Музей Кадиса и его коммуникационная стратегия

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During lockdown 2020, museums reacted by attempting to digitally offer everything that had previously been done in the museum space. The testing of tools and resources, as well as new forms of communication and participatory techniques, leads us to a hybrid museum where virtuality is combined with physical presence. The new reality has intensified the current discussions about the museum as a socio-cultural institution, a new definition of the concept of a museum, about the relationship between entertainment and educational forms of interpretation of heritage. Along with an overview of key research trends and methodological approaches in the field of heritage, the article presents the results of the analysis of social networks of the Museum of Cadiz, based on a methodological approach to planning and evaluating integrated communications - the PESO model, which separates the channels of information dissemination into paid, earned, social and owned. The Cadiz Museum was not chosen as an object of research by chance, since even before the pandemic, its digital communications stood out strongly against the background of other Spanish museums of different levels. It is possible that they managed to achieve this due to the fact that they made their pages on Instagram, Facebook and Twitter not only the showcase of the museum, but also the very entrance to the museum. Social networks for the Museum of Cadiz are the only channel with which he can independently work. The official pages of the Museum of Cadiz, during the pandemic, were analyzed for the period from March 12 (the announcement of the closure of museums) to August 31, using the Russian automated service for analytics of brand communities in social networks, JagaJam. The data is compared with the same period in 2019 (except for Twitter, for which there is no data).