 Hello and welcome to Nemo's webinar, developing an exhibition in liaison with visitors, a 360-degree approach. My name is Elizabeth and I work for Nemo. As the network for museums in Europe, online activities are advocating for museums at an EU level, providing training opportunities and providing a platform for museums to exchange and learn from one another and helping museums to cooperate across borders. In this function, Nemo has increased its online engagement, which includes webinars such as this one, with the hope that our participants can continue their professional development even during these challenging times. We are looking forward to today's webinar, facilitated by Magoszata Zajac, the deputy marketing manager at the Poland Museum of the History of Polish Jews in Warsaw. She is responsible for coordinating research into current and potential audiences and operationalizing its findings in the Poland Museum's activities. She has actively promoted state-of-the-art marketing data acquisition and application data to cultural institutions. This webinar shall explore the 360-degree approach, where visitor research can effectively help design all the steps of the exhibition design. At the end of the webinar, you will have the opportunity to ask questions in the chat function. Now without further ado, I will hand this over to Magoszata to get us started. Hello everybody. I hope you're hearing well. My name is Magoszata Zajac and thank you for this introduction. So today I would like to tell you about the practice we have in our museum, the full name is the Poland Museum of the History of Polish Jews, which is one of the biggest Jewish museums in Europe. I wanted to tell you about our practice to integrate visitors' perspective and visitors' insights into life cycle of an exhibition. We call it often 360 degrees approach and I will present you this approach in detail. So often we ask the questions, we try to solve the question how to make our exhibitions comprehensive and engaging to visitors. And also we try to find an effective message to attract visitors. And also sometimes we would like to make some improvement on the exhibition to improve the visitor experience and how it is possible to make it. So in our practice we integrated the visitor voice into the life cycle of an exhibition. So what is the life cycle of an exhibition? So we first build concept of an exhibition, then we install the exhibition, build communication strategy, promotion plan, open exhibition and sometimes we make some improvements on the exhibition if it is possible. So when we integrate the voice of visitors, when we integrate the perspective of visitors in this life cycle, we sometimes interview our target groups when we build the concept of the exhibition. We also integrate the data from segmentation, from understanding about barriers and drivers when we build the communication strategy. We also almost always evaluate the exhibition when it is ready with the target groups. So I will start with the concept. So I will describe you this approach based on a specific example of an exhibition. And I will tell you first about the concept of this exhibition. So two years ago we had in Poland a centenary of Poland regaining independence. And on that occasion we wanted in our museum, we wanted to open a historical exhibition for children 8 from 6 to 12. On this exhibition we wanted to concentrate, we wanted to focus on the civic education. We wanted to understand with the children what the nation is, what the community is, what the society, democracy and freedom are. But at the same time we wanted to make a real hands-on experience on this exhibition. The whole exhibition, the whole concept was based on a book written by a famous in Poland pedagogue Janusz Korczak. The book is called King Made I. And it is like Polish Peter Pan a little bit. And this book tells about the adventures of a young king. It is very down in Poland and probably in many other countries, especially in Eastern Europe. So when building this concept we decided to interview the target groups, meaning the kids. We wanted to talk with the kids in order to check our concept. So we wanted to check the language, topics and also activities we planned for the children. So to do that we organized in that specific case two focus groups with nine year olds. And we wanted to check the prototypes of activities planned for this exhibition. So we organized those focus groups. So here is the photograph of our educational center. And we wanted to check topics and activities. So I will tell you about few of them. Of course I will not go through all the focus group. But I will tell you about few of them. One of them is... So we asked the kids to write, to draw, to do a mind map of the word country, state. And it was surprising for us that the kids did this mind map, but only with images, no words. So we discovered, yes, of course we cannot use a lot of words, we should use images. And another discovery, another observation was that the kids were moving a lot in this exercise. They were jumping, they were crawling. And yes, of course the children should move on the exhibition. They should have some physical activities there. And also we gave to the kids the photographs of an empty meadow. And we added to that transparent foils and highlighters. And we asked them what kind of a word would you like to live in. And this exercise was very engaging. And the children felt we could really observe how happy kids are when they have this sense of agency and sense of decision making. And when they feel free and when they feel that they are free in their imagination. So it was a very engaging exercise. And they were also interested, the kids were interested what the others do. So it gave us the idea, yes, okay, we can, if we do such an exhibition, we should make also maybe an additional small exhibition with the drawings or something, or give to the kids the possibility to compare the works. So in this specific stage of the preparation, we also checked the language of the exhibition. And this is the example of a text we gave to the kids. And we realized that we are using words which are not clear for the children. For example, we use the word communities and instead of groups and groups is far more comprehensible, far more clear for the kids. We use the word values and why not honesty, courage and friendship. We use the word community of the city and why not people living in the city. So a lot of such disappointment and discoveries for us. And another thing, talking about the texts, we realized that children like open-ended questions. So we asked them in those texts how we can make everyone happy, how much will it cost. And we realized that the questions are far more engaging than texts with statements. And questions make it different from the language in schools. And they encourage thinking, of course, if they are simple and natural. And children feel treated seriously. So we realized that we should use simple language, open-ended questions, hands-on activities, tasks involving different senses. And also physical activities because children would like to jump, run and crawl. And also let's use images rather than words. And why not giving? And the kids would like to take away something with them. So let's go to the stage of preparing the exhibition itself. So this is the full title of the exhibition in King Matt's Poland, Centenary of Regaining Independence. So it is quite long. But we really tried to make an interactive exhibition. First, the exhibition started with an introduction with a film talking about the end of the Great War and the rebirth of Poland. And also about the book because we are a museum, so we did also an introduction with historical items. But then the children could enter the book. So you see the pages of the book. And we put in this book on one hand quotes from the book with headphones. But on the other hand, a lot of sensory elements. So children could swing on this exhibition. Children could crawl on this exhibition and also pull. In this case, we have here a lion's tail. So children could pull the lion's tail. Very attractive point of our exhibition. So lion is in a book, in this specific book. And we organized, we did a space for kids to learn and play. With lots of questions on the walls, on the walls. And for example, how to allocate a state budget. So here is a scale with weights. And the children could allocate the budget into different type of spending like schools, sports, hospitals, etc. And they should decide what is more important, what is less important. And also another question, how does voting in democracy work? So in the hall, they were balls in three colors and three containers. And children were throwing balls into containers. And if the children threw the most green balls, the entire space became green. So we have shown that it is the majority who decide what the country looks like. And another type of activity. What helps you build something together with others? So we had a big space with large blocks. And the kids have to build something. And the cooperation helped them to build something bigger and more strong. And we also had a wardrobe. And with a space to change clothes. And we asked the question, how doctors, journalists or soldiers, how they can support the country? And how you can take care of the country? So this is in short our exhibition. And the next stage was building the communication strategy based on segmentation and based on understanding of barriers and drivers. So once again, on this next stage, we added this perspective of visitors, of potential visitors, of potential audience. So to work on communication strategy, we usually invite, we usually do workshops. And we invite to those workshops representative of almost all departments. So we invite people from exhibition department, curators of course. People from education department, people from communication. And we work together on building the communication strategy for the exhibition. So what is communication strategy? So we are looking the main idea of the exhibition. We are looking for the main story to tell to our potential audience. So what we had on the table on that specific moment, because this stage of working on communication strategy was a stage before the exhibition was ready. So we had on the table images prepared for the exhibition by an illustrator. And also we knew that this exhibition will talk about civic education. So about nation, community, society, democracy, etc. And also we knew that the curators would like to make a hands-on experience. They would like to add all those physical activities. They would like to add this aspect of playing there. So they would like to make this space very attractive for the kids. But in that specific moment, this mix together, those images plus the civic education, seemed to be quite maybe a little bit difficult for children and for many parents. Okay, but first if we work on communication, first we think about the target groups. And in POLIN Museum and also many Polish institutions work like that. So we use segmentation of participants in cultural life. And really when we build the communication strategy we think about target groups. So for this specific exhibition we've selected three target groups. One of these target groups, one of those, one of this segment. And I would say the most easy one is the consumers of institutional culture. This is the name of this segment. And they go out a lot. But this is only 7% of the population. Culture is their preferred pastime and they wish to feel special. And they go often to opera, ballet, art gallery, but also museums. So they are really interested what POLIN Museum is doing. Because we are quite big institution. And so this is our natural target group. It is also quite important that their education is higher than average. We have another segment which is a natural target group for this specific exhibition. They are knowledge seekers. Knowledge seekers are, this is also quite small target group. So this is only 11% of the population. They go out in average 26 times a year. And they are focused on seeking knowledge and new experience and new skills. And they also go often to museums, to open-air museums. And they like historical near-enactements, for example. And this is also in a way quite natural target group for this kind of exhibition. And we have a third segment. We call it aspiring mainstream. And this segment, so this is 21% of the population in Poland. So this is quite big segment already. And they are interested in attraction for all family members. And they are seeing knowledge, but at the same time, they want to spend time together and trust. So they look for lighter entertainment. They look for lighter culture, if I can say that. They go often to cinema, to zoo, to theme parks, to historical monuments. And their education is similar to average. What is important in this specific segment is, of course, it is also in those two previous segments. But this is higher than the previous segment. It is the fact that 57% of them say Jewish topics are not interesting to me. So, of course, in other segments, a lot of people also say that. But this is particularly interesting. This was particularly interesting for us because we realized that it is very interesting segment for us. And we would like to, and we want to go deeper what is behind this statement. Why they are not interested in going to a museum like the POLIN Museum is. So, to understand that, we did a research on barriers. This research is built on a methodology called Dismet. It is called Hidden Metaphors, so it is American methodology. But what is very important about this methodology is the fact that it is based on images prepared before and shared by respondents. So, those images express the association with the research topic. So, barrier one is, this is the barrier. This image is the image brought by one of the respondent and it express the association with POLIN Museum. So, our respondent said, one of the biggest barrier is I associate Polish Jews with the Holocaust. So, I expect images drastic for children in POLIN. So, as a good parent, I will not go to POLIN Museum. Because this is a place which is not for the kids. So, it was for us a very difficult situation. We were aware of this barrier. And on the other hand, we wanted to open an exhibition for children and for families. So, we had a really difficult situation. And it was really challenging for communication to make an effective message in that situation. Another barrier and another image brought by one of the respondent is, okay, you see the kid which is tired. And the idea behind that is that the teams represented in POLIN are too difficult for children. So, I will not go there because it is very difficult. So, Museum of the history of Polish Jews should be very difficult and probably boring for the kids. So, I will not go there with the kids. Maybe I will go alone, but not with my family, not with the kids. So, it is another barrier. So, on the other hand, this is a very drastic museum. And on the other hand, this is a museum not for the kids because this is too difficult. Third barrier, you see the image with a book in Hebrew. And the idea behind that is that I'm not very knowledgeable about the Jewish culture. So, as a parent, I will lose my position of authority because my kids will ask a question and I will not be able to answer because I don't understand this culture. This is too strange for me. This is unclear for me. So, another barrier. Fourth barrier, we have here another image and on this image, a shared by a respondent. And on this image we have an eagle and a book. The eagle represents Polish culture and the book represents Jewish culture. And the idea behind that and the barrier behind that is I feel no connection with Polish Jews and their history is not my history. So, I will not come there because this is not my history, which is of course not true, but this is the barrier. Yes, we are not talking about reality. We are talking about what people have in their heads and why people will not even consider to go to the POLIN Museum. Because they have all those barriers in their heads. But we have also drivers because in fact we have some families in the museum and we asked the families who came, why did they come? And the first and most important driver is that children learn faster in modern museums. So, I will come with my kids because this is a modern place, fashionable maybe place. So, I've heard that it is a modern place so I will come there because children learn faster in such places. Okay, but we have on this specific moment we had also on the table the knowledge about from another report what cultural activities are parents looking for their children. It comes from a report we found in a Polish institution called National Cultural Center. Okay, and go through that. So, what kind of cultural activity for children? Of course, the activity must be nice and colorful. The kid must be active and also non-mainstream items can be inappropriate for children. So, for us it was important because we realized that if we talk too much in the communication about civic education, maybe it will be for some parents too difficult and maybe it will be frightening in a way because they will consider, okay, maybe this is too complicated for my kids, maybe next time, maybe next year or in few years. So, it was also an important thing for us to consider the communication strategy. So, in our plans, we plant the attendance at the level of 48,000 people for eight months. So, we had a calculation of our current attendance and we said, okay, realistically we could attract in such periods 48,000 people. And so, after discussing all those barriers and all those needs and all the segments, we decided to formulate the main message for this exhibition so that these exhibition kids will play and learn at the same time. So, this is quite a simple message. And we really decided not to talk in the first communication about this civic education, et cetera, because we considered maybe it will be, okay, of course we will talk about it in media with the journalists, but the main message, but we will hide this, in the main message, we will hide this message about the civic education. And a graphic designer did for us key visuals based on this main message. So, remember, main message is at the exhibition kids will play and learn. And on these key visuals, we have a boy and a girl. For us it was important to have a girl because if you think about King Matt as a figure, as a hero, this exhibition could be considered by a simple association as an exhibition for boys, maybe. So, we wanted really to avoid this association that it is an exhibition for boys. We wanted to really put the accent on the fact that it is an exhibition for kids, for children, boys and girls. And on this exhibition, children will be happy, children will smile, children will play and learn at the same time. So, let's go to the promotion. So, the promotion was, we did an outdoor campaign where we use these key visuals. And we also add a few ambient elements. So, we had a few mirrors at drum stops. So, this is for social media. We had mirrors with crown. And so people could do selfies there and put on social media. And for that, they had free tickets at the exhibition if they put this photograph on social media. And also we did a PR campaign. And I should say that the main message was that the kids will play and learn. But of course we told the whole story about the exhibition, about the civic education, etc. And also what is important if we talk about PR, if we talk about media relations, is the fact that in fact we can choose one story. As we did, kids will play and learn at the same time. It will be a very colorful place for the kids. But also it is important to underline that if we do a media relation, the way we describe the exhibition depends on the profile of the title of the media. And it depends on the interests of a specific journalist. So, it is not one story in media. There are different stories, different aspects of the exhibition described in media. We also did for this exhibition a paid Facebook campaign and also a Google Ads campaign targeted at parents in Warsaw. So once again, coming back to our communication strategy and to our main message, this Google Ads campaign was targeted. So if you know how Google Ads works, I am sure you know very well. So we use those search words connected with the main message. So free time with kids in Warsaw, weekend with kids in Warsaw, attraction for children, etc. So those were our search words for this Google Ads campaign. We invited to the exhibition, we invited the Instagrammers. So we did a special day for Instagrammers. So Instagrammers are heavy. So I mean, I'm talking about the community of big fans and heavy users of Instagram. And we did a special day for them and we had a big reach with these Instagram photographs coming from that specific day. We also invited 26 celebrity mothers and we had them on the exhibition. And this also gave us a big reach because those mothers are followed by thousands of followers. And also we organized a special day for parent bloggers having in total more than 100,000 followers. And we were also present in 20 parents group on Facebook. And there are a lot of parents group on Facebook and we were present there and we were recommending the exhibition. So this is another reach. So we reached in that way more than 100,000 people in total. We added to that gifts showing this funny aspect, some funny elements of this exhibition. And also what really works and this is our, this is something we, which is now, which is now in our experience, I should say. And we would like to repeat it in other exhibitions for the kids that we had a paper crown. So it was an exhibition sign for everyone. And it was so we were distributing this crown to children attending the exhibition. And also this paper crown was used on family events. So it was really something characteristic for the exhibition. And it was really not expensive form of promotion and it worked really well. So you probably remember one of my, one of the conclusions from the, from the workshops with children was that the kids would like to take away something. So it was so this paper crown was this kind of, was this kind of gadget. So the result of the outcome of this exhibition was that we had far more people on this exhibition than we expected. So we had almost 80,000 visitors during eight months. And what was surprising for us is was the fact that the majority of those visitors were the first time visitors. So it was really surprising. So we really with this communication with the, with this focus on, on, on the, on the happy kids playing and learning in the same time, time at the exhibition really did overcome the barrier, the barriers. So let's go to another stage. We've opened the exhibition and we decided to evaluate this exhibition with target groups. Because the first, those first interviews, those focus groups with, with the kids were organized only, only with the prototypes and only with some ideas of what we will be doing at the exhibition. And now it's, it's time to evaluate the exhibition with the target groups at the exhibition itself. We did evaluation. What is important about this evaluation is the fact that we did focus groups within segments. So maybe it's, it is, it seems to be difficult. But in fact, after, after the segmentation study, we have, we are using a recruitment algorithm, helping, helping us to really select for, for a focus group, recruit for a focus group, people from a specific segment. We added to that interviews of parents with, with kids, but still inter, but still the parents were coming from the segments. So we did a focus groups with people from consumers of institutional culture, knowledge seekers and aspiring mainstream. So, so what we, what we did as results. So generally speaking, people, parents, parents were talking about the barriers. We had, we knew already those barriers before, but, but they, they set us during those, those focus groups that yes, we know that it is the museum about the Holocaust. In fact, this is not 100% museum about the Holocaust. There's only one of the galleries talks about the Holocaust, but the barrier, but the, but as we mentioned before, the association and the barrier is that it is museum about the Holocaust. Parents were also talking about drivers and expectations. And they said, okay, we came here because this is King Matt's, you know, Polish Peter Pan, you remember. So, so King Matt is a warm person for children. I like it. I remember it. I like him. I remember him from my childhood. And also this an alternative way to talk about Polish independence to the kids. One of the first impression and maybe, maybe not very, very positive was the, was the fact that we have security measures in our museum. So it is not something very, it is not something people like. And also people also parents were interested by by the architecture. We have a great building and it is. And, and as first impression is really great because people, it is like a very, very nice building. And also parents mentioned, mentioned a lot of assets of the exhibition, like their attractions are, are engaging. And then there's a lot of movements at the exhibition. And this is for kids and adults. And there are many elements causing strong positive emotions like for example, this famous lion's tail. And, and Korczak is a writer who they know and, and they associate with something important and positive. And also parents appreciated the fact that there is a lot of media and sensuality at the exhibition. And they said, yes, the exhibition leaves an intellectual mark. But we realized that there is quite a big difference between how, how the segments perceived, perceived the same exhibition. So we realized that during those focus groups that the consumers of institutional culture and the knowledge seekers are able to describe far more things at the exhibition like they are able to describe the benefits of tasks. They, they really talk to the children at the exhibition and, and we, we realized that they have simply a habit to talk with kids. And they spent more time at the exhibition and they helped children at the exhibition and they were not afraid of the museum space. So they use the shop, restaurant, and they would like to come back to Pauline. So when I proposed them after the focus groups, okay, thank you for the focus group. Here you have the invitation to the core exhibition. They said, great, of course we'll come. But it was not the same with the experiment mainstream focus group. As I said before, they prefer a little bit lighter entertainment and so they have different preferences. And even if we attracted them to the exhibition with this nice image with those nice images with those smiling kids with this message of playing and learning in the same time exhibition. They were a little bit disappointed at our exhibition. So one, one thing which was maybe not pleasant was the fact that they have anti-semitic stereotypes. And, and first they said this exhibition is too gray. So they, and they were, they were disappointed by the fact that the children walked alone. And they, and they, and nobody took care of the children. So they were not enough educators, volunteers there. They should, they, so they said, okay, I was bored there. And the kids were walking alone at the exhibition. They were disappointed by the fact and they said us that the exhibition doesn't explain itself. Why? So they really needed some support. And they said, okay, it's better in the Warsaw Appraisal Museum. The Warsaw Appraisal Museum is a museum of, of one history and of Warsaw Appraisal. It is, and it is a little bit like in the war. So, so yeah, it was, it was quite difficult. And, but we decided to, after this research, we realized that there are anyway things to be improved at the exhibition. So we realized that there are some navigations problem, navigation problems that we realized that the visitors need more support at the exhibition. And, and we should add some instructions because, because it is, it is not so obvious that every parent will, will go through this exhibition and talk with the kids, with the kids and explain him. It is not, not, not all the parents want to do that. And, and this is our big learning from this exhibition. And we realized also that it's necessary to improve signposting of the exhibition at the museum space. Because many parents were simply a little bit worried about they, they didn't want to go to the core exhibition, which was supposed to talk only about the Holocaust, so they didn't want to go there. So, so we really put accent on improving the visibility of this temporary exhibition for families in order to avoid this, this moment of, of hesitation. So we go at the final stage of this, of this 360 degrees approach, improve improvement on the exhibition. So we decided to improve two things after this evaluation. So, as I said, we, we improve the visibility of the exhibition. So we put this King Matt in the main hall. And, and also we added narrows, arrows on the exhibition in order to improve the navigation. And also we added some support. So first we added a manual on the website. So this manual was a series of films about, about different tasks where our, one of our curator explained the tasks to the parents. So we put this on the website. We put this on social media. We also added this manual in printed version on the exhibition. And also we decided to, to, to have more educators and volunteers at the exhibition in order to support visitors. So it was our big learning that it is not everything to attract newcomers, new visitors, but it is also important to, to think about their needs. To think, to think what they really need and what, what they would need at our exhibition in order to make the visit more, more easy to them. So, yeah, so this is our 300. So, so this is our life cycle, life cycle of the exhibition and also all those elements when we listen to our potential visitors when we see their perspective when we see the data. And we really, really integrate those data, those voices into our exhibition. Yeah, so this is the end of this presentation. And I'm more than happy to answer your questions. Okay, so I see the. Okay, I have this. The question about this met is met research. Of course, this met is the. See met a metaphor techniques and this is like an American license method. Based on a deep, deep interviews and we so as we were, as we wanted to analyze the barriers, we did six. In depth, in depth in interviews with parents who did visit Pauline with our kids and we and six in depth interviews with parents who did not visit. Visited visited Pauline with their kids because they have because because of some reason, yeah, and they had and the parents had had a week to prepare the association, the images they associate with our museum. So during this, during the long interviews and the researchers, the researcher was talking with them about about why they they didn't come why they will don't want to come. Or what, or why they did come. Yeah. So this is, this is this method. How did you convince your colleagues to try a participatory approach and adopt and accept the opinion of non experts. So, so this is a long term process, I should say, and I should say that nowadays that's okay. Okay, it is also, it is important to mention that we are quite a new institution and, and we are really focused on focused on have big attendance and attract attract a lot of visitors so we really, we really try to to make it to really try to integrate curators in our decision process. Okay, they decide with we decide in groups so if we decide about the, about the communication strategy, we always invite curators and, and there's no decision. Without them. So we take decisions together. So it is not like the communications such a community such decision as communication strategy as main message is not the for us in our museum is not the decision of communication department is the decision of of curator of communications of course of education so we decide together. It's really very, very, it works well. If you do it in a consequent way. And also talking about this, about this focus group with children. So it was so in this specific exhibition way, we had a curator from the exhibition department and also and also a person who works in educational department and he is educator. So we had in this specific exhibition we had this, this approach of educator and curator and also the children. So it was, in fact, if I remember well it was their initiative to ask to check the prototypes with the kid with the children. Okay, I will tell what did you offer to the Instagram in exchange so this is important question so we are not offering money. So it was simple as we are culture so we are not, we did not pay for that we organize a special special, simply we organize a special day for them. So it was so we have one day, one technical day a week in a polling museum where we are where we are closed for public. So we could organize this specific day for them so they felt special that day and that's that's why it worked. Are you going to adopt this exhibition online? What kind of barriers do you see in online exhibition? Unfortunately this exhibition is not online, it's not online and we didn't put it online. Generally speaking, I think the main barrier about the exhibition online is the quality of showing them and also the language we use. So this is a long story but I think many times when I see the online exhibition, sometimes I see the barrier of quality but this is a long discussion. Okay, how long was the planning and execution of the whole exhibit? So I think this is the process of one year and a half. Yes, so this is a long process and this communication stage, this communication plan we did I think six months before opening. So there are quite long processes. Thanks for presentation of the best practice. How you made your initial segmentation? The segmentation is the nationwide study. We did it together with three other institutions with a museum of Polish history. And this is a nationwide study so we had a representative sample of people who participate in culture. So of course it was before that study we spent a lot of time discussing what culture is generally, what is participating in cultures. And the definition we took is very large. So we did also participating in culture is seeing a film on Netflix and also participating in culture is going to a fair. So to do that we hired a professional research agency who analyzed on one hand the needs related to free time and the habits related to free time. So what people do in their free time and why people do that. So there are two main criteria of this segmentation and it is very helpful to have such criteria because we really know why people go to fairs or why people go to the museum. You've seen in our three segments that for example knowledge seekers go to the museum because they are really focused on seeking knowledge and aspiring mainstream goes to the museum because they would like to spend time together and learn something in their free time. So the needs are different. So if you base the segmentation on the needs, it is really very useful tool for the communication for formulating your messages. So this is a separate story about the segmentation. I can talk about that hours and I can't now because it is now time. So maybe I will have another question. More questions. What did you mean by antisemitic stereotypes in children so it is not antisemitic stereotype by children that antisemitic we did we had focus groups with parents so we didn't talk with children. And antisemitic I mean, okay, in this specific in this specific segment, people said, okay, for example, I will do like, for example, the shop is, I'm sure the shop is expensive. And because because there's a Jewish museum this kind of stereotypes, but there are parents stereotypes in this specific segment in aspiring mainstream segment because we didn't have those stereotypes in those two previous segments. Okay. How did you come. Okay, I had this already. How did you, what did you have for different disabilities. So we had in POLIN Museum we have a person who absolutely was really concentrating on on on organizing events, especially for for the, for people with disabilities so we had a few special events for people for families with disabilities. So this is, yes, we had, we had a lot of them. And especially with families, this is, it was, we had a lot of events like that, like that, like for events for, for people with autism, for kids with autism. Okay. Thank you very much for the best practice. How do you plan your budget to be able to implement the subsequent changes very important things. So now we, we try to plan the budget of an exhibition to have once the exhibition is ready to have a little bit to have still a small budget for some improvements after the evaluation. This is our goal. And this is what we are doing. We try to do this. But in this specific, but sometimes you can make some improvements, even without a lot of money. So for example, adding, adding a post, a sign posting or adding or adding arrows, it is, there are cheap things. And also we added, as I said, we added films. So we also did it for not a lot with with a small budget. So, but, but now our idea is to still keep some money at the end to make maybe some small improvements because there are things we cannot, we cannot, we cannot not really imagine when we prepare the exhibition. So once the exhibition is ready, you see the things more, some things more clear and maybe sometimes you can improve, you can still improve. Okay. Thank you. Thank you for, for, for those questions. Of course, if you, if you have more questions and also if you feel that I didn't answer all your questions, please send me the questions to my email. I will be more than happy to answer. Thank you. Goodbye. Thank you. Bye.