Status and organizational structure of the museum. Structure and types of work in the museum Structural divisions of the museum

One of the tasks of management in the field of culture is the development of effective organizational structure management. Since the early 1990s. The organizational structure of management of Russian cultural organizations has undergone significant changes. Let's look at these changes using the example of museums.
Most Russian museums in the early 1990s. had a linear-functional management structure.
Built on the principle of unity of command, the organizational structure united several functional areas. Thus, in the State Hermitage at the top level of management of the linear-functional structure

there was a director supervising five functional areas assigned to deputy directors (scientific, personnel, financial planning and administrative and economic, capital construction and reconstruction, storage and control over the safety of valuables (Fig. 10). In the State Tretyakov Gallery, subordinate general director consisted of six deputies (for scientific work, economic issues, construction, storage, technical and administrative issues) (Fig. 11).
The linear-functional management structure of the museums under study was fully consistent with the peculiarities of their functioning at that time. Museums, which were fully supported by the state, focused exclusively on the implementation of ministerial programs and events that provided additional government funding. However, since 1992, museums have faced significant changes: their budget funding has been reduced by 30-50%, the number government programs decreased significantly. As a result, museums faced acute financial and organizational problems. Thus, the size of the financial deficit of museums in some cases reached half of the annual budget, museums had difficulty covering their operating expenses, the number of temporary and traveling exhibitions decreased significantly, etc.
The crisis situation of museums, in turn, required significant changes in the strategy of their functioning. Museums began to focus on attracting extra-budgetary sources of funding, developing new areas of activity, such as marketing, entrepreneurship, etc. However, the implementation of the new strategy began to lead to more complex coordination of activities, which required changes in the existing organizational management structure. As a result, since 1994 there has been a clear trend in museums to transform the linear-functional management structure.
Transformations of the linear-functional management structure in Russian museums can be grouped in two directions.
First. In connection with the emergence of new areas of activity,

additional posts of deputy directors and departments subordinate to them. In 1994, the State Hermitage created a separate area for museum development activities, supervised by a new deputy director for development. This area specializes in the development and attraction of extra-budgetary sources of funding, public relations, work with visitors, etc. In accordance with this, new structures were introduced under the subordination of the deputy director, such as the press service, development department, hospitality service, etc. (see Fig. 12).
Second. Small project substructures responsible for the implementation of specific programs and coordinated by the museum’s senior management are becoming widespread within the management structure. The temporary project team consists of ten to twenty specialists from various departments, who simultaneously report to the project manager and their immediate department head. The principle of double subordination, a characteristic feature project structure, can be clearly seen in the new organizational structure. One example of project groups is the project group of the Tretyakov Gallery, organized in 1997 to create a branch of the museum on Krymsky Val. It included twenty-eight employees from different departments - planning, technical, capital construction, development, scientific, etc. (see Fig. 13).
The increase in the number of project groups in the museum required the coordination of their work, which led to the creation of a project headquarters. The project headquarters represents a specially created management unit under the director of the museum, which is responsible for project management. The project staff includes project managers, the number of which is not constant, but depends on the number of projects being implemented in the museum. Project managers are fully responsible for the implementation of a particular project and coordinate general organizational issues with the museum director. Thus, at present, the Hermitage project headquarters, created in 1997, consists of three specialists - consultant of the British Memorial Foundation K. Philippe, leading specialist of the Danish engineering consulting company Niras S. Fox and Russian manager V. Zuev. Philippe is leading projects to modernize the main entrance to the museum and reconstruct the left wing of the General Staff building, Fox is leading the Russian-Danish project to reconstruct the museum's heating systems, and Zuev is responsible for implementing the project for the construction of the Hermitage Repository in the Staraya Derevnya area. The project teams reporting to the project headquarters include specialists from the museum’s internal services, such as the capital construction department, the chief engineer’s service, the chief mechanic’s department, the development department, etc. (see Fig. 12).
The considered transformations of the linear-functional management structure of museums lead to the creation of a certain new structure. As can be seen from Fig. 5.1.3 and 5.1.4, this structure is distinguished by the presence of project groups that report to the project headquarters. The new structure allowed Russian museums to quite successfully solve the problems of coordinating work processes.
Firstly, the new structure has increased the speed of completion of capital works through the creation of project teams. If in the early 1990s. In the museums studied, no more than one capital project was implemented per year, then in the second half of the 1990s. number capital projects, implemented per year, increased to three to five projects. For example, in the Hermitage, before the introduction of the new structure, a project to create a Museum Repository was gradually implemented over the course of several years, and currently, as mentioned above, three large-scale capital projects are being carried out simultaneously.
Secondly, due to the introduction of departments responsible for the development of new areas of activity, the specialization of museum work has increased. This was manifested in the growth of a number of museum performance indicators: income from commercial operations museums, volumes of attracted funding sources. If in the early 1990s. the share of raised funds and income from business activities in the budget of the analyzed museums was close to zero, then in the second half of the 1990s. in total it accounted for up to 50% of all funding sources. For example, in the Tretyakov Gallery in 1991, attracted and commercial income was practically absent from the museum’s revenue structure. In 2002, these incomes amounted to 39% of the Gallery's budget.
However, gradually, as museums grew, they were faced with the task of strengthening organizational control. In addition, the diversification of museum activities and the increase in the number of functions in the organizational structure have confronted museums with the task of balanced development of commercial and non-commercial areas of work. The new structure was unable to solve the problems that arose, which led to the emergence of organizational conflicts in museums.
Firstly, the functioning of the project headquarters began to introduce greater uncertainty into the work of the museum and complicate management processes. The introduction of the project headquarters was not accompanied by a clear development of its job responsibilities, which led to ambiguities in matters of subordination and control. In particular, the relationship between the director and project managers, project managers and project teams, as well as the relationship between project managers among themselves were not defined. Informally, the project headquarters was vested with great power, which began to lead to organizational conflicts. Middle management employees were extremely skeptical about diverting their subordinates to work on project teams.
Secondly, the active development of commercial and non- commercial species activities led to a weakening of management coordination in the museum. Various departments, to the detriment of the general policy of the museum, began to pursue their own goals and objectives, which began to reduce the advantages of the current management structure.
The organizational problems that arose required museums to make further changes in their organizational structure. To determine trends in the development of the organizational structure of museums, foreign experience, in particular, the experience of the Metropolitan Museum of Art, is of great interest.
Since the late 1970s. in front of the Metropolitan as well as in front of Russian museums, the issues of transforming the existing organizational structure, due to a change in the museum’s strategy, were extremely pressing. The Metropolitan was forced to move from attracting government funding to searching for new sources of income, as well as strengthening the control system in the museum. The change in the Metropolitan's strategy was due to financial and organizational problems. The financial shortfall, according to American correspondent M. Bailey, was caused by cuts in local government subsidies and the museum's unsuccessful attempts to obtain grants from charitable foundations. Organizational problems were associated with poor coordination of major museum work - in the 1970s. The Metro has launched five large and seven medium capital programs.
At that time, the museum management structure was of the linear-functional type (see Fig. 14). The organization was headed by a director, subordinate to whom were three deputies for exhibition, educational, financial and administrative work. As a result of the changes that took place, the linear-functional management structure of the Metropolitan became ineffective in implementing the new tasks of the museum. This, first of all, manifested itself in the excessive workload of the museum director. The director's responsibilities included collections management, management of research and educational programs, domestic and international relations, as well as financial, marketing and administrative issues.
In this case, the problem was not only in finding a specialist who would combine such diverse interests, but also in the fact that the full implementation of all these duties is physically beyond the strength of one person.

Rice. 15. Modern organizational structure of management of the Metropolitan Museum of Art

The ineffectiveness of the linear-functional structure in the new conditions forced the Metropolitan to switch to a different management structure, developed with the help of the consulting firm McKinsey. The main feature of the new structure is that, along with the director of the museum, the position of president appears. The president, an additional management level at the highest level of the organizational structure, is given responsibility for a number of areas of activity (Fig. 15).
The powers of the President include financial planning, project management, public relations, etc., while the director is responsible for the main activities such as exhibition, educational and administrative work. With the introduction of the position of president, certain areas of activity are highlighted, which were previously part of the financial, administrative and economic functions and were controlled by one of the deputy directors. There are five structural units subordinate to the president: the vice president for finance, development, public relations, commerce and economic activities.
These innovations indicate the emergence of a new type of organizational structure of the museum, which can be called parallel. It is based on the division of power at the highest level of management on a functional basis. The director and president bear full responsibility for strictly defined areas of activity and have equal powers in resolving general management issues. They jointly determine the organization’s development strategy, implement different kinds planning, etc. The appointment and removal of the director and president, as well as the functions of resolving disputes between them, are performed by the Board of Trustees of the museum. As a result, the parallel structure is characterized by increased not only specialization, but also overall control in the management system. The advantages of a parallel structure are clearly visible in the example of the Metropolitan. The new management structure allowed the museum to achieve a number of positive results.
Firstly, it rose to a higher level financial management museum, which, according to Metropolitan President R. L. Hitch, “allowed the museum to increase its income for 1978-1983.” with 132 million Americans. dollars up to 178 million US dollars Doll."
Secondly, according to Hitch, the share of attracted and commercial income in the museum's funding structure increased over the period 1978-1983. from 26% to 43%. This became possible due to the development of such areas of activity as marketing, fundraising, entrepreneurship, which are subordinate to individual vice-presidents for development and commerce.
The Metropolitan Museum of Art is not the only example. The parallel organizational management structure has become widespread not only in the United States, but also in other countries. Thus, in Great Britain, the experience of another largest museum in the world, the British Museum, deserves attention. By volume and importance of collections, as well as the number of visitors and employed personnel British museum stands on a par with the Metropolitan Museum and the State Hermitage (see Appendix 3).
British Museum, classified as national museums, is funded directly by Parliament. In 1998, direct government subsidies to the British Museum alone accounted for 81% of its total income, excluding additional indirect support from local and national budgets (9%). Like the Metropolitan, the British Museum was searching for an effective organizational management structure in connection with the change in the museum's strategy in 1998. In addition to developing scientific, educational, and exhibition activities, the museum began to introduce new areas of work, such as marketing, project management, etc. In addition, the British Museum moved from a policy of attracting exclusively public funds to diversifying sources of funding. The change in the museum's strategy, in turn, was caused by the following factors. Implementation of major capital projects dedicated to the new millennium and the 250th anniversary of the museum in 2003 (construction of a new main entrance, public library and training center) practically stopped in 1998 due to lack of resources. The current situation caused serious complaints from the Ministry of Culture regarding the policies of museum director A. G. Anderson and the existing organizational structure of museum management.

In the British Museum at that time, just as in the Metropolitan in the 1970s, the organization was headed by a director, subordinate to whom were deputies for scientific and exhibition activities, educational work, finance and administrative and economic activities (see Fig. 16). This allows us to classify this structure as a linear-functional type.
The Ministry of Culture saw the ineffectiveness of the linear-functional management structure of the British Museum in the low level of control, poor coordination of work processes, etc., which led to the decision to transform the existing organizational structure of the museum. The main innovation was the appearance in 2000 of the position of chief manager along with the director (see Fig. 17). As at the Met, the director and general manager have overall responsibility for certain areas of activity and jointly make decisions on general organizational issues. According to the “Document on Cooperation” adopted by the museum’s board of trustees, “the director and general manager build their activities on the basis of a common understanding of the tasks and forms of the museum’s activities. There is a division of higher powers between them: the management of the museum’s collections is carried out by the director, the responsibilities of the chief manager include accounting, project management, organization of the museum’s commercial activities, etc. Moreover, if the director develops “ general style» the work of the museum, its public

Rice. 17. Modern organizational structure of management of the British Museum

Rice. 18. Parallel organizational structure for managing a large museum in Russia

image, then the chief manager takes care of the development of public relations.”
Subordinate to the director are deputies for collections, educational programs, administrative matters, and the chief manager supervises the work of the managers for finance and business activities, public relations and development. The new organizational structure of the British Museum can also be considered parallel.
A parallel management structure is not the only option for improving the organizational structure of museums. In 1996, a special study was carried out in the UK in the field of museum management under the leadership of Treasury officer A. Edward. The study revealed such shortcomings in the management of British museums as “conservatism”, “lack of sufficient clarity in goals and objectives”, “intricacy of management processes”, etc. Edward saw the solution to problems in the transformation of the organizational structure of museums. According to his recommendations, the position of the director as the head of the executive branch should be retained at the highest level of museum management. But subordinate to the director, according to Edward, four new organizational units should be introduced: the financial director, the director of corporate relations and personnel, the director of construction and development, and the director of public relations (see Figure 18).
Thus, in the new organizational structure its functional specialization was strengthened, but the principle of unity of command was preserved.
The recommendations developed by Edward found a positive response and were used by a number of English museums. Thus, the British Museum at one time carried out the following changes to the linear-functional structure. In November 1997, a new position was introduced under the director’s command—deputy director for administrative and economic work (see Fig. 16). However, with the introduction of a new parallel structure in 2000, the position of deputy. Director for financial and economic activities was transformed into the position of manager for finance and economic activities (see Fig. 17).

The experience of using Edward's linear-functional structure has shown that it is quite effective for medium- and small-sized museums. This structure fully ensures clear coordination of management processes and the necessary level of control. IN major museums Edward's linear-functional structure appears complex, inert, with low level control (example - the British Museum). The identified shortcomings are solved by a parallel organizational management structure.
As V. D. Alexander, an American specialist in the field of museum management, notes, a parallel management structure is typical only for very large museums. Most museums “still prefer to maintain the principle of unity of command, based on the fact that a growing number of directors successfully combine art history and management qualities.”
Using foreign experience in the development of organizational structures of museums, we can suggest directions for further improvement modern structure management of large museums in Russia. Disadvantages of the current organizational structure domestic museums can be solved, in particular, by a parallel structure. It allows the museum to develop equally various directions activities, both basic and additional, as well as eliminate the problems of subordination of the project headquarters, project groups, etc. Instead of the project headquarters at the highest level of management, the manager’s office, responsible for capital construction, financial activities and issues of museum development, seems more effective. In turn, increasing the efficiency of the director’s work is possible due to his concentration on such individual functions as scientific, educational, exhibition activities etc. (see Fig. 19).
The parallel structure is of particular importance in the Russian economy. It fully meets the tasks of managing large museums, such as developing new areas of activity, attracting foreign sources of funding, etc. The parallel structure makes it possible to actively develop such areas of activity as marketing, fundraising, entrepreneurship, while ensuring a balanced development of non-profit and commercial types activities in the museum. The high level of organizational control in the new management structure allows the museum to maintain the necessary level of coordination both of its own activities and the work of subordinate charitable organizations at home and abroad. The parallel structure in this case appears as one of the effective management structures for large museums in the Russian economy.

- This is the internal organization of the museum. It includes administration, funds, exposition, economic services, auxiliary units . The main structural divisions of the museum are: branch, scientific department (sector), laboratory, workshop. According to the main areas of activity, the museum has scientific departments or sectors: exposition, exhibition, stock, scientific and methodological, scientific and educational. To solve individual scientific problems, departments, sectors or complex task groups can be created in the museum for a certain period of time . The main activities of the museum are provided by scientific, auxiliary and production departments (library, archive, restoration workshops, sound recording laboratory, photo laboratory, printing house, as well as personnel department, office, etc.). Structural units museums act in accordance with the regulations regarding them, approved by the director of the museum. In large museums, advisory bodies are also organized under the director: Scientific-Methodological, Editorial-Publishing, Scientific and Artistic Councils, and in the main museums - a Coordination Council.

Scientific research work in the museum – the direction of museum activity, determined by the objectives of the museum as a research institution. It consists of obtaining new knowledge based on studying the museum collection. Includes research in specialized disciplines and museological studies. Research work in the museum is the basis of all areas of museum activity - scientific acquisition of museum collections, stock, exhibition and scientific-educational work. Specific museum forms of scientific research work are, first of all, the scientific processing of museum collections and the scientific design of exhibitions. The main documents that determine the directions and forms of research work in the museum are: the scientific concept of completing the museum collection, the scientific concept of stock work, the scientific concept of the exhibition, united within the scientific concept of the museum.

Exhibition work – one of the main directions of museum activity, the subject of which is the museum exhibition. The main content of exhibition work in a museum is the design of museum exhibitions. This includes scientific design carried out by research assistants - expositionists, artistic design carried out by exhibition artists, working and technical design carried out by exhibition artists and engineers.

Methods of exhibition work have been developed. This is a set of methods and techniques for constructing a museum exhibition. It arises as a result of generalizing the experience of exhibition work. We can highlight: a methodology for designing a museum exhibition, reflecting the main ways of organizing exhibition work as a whole and specific recommendations and requirements related to the structure of the exhibition, specifying techniques for arranging and grouping materials. The specifics of the exhibition methodology are also determined by the profile of the museum.

In addition to design, exhibition work includes the development of themes and problems of the museum’s exhibition system, studying literature on museum-specific disciplines, re-exposition, monitoring the condition of exhibits in the exhibition, installation and dismantling of the exhibition. Exhibition work is carried out by employees of the museum's exhibition departments. An important section of exhibition work in a museum is exhibition work.

Museum exhibition is a temporary museum exhibition dedicated to a current topic and built on museum exhibits. It can be mobile or stationary. Museum exhibitions include: exhibitions of funds, exhibitions of new acquisitions, art, memorial, etc. Exhibition activities of the museum is an area of ​​exhibition and scientific-educational work related to the planning, creation and operation of an exhibition system. Exhibition activities complement the work of the main exhibition and make it possible to more fully reveal the profile and direction of the museum’s work, make wider use of the capabilities of the museum’s collection, and attract materials from other museums and private collections. Carry out prompt development of current topics using museum means and cover larger number visitors. Exhibition activities also contribute to the replenishment of the museum’s collections, development and improvement of methods of exhibition and scientific-educational work. An integral part of exhibition activities is the exchange of exhibitions with other museums. In general, exhibition activities are characterized by the total number, themes, types of exhibitions, attendance and the ratio of originals and reproductions included in them. The deployment of a system of exhibitions on current topics is important point development of any museum, contributes to a more complete implementation of its social functions.

No museum could exist without a collection of objects. Forming a museum collection, ensuring its safety, studying museum objects and collections, and creating conditions for their use is one of the main areas of museum activity - stock work. Formation museum collections is the basis for the museum’s implementation of the documentation function. Items are grouped into collections based on one or more characteristics: by type of source, origin, content, etc. Collections are: personal, private, memorial, personal, systematic, thematic, educational. A museum collection is the main form of organizing the storage of museum objects.

Museum funds are structured. Their structure is a system for organizing a museum collection, which remains unchanged with any possible changes in the composition of the collections. Usually includes three main elements: the main fund, the scientific and auxiliary fund and the temporary storage fund. The main and scientific-auxiliary funds can be divided into a core fund, a non-core fund and a doublet fund. The last two funds can be combined within the framework of an exchange fund. The temporary storage fund is divided into a fund of museum objects and a fund of scientific and auxiliary materials. Natural science museums also have a fund of raw scientific materials.

The totality of specific objects and materials that form a given museum collection is called the composition of museum funds. If the structure of museum funds for a museum of the same profile is stable, then the composition of funds in each museum is different; it is characterized by dynamism, determined by the processes of acquisition and study of museum collections, as well as by the peculiarities of their storage. The composition of museum funds can be characterized by the number of items in the main fund and in the scientific-auxiliary fund or by the number of items belonging to each of the main types - material, written, visual, film, photo and phono sources.

All museum activities are based on a specific methodology. Scientific and methodological work in the museum is an area of ​​museum activity associated with the development, identification, description and implementation of advanced methods and professional techniques museum work. It covers issues of acquisition of museum collections, stock, exhibition and scientific-educational work, as well as restoration of museum objects, advertising and promotion of museum collections, etc. Scientific and methodological work on the museum’s profile is coordinated by the central and head museums through the distribution of methodological literature, consultations, peer review, etc. An important element of scientific and methodological work is the system of advanced training for museum workers.
Museum in the system of educational work. The concept of museum pedagogy.

The concept of “museum pedagogy” was formed and introduced into scientific circulation at the beginning of the 20th century in Germany. Its development is associated with the names of A. Lichtwark, A. Reichven, G. Freudenthal.

Initially, it was interpreted as a direction of museum activity, focused primarily on working with students. At the conference “Museum as an educational and educational institution”, which took place in Mannheim in 1913, A. Lichtwark was the first to formulate ideas about educational purpose museum and proposed a new approach to the visitor as a participant in the dialogue.

As a special area of ​​knowledge and research in museum pedagogy, it began to take shape in the 1960s, which was facilitated by the processes of increasing social role museum pedagogy in society and its democratization. A great contribution to the development of museum pedagogy at the second stage was made by German-speaking countries, where a number of museum pedagogical centers appeared (for example, “School and Museum”).

For the formation of an understanding of the subject of museum pedagogy and its conceptual apparatus, the discussion that took place in 1970-1980, in which leading West German museum experts R. Romeder, A. Kunz, W. Clausewitz and others took part, was of serious importance. Its main result was an expanded interpretation of MP and an awareness of its connection with the research, exhibition, and collecting work of museums.

In the USSR, the concept of museum pedagogy began to be used in the early 1970s and gradually became increasingly widespread. Avram Moiseevich Razgon in 1982 at the conference in Ivanovo “Museum and School” was the first to say that the creation of such a scientific discipline as museum pedagogy, “located at the junction of a whole complex of sciences, now seems no longer some distant prospect, but urgent a practical task."

Modern museum pedagogy is developing in line with the problems of museum communication and is aimed primarily at solving the problems of activating the creative abilities of the individual. For this purpose, various methods of working with visitors are being developed, changing their role and position in the museum-pedagogical process. Despite the approval of the ideas of a differentiated approach to various categories of visitors, the main focus of museum pedagogy is still focused on the children's audience.

The main areas of activity of museum teachers in modern stage may be considered:

• 
  Work with museum audiences aimed at developing a value-based attitude towards cults. heritage and instilling a taste for communication with music. values.
• 
  Developing the ability to perceive museum information and understand the language of museum exhibitions.
• 
  Education of emotions, development of imagination and fantasy, creative activity.
• 
  Creating conditions in the museum under which work with the audience would be most effective.
• 
  Use and popularization of new technologies for museum education in the form of separate projects, at different sites, with the involvement of various partners.

The process of transmitting cultural values ​​and meanings carried out in a museum, the purpose of which is the perception of information by visitors, is defined as museum communication, during which the information potential of museum objects is revealed, educational and other functions are realized.

The content of cultural and educational activities is expressed in the forms of organizing work with museum audiences and interaction with the education system. Back in the 1970s, it was noted that in the museum’s arsenal one can distinguish up to one hundred different forms, among which 10 are noted basic forms. These are: lecture; excursion; consultation; scientific readings; clubs, studios, clubs; literary evenings, film screenings, concerts; meeting interesting people; holidays; historical games; competitions and quizzes. There are many characteristics of forms: traditional - new; dynamic - static; group - individual; active - passive; simple - complex; one-time - cyclic; commercial - non-commercial, etc. For example, traditional forms that served as the basis for the emergence of new ones include lectures and excursions, conferences, scientific readings, consultations, clubs, circles, and studios.

In modern conditions, cultural and educational activities are focused on the personality of a potential and actual museum visitor; in this regard, the following main directions can be identified: information, training, development of creativity, communication, recreation.

To acquire methodological skills in museum - pedagogical activity it is necessary to clearly understand the purpose and objectives of work in each of these areas, as well as think through the most optimal form of work with museum audiences and methods of pedagogical influence. A set of different forms, united by a common theme and subordinated to a single pedagogical goal, become the basis of the museum-pedagogical program.

Most often, successful forms are complex in nature. Like

directions, forms are mobile, they are improved and developed. The basic principle of any form of cultural and educational activity is providing visitors with the opportunity to do what interests them, creating conditions for self-realization.

The main directions of research in the field of museum pedagogy can be structured as follows:

• 
  The problem of studying the educational specifics of the museum.
• 
  The effectiveness of museum communication.
• 
  Study of museum audiences.
• 
  Creation and testing of new methods and programs for various categories of visitors.
• 
  Establishing optimal forms of interaction with partners in cultural and educational activities.
• 
  Studying the history of museum pedagogical thought and cultural and educational activities of museums.

LIST OF ADDITIONAL REFERENCES:

1. 
   Shlyakhtina L. M. Fundamentals of museum work: theory and practice. Textbook allowance / L. M. Shlyakhtina. – 2nd ed. erased – M.: Higher. school, 2009. – 183 p.: ill. – (Education through art).
2. 
   Yureneva T. Yu. Museum Studies: A Textbook for high school. – 2nd ed. – M.: Academic Project, 2004. – 560 p. – (“Gaudeamus”).

The State Borodino Military Historical Museum-Reserve is located in the Mozhaisk district of the Moscow region, 120 km west of Moscow.

The official name of the museum is the Federal State Budgetary Institution "State Borodino Military-Historical Museum-Reserve." Abbreviated official name– Museum-reserve “Borodino Field”.

The State Borodino Military Historical Museum-Reserve has federal status government agency culture, is included in the list of federal state museums (approved by order of the Government of the Russian Federation of January 5, 2005 N 4-r) and reports directly to the Ministry of Culture of the Russian Federation.

The Borodino Field Museum-Reserve was founded by decree of the emperor on August 26, 1839 on the site of the Battle of Borodino and is the oldest museum in the world created on battlefields.
By Resolution of the Council of Ministers of the RSFSR dated May 31, 1961 No. 683, the Borodino Field was declared the State Borodino Military Historical Museum-Reserve with the inclusion of memorable places and historical monuments of the Borodino field and the State Borodino Military History Museum.

In 1995, by decrees of the President of the Russian Federation, the State Borodino Military Historical Museum-Reserve, including the territory with historical and cultural monuments located on it, was included in the State Code of Particularly Valuable Objects cultural heritage peoples of the Russian Federation (Decree of the President of the Russian Federation of January 24, 1995 No. 64), as well as in the List of objects of historical and cultural heritage of federal (all-Russian) significance (Decree of the President of the Russian Federation of February 20, 1995 No. 176).

The State Borodino Military Historical Museum-Reserve has branches in the city of Mozhaisk, the Mozhaisk Museum of History and Local Lore (created by order of the Ministry of Culture of the RSFSR dated 01/07/86 No. 4) and the House-Museum of the artist S.V. Gerasimova.

Currently, the museum's efforts are aimed at the formation and development of the museum collection, ensuring the safety of museum funds, and creating optimal conditions for their storage. One of the important tasks of the museum-reserve is the acquisition, storage, accounting, and cataloging of museum collections (funds). The priority direction of the museum’s activities has become exhibition work. An important area of ​​the museum’s activities remains the restoration of movable and immovable monuments. No less significant is the work on the preparation and further implementation of projects and plans for the reconstruction of lost immovable monuments of history and culture, reconstruction, restoration, preservation and further museumification of the historical and cultural landscape and individual monuments and objects of the Borodino Field.

One of the main activities of the museum remains research, educational and publishing work. Scientific conferences are held annually. The publishing, scientific and educational activities of the museum are aimed at publishing the results of scientific research, materials of annual scientific conferences, popularization of historical and cultural monuments located on the territory of the museum-reserve, its collections, attracting a wider circle of the population to the museum.

Currently, more than 200 people work at the State Borodino Military Historical Museum-Reserve.

Organizationally - legal form museum is: Municipal budgetary cultural institution (Table 1.)

Table 1. Characteristics of the organizational and legal form

The municipal budgetary cultural institution "Zlatoust City Museum of Local Lore" operates in accordance with the basic legislation of the Russian Federation on culture, the Labor Code and other legislative acts of the Russian Federation, regional and local significance, and on the basis of the Charter.

The museum team is on top every year internal regulations puts a personal signature.

The employee’s job description (Appendix 1) must also be strictly observed.

The museum is legal entity, has a seal with its name and the name of the higher organization of the Committee on Culture and Art of the WGS, letterheads, and corporate symbols. All accounting matters are carried out by the centralized accounting department of the Committee for Culture and Art of the WGS.

The municipal budgetary cultural institution "Zlatoust City Museum of Local Lore" is a scientific, educational and research cultural institution, the main repository of monuments national history, material and spiritual culture associated with the history and nature of the region.

In the field of research work:

Studies the nature, processes of economic, political and cultural development of the region from ancient times to the present day;

Studies the museum's funds, which are one of the primary sources of knowledge about the region, establishes their scientific and artistic value;

In order to comprehensively study the region and create an exposition, it carries out scientific acquisition of funds.

The results of research work are used primarily to improve the scientific quality of the exhibition, which is one of the forms of publication of museum materials and scientific achievements of the museum, as well as to improve the content of scientific and educational work.

In the field of scientific and educational work: the local history museum, on the basis of its collections, displays, and exhibitions, conducts mass scientific and educational work, the content and forms of which are determined by the profile of the museum.

The museum conducts lectures, excursions, folklore holidays, quizzes, class hours, holiday parties, auctions.

In order to popularize its activities, the museum distributes posters, leaflets, posters, lecture topics and excursions.

The activities of the museum are financed by the Committee for Culture and Art from the budget in accordance with established standards.

In addition, the museum has the right to provide paid services:

Organize fairs and sales exhibitions;

Organize the work of the art salon;

Take photographs of visitors against the background of exhibitions and with exhibits;

Provide services for copying exhibits and other materials;

Organize traveling exhibitions;

Carry out publishing activities;

Organize commercial exhibitions in areas owned by the museum.

The activities of the Zlatoust City Local Lore Museum include three main areas. Fund work consists of collecting, describing, and storing exhibits. Research involves scientific study different material. Educational work, unlike those listed above, has a pronounced extroverted character.

In the MBUK "Zlatoust City Museum of Local Lore" on this moment There are five departments:

Funds Department;

Scientific and educational department;

Department of History;

Nature department.

Art department.

The collections department is engaged in collecting, storing, and replenishing the collection of museum exhibits. The history department is developing excursions, lectures, and thematic and exhibition work on the history of the region. The nature department is engaged in the development of excursions, lectures, thematic and exhibition work in the following areas: geography, ecology, zoology, geology, etc. Employees of the art department develop lectures, excursions of artistic and aesthetic orientation.

The tasks of the scientific and educational department are to organize and conduct events, conduct lectures, and excursions. And also, writing articles for WGO newspapers and preparing materials for television reports. In addition, employees of the scientific and educational department carry out advertising and PR campaigns to attract visitors to the museum, hold events for educational institutions of the district, organize meetings, conferences, round tables and etc.

The total number of museum employees at the time of internship is 54 people. Of these, 21 are scientific workers, 23 are technical staff, 10 are caretakers.

Figure 2 shows the enterprise management structure

Rice. 2.

1. 2.2 Museum management system

financial statements local history museum

Technical equipment of the museum

Equipment

Planning