Contribution short abstract:

Although museum professionals are expected to approach collections with objectivity, emotions elicited by the collections are acknowledged. What sort of "feeling rules" apply to those working with museum collections: what kinds of emotions are they allowed to experience in their professional role?

Contribution long abstract:

Arlie Russell Hochschild's research in the 1980s on the production and presentation of emotions among flight attendants and debt collectors introduced the concept of "emotional labor." Hochschild demonstrated how her subjects' emotions were managed through professional norms, known as "feeling rules" (Hochschild 1983). As noted by Jennie Morgan and Anna Woodham (2024), applying this concept to the museum context raises questions about the specific feeling rules that different professional groups within the museum sector follow. In my paper, I focus on the feeling rules of those working with museum objects and documentation: what kinds of emotions are they expected or permitted to experience in their professional roles? Which feelings are not allowed to surface?

Although museum professionals are expected to approach collections with objectivity, emotions elicited by museum collections are both recognized and acknowledged within the institution. These emotions can be triggered by the objects themselves, the in-depth research and prolonged contact with them, internal practices and discourses within the museum field, and societal changes. Furthermore, understanding the cultural significance of the collections can instill a profound sense of responsibility in individuals for their work.

However, the professional norms and feeling rules governing museum collection work restrict how feelings and emotions are expressed. Museum work can be perceived as both intellectual and emotional labor, where certain feelings are seen as more professional. How is the balance between different kinds of feelings and emotions managed?