1 Faculté des Sciences du Sport,
Université de Poitiers, France
MASTER EXECUTIF EN MANAGEMENT DES ORGANISATIONS SPORTIVES EXECUTIVE MASTERS IN SPORTS ORGANISATIONS MANAGEMENT
MEMOS XIII
2009 – 2010
The Role, Place and Purpose of Olympic Museums Within National Olympic Committees
Charles Callis
New Zealand Olympic Committee
Tutor: Prof: Thierry Zintz, PhD
Chaire Olympique Henri de Baillet-Latour & Jacques Rogge en Management des Organisations Sportives
Université Catholique de Louvain - Belgium
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ABSTRACT
Establishing an Olympic Museum within the headquarters of a National Olympic Committee (NOC) presents a series of challenges that have been investigated by this research project. The willingness of an NOC to undertake such an initiative requires the support of key stakeholders who need to share a common aspiration to espouse the principles of Olympism and Olympic Values, which are promoted by the International Olympic Committee (IOC). The shared vision of providing a showcase that records and celebrates the achievements of their country at the Olympic Games provides a powerful incentive for an NOC to commit substantial organisational resources toward establishing an Olympic Museum.
Despite the active support and encouragement from the IOC, the majority of NOCs worldwide do not have an Olympic Museum operating either within the NOC, or as an external arrangement with other organisations. This project seeks to investigate why this situation exists. .
This research has four aims.
Firstly, to investigate the origins and purpose of museums within society and to define the role, place and purpose of an Olympic Museum within an NOC.
Secondly, to investigate by means of a benchmarking analysis the mechanisms that are required for an NOC to establish and sustain an Olympic Museum, either within its headquarters, or by means of a collaborative model with a sports museum or a social history museum.
Thirdly, to provide advice to the governance of Olympic Museum Wellington to assist with the management and the sustainability of the Olympic Museum in New Zealand.
3 Fourthly, this project has sought to provide advice to any NOC that is contemplating establishing or sustaining its own Olympic Museum.
This research project has collaborated with the NOCs of New Zealand, Australia, Cyprus, Zimbabwe, Finland, Belgium, Former Yugoslav Republic of Macedonia and Brazil.
Each of these countries has offered a unique insight into how economic and social factors have influenced and shaped the NOCs strategic decision to implement or assess its capacity to operate an Olympic Museum in a model and form that meets its specific needs and requirements.
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Résumé
Créer un musée Olympique au siège d‟un Comité National Olympique (CNO) est un défi aux multiples facettes. Nous l‟avons étudié dans cette thèse. Il convient que des parties prenantes clés soutiennent la volonté d‟un CNO de le faire. Ceci doit se faire dans le cadre d‟une aspiration partagée à soutenir les principes de l‟Olympisme et les valeurs Olympiques que défend le Comité International Olympique (CIO). Un projet commun qui a pour objet de mettre en valeur les réalisations d‟un pays aux Jeux Olympiques est une motivation importante pour un CNO afin qu‟il mette des ressources organisationnelles importantes au service de la création d‟un musée Olympique.
Bien que le CIO soutienne activement et stimule cette création, force est de constater que la majorité des CNO, dans le monde, n‟ont pas de musée Olympique, géré en leur sein ou au travers d‟un accord avec d‟autres organisations.
Cette thèse entend analyser les raisons de cette situation et se donne quatre objectifs.
Il s‟agit tout d‟abord d‟étudier les origines et les objectifs des musées dans l‟espace social et de définir le rôle, la place et la finalité d‟un musée Olympique au sein d‟un CNO.
Dans un deuxième temps, nous tentons de préciser, au moyen d‟une étude comparative des mécanismes indispensables à l‟établissement d‟un musée Olympique pérenne par un CNO, si l‟alternative interne ou celle qui consiste à collaborer avec un musée du sport ou un musée consacré à l‟histoire sociale seraient plus favorables.
Il s‟agit, dans un troisième temps, de soutenir la gouvernance du Musée Olympique de Wellington, en Nouvelle-Zélande, de façon à garantir la qualité de son management et sa pérennité.
Enfin, nous serions honorés que, en quatrième lieu, ce travail puisse aider tout CNO qui envisagerait de créer ou de développer son propre musée Olympique.
5 Ce projet de recherche a bénéficié de la collaboration des CNO de Nouvelle-Zélande, d‟Australie, de Chypre, du Zimbabwe, de Finlande, de Belgique, de l‟Ancienne République Yougoslave de Macédoine et du Brésil. Chacun de ces pays nous a permis de disposer d‟une vision unique sur la façon dont les facteurs économiques et sociaux avaient pu influencer sa décision stratégique de créer un musée Olympique ou sur son aptitude à en exploiter un, selon un modèle et une organisation qui soit compatible avec ses besoins et ses attentes spécifiques.
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ACKNOWLEDGEMENTS
Special appreciation is extended to my Tutor Professor Thierry Zintz for his generous advice and guidance in the production of this thesis. I also extend my appreciation of the Review panel:
Professor Ian Henry; Professor Packianathan Chelladurai „Chella‟; and Professor Lisa Delpy Neirotti.
I sincerely thank my colleagues at the New Zealand Olympic Committee (NZOC) who have supported me throughout this project, especially the Board and the Secretary General of the NZOC. Special thanks are extended to my Olympic Museum colleague Stephen Donnell.
I also thank my partner Vivian for her support and consideration.
Finally, I take this opportunity to thank the New Zealand Olympic Academy who, in 1998, established the Olympic Museum within the NZOC in Wellington, New Zealand.
In particular, I thank Clive Moon for his encouragement and inspirational commitment to Olympism.
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TABLE OF CONTENTS
ABSTRACT 2
ABSTRACT
(IN FRENCH)4
ACKNOWLEDGEMENTS 6
TABLE OF CONTENTS 7
LIST OF TABLES 10
LIST OF FIGURES 11
INTRODUCTION 12
Presentation of the Problem 12
The Questions to be Addressed 12
Literature Review 13
The Concept of an Olympic Museum 15
Roles and Mission of an Olympic Museum 16
Categories of Olympic Museum 17
Summary 19
CHAPTER ONE 20
RESEARCH METHODOLOGY AND DATA COLLECTION 20
1.1 Introduction 20
1.2 Formulated Assumptions 20
1.2.1 Assumption 1 20
1.2.2 Assumption 2 20
1.2.3 Assumption 3 20
1.3 Research Methodology 21
1.3.1 Exploratory Research 21
1.3.2 Deductive Research 21
1.3.3 Inductive Research 21
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1.4 Types of Olympic Museums 22
1.4.1 In-Source Olympic Museum 22
1.4.2 Out-Source Olympic Museum 22
1.4.3 Special Case 22
1.4.4 Zero Olympic Museum 22
1.5 Participants 23
1.6 Note regarding Data Gathering 23
1.7 Questionnaire Considerations 24
1.8 Analysis of Questionnaire and Phone Interview Data 25
1.9 Expected Results 26
1.10 Reflective 27
CHAPTER TWO 28
ANALYSIS OF QUANTITATIVE DATA RESULTS 28
2.1 Questionnaire Overview 28
2.2 Data gathered from NOCs and In-Source Type Olympic Museums 28 2.3 Data gathered from NOCs and Out-source Type Olympic Museums 32 2.4 Data gathered from NOCs with a Zero Olympic Museum 35
CHAPTER THREE 39
ANALYSIS OF QUALITATIVE DATA RESULTS 39
3.1 New Zealand Olympic Committee 38
3.1.1 Summary 41
3.1.2 Discussion 41
3.1.3 Recommendations 42
3.2 The National Olympic Committee of Cyprus 43
3.2.1 Summary 48
3.2.2 Discussion 49
3.2.3 Recommendations 48
3.3 Zimbabwe Olympic Committee 49
3.3.1 Summary 54
3.3.2 Discussion 54
3.3.3 Recommendations 54
3.4 Australian Olympic Committee 55
3.4.1 Summary 60
3.4.2 Discussion 60
3.4.3 Recommendations 61
3.5 Belgium Olympic Committee 62
3.5.1 Summary 68
3.5.2 Discussion 68
3.5.3 Recommendations 68
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3.6 Finnish Olympic Committee 69
3.6.1 Summary 75
3.6.2 Discussion 75
3.6.3 Recommendations 75
3.7 Brazilian Olympic Committee 76
3.7.1 Summary 82
3.7.2 Discussion 82
3.73 Recommendations 82
3.8 Former Yugoslav Republic of Macedonia 83
3.8.1 Data Gathering Limitations 88
3.8.2 Summary 88
3.8.3 Discussion 88
3.8.4 Recommendations 89
CHAPTER FOUR 90
RECOMMENDATIONS FOR CREATING AN OLYMPIC MUSEUM 90 4.1 Recommendations to Olympic Museum Wellington 94
4.2 Relationship to the NZOC Board 95
4.3 Relationship to NZOC Executive Staff 95 4.4 Relationship to New Zealand Olympians 96
4.5 Relationship to New Zealand Youth 97
4.6 Relationship to the New Zealand Olympic Academy 97 4.7 Relationship to National Sporting Federations 98
4.8 Relationship to Volunteers 98
4.9 Relationship to General Public 98
4.10 Forming Strategic Alliances with local Museums 99
CONCLUSION 100
Assessing Assumptions 102
Assumption 1 102
Assumption 2 103
Assumption 3 103
Formulation of the Special Theory 104
REFERENCES 105
BIBLIOGRAPHY 108
APPENDICES 109
Appendix 1 Quantitative Data / Internet Questionnaire 109
Appendix 2 Sample Letter of Introduction 118
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LIST OF TABLES
Table 3.1 New Zealand Olympic Committee 39
Table 3.2 The National Olympic Committee of Cyprus 43
Table 3.3 Zimbabwe Olympic Committee 49
Table 3.4 Australian Olympic Committee 55
Table 3.5 Belgium Olympic Committee 62
Table 3.6 Finnish Olympic Committee 69
Table 3.7 Brazilian Olympic Committee 76
Table 3.8 Former Yugoslav Republic of Macedonia 83
Table 4 Comparative In-Source & Out Source Models 90
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LIST OF FIGURES
2.1 Key Factors enabling establishment of an In-Source
Olympic Museum 29
2.2 Do you feel that the Board of the NOC is supportive of the
Olympic Museum? 29
2.3 What is the main purpose of the Olympic Museum? 30 2.4 How would you rank the significance of the Olympic Museum
within the operations of the NOC? 31 2.5 How do you measure the success of your Olympic Museum? 31 2.6 How would you rate your relationship with your NOC? 32 2.7 What type of Strategic Relationship exists between your
NOC and your Museum? 33
2.8 Does your Museum conduct Olympic Values Education
Programmes? 34
2.9 Do you employ an Olympic Educator? 35 2.10 What are the Main Obstacles affecting the establishment
of an Olympic Museum within your NOC building? 36 2.11 Are there social considerations in your country affecting the
establishment of an Olympic Museum within your NOC? 37 2.12 Are there political considerations in your country affecting the establishment of an Olympic Museum within your NOC? 37 2.13 What do you regard as being the central role of the NOC in
your country? 38
2.14 Would you prefer the Olympic Museum to be located
in the building of your NOC? 38
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INTRODUCTION
Presentation of the Problem
The Olympic Charter makes reference to the recommendation for all National Olympic Committees (NOCs) to have an Olympic Museum. Former IOC President Samaranch was a champion for supporting the role and place of an Olympic Museum in the promotion of Olympism and for its role in leaving an enduring legacy of the contribution that the modern Olympic Games and the Olympic Movement make to humanity. Olympic Solidarity has a separate funding channel, (NOC Legacy), to support NOCs to establish and maintain their own Olympic Museums. However, amongst 205 NOCs, there are many that do not have an Olympic Museum within their NOC, the writer seeks to explore why this situation exists
The Questions to be Addressed
Question (1): What are the conditions that enable an Olympic Museum to be established and maintained within an NOC?
Question (2): Why are there so few Olympic Museums within National Olympic Committees?
An Olympic Museum is required to function on many levels other than just the pure display of objects and the practice of museology. Understanding how an Olympic Museum is operationalised, maintained and sustained within the organisational structure of an NOC will provide an enhanced comparative understanding of the role and types of Olympic Museums that operate today.
Investigating what multiple factors impact on an NOC, and ultimately deter it from having its own Olympic Museum will provide a knowledge- base from which to provide recommendations for the formation of an Olympic Museum.
13 Literature Review
In recent years there has been considerable discussion about the role that museums play in human society. The construction of social memory has shifted from the traditional 19th Century eccentric museum perspective that objects stand alone and require no interpretation. (Teather, 1998), defines the museum in more abstract terms as an idea, even a human process, that takes a variety of forms from the personal collection to the formality of the British Museum.
Understanding the role, place and purpose of a contemporary social history museum provides a series of challenges and opportunities that museum governance and staff are faced with on a daily basis. Contextualising objects and linking their story to the broader mission and role of the organisation remains a central imperative for museums.
An Olympic Museum fits into the category of an organisational museum which, in this case, is empowered by a powerful philosophical grounding and strategically negotiated values and mission. Analysing the role of an Olympic Museum, within an NOC, requires an understanding of what the expectations are from the International Olympic Committee (IOC) and how these objectives are actioned by the NOC.
The writer has utilised a keyword search with the following main terms being investigated in regard to the Olympic Movement: Olympic Museum / Governance / Strategic Management / Stakeholders / Museology / IOC / Olympic Solidarity / Sport Museum / Sport Hall of Fame.
This literature review has sought to bring together various sources that provide a historical perspective relating to the purpose of museums in general and in particular the purpose of Olympic Museums and how this has translated into a contemporary interpretation, based in Lausanne, which is intended to provide an international benchmark for NOCs to emulate.
The literature review adopted a Strategic Management focus. This approach had a direct effect of focusing the writer on relevant and often scarce resources relating to the project.
14 The key themes that were investigated were as follows: Purpose of museums, origins of Olympic Museums, Purpose of Olympic Museums, IOC - The Olympic Charter / Olympic Solidarity Governance within the Olympic Museum (NZOC) , Governance New Zealand Olympic Committee, analysis of number and types of Olympic Museums throughout the world, Comparative assessment of two like-type museums within New Zealand context.
Defining what is meant by an „Olympic Museum‟ was a central imperative in the literature review process. Analysing the number of Olympic Museums, whether In- Source or Out-Source, (i.e. Olympic Museums that operate inside the headquarters of the NOC or in a separate building to the NOC but have an association with the NOC and use the Olympic Rings in their external branding), was facilitated by the collaboration with the Olympic Museum Lausanne and the Olympic Studies Centre Lausanne with the writer.
Literature pertaining to the governance and operation of the Olympic Museum and New Zealand Olympic Committee in Wellington was sourced from the Olympic Studies Centre, (located within the Olympic Museum / New Zealand Olympic Committee / NZOC). The University of Canterbury in New Zealand has an Olympic Studies research facility and research was undertaken there.
The National Museum of New Zealand – Te Papa Tongarewa provided general museum reading resources in the analysis of the „new museum‟ construct.
The New Zealand Police Museum and the National Army Museum (New Zealand), have provided valuable comparative data in the areas of mission, vision and governance.
15 The Concept of an Olympic Museum
The concept of an Olympic Museum appears to have its origins in antiquity at the Olympic Games as described by (Trundle, 2009) when Pausanias‟ Guide To Greece written in the second century AD describes all of the statues and temples at Greek sites and Olympia for Romans who wanted to visit the sanctuary. The Greeks did treat sanctuaries as display areas for ancient and important items (both religious and historic).
As described in (Pierre de Coubertin Fonds n.d.) that once influenced by philosophers and historian H. Taine and Englishman Thomas Arnold (Head of Rugby School) in 1883, Baron Pierre de Coubertin began his life work of reforming the education system through the introduction of sport in the balanced development of an individual. As a central instrument in the delivery of his ideas he instigated an Olympic Museum and Library in 1925 at the Villa Mon Repos in Lausanne. Muller N. (2000, p. 744) highlights the significance of the modest Olympic Museum and its role in being a significant repository for the memory of the Olympic Movement. Gafner R, (1994, ed. p. 197), describes how Coubertin highly regarded the “need for an institution which would serve as a place for reflection on the intellectual values and pedagalogical aspirations of the Olympic Movement.”
Within the contemporary context, all NOCs are guided by the Olympic Charter (IOC, 2007) where in section 2.1 (p. 61) Mission and Role of NOCs, the following guidance is offered, “… to promote the fundamental principles and values of Olympism in their countries, in particular, in the fields of sport and education, by promoting Olympic educational programmes in all levels of schools, sports and physical education institutions and universities, as well as by encouraging the creation of institutions dedicated to Olympic education, such as National Olympic Academies, Olympic Museums and other programmes, including cultural, related to the Olympic Movement.”
Although there is no direct mention of the requirement to form In-Source Olympic Museums, Muller, N. (1993, p. 309), however, promotes a very clear vision of the role and mission of the Olympic Museum (Lausanne). “The role of the Olympic Museum is to transcend the IOC and the Olympic Games and the Olympic Movement but to extend into the realm of world culture linked to the practice of sport and human fulfillment”. Muller,
16 N. (1993, p. 309) asserts that the mission of the Museum should, to promote Olympism through its activities and exhibitions.
Roles and Mission of an Olympic Museum
In 1982 the IOC created the Olympic Studies Centre and in 1993 opened the Olympic Museum. Former IOC President Juan Antonio Samaranch promoted the contemporary role and mission of the Olympic Museum which resulted in the inauguration during 2000-2001 of the modern Olympic Museum situated in Lausanne. As Bianchi, C. (2003, p. 357) describes, “The Olympic Museum in Lausanne is regarded as the undisputed centre of Olympic knowledge”.
Etter, M. (2003, p. 363) says that the role of an Olympic museum is. “…to preserve the evidence of an Olympic Games and to make it available to researchers, historians, the Olympic Family and the public.”
An analysis of the role of Olympic Museums by Etter, M. (2003 p.363) asserts that, “an Olympic Museum has a threefold mission to fulfill with regard to Olympic Heritage – that mission, like every other museum is described in the Statutes of the International Council of Museums (ICOM), namely, (1) Conserving the collection, (2) Documenting the collection, (3) Disseminating knowledge to the public”.
According to the IOC, (Commission for Culture and Olympic Education n.d.), the mission of the Olympic Museum is, “to make visitors aware of the breadth and importance of the Olympic Movement: to show them by means of images and symbols that Olympism is not merely a matter of sport competition, but rather a philosophy of life whose roots are deeply embedded in our history”.
An opposing view to how well the Olympic Museum (Lausanne) was in achieving its mission is presented by Garcia, B. (2001) who in 2001 undertook research into the cultural policies of the IOC concluded that the displays did not inform the audience about the existence of culture or education programmes but “that they were simply sport focused”.
17 In an effort to encourage NOCs to establish and sustain their own Olympic Museum the IOC allocates Olympic Solidarity funding via its NOC Legacy funding channel. In the Olympic Charter (IOC 2007, p. 18), the aim of Olympic Solidarity is defined as to organise assistance to those NOCs that have greatest need for it. The core objective of Olympic Solidarity is to promote the fundamental principles of Olympism. The aim of NOC Legacy is outlined in Olympic Solidarity, (2009, p. 45), “The NOC Legacy programme implemented by Olympic Solidarity encourages the NOCs to preserve and promote their national Olympic and sporting history and heritage, so that Olympic values survive through time.” In IOC, (A Sport Museum You Must Create One, n.d.), Juan Antonio Samaranch encourages the formation of sports museums and the booklet offers a simplistic guide for NOCs and others to follow in setting up a sports museum. The booklet offers little direct or practical support to NOCs or OSOs.
Categories of Olympic Museums
This Project research methodology has sought information from various NOCs and types of Olympic Museums. In this regard the Olympic Museum Lausanne (2009), provided a list of Olympic Museums divided into the category they are operating within. The writer was seeking information on In-Source and Out-Source Olympic Museums. A new category has emerged that can be labeled as „Special Case‟ whereby a Sport Museum or Sport Hall of Fame functions independently of an NOC but has a collaborative relationship with the NOC whereby Olympic Games memorabilia is loaned or gifted to the organisation.
The Project has utilised the In-Source Olympic Museum operated by the NZOC as the Benchmark museum. In this regard a range of documents were provided by the Olympic Studies Centre which is located within the Olympic Museum (NZOC). The document (NZOC, Olympic Museum Operating Policy, n.d.) provides a valuable insight into the mission and aims of the Olympic Museum and highlights the operations and outputs centred on museological practice, the promotion of Olympism, celebrating New
18 Zealand‟s participation at the Olympic Games, role within the broader Olympic Movement and the education of youth in all its work. The NZOC asserts its support and ongoing maintenance towards the Olympic Museum in (NZOC, Strategic Plan 2006- 2009, p.13), under the heading, “Celebrating Our Past Present and Future”. (NZOC, 96th Annual report and Statement of Accounts for the year ended 31 December 2008, (p 5), a report into the performance and outcomes of the Olympic Museum are presented. An analysis the NZOC Constitution (NZOC, New Zealand Olympic Committee Inc. , Constitution, Adopted 5 May, 2009) provided additional background information in the way that the NZOC promotes Olympism in its activities and in particular how it supports the operations of the Olympic Museum. The publication (NZOA, Understanding Olympism, Building a Better World Through Sport and the Olympic Ideal, n.d.), is a concise summary of Olympism in action and has been widely distributed throughout New Zealand.
In order to better understand the strategic operations of Olympic Museum Wellington, the writer compared two similar, organisations, which are not for profit, charitable trust museums, within New Zealand. The first was the National Army Museum and information was sourced from the (National Army Museum, Mission and Vision, n.d.), the second was the New Zealand Police Museum. Information for the Police Museum was sourced from various (New Zealand Police, NZ Police Museum Mission Statement, n.d.). Both museums had very clear missions and visions that were very similar in nature to the Olympic Museum Wellington. Both museums had a strong sense of „social good‟
in their mission‟ and were structured in such a way that the objects within the collection would all have a story to tell in regard to the business activity and operations of the parent organisation. Education was considered a central driver for both museums.
19 Summary
The writer has found that there is a shortage of literature pertaining to the Project topic.
There were no studies found relating to the conditions that enable an Olympic Museum to be formed within an NOC, however, there are papers, journal, books and articles relating to the Olympic Museum in Lausanne. These vary from its formation to its predominance in its Olympic Games / Olympic Movement collection holdings.
Information derived from Olympic Museum Wellington and the NZOC has provided valuable background data ranging from governance, stakeholders to museological practice. The literature review supports the premise that the fundamental and central role of an Olympic Museum is the promotion of Olympism and the education of youth. A stable political, social and economic environment appears to contribute to the maintenance of the Olympic Museum in New Zealand.
That in order for the Olympic Museum to operate effectively it needs to be an In-Source type Olympic Museum with all NOC and Olympic Academy actors in very close harmony with the work and aspirations of the Olympic Museum. In the case of the Olympic Museum Wellington, the role and purpose the museum is seen as one of the central instruments or devices that the NOC employs in the promotion of Olympism and the education of youth.
A default position appears to be whereby NOCs form a partnership with a national Sport Museum or a Sports Hall of Fame that then allows them to utilise the Olympic Rings in their external and/or internal branding.
Olympic Solidarity has contributed significantly to the establishment and operations of Olympic Museums. Olympic Museum Lausanne offers NOCs a fundamental level of support and guidance. However, for smaller and less wealthy NOCs, there appears to be selective admission into the Olympic Museum Network (OMN) that has been formed by Olympic Museum Lausanne, which applies the criteria of a minimum museum floor area as a criterion for inclusion into the support network
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CHAPTER ONE
RESEARCH METHODOLOGY AND DATA COLLECTION
1.1 Introduction
In seeking a theoretical base from which to hinge the research addressing the project questions, (Merton, 1963, p.5) proposes the construct of theories of the middle range.
Merton aimed to integrate theory and empirical research which he saw as explanations of generic features of specific social phenomena. Merton opposed both narrow empiricism that lacked a theoretical base as well as grand theories that attempted to answer all aspects of social life. (Merton, 1963, p. 9) states, “I believe that our major task today is to develop „special theories‟ applicable to a limited range of data.”
In this research project the writer will develop a special theory on the conditions of existence and implementation of Olympic Museums and the derived assumptions will be empirically investigated.
1.2 Formulated Assumptions
1.2.1 Assumption 1: That NOCs generally regard their central role and purpose as being to select, outfit and to send their national Olympic Games team to the Olympic Games and not to resource and maintain an Olympic Museum within their NOC.
1.2.2 Assumption 2: That those NOCs that do have an Olympic Museum „within‟
their NOC headquarters have a strong adherence to the principles of Olympism which is manifested in the quality and scope of their Olympic Values Education and programmes which are supported by their Governance and internal stakeholders.
1.2.3 Assumption 3: That a strong adherence to the principles of Olympism, which is manifested in the quality and scope of their Olympic Values Education programmes - which are supported by their Governance and internal stakeholders - would not be sufficient to develop, resource and maintain an
21 Olympic Museum within their NOC. External factors such as the economic state and the social / political situation in the country would be factors affecting the formation of an In-Source Olympic Museum.
The next phase will then be to develop a progressively more conceptual scheme that is adequate to consolidate the special theory on the conditions of the existence and implementation of Olympic Museums.
1.3 Research Methodology
The empirical investigations associated with this project will be based on a 3 step methodology:
As follows:
1.3.1 Exploratory: Secondary research - documents / literature. Exploratory research takes place where there is little or no prior knowledge of a phenomenon.
1.3.2 Deductive: Primary data collection via the use of questionnaires (quantitative) and phone interviews (qualitative) data collection. Deductive research involves the development of an idea, or assumption, from existing theory that can then be tested through the collection of data.
1.3.3 Inductive: Primary data collection. Analysis and discussion in order to fulfill the need to develop a progressively more conceptual scheme that is adequate to consolidate the special theory on the conditions of existence and implementation of Olympic Museums.
The collection of primary information in the form of quantitative and qualitative data was facilitated by the use of questionnaires and follow-up phone interviews. The project Research Plan has specified that two of each type of Olympic Museum / NOC be sourced for the collection of research data.
22 1.4 Types of Olympic Museums
Key:
1.4.1 In-Source Olympic Museum: Olympic Museum is physically located within the headquarters of the NOC. Olympic Museum Governance reports to NOC.
Funding from NOC, IOC and sponsorship channels.
1.4.2 Out-Source Olympic Museum: Olympic Museum operates outside of the NOC (in a social history museum, sport museum or sports hall of fame). The NOC has a very close collaborative relationship and allows the Olympic Museum to display the Olympic Rings either internally or externally as part of its branding.
NOC may contribute to the overhead costs of the operations of the Olympic Museum. NOC will have varying level of influence over the Olympic Museum.
1.4.3 Special Case: Olympic Museum operates externally of the NOC, (in a sport museum, sports hall of fame or social history museum), and may not have any financial or legal relationship with the operations of the Olympic Museum. The NOC may share its collections with the museum. The museum may not come under any influence from the NOC
1.4.4 Zero Olympic Museum: having no Olympic Museum within the country.
23 1.5 Participants
The following provides a summary of the Olympic Museums / NOCs / Sport Museums that have agreed to collaborate with this project.
Participant NOCs:
In-Source Olympic Museum: New Zealand (Benchmark), Cyprus Out-Source Olympic Museum: Zimbabwe, Australia
Special Case: Belgium, Finland
Zero Olympic Museum: Brazil, Former Yugoslav Republic of Macedonia
Note – each NOC that offered to participate in this research project was approached on the basis of having been identified as either (1) having an „Olympic Museum‟ from data supplied from Olympic Museum Lausanne or from direct contact with the writer), (2) in the case of Zero Olympic Museums, these NOCs were selected from a list of NOCs that were prepared to collaborate with the writer.
1.6 Note regarding Data Gathering
The Project Plan for this research required that two In-Source Olympic Museums be benchmarked against Olympic Museum Wellington. Data derived from Olympic Museum Lausanne did not clearly identify whether an NOC operates as an In-Source Olympic Museum. Based on the data relating to In-Source type Olympic Museums, it is calculated by the writer that up to 10 NOCs may be operating this type of Olympic Museum amongst 205 NOCs.
Despite seeking the collaboration of several NOCs that claimed to have an In-Source Olympic Museum, only Cyprus responded positively to the writer‟s requests for collaboration. Two NOCs were successfully located for all other Types of Olympic Museums.
24 The target interviewees were identified as being the President, Board Member or Secretary General of participating NOCs. These individuals are grouped under the category of „Board‟. The second category is that of „Executive‟ and this includes NOC paid administrative staff or the Director / Manager of Olympic Museums / sport museums. Thus, in summary, for every NOC participating within this project, 2 responses per NOC were required – (1 x Board, 1 x Executive).
1.7 Questionnaire Considerations
Olympic Museum Wellington / Benchmark and Participating NOCs and Museums An analysis of the Benchmark Olympic Museum (Olympic Museum Wellington) and the other Olympic Museum variants / NOCs were investigated initially via the analysis of literature supporting the operations of each NOC or Olympic Museum. This early investigation focused upon an internet based search where an Olympic Museum is being advertised and promoted within a particular country.
Preliminary investigation highlighted the variation and types of structural operations that Olympic Museums function under – as compared to the NZOCs In-Source Olympic Museum.
One single questionnaire was devised to encompass and address all of the parameters listed below. This assisted to maintain sample consistency and validity and assist in the coding of the responses. An internet based questionnaire was constructed and emailed to participants along with a covering letter signed by the Secretary General of the NZOC which introduced the researcher and encouraged the individual to collaborate with the project.
Once distributed to all participants a follow-up message was sent to encourage participants to complete and return their questionnaires as soon as possible, and by the stated deadline date,
Time differences presented a challenge to the phone interview process, however, the writer needed to be flexible in order to be able to meet the requirements of participants.
Questionnaire parameters that were investigated:
25 Promotion of Olympic Values
Perceived Role of Olympic Museum Strategy of Olympic Museum Wellington Strategy of participant NOC / Sport Museum Governance by the NZOC / NOC / Sport Museum Indicators of success
Operation of the NZOC / NOC / Sport Museum
Stakeholders / Internal - External / Olympians / Olympic Academy Olympic Museum Management
Museology Practice
Human Resource Management
Marketing of the Olympic Museum / NOC
Pre-Testing:
A draft questionnaire and phone Interview questions were sent to a sample group within New Zealand for analysis in terms of readability and internal logic.
1.8 Analysis of Questionnaire and Phone Interview Data
Pre - planning and design of the questions associated with the questionnaire and phone interview has ensured that the coding and analysis of the responses has provided significant and useful data. This has led back to addressing the core research questions associated with the project along with the testing of the assumptions and to developing a progressively more conceptual scheme that is adequate to consolidate the special theory.
The direct Benchmark comparison between Olympic Museum Wellington and the other Olympic Museum types has worked to address the answer to the two key questions by highlighting the factors that are fundamentally required to (1) form and sustain an In-
26 Source Olympic Museum and, (2) the factors relating to why there are so few In-Source Olympic Museums amongst NOCs.
Initial research into the methodology of benchmarking indicated that an external benchmarking process, (requiring a comparison of work with external organisations in order to compare operations), be adopted whereby an analysis of gaps in operation between the benchmarking partners can be analysed for their strengths and weakness.
Factors that have assisted Olympic Museum Wellington to be formed and supported, as an In- Source Olympic Museum, have emerged as the qualitative and quantitative data was assembled. Comparative factors such as the level of Olympic Education practices undertaken by the NOC, the resources allocated to the preparation of Olympic Games teams, the socio-political stability of the nation and the financial state of the country have all reflected back to the two project questions and the three assumptions.
1.9 Expected Results
It was expected that the project report would provide discussion and recommendations to Olympic Museum Wellington and NZOC Governance which will enhance its future strategic planning, marketing potential and human resource management through (1) greater clarity of purpose of the role of the Olympic Museum in the promotion of Olympism and Olympic Values, (2) management of human resources, (3) marketability of the museum, (4) provide a better understanding of their relationship to internal and external stakeholders, and (5) to identify indicators of success. This analysis and role clarification will also have relevance to the President, NZOC Board, Secretary General and NZOC colleagues, especially the Marketing Department, whose task it is to seek sponsorship and support to assist the Olympic Museum to undertake its core activities.
The project report will assist NOCs considering creating their own In-Source Olympic Museum by providing an insight into the operations of Olympic Museum Wellington and comparing those Olympic Museums which participated in this project.
27 An In-Source Olympic Museum promotes Olympism and any NOC prepared to take on this challenge will be guided by this project report.
General Note: This project is a case study and the conclusions have been considered in a Benchmark context and not in a generalisation context.
1.10 Reflective
The writer of this work notes that it is acknowledges that there may be a potential conflict of interest within the various stages associated with this project. Every effort has been made to remain impartial and professionally separated. The writer has taken care to inform all respondents and contributors to this work of his association with the NZOC and in particular his role as Director, Olympic Museum Wellington.
28 CHAPTER TWO
ANALYSIS OF QUANTITATIVE DATA RESULTS
2.1 Questionnaire Overview
The questionnaire was designed in such a way as to assist in the investigation, analysis and conclusions, associated with the project questions and assumptions that were posed earlier in this report. The questions sought to provide as much information about the role and purpose of an Olympic Museum and in particular to test the relationships within and between the NOC and the sport or social history museum. Information derived from the questionnaire was then used to guide the questions asked in the subsequent phone interview with the respondent.
Quantitative data was gathered for this project with the collaboration of 8 NOCs. Where possible a Questionnaire was completed by a member of the Board of a collaborating NOC, and/or an Executive of the NOC or an Executive associated with the management of the Out-Source or Special Case Olympic Museum. The writer chose to use an internet based, on-line questionnaire. The program enabled the writer to construct 44 separate questions that were grouped according to whether the recipient was at Board or Executive level within the NOC or Sport Museum that was being targeted. (Refer to Appendix (1) for a sample of the questionnaire.
2.2 Data gathered from NOCs and In-Source Type Olympic Museums
The questionnaire investigated the key factors that enabled the establishment of an In- Source Olympic Museum. Figure 2.1 shows that factors such as (1) a desire by governance, (2) financial support from Olympic Solidarity, plus (3) an internal requirement to promote Olympic Values were reported as being relevant. The role of the IOC in this process is not seen as relevant.
29
1 0
1 2 3 4
Key Factors enabling establishment of an In-Source Olympic Museum
Desire by Governance Encouraged by IOC Money from Solidarity
Wish to promote Olympic Values Other
Figure 2.1
This result corresponds to information gathered during the phone interviews process, especially in the case of the Cyprus National Olympic Committee who reported that they had not considered the support of the IOC as relevant at this stage in their planning for a permanent In-Source Olympic Museum.
0 1 2 3 4
Respondents from In-Source Olympic Museums
Do you feel that the Board of the NOC is supportive of the Olympic Museum?
Not Supportive Neutral Very Supportive
Figure 2.2
30 Figure 2.2 indicates the very clear support from relevant Board‟s to this type of museum.
When asked what the main purpose of an In-Source Olympic Museum there are two clear positive responses.
Respondents from In-Source Olympic Museums
What is the Main Purpose of the Olympic Museum?
0 1 2
Display NOC History
Collect and Preserve Games Objects Promote Olympism and Olympic Values
Display Olympic Medal Winners items Other
Figure 2.3
Figure 2.3 reports that (1) collection and preservation of Olympic Games memorabilia, plus (2) the promotion of Olympism and Olympic Values.
31
0 1 2
Respondents from In-Source Olympic Museums
How would you rank the significance of the Olympic Museum within the operations of the NOC?
No Value Limited Value Neutral Added Value Highly Valued
Figure 2.4
Respondents regard the contribution of the Olympic Museum within their NOC as very well valued as shown in Figure 2.4.
0 1 2 3 4
Respondents from In-Source Olympic Museums
How do you measure the success of your Olympic Museum?
Public Visitor Numbers Stakeholder Feedback School Group Visitor Numbers
Other
Figure 2.5
32 An important consideration in any museum operation is how to measure success. Figure 2.5 shows that visitor numbers and school group visits are regarded as indicators of success. The influence of stakeholder‟s feedback is depicted in the responses to this question.
2.3 Data gathered from NOCs and Out-Source and Special Case Type Olympic Museums
Out-Source and Special Case Olympic Museums represent the majority types of all Olympic Museum amongst NOCs worldwide. Figure 2.6 indicates that those NOCs within this project are maintaining a very positive relationship with the museum. This would seem to be necessary if a long-term collaboration was to succeed.
0 1 2 3
Respondents from Outsource & Special Museums
How would you rate your relationship with your NOC?
Poor Relationship Limited Relationship Neutral Relationship Good Relationship Excellent Relationship
Figure 2.6
33
0 2 4 6 8 10 12
Respondents from NOCs with In-Source, Out-Source or Special Case Olympic Museums
What type of Strategic Relationship exists between your NOC and your Museum?
Legal Financial
Transfer of Olympic Games Memorabilia
Advisory Informal Other
Figure 2.7
Figure 2.7 highlights the nature of the relationship that operates between an NOC, In- Source, Out-Source or Special Case Olympic Museum. The supply of Olympic Games memorabilia by the NOC to the museum provides a dynamic link between the two organisations.
34
0 1 2 3
Respondents from Out-Source and Special Case Olympic Museums
Does your museum conduct Olympic Values Education Programmes?
Yes No
Figure 2.8
An Out-Source museum relationship risks not having an Olympic Values Education Programme offered at the museum, however, Figure 2.8 indicates a positive level of delivery and Figure 2.9 indicates a willingness by museums to employ an Olympic
35 Educator to facilitate the teaching of Olympic Values to school groups .
0 1 2
Respondents from Out-source & Special Museums Do you employ an Olympic Educator?
Yes
No
Figure 2.9
2.4 Data gathered from NOCs with a Zero Type Olympic Museum
The majority of NOCs worldwide do not have an Olympic Museum arrangement in their country. The questionnaire asked respondents within this category what factors affect the implementation of an In-Source museum.
36
Respondents from Zero Olympic Museums
0 1 2 3
What are the Main Obstacles affecting the establishment of an Olympic Museum within your NOC building?
Lack of Funding NOC Building Too Small
Lack of Human Resources to run a Museum
Low support from NOC Governance Insufficient Funding from IOC, Olympic Solidarity, Olympic Museum Lausanne NOC Focus on Olympic Games preparation
Other
Figure 2.10
Figure 2.10 highlights a lack of funding and the NOC building being too small. When asked if social or political considerations were a factor affecting the NOC in its consideration to have an Olympic Museum,
37
0 1 2
Respondents from Zero Olympic Museums
Are there social considerations in your country affecting the establishment of an Olympic Museum within your NOC?
Yes No
Figure 2.11
Figures 2.11 and 2.12 indicate that they are not important.
0 1 2 3
Respondents from Zero Olympic Museums
Are there political considerations in your country affecting the establishment of an Olympic Museum within your NOC?
Yes
No
Figure 2.12
Despite not having an Olympic Museum, Figure 2.13 indicates that the promotion of Olympic Values is an important consideration within the NOC.
38
0 1 2 3
Respondents from Zero Olympic Museums
What do you regard as being the central role of the NOC in your country?
Select, outfit and send athletes to Games
Win medals at Olympic Games
Promote Olympism and Olympic Values
Educate youth through the practice of sport
Figure 2.13
Amongst all the participating NOCs who have external museum arrangements
Would you prefer the Olympic Museum to be located within the building of your NOC?
(Information provided by Board Members from Out-source, Special Case and Zero Museums.)
YES 50%
Brazil Macedonia Zimbabwe NO
50%
Australia Belgium Finland
Figure 2.14
Figure 2.14 indicates an even spread amongst to the question relating to the preference to establish an In-Source Olympic Museum. Issues relating to this result are explored further in later sections of this project.
39 CHAPTER THREE
ANALYSIS OF QUALITATIVE DATA RESULTS
3.1 New Zealand Olympic Committee Table (3.1)
NEW ZEALAND TYPE : IN-SOURCE Vision, Mission,
Strategy
Vision: Olympic Museum Wellington is to continue to be „Home‟ for the memories, stories and memorabilia associated with the NZOC‟s participation in the Olympic Movement and the Commonwealth Games. To be a centre for the promotion of Olympism and Olympic Values.
Mission: To promote Olympism and Olympic Values and to be a place of inspiration derived from the stories of NZL Olympians.
Strategy: Remain integrated within the Strategic Planning of the NZOC. To put in place strategies to ensure that the Olympic Museum remains relevant to the NZOC and its Stakeholders and remains at the forefront of the promotion of Olympic Values to youth.
Position of Museum in relation to the NOC
The Olympic Museum is fully integrated into the Strategic Planning operations of the NZOC. The Museum forms an essential element in the manifestation of the Olympic Values Education Programme.
The NZOC Strategic Plan (2010-2013) integrates the Olympic Museum as one of its central delivery instruments of Olympic Values Education.
Indicators of Success (1) NZOC Board continues to invest significant funding into the Olympic Museum.
(2) Positive feedback from primary Stakeholders such school children and educators, NZL Olympians, President, Secretary General, Board of NZOC and Staff of NZOC. Schools based visits to the Olympic Museum continue to increase.
40 Promotion of Olympic
Values
Manifested by ensuring that all exhibitions, displays and educational resources are Olympism-based and Olympic Values focused. Olympic Education is a significant „Strategic Plank‟ of the NZOC. New Zealand has an Olympism based / Olympic Values Education Programmed integrated into the Physical Education Curriculum of the Ministry of Education at both Primary and Secondary level.
Marketability of NOC Marketing Department regards the role and purpose of the Olympic Museum as a significant and positive influence in the promotion of Olympic Values within the New Zealand social and political context.
Position of the museum within NZOC adds an element of „Social Good‟ to the promotion of the NZOC to prospective and current sponsors.
Stakeholders Key stakeholders are (1) NZOC Board - especially the President and Secretary General (2) New Zealand Olympians, (3) NZOC Executive staff, (4) NZL Olympic Academy, (5) National Sporting Federations, (7) Youth of New Zealand, (8) General Public.
Management of Olympic Museum Wellington.
Olympic Museum Wellington has a small staff consisting of (1) Director Olympic Museum who is also responsible for the management of Olympic Values Education delivery. (2) Olympic Studies Centre Coordinator who manages all the archives collections of the NZOC and (3) an Olympic Educator who coordinates the Olympic Values Education programme of the NZOC.
Museology The Olympic Museum has an active collection and archives management programme. A collection management software programme is utilised to record and accession objects into the collection.
Extensive databases have been developed to manage all the various collections of the Olympic Studies Centre. Museum has an active Collections Policy. New Exhibitions and displays are produced annually.
Public Programmes involve guest speakers on Olympic topics. The museum is open to the public.
Operational funding is sourced annually from Olympic Solidarity, and from an NZOC internal budget allocation from income derived from a domestic Sponsorship programme – Admission is Free.
41 New Zealand Olympic Committee
Type of NOC Relationship with Museum: IN-SOURCE OLYMPIC MUSEUM
3.1.1 Summary: The 2010-2013 NZOC Strategic Plan divides the delivery of the activities into four columns. These are labelled, (1) Inspirational Games Experience, (2) Inspiration Through Education, (3) Effective Leadership, (4) Financial Capability. The Olympic Museum is located within column two and direct reference is made to the role of the museum as being to, „Using our Olympic Museum and Studies Centre to celebrate our past and challenge our future‟ . The museum plays an integral part in the promotion of the work of the NOC by presenting (1) Olympism and Olympic Values Education Programme to school age youth, (2) providing a Legacy for the participation of the NZOC within the Olympic Movement, (3) provides a base for NZL Olympians who have come to regard the museum as „their‟ museum, (4) is able to promote Olympism from within the NOC to all Key Stakeholders especially the Board and Executives of the NOC, (5) Presents exhibitions and displays on New Zealand‟s participation at the Commonwealth Games...
3.1.2 Discussion: Since its inception in 1998, Olympic Museum Wellington has been supported by several key „Champions‟ who have strategised and visualised the significance of establishing and maintaining an In-Source Olympic Museum. The New Zealand Olympic Academy recognised the importance of establishing an Olympic Museum deeply embedded within the NOC in order to maximise its Olympism, Olympic Values delivery . The President of the NZOC (2004 - 2009) and Secretary General (2001 - 2010 ) were both advocates for the museum and influenced its progression to the current model (2010) whereby over 600 square meters of floor area is allocated to the operations of the Olympic Museum, Olympic Museum Gallery and Collection Storage facilities.
However, within the achievements of the Olympic Museum, there lies a level of fragility in terms of the vulnerability that the Olympic Museum may be exposed to in the future with regards to funding and decisions at Board level that could
42 destabilise the museums position within the NOC and threaten its viability.
Olympians may, however, take a strong counter view to any change to the structure and operation of the Olympic Museum.
3.1.3 Recommendations: Olympic Museum Wellington can take note of the best practice that most other Olympic Museums involved within the Project can offer. The model adopted by Zimbabwe Olympic Committee stands out as the most significant in its effectiveness in terms of aligning the NOC with the National Social History Museum through a formalised arrangement such as a Memorandum of Understanding. The ability to freely pursue the promotion of Olympic Values Education within the national museum makes this model out-standing. The Belgian and Finnish models are also important as comparative models for Olympic Museum Wellington to assess. Sustaining and building relationships with key stakeholders, especially at Board level and Olympians, is highly recommended. Embedding the role, place and purpose of the Olympic Museum into the Constitution of the NOC is highly desirable as a way of sustaining the operations of the museum.
43 3.2 The National Olympic Committee of Cyprus Table (3.2)
NEW ZEALAND TYPE : IN-SOURCE CYPRUS TYPE : IN-SOURCE Vision, Mission,
Strategy
Vision: Olympic Museum Wellington is to continue to be „Home‟ for the memories, stories and memorabilia associated with the NZOC‟s participation in the Olympic
Movement and the Commonwealth Games. To be a centre for the
promotion of Olympism and Olympic Values.
Mission: To promote Olympism and Olympic Values and to be a place of inspiration derived from the stories of NZL Olympians.
Strategy: Remain integrated within the Strategic Planning of the NZOC.
To put in place strategies to ensure that the Olympic Museum remains relevant to the NZOC and its Stakeholders and remains at the forefront of the promotion of Olympic Values.
Vision, Mission, Strategy
Vision: The Cyprus Olympic Committee is in the process of establishing, (in 2010), a permanent space within the new NOC building for an Olympic Museum. Currently Olympic memorabilia is on display within the NOC and an Olympic Values Education Programme is presented to visiting school children.
Mission: Olympic Values Education is a key driver in the formation of the new Olympic Museum. As an NOC they regard their central role as being to select, outfit and send athletes to the Olympic Games.
Strategy: Rely on internal funding streams to establish the Olympic Museum and then seek support from Olympic Solidarity.
44 Position of Museum in
relation to the NOC
The Olympic Museum is fully integrated into the Strategic Planning operations of the NZOC. The
Museum forms an essential element in the manifestation of the Olympic Values Education Programme. The NZOC Strategic Plan (2010-2013) integrates the Olympic Museum as one of its central delivery instruments of Olympic Values Education.
Position of Museum in relation to the NOC
The NOC already operates a very active and successful Olympic Education Programme located within the NOC. This programme is
supported by the display of assorted memorabilia from the collection of the NOC. These Olympic Education activities are highly valued and have encouraged the Board to commit targeted resources to the permanent location of the Olympic Museum within the NOC.
Indicators of Success (1) NZOC Board continues to invest significant funding into Olympic Museum.
(2) Positive feedback from primary Stakeholders such as school children and educators, NZL Olympians, President, Secretary General, Board of NZOC and Staff of NZOC.
Indicators of Success Initial action to form an Olympic Museum has been successful. The completion of the dedicated area for the Olympic Museum, within the NOC, will be a major indicator of success. The continued visitation of school children from across Cyprus will also be a significant indicator of success.
45 Promotion of Olympic
Values
Manifested by ensuring that all exhibitions, displays and educational resources are Olympism based and Olympic Values focused. Olympic Education is a significant „Strategic Plank‟ of the NZOC. New Zealand has an Olympism based / Olympic Values Education Programmed integrated into the Physical Education Curriculum of the Ministry of
Education at both Primary and Secondary level.
Promotion of Olympic Values
The initial efforts to display Cyprus Olympic Games memorabilia, coupled to an Olympic Values based Education Programme, has been very successful. Especially when supported by the Cyprus Olympic Academy and the 37 National Federations who are housed within the Cyprus NOC building in Nicosia.
Marketability of NOC Marketing Department regards the role and purpose of The Olympic Museum as a significant and positive influence in the promotion of
Olympic Values within the New Zealand social and political context.
Position of the museum within NZOC adds an element of „Social Good‟ to the promotion of the NZOC to prospective and current sponsors.
Marketability of NOC It is anticipated that the development of the permanent In-Source Olympic Museum will generate positive interest and potential sponsorship support for the NOC.
46 Stakeholders Key stakeholders are (1) NZOC
Board - especially the President and Secretary General (2) New Zealand Olympians, (3) NZOC Executive staff, (4) NZL Olympic Academy, (5) National Sporting Federations, (7) Youth of New Zealand, (8) General Public.
Stakeholders The Olympic Museum concept is fully supported by the (1) Board and (2) Executives of the Cyprus NOC as well as (3) Cyprus Olympians, the (4) Cyprus Olympic Academy and the National Olympic Sporting Federations within Cyprus. (5) The youth of Cyprus (6) Ministry of Education and Culture.
Management of Olympic Museum Wellington.
Olympic Museum Wellington has a small staff consisting of (1) Director Olympic Museum who is also responsible for the management of Olympic Values Education delivery.
(2) Olympic Studies Centre Coordinator who manages all the archives collections of the NZOC and (3) an Olympic Educator who
coordinates the Olympic Values Education programme of the NZOC.
Management of Olympic Museum Cyprus
At present the temporary In-Source Olympic Museum has 2 Executive staff who have day to day duties associated with the management of the Museum‟s Olympic Education Programme. One staff member in particular coordinates school visits to the NOC and nearby Olympic Park.
It is reported that many thousands of school children have visited the NOC displays.
47 Museology The Olympic Museum has an active
collection and archives management programme. A collection
management software programme is utilised to record and accession objects into the collection. Extensive databases have been developed to manage all the various collections of the Olympic Studies Centre. Museum has an active Collections Policy. New Exhibitions and displays are produced annually. Public Programmes involve guest speakers on Olympic topics.
The museum is open to the public.
Operational funding is sourced annually from Olympic Solidarity, and from an NZOC internal budget allocation from income derived from a domestic Sponsorship programme
Museology The Cyprus NOC has a significant Olympic collection comprising of Olympic Torches / Olympic
Accreditations / Olympic Pins / and a Photographic collection. There is also a small Library awaiting additional space allocation. Two Executive staff members have the responsibility of managing the collections of the Olympic Museum.
