Reimagining the Relationship Between Museums and Academia

In today’s Heritage Thinking Differently blog, I reflect on a vital yet faltering relationship: that between museums and academic institutions. This partnership, once foundational to the development of the sector, appears to have drifted into the margins. Have our institutions changed irrevocably, or has the broader landscape shifted around them?

Over twenty-five years ago, as I embarked on my career in the museum sector, I looked up to academics who were revered for their insight and experience. Back then, the ties between museums and universities were robust, and the dialogue between theory and practice felt not only natural but essential. One particular university course stood head and shoulders above the rest, celebrated for its rigour and intellectual integrity. Its faculty authored key texts, which were widely respected and routinely cited. I still have a few on my shelf. Yet, in recent years, those voices have grown quieter. Perhaps this reflects shifting priorities, tighter budgets, or a wider cultural move away from theoretical reflection and towards demonstrable impact. Whatever the cause, the authoritative presence of academia within the sector feels diminished.

My own training took place at a smaller institution, one that emphasised hands-on experience and contemporary practice over theory. We didn’t just discuss exhibition design—we created exhibitions. We didn’t simply explore the concept of public engagement—we practised it through volunteering placements that ran alongside our academic work. A dedicated member of staff ensured we were embedded in the real work of museums. This was a golden thread, linking the theoretical and the practical in a way that served both students and institutions. Its absence today is palpable.

The museum profession has undergone a seismic shift since those early days. The term "museology" is now rarely heard outside academic circles, and few institutions can afford to maintain deep scholarly engagement. Instead, the pendulum has swung decisively towards professional experience and managerial adaptability. This isn’t without value—indeed, many improvements have followed—but in the process, we may have undervalued the intellectual grounding that academia once provided.

This shift was accelerated by the rise of the generalist collections manager, a role that emerged in response to budget cuts. While this brought welcome versatility, it often came at the cost of deep subject knowledge. Paradoxically, with fewer specialist curators in post, the need for Continuing Professional Development (CPD) and academic partnerships should be stronger than ever. Yet these partnerships are in decline. Why?

Firstly, the publishing landscape has transformed. The academic writing of the 1990s and early 2000s played a central role in disseminating new ideas, shaping both practice and pedagogy. Today, the production of vocational museum texts has declined, and what is published often struggles to reach practitioners. There is less incentive for academics to engage with museums if their teaching loads are heavy and remuneration modest. Moreover, museums themselves, increasingly pressured and under-resourced, are rarely seen as sites of academic opportunity.

Secondly, the pool of student volunteers has noticeably dwindled. In 2024, I spoke with a dozen museum professionals about this very issue. All but one, lamented the collapse of previously fruitful relationships with nearby universities. Where volunteering had once been an entry point into the profession, today it feels like a missed opportunity on both sides. A few institutions still benefit from longstanding academic connections, but these are now the exception.

The tragedy of this situation is that it represents a missed chance for mutual support. Museums are navigating a period of profound instability, often understaffed and overstretched. Universities, for their part, are seeking ways to make their courses more relevant and employable. There is clear potential for collaboration—but little capacity to pursue it. Rebuilding these connections demands time, trust, and a willingness to re-imagine what partnership could look like in 2025.

Crucially, universities must recognise that their expertise remains valuable to the sector. They must invest in relationships and demonstrate a clear understanding of contemporary museum challenges. Equally, museum leaders must prioritise these connections, even in the face of chronic underfunding. There is scope for innovation here: modular CPD delivered jointly by academics and practitioners; student placements integrated into long-term museum projects; co-authored research focused on practical outcomes.

I don’t believe we have reached the end of the road. While some of the courses I remember have disappeared, others are adapting and may yet lead the way forward. Some academics are actively seeking dialogue with museum professionals, using platforms like social media, blogs, and podcasts to share ideas and build networks. It’s a start.

If you’re reading this as an academic, a museum leader, or a student hoping to enter the sector, I invite you to consider what role you could play in rebuilding this vital bridge. These connections won’t be restored overnight, but they can be rebuilt with intent, creativity, and mutual respect.

As always, if you need a conversation partner, a mentor, or a sounding board, I’m here. Let’s think differently—and together—about what museums and academia could still achieve.

Paul Baker

Link

Heritage Thinking Differently - Mentoring