An exploration of a third participatory museology approach in the interaction with local business and tradition at the Guangdong-Hong Kong-Macao Greater Bay Area art museums

Purpose This paper aims to summarize the conditions under which participatory art museums and local commercial traditions can have positive and sustained interactions. Design/methodology/approach The methods include studying the quantity and content of exhibitions in the four cities of the Bay Area, Guangzhou, Shenzhen, Hong Kong and Shunde, to compare their academic positioning and influence on local commercial production. Through interviewing curators, artists and university scholars who are active in the Bay Area and are invited by the museums on a regular basis, it will let us understand the attitudes from the government, public and capital towards the regional art museums and how these attitudes influence the choice of theme in the participatory art museum practice. Findings To summarize the findings, the author concludes that a participatory art gallery with commercial production in the Bay Area requires the following: a long tradition of local business and wealth accumulation; a local area is of a size where the community of acquaintances can interact on a regular basis; continued interest of a diverse local elite, including a mix of businessmen and gentry, government officials and various sectors of the public; and museums serving as intermediaries to coordinate the effective integration of the commercial and traditional resources. Originality/value Participatory approaches and their impacts are a shared area of interest across urban planning, heritage studies and the creative arts. Crucially, solely relying on either the Latin bottom-up community-oriented approach (Barnes, 2003) or the British top-down policy-oriented approach (Heijnen, 2010) did not maximize benefits, though these distinctive two approaches were convinced that museums should play a larger role in becoming agents of contemporary social change. By contrast, in focusing on Chinese Art Museums, this study will explore participatory practice in the Asian context. In doing so, it will not only diversify the emerging literature on the social and economic impacts of arts and heritage organizations but also challenge the Western lens through which participatory approaches are viewed in the interdisciplinary literature. As Lefebvre acknowledged his lack of non-Western regions in his research, this study will offer new perspectives on museology and its contributions to the Production of Space.