collected, it is not possible to conclusively determine the existence of a relationship between the strategic function of Public Relations and multisensory communication practices in the museums studied.
Descrição
Dissertação de mestrado apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Gestão Estratégica das Relações Públicas.
Palavras-chave
Museu Acessibilidade Inclusão social Comunicação multissensorial Relações públicas Comunicação inclusiva