Museum Professions

A European Frame of Reference

Edited by
Angelika Ruge, President of ICTOP
2008

Collaborators Translation

Axel Ermert, Institut fr Museumsforschung, Berlin Caterina Cafaro, ICOM Italia, Milan
Felix Handschuh, FHTW Berlin* Ida Morisetti, ICOM Italia, Milan
Eva-Maria Kampmeyer, FHTW Berlin* Vaneeda Venchard-Weisgerber, Paris
Angelika Ruge, ICTOP, Berlin Rainer Schachner, Paris

Elisabeth Caillet, ICOM France, Paris

Genevive Gallot, INP, Paris
Marie-Clart ONeill, INP, Paris

David Vuillaume, ICOM Switzerland, Zurich

Marie Claude Morand, ICOM Switzerland, Sion
Filippo Rampazzi, ICOM Switzerland, Lugano
Margrit Wick-Werder, ICOM Switzerland, Bienne

Luigi Di Corato, ICOM Italia, Milan

Alberto Garlandini, ICOM Italia, Milan
Silvia Mascheroni, ICOM Italia, Milan
Salvatore Sutera, ICOM Italia, Milan
Anna Maria Visser, ICOM Italia, Ferrara

Consultant
Rainer Ruge, Berlin

1
Acknowledgements
For financial support
ICOM Paris
Fachhochschule fr Technik und Wirtschaft (FHTW), Berlin*
ICOM France, ICOM Italia and ICOM Switzerland

For the hospitality

Institut National du Patrimoine (INP), Paris
Institut fr Museumsforschung, Berlin
Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci, Milan
Musikinstrumentenmuseum, Basle

* The Fachhochschule fr Technik und Wirtschaft (FHTW) Berlin is called Hochschule fr

Technik und Wirtschaft (HTW) Berlin as of April 1, 2009.

2
Table of contents

To the reader 4

Introduction 5

Functional chart 14

Frame of reference 15

Select bibliography 35

3
To the reader
1. The Chart describes functional relationships and not hierarchical structures.

2. The functions of each profession can be organised or assembled in various manners.

3. The designation of each profession can be different according to the country or the institu-
tion.

4. For the specific features in your country, please refer to your national ICOM Committee.

4
Introduction
At the end of a symposium organised by ICOM Italy in March 2005 in Pesaro, representatives
from France, Germany and Switzerland, all experienced museum professionals, discussed the
definitions of activities within museums with the particular intention of finding out if the terms
registrar or rgisseur cover the same functions in every country. This led to the wish to cre-
ate a European frame of reference for museum professions. On 1st June 2006 a preliminary
meeting with Elisabeth Caillet, Dominique Ferriot, Genevive Gallot, Alberto Garlandini, Daniele
Jalla, Marie Claude Morand, Angelika Ruge, Margrit Wick-Werder, took place at the Institut de
Patrimoine in Paris. Representatives from ICOM France, Italy and Switzerland placed the pro-
ject in the hands of the president of ICTOP. The enthusiasm of the first short meeting has con-
tinued to energise all subsequent meetings of the working group.

We want to promote professionalism and quality in national and international museum work.
Therefore, one of the objectives of this frame of reference is to promote the national and in-
ternational recognition of museum professions and the mobility of museum professionals. In
the current context of the modernisation of museums through eye-catching initiatives and
economically profitable activities, it is necessary to reflect critically on the special nature of the
museum as an institution. Museums are created by people for people. Achievement of this
objective is based on the knowledge, awareness and responsibility of each member of staff.
We want to take the European discussion on museum professions forward. At the same time,
the national museum organisations must be encouraged to create and develop their own
guidelines for activities in museums. These new frames of reference could provide guidance.

We decided to meet initially in a restricted group of European countries and to present a

frame of reference for museum professions at the last ICOM General Conference in Vienna in
August 2007. For purely technical reasons, the working group was limited to three national
committees and one international committee. It is up to us to define a second stage to which
other national committees will be invited.

French was chosen as the working language. We thus had to learn how strictly the French
language rejects all anglicisms, even though the lingua franca in the world of museums in Eu-
rope tends to be English. We have learned to recognise and respect national differences. The
structure and plan of the project were decided at the second meeting in Berlin in November
2006. The first description of museum professions was developed in Milan in March 2007. At
the Basle meeting, at the beginning of May 2007, and at the Berlin meeting in November
2007 the final decisions were taken that serve as a basis for the present edition.

5
Guidance Points

Three national projects from previous years were the point of departure for our deliberations:

Les professions du muse, dfinis par le directoire de lICOM Suisse, Ble 1994
Muses et expositions. Mtiers et formations en 2001 par lisabeth Caillet et Michel
Van-Prat avec participation de Jean-Louis Martinot-Lagarde, d. par Dpartement des
Arts Visuels, de lArchitecture et du Patrimoine, Chroniques de lAFAA, no. 30, Paris
2001
Carta nazionale delle professioni museali, a cura di Alberto Garlandini, Milano 2006.

Finally, ICOMs Code of Ethics for Museums, 2006, was a further reference for our work. The
Swiss brochure should have been reviewed in 2006. The French version is out of print and the
Italian version has just been published. A brief analysis of publications reflects the change in
the world of museums.

The Swiss publication of 1994 put together 15 short descriptions of museum professions:

Administrateur/administratrice
Bibliothcaire
Charg/charge de lamnagement des expositions
Charg/charge de linventaire
Charg/charge de mdiation culturelle
Charg/charge des relations publiques et de la presse
Conservateur/conservatrice
Directeur/directrice
Gardien/gardienne
Photographe
Prparateur/prparatrice
Responsable du service dentretien et de scurit.
Restaurateur/restauratrice
Secrtaire
Technicien/technicienne de collection.

The frame of reference serves as a model. The introduction states that a tool should be made
available to museum managers to help them justify their recruitment needs. Even if the speci-
fications of the professions do not apply in full in every museum, they can serve as direction for
improving the quality of work in museums.1 Each specification is broken down into four points:
brief description, job profile, training/initial training and additional training.

1
Cf. Les professions du muse, publ. by the board of ICOM Switzerland, Basle 1994, p. 4.

6
In its opening pages, the French publication of 2001 stresses the social, economic and politi-
cal change against which museum activity has been set since the 1980s. We could not have
managed to construct and renovate all these museums without a profound transformation in
the design of the collections worthy of entering the collective memory... The museum is becom-
ing one of the media, and in order to meet the needs of society better it is being internally re-
structured around its stocks and its exhibitions, creating new occupations and becoming inte-
grated in global cultural politics.2

Three objectives have been agreed:

to place the public at the centre of the museums work;

to set up the bases for closer co-operation between museums, whatever their legal
status;
to support the process of cultural decentralisation.3

These cultural policy objectives have been completely new for French museums: orientation
towards visitors, co-operation between museums of different legal status and decentralisation
of cultural policy. Partnerships with organisations outside museums, with associations and
administrations is becoming a particular feature of the new work of museums. In this way,
museum occupations can be immediately associated with outside occupations which are in
their turn also being transformed in their relationships with museums. Internal transfers in
museum occupations have conditioned and have been conditioned by outside occupations:
those in education, tourism and local development.4

The following fields of activity are involved:

Architecte-Matre doeuvre
Programmation
Conservation
Restauration
Conception dexposition
Conception multimdia
Mdiation
Gestion
Communication
Accueil et surveillance
Evaluation
Recherche

2
Muses et exposition. Mtiers et formations en 2001, publ. by AFAA. Paris, 2001, p. 5.
3
Cf. ibid., p. 10.
4
Cf . ibid., p. 11.

7
 Librairies, boutiques
Restauration, caftria.

The considerable importance of traditional activities in the museum Collecting, Conserving,

Researching, Exhibiting, Educating has been highlighted in order to place the museum at the
service of the visitor. The French experience with the modernisation of exhibitions and the use
of multimedia has opened the way to new fields of employment, which are explained. Recruit-
ment conditions are presented, and a list of higher education courses is appended. The links
between the different fields of activities are specified. The recruitment conditions for the public
services at the national and regional level are also described in detail. A list of professional or-
ganisations and a detailed presentation of training institutions are attached. On these issues,
the French publication is a manual of its time. No account is taken as yet of the restructuring
of university training following the Bologna declaration (1998).

The Carta nazionale delle professioni museali , drawn up in October 2005 and adopted in Oc-
tober 2006, is the result of co-operation by various Italian museum associations.5 It is a re-
sponse to the fundamental changes in Italian museums, and states: The professionalism,
competence and capacity of the personnel are necessary in order to guarantee that the mu-
seum mission produces effectively programmes and actions. It is on these people that the effi-
cacy and the efficiency of any institute depend. In other words, they represent the present and
future of our museums.6

In the first five years of this century Technical-scientific criteria and standards of performance
and development of museums (2001) and a Code for the cultural assets and landscapes
(2004) were developed. In addition, the setting of standards comes under the authority of the
Regions. In different ways and with different procedures, several Regions - Lombardy, Veneto,
Emilia-Romagna, Piedmont, Tuscany, The Marches, Lazio and others - have already established
that presence of qualified staff is an essential requisite for the accreditation or qualification of
museums.7 Strategies for the development of regional museum systems satisfy local re-
quirements, but museum professional skills are the same nationwide. The aim is to promote a
scientific body for museum and heritage development with shared methods, skills and objec-
tives.8

The Italian museum associations have developed a charter which is meant to serve as a refer-
ence and which corresponds to the Curricula Guidelines for Museum Professional Develop-
ment presented by ICTOP in 2001. Starting from the recommendations of the ICOM Code of

5
Carta nazionale delle professioni museali. Conferenza nazionale dei musei, a cura di Alberto Garlandini, Milano
2006, p.130. (The quotes are taken from the English translation of the Italian original.)
6
Ibid., p. 127.
7
Ibid., p. 131.
8
Ibid., p. 135.

8
Ethics for Museums, four fields of activities have been defined in the Map of the Main Museum
Professions of the Carta nazionale (instead of three in the ICOM Code of Ethics):
Research, care and management of collections,
Administration, finance, management and communication,
Services and relations with the public,
Structures, exhibition design and security.9

Contemporary museums require both highly professional training and specialisation, a

marked ability to switch from one subject to another, versatility and an aptitude for team work.
For this reason the Map subdivides the main professional profiles into interconnected and in-
teracting work areas.10 With the director lies the general leadership and he or she therefore
has the overall responsibility for the museum.

The Carta underlines the importance of museology as fundamental knowledge for museum
work. Firstly, museum workers must be trained in museology, to the extent and in the manner
required by their specific professions. Secondly, every museum professional deals with muse-
ology both in his daily routine work and each time he contributes, in theory and in practice, to
museum study, research and education.11 Thus it is hoped that university diplomas will be as-
sessed and enhanced, and that possibilities for continuous training can be created.

The Carta should serve to provide museum professions with the same recognition as is en-
joyed by the professions of librarian and archivist/record keeper. The authors are aware of
the fact that the detailed job descriptions have to serve as a reference for all the people who
work in the museum. This involves permanent as well as temporary employees and volunteers.

Let us take another brief look at the lCOM Code of Ethics. It represents a minimum standard
for museums. It is presented as a series of principles supported by guidelines for desirable
professional practice. In some countries, certain minimum standards are defined by law or
government regulation. In others, guidance on and assessment of minimum professional stan-
dards may be available in the form of Accreditation, Registration, or similar evaluative
schemes.12 In the first chapter, three obligations are spelled out for museums: to preserve,
interpret and promote the natural and cultural inheritance of humanity.13 With this aim in
view, trained staff are necessary who can enable the museum to acquire, preserve and pro-
mote their collections as a contribution to safeguarding the natural, cultural and scientific heri-
tage14. In addition, the Code of Ethics forbids to accept gifts, favours and loans.15 In order to

9
Cf. ibid., p. 133.
10
Ibid., p. 132.
11
Ibid., p. 136.
12
ICOM Code of Ethics for Museums, 2006, Preamble.
13
Cf. ibid., p. 1.
14
Ibid., p. 3.
15
Cf. ibid., p.12.

9
sustain the qualifications of their staff, museums are advised to make provisions for continu-
ous training and personnel development.16

Discussion on professionalisation

The discussion on the professionalisation of work in museums is a difficult one which has been
going on for a long time. Professional work signifies a specific, autonomous service distin-
guished from other social services.17 It is advisable to specifically focus on the preoccupation of
the profession in society and to demand recognition for it.18 The discussion on the subject of
professionalisation in the museum which started in the 1980s in the USA19 , England20 and
Canada21 is in accordance with structural and financial changes in the museums. At the same
time, the number, size and types of museums have hugely increased. The democratisation of
museums requires a new understanding of the role of the institution in society. New fields of
action require general and specific training and continuous training. Awareness of this is be-
coming more and more widespread. Professionalisation, however, is the driving force that pre-
vents museum work from getting stuck in barren routine. There will always be different routes
for implementing professional standards at a museum.

An objective such as this is also followed by new challenges. In countries where the profes-
sionalisation of museums is already well advanced, there has been an awareness in the last
few years of the substantial shortfalls in recent developments. Thus, among other things, a
well organised staff policy is lacking, and salaries are partly too low.22 Gaynor Kavanagh advo-
cates research on museum professions which takes into account the sociological and histori-
cal aspects.23 How this type of research can be carried out has been demonstrated by Eva-
Maria Kampmeyer and Felix Handschuh in an unpublished study about Germany. They scru-
tinized 73 job advertisements between December 2006 and April 2007, and obtained the
following provisional results: job advertisements show that museum-specific tasks are relevant
in the whole realm of cultural work. Increasingly, short-term employment contracts are being

16
Cf. Ibid., p 2.
17
Rainer Kuhlen, Thomas Seeger and Dietmar Strauch eds., Grundlagen der praktischen Information und
Dokumentation, 5th ed., vol. 1, Mnchen 2004, p. 37. Cf. also International Standard, Information and
Documentation Vocabulary, ISO 5127, 2001. Verband der Restauratoren, Neue europische Standards
fr Restaurierungen, in: arsproto Magazin der Kulturstiftung der Lnder, 2/2006, p. 36 f..
18
Kuhlen, Seeger, Strauch eds. 2004, p. 39.
19
Gaynor Kavanagh, The museums profession and the articulation of professional self-consciousness, in: The
museums profession: Internal and external relations, ed. by Gaynor Kavanagh, Leicester 1991, p. 37-57. Victor J.
Danilov, Museum Careers and training: A professional guide, Westport 1994.
20
Museums & Galleries Commission, ed., Museum professional training and career structure. Report by a wor-
king party, London 1987.
21
Martin Segger, The new age training for the new age museum. A survey of recent museum personnel studies
and initiatives in Canada: the implications for museums, museum professionals, and their communities, ICTOP
Paper, Stavanger 1995, p. 1-10.
22
Maurice Davies, Staff training and development in UK museums. Quotation from an unpublished MS.
23
Cf. Gaynor Kavanagh 1991, p. 44-48.

10
concluded. The employee needs to be capable of reacting and working in a more flexible and
mobile way. Professional experience of several years, a marked ability to deal with difficulties at
the job, a penetrating ability to take decisions and a knowledge of foreign languages are also
demanded. Basic knowledge regarding finance, marketing and sponsoring are often required.
Motivation as well as the capacity to work in a team and independently are essential in all ar-
eas of cultural work. Knowledge which leads to greater understanding of ourselves and our
condition is a prerequisite to freedom and the basis for positive change.24 If this assumption
holds, training and continuous training and their evaluation will play an especially important role
in the development of the work of museums. Staff management and development are essential
for the future of the museum.25

Two categories of persons working at museums are becoming more important - project staff
and volunteers. If they are being recruited, very high recruitment criteria have to be met. They
should all have basic knowledge of museology. The qualification of volunteers is a more recent
subject for reflection. They should be trained to approach the qualification and performance of
the permanent staff.26 Anyone interested in short-term gain by bringing in volunteers will be
disappointed. For a project working with volunteers requires stamina and tolerance by the mu-
seum management and the explicit support of the volunteers.27

Basic remarks concerning the present publication

The results of the very open and enthusiastic co-operation in our working group will, hopefully,
contribute to making the professionalisation of museums a hallmark of cultural politics.

The frame of reference we have been developing only sets guidelines which should encourage
further discussion. The frame of reference should be the starting point for establishing addi-
tional national (or regional, as the case may be) frames of reference. It is vital that cultural di-
versity be respected.

The working group has drawn up a list of 20 professions, each one contributing to the en-
hancement of the institution. This number corresponds to the minimum for a large museum.
Small and medium-sized institutions make their choices according to their obligations and their
financial means. The external and internal conditions and objectives set the framework for
their decisions.

24
Ibid., p. 53.
25
Matthias Dreyer and Rolf Wiese eds., Museum und Personal (Schriften des Freilichtmuseums am Kiekeberg,
vol. 54), Ehestorf 2006, with very interesting contributions on this topic.
26
Hartmut John, Mindeststandards fr qualifiziertes Museumspersonal, in: Museumskunde, vol. 70, no. 1, 2005,
p. 42.
27
Stefanie von Knop, Ehrenamtliche Mitarbeiter - Potentiale und Herausforderungen in der Zusammenarbeit. Ein
Erfahrungsbericht aus der Kunstsammlung NRW, Dsseldorf, in: Dreyer, Wiese eds. 2006, p. 142.
11
People working at museums should meet the following requirements:

a university degree for the majority of museum professions;

competence in museology;28
practical experience in the respective fields;
language skills (basic knowledge of at least one foreign language in addition to the na-
tive language).

The three-tier classification of university degrees, Bachelor, Master and Doctoral degrees,
which will be introduced in Europe by 2009-2010, will make it possible to have an individual-
ised organisation of ones professional career. In principle, with each university degree, the
graduate will acquire a new qualification and opportunity on the employment market. Under
these circumstances, professional mobility in Europe will be enhanced. As the Bologna process
provides guidelines, each European state autonomously decides on the length of the various
cycles and their designations. To simplify the present presentation, we speak of the first, sec-
ond and third cycles. In the national presentations the respective national qualifications will be
specified.

The working group would like to stress in particular that it regards high level academic training
as well as theoretical and practical training in museology as a necessary prerequisite for all
managerial positions in a museum. The recruitment procedure for positions must be trans-
parent and public, particularly where positions of leadership are concerned. In certain
countries, a competitive examination (concours) is compulsory.

Outreach and visitor services (mediation) have developed enormously and become more pro-
fessional in recent years. The functions of museum education and mediation clearly need to be
distinguished from other functions within a museum, such as documentation and public rela-
tions.

Working in a museum means working in a team. The different fields of activities may overlap or
leave gaps. It is therefore particularly important to pay attention to the complementarity of
functions.

We have defined three major areas so that museum activities are clearly delineated:

Collections and research

Visitor services
Administration, management and logistics.

28
For ICOM museology comprises both theoretical and practical aspects.

12
The director has an outstanding responsibility. The ICOM Code of Ethics specifically stresses
this: The director or head of the museum is a key position and when making an appointment,
governing bodies should have regard for the knowledge and skills required to fill the position ef-
fectively. These qualities should include adequate intellectual ability and professional knowledge,
complemented by a high standard of ethical conduct.29

But the Chart explicitly shows that the director is to work with a number of people fulfilling spe-
cialist functions with whom he/she should deal in a co-operative manner. The new manage-
ment style is characterised by increased autonomy in different fields of work. Reliability and
trust in the members of staff are also a part of this. Good leadership has to do with people
and thinking about how they are positioned.30

Every museum should find its own forms of external and internal assessment, allowing a rapid
reaction to problems without endangering co-operation within the museum.

The frame of reference for museum professions is structured as follows:

Description
Education31
Additional qualification
Note.

The working group sincerely hopes that this document will be useful and wishes good reading.

Angelika Ruge

Cf. Chart on page 14.

29
ICOM Code of Ethics, 2006, p. 3.
30
New models for leadership in museums, in: Museum News, Nov./Dec. 2003, p. 36. This is an interview with
Robert Kegan, Professor at the Harvard Graduate School of Education and Victoria Garvin, AAMs assistant
director for professional education.
31
Education is understood to mean the basic training necessary to do the job.

13
14
Director
Description
The director is in charge of the museum, within the frame defined by its governing authority or
board of trustees. He/She must plan and develop the strategic options to increase the mu-
seums profile and visibility. He/She is responsible for the collections and for the quality of the
activities and services of the museum.

The director provides leadership and management:

Professional: he/she defines and monitors activities related to collections and their devel-
opment; he/she attends to and contributes to conservation, study and interpretation, se-
curity and enhancement of collections. He/She sets the research options of the museum.

Cultural: he/she defines the general programme of activities related to the presentation of
permanent and temporary exhibitions and is committed to improving public access to the
museum and its services.

Managerial: he/she manages the services of the museum, has responsibility for human,
technical and financial resources. He/She liaises with the governing authorities and is the
representative of the museum to all other institutions and partners, public and private.
He/She ensures that museum activities are regularly appraised.

Education
Postgraduate degree (second cycle; Master, or higher) in a speciality related to the museum
collections and training as well as demonstrable competence in museology and museum man-
agement.

Additional qualifications
Several years professional experience in a museum or similar private or public institution.

Note
It is essential that the director be highly proficient in academic matters. It is advisable that the
person be a former museum curator.

15
Curator
Description
The curator reports to the director and is responsible for the collections in his/her charge.
Duties include the care, development, study, enhancement and management of the collections
of the museum.

Care of collections: he/she plans and implements the programme for storage and
cataloguing; he/she supervises conservation procedures and ensures they are prop-
erly recorded.

Development: he/she advises the director on the development strategy of collections.

Study: he/she studies the collections, defines and conducts research projects, attends
to the circulation of information and documentary materials on collections and exhibi-
tions.

Enhancement: he/she contributes to the designing and organising of permanent and

temporary exhibitions, publications and activities for the public.

Management: he/she manages budget and staff under the supervision of the director.

Education
Postgraduate degree (second cycle; Master) in a speciality related to the museum collections
and demonstrable training or experience of museology.

Note
In the absence of the director, the curator is directly responsible for collections.

16
Inventory co-ordinator
Description
The inventory co-ordinator is in charge of the inventory of collections.

He/She ensures accurate and consistent recording and documenting of collections,

whether on display or in storage.

He/She takes part in the documentation of the collection and contributes to special-
ised publications.

Education
Graduate degree (first cycle; Bachelor) in a subject related to the museum collections. Knowl-
edge of the principles and standards of cataloguing and proficiency in computerised invento-
ries.

17
Registrar
Description
The registrar, working with the curator, organises and manages movement of museum arte-
facts to and from storage or display, in collaboration with private or public partners, within and
outside of the building.

He/She supervises any movement of the artefacts and attends to their security.

He/She prepares the loan contracts and the respective insurance conditions.

He/She keeps track of incoming and outgoing loans and manages travel documenta-
tion.

Education
Graduate degree (first cycle; Bachelor) in a subject related to the museum collections.

Additional qualification
Relevant professional experience.

18
Conservator
Description
The conservator, working with the curator, carries out all operations related to the mainte-
nance, preventive conservation or restoration of museum collections.

He/She draws up a general conservation plan for the collections and the procedures
for any specific conservation work, as appropriate.

He/She can, if necessary, undertake any conservation or remedial work that has been
decided upon.

He/She monitors the environment of collections, in storage and on display.

Education
Postgraduate degree (second cycle; Master) in conservation studies or equivalent.

19
Curatorial assistant
Description
The curatorial assistant reports to the curator or conservator, as the case may be, and en-
sures that the collections, whether in storage or on display, are properly cared for and man-
aged.

He/She ensures that all artefacts are properly marked and stored, and assists in pho-
tography campaigns.

He/She contributes to the documentation and installation of objects for display.

He/She prepares, as appropriate, artefacts for conservation, study and public display.

Education
Graduate degree (first cycle; Bachelor) in a subject related to the museum collections.

Note
The role of the curatorial assistant varies according to the nature of the collections of the mu-
seum. In science museums, the assistant may be the preparator or the specialist in the
preparation of objects and casts in such fields as life sciences, geosciences and anatomy.

20
Document centre manager
Description
The document centre manager is in charge of collecting, preparing, processing and circulat-
ing, within and outside of the museum, the documentary materials on collections, exhibitions
and other activities or events of the museum.

He/She manages archival and photographic materials in collaboration with the staff of
the library/media centre.

He/She assists curators with documentary research to serve the study of artefacts
and the preparation of exhibitions.

He/She maintains, processes and updates information.

Education
Postgraduate degree (second cycle; Master) in library and information studies.

21
Exhibition and display curator
Description
The curator of an exhibition plans and implements projects for temporary exhibitions, under
the supervision of the director and in collaboration with other curators. If necessary, he/she
may assist with permanent exhibitions.

He/She draws up the programme for an exhibition and appraises design plans.

Working with the staff of the education and visitor services, he/she assists in improv-
ing communication to support public access to the exhibition.

He/She contributes to the promotion of these projects and to related publications.

Education
Postgraduate degree (second cycle; Master) in a speciality related to the museum collections.

Note
In most cases, the exhibition and display curator is a museum curator.

22
Exhibition designer
Description
The exhibition designer plans and implements the design of an exhibition, in collaboration with
the exhibition curator and the museum team.

He/She designs installation plans for the spaces accessible to the public.

He/She establishes, as necessary, an overall graphic scheme for the exhibition.

He/She monitors and co-ordinates the work of contractors working on the design
plans of the exhibition.

Education
Postgraduate degree (second cycle; Master) in an appropriate field or equivalent.

Additional qualification
Experience in exhibition designing.

23
Manager of the education and
visitor service
Description
The manager of the education and visitor service is in charge of all programmes, activities,
studies and research concerning the presentation of museum artefacts to current and pro-
spective visitors.

Working under the supervision of the director, he/she assists in drawing up an out-
reach policy for the museum and a programme of activities directed at all target audi-
ences. To this end, he/she sets up a network of exterior contacts to relay information
to target audiences.

He/She calls upon the competence of other specialists of the museum to contribute to
activities and provide documents to improve public access to collections and exhibi-
tions.

He/She is in charge of training plans for outreach assistants and guides. He/She con-
tributes to the training of visitor service assistants.

He/She assists with the designing of exhibitions.

He/She sets the principles and standards to evaluate the impact of museum pro-
grammes and activities.

Education
Postgraduate degree (second cycle; Master) in a subject related to the museum collections
and in museology or education.

Additional qualification
Substantial experience in the education department of a museum (or similar).

24
Education and visitor service
officer
Description
The education and visitor service officer implements all the activities directed at current and
prospective visitors.

He/She assists in planning and implementing activities and events held during perma-
nent and temporary exhibitions.

He/She helps with the appraisal of programmes and activities.

He/She informs the head of the department of the needs and expectations of
visitors to develop new programmes and activities.

Education
Graduate studies (first cycle; Bachelor) in a subject related to the museum collections and/or
education and/or communication.

25
Visitor care and security
manager
Description
The visitor care and security manager organises the welcome of the public, provides customer
care to the museums visitors and attends to the safety and security of visitors and collections.

Working with the director, he/she provides information to the public.

He/She is in charge of all visitor service attendants, front desk staff and gallery custo-
dians.

He/She is responsible for the security of the museum, inside and outside.

He/She organises the ticketing office, shops and the sale of commercial by-products.

He/She ensures all public spaces are in proper condition and that visitors are properly
cared for.

He/She ensures that all security (anti-theft, air-conditioning) and safety (of the visitor)
installations are up to standard.

He/She assists with the surveying of audiences by collecting information and organis-
ing interviews.

Education
Relevant graduate degree (first cycle; Bachelor) or minimum of three years professional ex-
perience in a museum or equivalent cultural institution.

Additional qualification
Substantial experience in customer care and security.

26
Visitor care and security
assistant
Description
The visitor care and security assistant deals with the welcome and the orientation of the public
and the surveillance of all accessible spaces of the museum.

He/She takes proper care and provides light maintenance of the spaces.

He/She provides essential information to the visitor, monitors access and enforces
rules of good behaviour.

He/She helps members of the public organise their visits and reports any difficulty en-
countered to the manager.

He/She monitors the conditions of displays and installations and reports any deteriora-
tion or other risk to the manager.

He/She provides basic information to visitors about the museum, the collections and
exhibitions.

Education
Successful secondary schooling.

Additional qualification
Specific internal training compulsory for each exhibition.

27
Library and media centre
manager
Description
The librarian collects, develops and manages publications (all media) relating to the collections,
exhibitions and history of the museum.

He/She is responsible for the organisation, preservation, access and maintenance of

all library resources.

He/She assists with the research and development of the collections of the library/
media centre.

He/She collaborates with the document centre manager to attend to requests for
copy and reproduction rights.

Education
Postgraduate qualification (second cycle; Master) in librarianship.

28
Web master
Description
The web master works with the press and media officer to design and develop the museums
web site.

He/She updates the site and manages the relation with the internet provider in co-
ordination with the IT manager.

Reporting to the curator or exhibition curator, he/she creates virtual exhibitions.

Education
Graduate degree (first cycle; Bachelor) or three years experience designing and developing
web sites.

29
Administrator
Description
The administrator, reporting to the director, organises and develops administrative and finan-
cial management, human resources, legal procedures and oversees the day to day running of
the institution.

He/She handles tenders and purchases, draws up conventions and contracts needed
for the effective running of the museum.

He/She monitors the operating budget, expenditures and is in charge of management

control.

He/She ensures the museum is run according to the principles of efficiency, effective-
ness and transparency.

Education
Postgraduate degree (second cycle; Master) in economics or management.

Additional qualification
Substantial experience managing a museum or similar cultural or educational institution.

30
Facilities and security
manager
Description
The facilities and security manager is responsible for the maintenance of the premises, the
technical services of the museum and the installation and maintenance of exhibitions.

He/She provides all services required to ensure the safety of staff and visitors and the
security of collections and facilities.

He/She implements the measures for the care and preservation of collections.

He/She prepares a risk prevention plan for the museum and implements it.

He/She ensures compliance with established safety and health legislation, labour laws,
protection of the environment and fire prevention regulations.

Education
Graduate degree (second cycle; Master) in a relevant academic speciality.

Additional qualification
Substantial experience in technology, maintenance, logistics or security.

Note
The positions of facilities manager and security manager may be separate depending on the
size of the museum.

31
IT Manager
Description
The IT manager plans, maintains and manages computers, networks and software as well as
digital media systems.

He/She is committed to developing the computer network to improve in-house data

management and external communication.

He/She enforces security of access and data preservation.

Education
Graduate degree (first cycle; Bachelor) in information and communication technology.

Additional qualification
Relevant experience.

Note
Depending on the size of the museum, this position may be linked to that of facilities manager.

32
Manager of marketing,
promotion and fundraising
Description
The marketing, promotion and fundraising manager reports to the director and is in charge of
developing marketing and promotion strategies to increase the visibility of the museum, to aug-
ment and improve its audience and to find funds.

He/She provides activities and information so as to improve public awareness of the insti-
tution and of its role in society.

He/She targets current and prospective audiences and develops adequate promotion
strategies.

He/She encourages broader involvement and engagement of the public (friends, volun-
teers, etc.).

He/She contributes to the financial development of the museum through fundraising.

Education
Postgraduate degree (second cycle; Master) in cultural or corporate management or economics.

Additional qualification
Substantial experience in the cultural field.

33
Press and media officer
Description
The press and media officer develops and implements strategies to make known the mission, tar-
gets, contents and activities of the institution through all media.

He/She co-ordinates and assists the professional staff of the museum in their relations
with the media.

He/She develops and maintains a network of media professionals.

Education
Postgraduate degree (second cycle; Master) in journalism, communication or public relations.

Additional qualification
Substantial experience of cultural communication.

34
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39
Rfrentiel Europen des
Professions Musales

Sous la direction de
Angelika Ruge, Prsidente de lICTOP
2008

Collaboratrices et collaborateurs Traduction

Axel Ermert, Institut fr Museumsforschung, Berlin Caterina Cafaro, ICOM Italia, Milano
Felix Handschuh, FHTW Berlin Ida Morisetti, ICOM Italia, Milano
Eva-Maria Kampmeyer, FHTW Berlin Vaneeda Venchardt-Weisgerber, Paris
Rainer Schachner, Paris

Elisabeth Caillet, ICOM France, Paris

Dominique Ferriot, ICOM France, Paris
Genevive Gallot, INP, Paris
Marie-Clart ONeill, INP, Paris

David Vuillaume, ICOM Suisse, Zurich

Marie Claude Morand, ICOM Suisse, Sion
Filippo Rampazzi, ICOM Suisse, Lugano
Margrit Wick-Werder, ICOM Suisse, Bienne

Luigi Di Corato, ICOM Italia, Milano

Alberto Garlandini, ICOM Italia, Milano
Silvia Mascheroni, ICOM Italia, Milano
Salvatore Sutera, ICOM Italia, Milano
Anna Maria Visser, ICOM Italia, Ferrara

Consultation
Rainer Ruge, Berlin

1
Remerciements
Pour le soutien financier

ICOM Paris
Fachhochschule fr Technik und Wirtschaft (FHTW), Berlin
ICOM France, ICOM Italia et ICOM Suisse

Pour lhospitalit

Institut National du Patrimoine (INP), Paris

Institut fr Museumsforschung, Berlin
Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci, Milano
Musikinstrumentenmuseum, Basel

2
Table des matires

Pour le lecteur / la lectrice 4

Introduction 5

Schma fonctionnel 14

Rfrentiel 15

Bibliographie slective 35

3
Pour le lecteur/la lectrice

1. Le rfrentiel dcrit des relations fonctionnelles et nentend pas mettre

laccent sur des structures hirarchiques.

2. Les fonctions de chaque profession peuvent tre distribues

ou rassembles de faon varie.

3. Les dnominations des professions peuvent tre diffrentes selon les pays
et les institutions.

4. Pour les spcificits nationales, veuillez vous adresser aux comits ICOM
nationaux.

4
Introduction
la clture dun colloque, organis par l ICOM Italie en mars 2005 Pesaro, les reprsen-
tants de lAllemagne, de la France et de la Suisse, tous professionnels expriments des
muses, se sont interrogs sur les dfinitions des activits au sein des muses, notamment
pour savoir si les termes registrar ou rgisseur recouvraient les mmes fonctions dans tous les
pays. Ainsi est n le souhait de crer un rfrentiel europen des professions musales. Aprs
que lICOM ait assur le financement de ldition au printemps 2006, un groupe de travail sest
runi lInstitut National du Patrimoine de Paris (Elisabeth Caillet, Dominique Ferriot, Genevive
Gallot, Alberto Garlandini, Danielle Jalla, Marie Claude Morand, Angelika Ruge et Margrit Wick-
Werder) le 1er juin 2006. Les reprsentants dICOM France, Italie et Suisse confiaient la
direction du projet la prsidente de lICTOP. Lenthousiasme de la premire et brve
rencontre a continu animer toutes les rencontres suivantes.

Nous voulons faire avancer le professionnalisme et la qualit du travail musal national et inter-
national. Cest pourquoi un des objectifs de ce rfrentiel est de promouvoir la reconnaissance
nationale et internationale des professions musales et la mobilit des professionnels. Dans le
contexte actuel de la modernisation des muses travers des actions spectaculaires et des
activits conomiquement rentables, il est ncessaire de mener une rflexion critique sur la
spcificit de cette institution quest le muse. Les muses sont faits par des hommes pour
des hommes. Latteinte de cet objectif repose sur le savoir, les connaissances et la
responsabilit de chaque collaborateur. Nous souhaitons donner limpulsion la discussion
europenne des professions musales. Dans le mme temps, les associations nationales des
muses doivent tre encourages crer et laborer leurs propres directives pour les
profils professionnels des muses.

Nous avons dcid de nous runir dabord dans un cercle restreint de pays europens et
avons prsent un rfrentiel des professions musales lors de la dernire confrence
gnrale de lICOM Vienne, en aot 2007. Le groupe de travail sest limit trois comits
nationaux et un comit international pour des motifs purement techniques. Il nous revient de
dfinir une deuxime tape, laquelle dautres comits nationaux seront invits.

Le franais a t choisi comme langue de travail. Ainsi, nous avons constat que le franais
reste spcifique face aux anglicismes, bien que la lingua franca dans lunivers des muses en
Europe soit plutt langlais. Nous avons appris reconnatre et respecter les diffrences
nationales. Lors de la deuxime rencontre Berlin, en novembre 2006, la structure et le plan
du projet ont t dcids. Milan, en mars 2007, a t labore la premire description des
professions musales. Les conclusions des travaux issues de Ble, dbut mai 2007, et de
Berlin, en novembre 2007, servent de base pour la prsente dition.

5
Points dorientation

Trois projets nationaux des annes prcdentes ont t le point de dpart pour nos rflexions :

Les professions du muse, dfinis par le comit de lICOM Suisse, Ble 1994
Muses et expositions. Mtier et formations en 2001 par lisabeth Caillet et Michel
Van-Prat avec participation de Jean-Louis Martinot-Lagarde, d. par D-
partement des Arts Visuels, de lArchitecture et du Patrimoine, Chroniques de
lAFAA, no. 30, Paris 2001
Carta nazionale delle professioni museali, a cura di Alberto Garlandini, Milano 2006.

Enfin, le Code de dontologie de lICOM pour les muses (Code of Ethics for Museums), 2006, a
constitu une autre rfrence de notre travail. La brochure suisse devait tre revue en 2006.
La franaise est puise et litalienne vient juste dtre publie. Une analyse brve des
publications reflte le changement dans le monde des muses.

Dans la publication suisse de 1994, un bref rfrentiel de 15 professions musales est pr-
sent:

Administrateur/administratrice
Bibliothcaire
Charg/charge de lamnagement des expositions
Charg/charge de linventaire
Charg/charge de mdiation culturelle
Charg/charge des relations publiques et de la presse
Conservateur/conservatrice
Directeur/directrice
Gardien/gardienne
Photographe
Prparateur/prparatrice
Responsable du service dentretien et de scurit.
Restaurateur/restauratrice
Secrtaire
Technicien/technicienne de collection

Les descriptions dtailles servent de rfrence. Il est crit dans lintroduction quun outil de
travail devrait tre mis la disposition des responsables des muses afin de les aider dans la
justification du recrutement de leurs personnels. Mme si les descriptifs des professions ne
sappliquent pas in extenso dans chaque muse, ils peuvent servir comme indicateur pour
lamlioration de la qualit du travail des muses. 1 Chaque descriptif est divis en quatre
points: Description brve, profil de la fonction, formation/formation initiale et complmentaire.

1
Cf. Les professions du muse, dfinis par le comit de lICOM Suisse, Ble 1994, p. 43.
6
La publication franaise de 2001 souligne dans les premires pages le changement social,
conomique et politique, dans lequel sinscrit lactivit des muses depuis les annes 1980.
Tous ces muses nauraient pu tre construits et rnovs sans une profonde transformation
dans la conception des collections dignes dentrer dans la mmoire collective. ... Le muse de-
vient un mdia et, pour mieux rpondre aux exigences de la socit, se restructure en interne
autour de ses rserves et de ses expositions, cre de nouveaux mtiers, sintgre la politique
globale de la culture.2

Trois objectifs ont t fixs :

placer le public au coeur de la vocation du muse;

poser les bases dune collaboration plus troite entre les muses quels que soient
leurs statuts;
accompagner le processus de dcentralisation culturelle.3

Ces objectifs dune politique culturelle ont t compltement nouveaux pour les muses
franais: guide de visiteurs, coopration entre muses de statuts juridiques diffrents et
dcentralisation de la politique culturelle. Le partenariat avec des organisations extrieures aux
muses, avec des associations et des administrations devient une marque particulire du
nouveau travail des muses. Ainsi, les mtiers des muses sont immdiatement mettre en
relation avec des mtiers externes qui eux aussi se transforment dans les relations quils
entretiennent avec les muses. Les mutations internes des mtiers des muses ont
conditionn et ont t conditionnes par lvolution des mtiers externes: ceux de
lenseignement, du tourisme et du dveloppement local.4

Les champs dactivit suivants sont prsents :

Architecte-Matre doeuvre
Programmation
Conservation
Restauration
Conception dexposition
Conception multimdia
Mdiation
Gestion
Communication
Accueil et surveillance
valuation
Recherche
Librairies, boutiques
Restauration, caftria.

2
Muses et exposition. Mtiers et formations en 2001, dit. par AFAA. Paris 2001, p. 5.
3
Cf. ibid., p. 10.
4
Ibid., p. 11.
7
Limportance significative des activits traditionnelles dans le muse Collectionner, Conserver,
Rechercher, Exposer, Transmettre - a t soulign pour mettre le muse au service du visiteur.
Lexprience franaise avec la modernisation des expositions et le recours au multimdia ouvre
la voie vers de nouveaux champs dactivits. Ceux-ci sont explicits et complts par la
prsentation des conditions de recrutement et de formation. Les liens entre les diffrents
champs dactivits sont prciss. Les conditions de recrutement dans les services publics sont
galement dcrites dune manire dtaille. Les organisations des professions et une
prsentation dtaille des institutions de formations sont jointes. Sur ces questions, la
publication franaise est un manuel de son temps. La restructuration de la formation
universitaire aprs le processus de Bologne (1998) nest pas encore prise en compte.

La Carta nazionale delle professioni museali, tablie en octobre 2005, adopt en octobre 2006,
est le rsultat dune coopration de diffrentes associations des muses italiens5. Elle rpond
aux changements fondamentaux dans les muses italiens et diagnostique : The
professionalism, competence and capacity of the personnel are necessary in order to
guarantee that the museum mission produces effectively programs and actions. It is on these
people that the efficacy and the efficiency of any institute depend. In other words, they
represent the present and future of our museums.6

Dans les premires cinq annes de ce sicle Technical-scientific criteria and standards of
performance and development of museums (2001) et un Code for the cultural assets and landscapes
(2004) ont t labors. En outre, la mise en place des standards est sous lautorit des
rgions. In different ways and with different procedures, several Regions
- Lombardy, Veneto, Emilia-Romagna, Piedmont, Tuscany, The Marches, Lazio and others - have
already established that presence of qualified staff is an essential requisite for the accreditation
or qualification of museums.7 Strategies for the development of regional museum systems
satisfy local requirements, but museum professional skills are the same nationwide. The aim is
to promote a scientific body for museum and heritage development with shared methods, skills
and objectives.8

Les associations des muses italiens ont labor une charte qui doit servir de rfrence et qui
correspond aux Curricula Guidelines for Museum Professional Development que lICTOP a prsents
en 2001. A partir des prconisations du Code de dontologie, quatre champs dactivits (au
lieu de trois dans le Code]ont t dfinis dans la Carta nazionale:

Research, care and management of collections;

Administration, finance, management and communication;
Services and relations with the public;
Structures, exhibitions design and security.9

5
Carta nazionale delle professioni museali. Conferenza nazionale dei musei, a cura di Alberto Garlandini, Milano
2006, p.130. (Les citations sont prises de la traduction anglaise de loriginal italien.)
6
Ibid., p. 127.
7
Ibid., p. 131.
8
Ibid., p. 135.
9
Cf. ibid., p. 133.
8
Contemporary museums require both highly professional training and specialization, a marked
ability to switch from one subject to another, versatility and an aptitude for team work. For this
reason the Map subdivides the main professional profiles into interconnected and interacting
work areas.10 Le directeur/La directrice a la charge complte de la gestion et ainsi la
responsabilit entire pour le muse.

La Carta souligne limportance de la musologie en tant que connaissance fondamentale pour

le travail musal. Firstly, museum workers must be trained in museology, to the extent and in
the manner required by their specific professions. Secondly, every museum professional deals
with museology both in his daily routine work and each time he contributes, in theory and in
practice, to musem study, research and education.11 Ainsi, on pense valuer et classer les
diplmes universitaires, mais aussi crer des possibilits de formation continue.

La Carta doit servir offrir aux professions musales la mme reconnaissance dont bnficie
la profession du bibliothcaire et de larchiviste. Les auteurs sont conscients du fait que les
descriptifs dtaills des emplois doivent servir comme rfrence pour tous ceux qui travaillent
dans le muse. Cela concerne les employs permanents ainsi que les collaborateurs
temporaires et bnvoles.

Jetons encore un petit regard sur le Code de dontologie de lICOM pour les muses. Il re-
prsente une norme minimale pour les muses. Il se prsente comme une srie de principes
tays par des directives sur les pratiques professionnelles appliquer. Dans certains pays,
certaines normes minimales sont dfinies par la loi ou par une rglementation nationale. Dans
dautres pays, des directives et une valuation des normes professionnelles minimales sont
fournies sous forme daccrditation, dhabilitation ou dun systme dvaluation similaires.12
Dans la premire partie trois obligations sont mentionnes pour les muses: la protection, la
documentation et la promotion du patrimoine naturel et culturel de lhumanit.13 A cette fin, un
personnel qualifi qui pourrait rendre le muse capable dacqurir, de prserver et de
valoriser ses collections afin de contribuer la sauvegarde du patrimoine naturel, culturel et
scientifique14 est ncessaire. En outre, il est interdit daccepter des cadeaux, des faveurs et
des prts.15 Pour garantir lefficacit du personnel, il est conseill aux muses de prvoir une
formation continue et dautres mesures pour une meilleure formation du personnel.16

Discussion concernant la professionnalisation

La discussion concernant la professionnalisation du travail dans les muses est difficile et de

longue dure. Le travail professionnel signifie une prestation spcifique, autonome qui se
distingue dautres prestations sociales.17 Il convient de faire valoir expressment la

10
Ibid., p. 132.
11
Ibid., p. 136.
12
Code de dontologie de lICOM pour les muses, 2006, prambule.
13
Cf., ibid., p.1.
14
Ibid., p. 3.
15
Cf. ibid., p. 12.
16
Cf. ibid., p. 2.
17
Rainer Kuhlen, Thomas Seeger, Dietmar Strauch (ds.), Grundlagen der praktischen Information und
Dokumentation, 5. d., t.1, Mnchen 2004, p. 37. Cf. voir aussi International Standard, Information and
9
proccupation de la profession dans la socit et dexiger sa reconnaissance.18 La discussion
autour du sujet de la professionnalisation dans le muse qui a commenc dans les annes
1980 aux Etats-Unis19, en Angleterre20 et au Canada21 est en rapport avec les changements
structurels et financiers des muses. Dans le mme temps, le nombre des muses sest accru
normment. La dmocratisation des muses demande une nouvelle comprhension du rle
de linstitution dans la socit. Des nouveaux champs daction demandent une formation
continue gnrale et spcifique. Cette constatation se rpand de plus en plus largement. La
professionnalisation est le moteur qui permet de ne pas laisser le travail du muse se
paralyser en routine. Mais il y aura toujours des chemins diffrents pour atteindre les normes
professionnelles du muse.

Un tel objectif est aussi suivi par de nouveaux dfis. Dans les pays dans lesquels la
professionnalisation des muses est dj bien avance, on constate dans les dernires annes
des insuffisances substantielles dans les rcentes volutions. Ainsi, entre autres, une politique
de personnel bien organise fait dfaut et les salaires sont parfois trop bas.22 Gaynor Kavanagh
voit le besoin de faire une recherche sur les professions musales incluant les aspects
sociologiques et historiques.23 Comment une telle recherche peut tre conduite, Eva-Maria
Kampmeyer et Felix Handschuh lont montr dans une tude indite sur lAllemagne: Ils
exploitaient 73 annonces de dcembre 2006 avril 2007. Ils ont obtenu les rsultats
provisoires suivants : Dans les annonces, il se rvle de plus en plus clairement que des
activits musales spcifiques sont de plus en plus importantes dans tous les domaines
culturels. De plus en plus, on conclut des contrats de travail pour une courte dure. Lemploy
doit tre capable de ragir et de travailler dune manire de plus en plus flexible et mobile. Une
exprience professionnelle pluriannuelle, une capacit leve de rsistance aux difficults du
travail quotidien, une capacit aige de dcision ainsi que la connaissance de plusieurs langues
trangres sont galement exiges. Des connaissances de base dans les affaires financires,
le marketing et le mcnat sont souvent requises. La motivation, la capacit de travailler en
groupe et de manire autonome sont indispensables dans tous les domaines du travail culturel.
Knowledge which leads to greater understanding of ourselves and our condition is a prerequi-
site of freedom and the basis for positive change.24 Si cette considration est juste, la
formation initiale et continue et son valuation prendront dans lavenir une place particulire-
ment importante pour le dveloppement du travail des muses. Lengagement et le soin du
personnel sont essentiels pour lavenir du muse.25

Documentation Vocabulary, ISO 5127, 2001. Verband der Restauratoren, Neue europische Standards fr
Restaurierungen, cf. http://www.arsprototo-magazin.de (24.05.2007).
18
Kuhlen, Seeger, Strauch [ds.], 2004, p. 39.
19
Gaynor Kavanagh, The museums profession and the articulation of professional self-consciousness, in:
The museums profession: Internal and external relations, ed. by Gaynor Kavanagh, Leicester 1991, p. 37-57;
Victor J. Danilov, Museum careers and training: a professional guide, Westport 1994.
20
Museums & Galleries Commission, ed., Museum professional training and career structure. Report by a
working party, London 1987.
21
Martin Segger, The new age training for the new age museum. A survey of recent museum personnel stu-
dies and initiatives in Canada: the implications for museum, museum professionals, and their communities,
ICTOP Paper, Stavanger 1995, p. 1-10.
22
Maurice Davies, Staff training and development in UK museums. Cit dun manuscrit indit.
23
Cf. Gaynor Kavanagh, 1991, pp. 44-48.
24
Ibid., p. 53.
25
Matthias Dreyer, Rolf Wiese (ds.), Museum und Personal (Schriften des Freilichtmuseums am Kiekeberg,
Bd. 54), Ehestorf 2006, avec des contributions remarquables sur le sujet.
10
Deux catgories de collaborateurs prennent de limportance dans les muses les
collaborateurs externes aux projets et les bnvoles. L o il est fait appel eux, il faut exiger
des critres de recrutement trs levs. Ils devraient tous avoir des connaissances de base en
musologie. La qualification des bnvoles est un sujet de rflexion plus rcent mais elle devrait
tre aligne sur les critres dj existants pour le personnel permanent.26 Qui sintresse au
profit court terme dans la coopration avec les collaborateurs bnvoles sera du. Car ce
projet important de bnvolat demande du management, un travail de longue haleine, de la
tolrance et le soutien explicite du groupe des collaborateurs bnvoles.27

Remarques fondamentales concernant la prsente publication

Les rsultats de la coopration, qui a t enthousiaste dans notre groupe de travail, doivent
contribuer ce que la professionnalisation des muses devienne limage de marque de la
politique culturelle.

Le rfrentiel labor ne fixe que des orientations qui doivent inciter une plus longue
discussion. Le rfrentiel doit tre la base pour tablir des rfrentiels nationaux (ou le cas
chant rgionaux) complmentaires. La diversit culturelle doit tre respecte
imprativement.

Le groupe de travail a labor une liste de 20 professions. Chacune contribue, en ce qui la

concerne, valoriser lensemble de linstitution. Ce nombre correspond au contingent minimal
dun grand muse. Les petites et moyennes institutions font leur choix selon leurs obligations et
leurs moyens financiers. Les conditions et les objectifs fixs servent de base la prise de
dcision.

Les personnes travaillant dans les muses doivent rpondre aux exigences suivantes:

un diplme dtudes universitaire pour la plupart des professions du muse;

des connaissances en musologie28;
une exprience pratique dans les champs concerns;
la connaissance de base d au moins une langue trangre.

La rpartition des diplmes en Licence (Bachelor), Master et Doctorat, qui doit tre mise en
place en Europe dici 2009/10, permettra une organisation individualise dune carrire
professionnelle. En principe, chaque degr universitaire, on acquiert une qualification et des
perspectives nouvelles sur le march du travail. Dans ces conditions, la mobilit professionnelle
en Europe sera favorise. Dans le cadre des grandes orientations fixes par le processus de
Bologne, chaque Etat europen dcide de la dure des diffrents cycles ou de leurs

26
Hartmut John, Mindeststandards fr qualifiziertes Museumspersonal, in: Museumskunde, t. 70, no.1,
2005, p. 42.
27
Stefanie von Knop, Ehrenamtliche Mitarbeiter - Potentiale und Herausforderungen in der Zusammenarbeit.
Ein Erfahrungsbericht aus der Kunstsammlung NRW, Dsseldorf, in: Dreyer, Wiese [ds.], 2006, p. 142.
28
Pour lICOM, la musologie comprend des aspects thoriques et pratiques.
11
dnominations dune manire autonome. Pour faciliter la prsentation, nous parlons des
premier, second ou troisime cycles. Dans les versions nationales, les qualifications spcifiques
pourront tre prcises.

Le groupe de travail aimerait souligner en particulier quil prvoit, pour toutes les activits de
direction, une formation scientifique solide et une formation en musologie, en thorie et en
pratique, comme conditions pralables au recrutement. La procdure de recrutement pour les
postes doit tre transparente et publique, en particulier sil sagit des postes de direction. Dans
certains pays, un concours est obligatoire.

Le domaine de la mdiation sest normment dvelopp et professionnalis ces dernires

annes. Les fonctions des services ducatifs et de la mdiation sont clairement diffrencier
de celles dautres fonctions au sein dun muse, telles que celles de la documentation et des
relations publiques.

Travailler dans le muse signifie travailler en groupe. Les diffrents champs dactivits peuvent
se chevaucher ou laisser des espaces vides. Il faut donc faire particulirement attention la
complmentarit des fonctions.

Nous avons cr trois ples forts pour une organisation claire des champs dactivits :

Collections et recherche
Publics
Administration, organisation et logistique.*

Le directeur/La directrice porte une grande responsabilit. Le Code de dontologie de lICOM

pour les muses le souligne explicitement: La direction dun muse est un poste cl et, lors
dune nomination, les autorits de tutelle doivent prendre en compte les connaissances et les
comptences requises pour occuper cet emploi efficacement. Aux aptitudes intellectuelles et
aux connaissance professionnelles ncessaires doit sajouter une conduite dontologique de la
plus haute rigueur. 29

Mais le schma fonctionnel montre explicitement que le directeur/la directrice est entour/e
de chargs de fonctions spcialises avec lesquels il/elle travaille en collaboration. Le nouveau
style de management se caractrise par une autonomie leve dans les diffrents champs de
travail. Fiabilit et confiance dans les collaborateurs en font aussi partie. Good leadership has
to do with people and thinking about how they are positioned.30

Chaque muse devrait trouver sa forme dvaluation externe et interne. Elle doit permettre une
raction rapide aux problmes, sans que le travail en quipe nen souffre.

* Voir le schma fonctionnel sur la page 14.

29
Le Code de dontologie de lICOM pour les muses, 2006, p. 2.
30
New models for leadership in museums, in: Museum News, Nov./Dec. 2003, p. 36. Interview avec Ro-
bert Kegan, Professeur Harvard Graduate School of Education, et Victoria Garvin, assistante du
directeur de lducation professionelle de lAmerican Association of Museums.
12
Le rfrentiel des professions musales est organis selon les points suivants :

Dfinition
Formation initiale31
Exprience complmentaire
Remarques.

Le groupe de travail espre sincrement que ce document vous sera utile et vous souhaite une
bonne lecture.

Angelika Ruge

31
La formation initiale sentend comme la formation de base ncessaire.
13
14
Directeur/trice
Dfinition
Le directeur/la directrice est responsable du muse, dans le cadre des missions qui lui sont
assignes par sa tutelle et/ou par son conseil dadministration. Il/Elle dfinit les options
stratgiques pour le rayonnement et le dveloppement de son institution. Il/Elle est le/la
responsable des collections et de la qualit des activits et des services du muse.

Il/Elle a une triple fonction dorientation et de contrle:

Scientifique : il/elle dfinit et suit les activits lies aux collections et leur
enrichissement ; il/elle veille et contribue la conservation, ltude, la scurit et
la mise en valeur des collections. Il/Elle fixe les orientations de recherche de
ltablissement.

Culturelle: il/elle dfinit le programme gnral des activits lies la prsentation des
expositions permanentes et temporaires et favorise laccs au muse et ses services
des publics.

Managriale : il/elle dirige les diffrents services du muse, a la responsabilit de la

gestion des ressources humaines, techniques et financires. Il/Elle assure les relations
avec les autorits de tutelle. Il/Elle reprsente le muse auprs des diffrentes
institutions et des partenaires, publics et privs. Il/Elle assure lvaluation rgulire des
activits du muse.

Formation initiale
Titre universitaire de deuxime cycle au moins dans lune des spcialits scientifiques lies aux
collections du muse, et formation ou comptence certifie en musologie et en management.

Exprience complmentaire
Plusieurs annes dans un muse ou une institution prive ou publique similaire.

Remarques
Il est ncessaire que le directeur/la directrice dispose de comptences de haut niveau
scientifique. Il est souhaitable quil/elle ait exerc les fonctions de conservateur/de
conservatrice de muse.

15
Conservateur/trice
Dfinition
Le conservateur/la conservatrice est, sous lautorit du directeur/de la directrice,
responsable des collections qui lui sont confies.

Ses fonctions se dveloppent selon cinq axes: la conservation, lenrichissement, ltude, la valo-
risation et la gestion des collections du muse.

Conserver: il/elle tablit, contrle et met en oeuvre le programme de stockage et

dinventaire ; il/elle supervise la conservation et la restauration des collections ainsi que
la documentation affrente.

Enrichir : il/elle propose au directeur un plan denrichissement des collections.

Etudier : il/elle tudie les collections, dfinit et mne les projets de recherche, et veille
la mise en place de la documentation sur les collections et les expositions.

Valoriser : il/elle participe la conception et la ralisation des expositions

permanentes et temporaires, des publications scientifiques, et des activits en direction
des publics.

Grer : sous lautorit du directeur/de la directrice, il/elle gre le budget et le

personnel qui lui sont confis.

Formation initiale
Titre universitaire de deuxime cycle dans lune des spcialits scientifiques lies aux
collections du muse, et formation ou comptence certifie en musologie.

Remarque
En labsence du directeur/de la directrice, les collections sont places sous la responsabilit
propre du conservateur/de la conservatrice.

16
Responsable des inventaires
Dfinition
Le/La responsable des inventaires assure linventaire des collections.

Il/Elle a la responsabilit du recensement ou du rcolement priodique des collections

exposes ou en dpts.

Il/Elle participe la documentation des collections et la constitution des bases de

donnes les concernant ainsi quaux publications scientifiques.

Formation initiale
Titre universitaire de premier cycle avec une spcialisation lie aux collections dont il a la
charge. Connaissances en mthodologie de linventaire et matrise des outils informatiques.

17
Rgisseur doeuvres
Dfinition
Le rgisseur organise et gre, sous la responsabilit du conservateur/de la conservatrice, les
mouvements dobjets en rserve ou en exposition, en collaborant avec les diffrents
partenaires publics et privs, lintrieur comme lextrieur du muse.

Il/Elle organise les transports des objets et veille leur scurit.

Il/Elle prpare les contrats et sassure des conditions dassurance.

Il/Elle veille la mise en oeuvre des prts et tient jour le registre des mouvements.

Formation initiale
Titre universitaire de premier cycle avec une spcialisation lie aux collections de muse.

Exprience complmentaire
Expriences professionnelles relatives sa fonction.

18
Restaurateur/trice
Dfinition
Le restaurateur/la restauratrice met en oeuvre, en concertation avec le conservateur/la
conservatrice, lensemble des activits relatives la prservation, la conservation prventive
et la restauration des collections du muse.

Il/Elle tablit le plan de restauration des collections et le cahier des charges des
restaurations quil/elle souhaite faire engager.

Il/Elle ralise, le cas chant, les interventions dcides sur les objets.

Il/Elle organise la matrise de lenvironnement des collections, tant dans les rserves
que pour leur exposition.

Formation initiale
Titre universitaire de deuxime cycle en restauration, ou titre quivalent.

19
Assistant/e de collections
Dfinition
Lassistant/e de collections collabore, sous la responsabilit du conservateur/de la
conservatrice ou, le cas chant, du restaurateur/de la restauratrice, la conservation des
collections et la mise en place des procdures relatives leur gestion, en rserves comme
en exposition.

Il/Elle assure le marquage physique des objets, leur rangement et contribue aux
campagnes de photographie.

Il/Elle participe la documentation et la mise en exposition des objets.

Il/Elle prpare, le cas chant, les objets pour la conservation, ltude et la prsentation
aux publics.

Formation initiale
Titre universitaire de premier cycle, ou diplme quivalent, avec une spcialisation lie aux
collections du muse.

Remarque
Le rle de lassistant/e de collections varie selon la nature des collections du muse.
En particulier, dans les muses scientifiques, les fonctions de lassistant/e de collections sont
assures, totalement ou en partie, par le prparateur/trice, qui est spcialis/e dans la prpa-
ration des objets et des moulages dans les domaines des sciences de la vie, des sciences de la
terre et de lanatomie.

20
Responsable du centre de
documentation
Dfinition
Le/La responsable du centre de documentation est charg/e de collecter, prparer, traiter et
diffuser, lintrieur comme lextrieur du muse, la documentation sur les collections, les
expositions et autres manifestations du muse.

Il/Elle gre les archives et la photothque en collaboration avec la bibliothque/la

mdiathque.

Il/Elle effectue, en collaboration avec le conservateur ou le commissaire dexpositions,

les recherches documentaires pour faciliter ltude des collections et la ralisation des
expositions.

Il/Elle met en place les outils dindexation et de traitement de linformation et veille

leur mise jour.

Formation initiale
Titre universitaire de deuxime cycle dans le domaine de la documentation.

21
Commissaire dexposition
Dfinition
Le/La commissaire dexposition conoit les projets dexposition temporaires, et conduit leur
ralisation, sous la responsabilit du directeur et en collaboration avec les conservateurs. Le
cas chant, il/elle contribue aux expositions permanentes.

Il/Elle labore les scenarii scientifiques et valide les projets scnographiques des
expositions.

Il/Elle collabore avec le/la responsable des services ducatifs et de la mdiation afin de
favoriser la communication autour des expositions et laccs des publics.

Il/Elle contribue la ralisation des publications affrentes et la promotion des

projets dont il/elle a la charge.

Formation initiale
Titre universitaire de deuxime cycle dans lune des spcialits scientifiques lies aux
collections du muse.

Remarque
Dans la plupart des cas, le commissaire dexposition est un conservateur/une conservatrice.

22
Scnographe dexposition
Dfinition
Le/La scnographe dexposition conoit la scnographie et assure le suivi de sa ralisation en
collaboration avec le commissaire des expositions et lquipe scientifique du muse.

Il/Elle propose lamnagement des espaces qui accueillent le public.

Il/Elle dfinit, le cas chant, la charte graphique de lexposition.

Il/Elle coordonne les diffrents prestataires qui contribuent la ralisation de la

scnographie.

Formation initiale
Titre universitaire de deuxime cycle spcialis dans le domaine ou diplme quivalent.

Exprience complmentaire
Exprience en scnographie dexposition.

23
Responsable de la mdiation et
du service ducatif
Dfinition
Le/La responsable de la mdiation et du service ducatif est charg/e de lensemble des
programmes, des actions, des tudes et des recherches relatives la mise en relation des
objets/oeuvres proposs par le muse avec les publics existants et potentiels.

Il/Elle participe, sous la responsabilit du directeur/de la directrice, la dfinition de la

politique des publics et dfinit et programme les actions en relation avec lensemble des
publics cibles. Dans ce but, il/elle cre notamment un rseau dorganismes extrieurs
qui oeuvrent comme relais des publics cibles.

Il/Elle fait appel aux diffrents responsables scientifiques du muse pour intervenir dans
les actions, la conception et la ralisation des documents daide la visite.

Il/Elle est responsable de la formation des mdiateurs/mdiatrices. Il/Elle contribue

la formation des agents daccueil et de surveillance.

Il/Elle participe la ralisation des expositions. Il/Elle met en place les outils
dvaluation des programmes et des actions.

Formation initiale
Titre universitaire de deuxime cycle avec double comptence dans lune des disciplines lies
aux collections du muse et en musologie ou en pdagogie.

Exprience complmentaire
Exprience pluriannuelle dans une institution musale ou similaire pour exercer la responsabi-
lit du service.

24
Mdiateur/trice
Dfinition
Le mdiateur/La mdiatrice est charg/e de mettre en oeuvre les diffrentes actions pour
tous les publics actuels et potentiels.

Il/Elle participe la conception et anime les actions et les aides qui accompagnent les
expositions permanentes et temporaires.

Il/Elle participe lvaluation des programmes et des actions.

Il/Elle informe le/la responsable des besoins et des attentes des diffrents publics pour
dvelopper de nouveaux programmes ou de nouvelles actions.

Formation initiale
Titre universitaire de premier cycle dans lune des disciplines lies aux collections du muse
et/ou en pdagogie et/ou en communication.

25
Responsable de laccueil et de
la surveillance
Dfinition
Le/La responsable de laccueil et de la surveillance du service daccueil organise laccueil des
publics et veille autant au confort du visiteur qu la scurit des visiteurs et des
oeuvres/objets.

Il/Elle organise linformation et lorientation des publics sous la responsabilit du

directeur/de la directrice.

Il/Elle encadre les activits des agents daccueil et de surveillance.

Il/Elle est responsable de la surveillance du muse lintrieur et aux abords du muse.

Il/Elle organise la billetterie et les activits des lieux de vente de produits drivs.

Il/Elle contrle le bon tat des locaux daccueil et de confort de la visite.

Il/Elle vrifie linstallation et le bon tat des dispositifs de scurit des oeuvres (antivols,
climatisation) et des installations musographiques (scurit du visiteur).

Il/Elle participe aux tudes de publics en organisant le recueil des informations

recherches pour des enqutes ou des entretiens.

Formation initiale
Titre universitaire de premier cycle ou exprience professionnelle dau moins trois ans dans un
muse ou dans une institution culturelle comparable.

Exprience complmentaire
Exprience pluriannuelle dans le domaine de laccueil ou de la surveillance.

26
Agent daccueil et de
surveillance
Dfinition
Lagent de l accueil et de la surveillance est charg de laccueil et de lorientation du public, de
la surveillance de tous les espaces accessibles.

Il/Elle assure lentretien courant de ces espaces et la premire maintenance.

Il/Elle fournit la premire information au visiteur, contrle laccs, fait respecter les
rgles de comportement.

Il/Elle aide le public grer son parcours de visite et signale toutes les difficults quil
peut rencontrer son responsable.

Il/Elle vrifie ltat des collections exposes et des installations musographiques et

signale toute dtrioration ou autres risques son suprieur hirarchique.

ll/Elle rpond aux questions de base poses par le visiteur sur le muse, les collections
et les expositions.

Formation initiale
Niveau fin dtudes obligatoires.

Exprience complmentaire
Formation interne obligatoire pour chaque exposition.

27
Responsable de la
bibliothque/mdiathque
Dfinition
Le/La responsable de la bibliothque/mdiathque constitue, organise et gre les diffrentes
publications (tous mdias) ralises en relation avec les domaines des collections, des exposi-
tions et de lhistoire du muse.

Il/Elle en assure la conservation, linventaire et le classement pour en faciliter laccs

aux publics et met ces ressources la disposition des publics.

Il/Elle contribue la recherche et lenrichissement des collections de la bibliothque/

mdiathque.

Il/Elle collabore avec le responsable du centre de documentation pour mettre en place

et pour grer les demandes de droits dauteurs et de reproduction.

Formation initiale
Titre universitaire de deuxime cycle en bibliothconomie.

28
Responsable du site web
Dfinition
Le/La responsable du site web conoit et ralise le site web du muse en liaison avec le
responsable des relations mdias.

Il/Elle garantit sa mise jour et gre, avec le responsable des systmes informatiques,
les relations avec le fournisseur daccs.

Il/Elle met en oeuvre, sous la responsabilit du conservateur/de la conservatrice et du

commissaire dexpositions, des expositions virtuelles.

Formation initiale
Titre universitaire de premier cycle ou trois ans dexprience dans la conception et le
dveloppement de sites web.

29
Administrateur/trice
Dfinition
Ladministrateur/trice, sous la responsabilit du directeur/de la directrice, organise et
dveloppe la gestion administrative et financire du muse, les ressources humaines, les
procdures juridiques, et le fonctionnement de ltablissement.

Il/Elle tablit les appels doffre, les marchs, les conventions et contrats ncessaires
la bonne marche de ltablissement.

Il/Elle vrifie rgulirement ltat des dpenses et des recettes, de la trsorerie, et est
responsable du contrle de gestion.

Il/Elle veille ce que la gestion du muse soit assure selon les principes defficacit,
defficience et de transparence.

Formation initiale
Titre universitaire de deuxime cycle en conomie ou gestion dentreprise.

Exprience complmentaire
Exprience pluriannuelle dans la gestion dun muse ou une autre institution culturelle ou
ducative.

30
Responsable de la logistique
et de la scurit
Dfinition
Le/La responsable de la logistique et de la scurit est charg de lentretien du btiment et du
bon fonctionnement des services techniques du muse, et organise lamnagement et la
maintenance des expositions.

Il/Elle met en oeuvre les actions qui assurent la scurit des personnels, des visiteurs,
des collections, et des locaux.

Il/Elle applique les dispositions concernant la conservation des collections.

Il/Elle prpare le plan de prvention de ltablissement et le met en application.

Il/Elle veille lapplication de la lgislation et de la rglementation en matire dhygine,

de sant et de scurit au travail, de protection de lenvironnement et de scurit
contre lincendie.

Formation initiale
Titre universitaire de premier cycle dans un des domaines techniques concerns.

Exprience complmentaire
Exprience pluriannuelle dans la maintenance, la technique, la logistique ou la scurit.

Remarque
Selon la taille du muse, les fonctions du/de la responsable de la logistique et de la scurit
peuvent tre spares.

31
Responsable des systmes
informatiques
Dfinition
Le/La responsable des systmes informatiques planifie, maintient et gre le parc, le rseau et
les programmes informatiques ainsi que les systmes multimdias.

Il/Elle garantit le dveloppement du rseau informatique pour la gestion interne des

donnes et la communication externe.

Il/Elle garantit la scurit de laccs aux donnes et leur conservation.

Formation initiale
Titre universitaire de premier cycle en technologies de linformation et de la communication.

Exprience complmentaire
Exprience professionnelle dans le domaine.

Remarque
Selon la taille du muse, cette fonction peut tre attache celle du responsable de la
logistique.

32
Responsable marketing,
promotion et recherche de
fonds
Dfinition
Le/La responsable marketing, promotion et recherche de fonds est charg(e) de dvelopper,
sous lautorit du directeur/de la directrice, des stratgies de marketing, de promotion et de
dveloppement de linstitution, en particulier sa visibilit, laugmentation et la fidlisation du
public et la recherche de fonds.

Il/Elle conoit des activits et des supports dinformation visant augmenter la

notorit de linstitution et la comprhension du rle du muse dans la socit.

Il/Elle cible les publics existants et potentiels et dfinit les mesures de promotion
adaptes.

Il/Elle vise une plus grande implication des publics en faveur de linstitution (amis du
muse, bnvoles, etc.).

Il/Elle contribue aux stratgies de dveloppement financier du muse par la recherche

de fonds.

Formation initiale
Titre universitaire de deuxime cycle en gestion ou conomie de la culture ou en conomie
dentreprise.

Exprience complmentaire
Exprience professionnelle pluriannuelle dans une institution culturelle.

33
Responsable des relations
mdias
Dfinition
Le/La responsable des relations mdias dveloppe et met en oeuvre des stratgies visant la
diffusion des missions, finalits, contenus et activits de linstitution par tous les mdias.

ll/Elle coordonne et assiste les professionnels du muse dans leurs relations avec les
mdias.

Il/Elle dveloppe un rseau avec les professionnels des mdias.

Formation initiale
Titre universitaire de deuxime cycle en journalisme, sciences de la communication ou relations
publiques.

Exprience complmentaire
Exprience pluriannuelle dans la communication culturelle.

34
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39