The following article is a partial component of my final essay in Cultural Interpretation Audit:
The name of the site speaks for itself—immigration. Any visitor, therefore, expects to see the stories of immigrant communities in Australia. The 2006 Census of the Australian Bureau of Statistics identified more than 270 ancestries of Australia’s population (ABS 2008). Ancestries are indicative of the various ethno-linguistic groups that comprise the multicultural communities of Victoria in particular and Australia in general.
The museum has been able to take advantage of digital technology and multimedia in the Leaving Home — the opening theme hall that welcomes visitors. Entering a dimly-lit area, there are wall photos with brief story lines, specimens with labels, video embedded with a high definition multi-sound system, and an electronic rotating globe, among others. The first storyline on the wall inscribes: “People have migrated to Australia for many different reasons, from many different places.” Reasons include freedom, a better life, war and conflict, family, and disaster. Then, the museum engages the visitor with a question: Why did you or your family come to Australia? The interpretation aptly conforms to what Tilden (1977, p. 75) prescribes for an effective interpretation: ‘A few words that tell a full and moving story.’
The same brief storyline and snapshots are captured in the audio-visual presentation. A power-driven rotating globe under the heading: Crossing the Globe is attention-grabbing. Directional arrow signs digitally appear and point to where immigrants come from—mostly from war-torn countries such as Europe and Asia. People displaced by war and other reasons have moved to Australia. The still and moving multimedia mix amplified by lights and sounds provide visitors with a ‘high-tech museum experience’ veering away from the boring traditional devices.
After a dramatic welcome, a visitor encounters a highly politicised history of a nation in two theme halls— the Timeline and Immigrant Stories and Getting-In: Immigration Policy Past and Present. The information panels and storyboards give brief account of each era—from pre- 1840 to the present time. Racial tensions between white and non-white immigrants dominate the historical context. Random and quick facts include convict past, gold rushes, genocide and decimation of indigenous people, stolen generation, anti-Asian and non-white/non-Briton immigration policies, refusal to admit refugees, and end of White Australian Policy, etc. The storyboards do not contain citations and references, except for the photos. Howard (2003, p. 247) raises the question in reading labels such as “Whose views are these?” Hollinshead (1999 in Smith 2003)) suggests that tourism is “a means of production whereby the themes and sites viewed are cleverly constructed narratives of past events which can manipulate tourists to become involved in configurations of political power.” In reading the labels and storyboards, Tilden (1977, p. 14) notes that a receptive visitor sees things “through his own eyes, not those of the interpreter, and he is forever and finally translating the words as best he can into whatever he can refer to his own intimate knowledge and experience.” Tilden (1977, p.14) also contends that the purpose of interpretation is not instruction but provocation. Wight and Lennon (2007), however, suggest that interpretation at heritage sites are addressed to ‘non-captive audience’ and their engagement can become selective and syncretic. They claim that audience can freely choose to attend or ignore communication content. While these exhibits represent a highly politicised history of Australia, they are intended for audience who are seeking for education or ‘provocation’ (Tilden 1977)— not entertainment.
Families and children are suitable to visit The Journey of a Lifetime hall where a 17-metre replica ship is displayed. Urry (1990 in Smith 2003) calls it ‘edutainment’ when an asset representation combines learning and fun. Uzzell (1989, p. 3 in Smith 2003) states that ‘interpretation has been regarded as a novel way of pepping up tired tourist attractions and giving them a value-added component.” The replica ship shows specimens of those who have sailed in search for a better life. A sound effect captures the voice of the captain, along with the sound of waves and blowing horns. Outside the ship is an area for a story-telling session.
The intention of the museum to involve children and families should be admired. However, the scale and scope of the exhibits are limited. The management needs to invest in more interactive programs and activities that cater to children if it is keen in providing ‘edutainment’.
There are random interpretative tools representing various types of immigrants in the hall, including touch screens, photos, labels, and storyboards, among others. Information is provided by individuals and communities to indicate their ownership and involvement in the museum.
Not all the communities representing 270 ancestries are represented in the exhibits. A visitor, therefore, should not miss to read the ‘Community Connections’ program written in the official website or from the information panel at the entrance of the Community Gallery—otherwise a visit to the Immigration Museum results into disappointment. The Community Gallery exhibits community assets. Communities are required to submit an application to be reviewed and approved by the museum management. This underlines that community participation is vital to the sustainability of the exhibits.
The rest of the exhibits on the second floor can only draw interest from specific interest groups as they are community-based, except for the Station Pier. They are temporary exhibits to promote the museum and to boost visitations.
Verdict:
The expectation in visiting the Immigration Museum is education— a cognitive experience which is related to the aspect of relevance. The interpretative devices that convey the relevance of the assets presented have met this expectation. However, the museum needs further collaboration with various communities, local governments, councils, and other stakeholders to come up with more diverse tourism products that show the diversity and multiculturalism of Australia.
