jeffcivillico

Time to Honor the Best Jugglers Among Us

Photo by Scott Ableman, flickr.com
Photo by Scott Ableman, flickr.com

As museum educators, we all have those moments when we feel like we’re juggling a thousand things all at once.  And we all know someone who is absolutely masterful at calmly balancing everything while they coordinate the opening of a new building expansion, launch a new app, reorganize a department, evaluate a school program, spearhead transformative community outreach, bring in a new docent class, facilitate a summer teacher institute, or organize a conference — often all at the same time : )

Over the next week, I challenge everyone to take a few minutes, think about those colleagues and peers of yours that are truly exemplary in our field, and follow a few simple steps to nominate them for an NAEA Museum Division Award.  Whether they can walk on hot coals, swallow swords, or juggle bowling balls (metaphorically speaking, of course), they deserve to be celebrated and recognized publicly.  Too frequently, recognizing the work we do as educators falls by the wayside, so I am calling on you to press the pause button for one moment and recognize the excellent work your peers are doing in the field.

Nominate a colleague for the National Art Education Association Museum Division Awards! This is such a simple process, and you can nominate any current NAEA member for Regional Awards as well as the National Award. Here is what you need to do:

  1. Take 5 minutes and think of someone who is making a difference in your work as a museum educator — whether they are a super supportive mentor, a transformative colleague, or an emerging educator whose hard work is deserving of recognition.
  2. Contact them — shoot them an email saying that you think they simply ROCK, and that you would like to nominate them for an NAEA Museum Division Award (regional or national).
  3. Write a short letter saying how great they are! What has been exemplary about their practice or their role in the field of museum education? What impact are they making at their institution; in their community; in the National Art Education Association? How have they pushed you to become a better educator? Please make them blush when they read it.
  4. Ask your rock star nominee to fill out the short CV form (download here) and to select 2 people to write short, glowing letters of support. Again, this is usually very easy, since as a field we are all here to support each other and recognize excellence. Ask the nominee to have their support letters sent directly to you.
  5. Submit this entire packet by October 1st (nomination letter, CV form, and 2 letters of support) to Ben Garcia (BGarcia@museumofman.org) or myself, Mike Murawski (mike.murawski@pam.org), no later than October 1st. Please don’t miss this deadline! We really want to consider your nomination and recognize excellence in your colleagues.

awards_2015You can find all of this information and forms by visiting the NAEA Awards website here.

Over the past 30 years, the National Art Education Association has recognized excellence in nearly 150 museum educators that are members of NAEA, many of them are mentors and colleagues that we have had the pleasure of working with or continue to work with now. The list includes “movers and shakers” in our field, but also the quiet, modest, yet powerful educators who would not have been recognized without being nominated by someone like yourself.

So take the time to recognize the excellent and transformative work happening in our field, and nominate someone for an NAEA Award!

If you have any questions at all, or need help with this process, do not hesitate to email me at mike.murawski@pam.org or Ben Garcia at BGarcia@museumofman.org. Remember that the deadline for submitting nominations is October 1st!

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Telling to Live: Testimonio as Educational Praxis

Preface by Betsy Andersen, Founding Director of Museo Eduardo Carrillo

At the start of 2013, Museo Eduardo Carrillo began to explore the potential of curating original exhibitions online.  We determined that our focus would be on mid-career artists whose engagement in their art continued well past their college years.  We drew inspiration from The International Museum of Women and Museo de las Mujers de Costa Rico who have long been pairing art with thoughtful essays.

Lorraine García-Nakata, "The Alchemist," Pastel on Paper, 29”x 30,” 2005
Lorraine García-Nakata, “The Alchemist,” Pastel on Paper, 29”x 30,” 2005

One of our goals was to allow the artist to select a writer who they felt would expand the experience of their art through the written word.  It has been a thrilling collaborative process. As one of few online museums and as the only artist endowed foundation to represent a Mexican American artist, innovation is part of Museo Eduardo Carrillo’s DNA.

When I began a conversation with San Francisco-based artist Lorraine Garcia-Nakata and Cornell University Associate Professor Ella Diaz the exhibition took on a new dimension.  In this partnership, the Museo would not only host an online exhibition and essay, but also extend the experience to Professor Diaz’s undergraduate students.  Her students would examine the art through the “testimonio” framework which was the focus of the class.  It was an innovative and forward thinking idea. And we welcomed it wholeheartedly.

Because Eduardo Carrillo was an influential artist and Professor of Art at University of California Santa Cruz for 25 years until his death at age 60 in 1997,  Museo has felt that part of our mission is to encourage scholarship in the next generation by giving those students an opportunity to have their work published. Because the essays were so thoughtful and well written under Professor Diaz’s guidance, Museo did publish them online and they remain in Museo’s “On View” archives with the exhibition Navigating by Hand: The Art of Lorraine Garcia-Nakata.

Future exhibitions include the work of artist Jose Lozano with an essay by Professor Dianna Santillano and The Duron Family collection with Professor KarenMary Davalos. We are looking ahead to furthering this experiment that Professor Diaz instigated.

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Written by Ella Diaz, Cornell University

Lorraine García-Nakata: Navigating By Hand, an online exhibition of historically important Chicana artist Lorraine García-Nakata, was launched at the Museo Eduardo Carrillo in November 2013. This retrospective sampling of work, spanning several decades, was seeded by a separate exhibit I curated for the Mission Cultural Center for Latino Arts in San Francisco, that included her work. Over conversation, Lorraine and I found easy nexus regarding artistic practice as social change, public pedagogy, and Chicana aestheticism, evolving from 1960/1970s civil rights philosophies informing both professional and personal choices––values often absent in art institutions that default to viewing art minus the broader human context.

Lorraine García-Nakata, "Friends, No Matter What," Charcoal/Pastel On Paper, 7' x 4' 2” , 2008
Lorraine García-Nakata, “Friends, No Matter What,” Charcoal/Pastel On Paper, 7′ x 4′ 2” , 2008

When Lorraine asked me to write a curatorial statement for her solo exhibit, I agreed. The web-based format offered room for in-depth survey of her work that would identify and interpret its complexity and related cultural grounding. Being an artist, writer, and a museum professional, Lorraine shared that curatorial statements about artists of color often play it safe, hovering obvious descriptions of art, a historical idea, or repeating culturally flat references. Having read my published article, “Seeing is Believing: Visualizing Autobiography, Performing Testimonio: New Directions in Latina/o and Chicana/o Visual Aesthetic” (published 2011 in Chicana/Latina Studies: The Journal of Mujeres Activas en Letras y Cambio Social), Lorraine appreciated my view of Latina/o and Chicana/o visual and performance artists who push autobiographical literary boundaries and testimonio by telling their stories as collective experience, bearing witness to sociopolitical and historical events in non-written forms.

Testimonio literature is integral to Latin American and Chicana/o and U.S. Latina/a literary canon, offering an individual’s story reflecting a whole community, urgent human circumstance, and significance/meaning of daily life. Having scheduled a 2013 fall course at Cornell University on testimonio, along with my conversations with Lorraine, I designed curriculum engaging literary testimonio and alternative visual and performing art forms that would test boundaries of this literary genre.

From I, Rigoberta Menchú (1984), a canonical testimonio, to Latina Feminist Group’s formative anthology, Telling to Live: Latina Feminist Testimonios (2001), this course included testimonio as educational praxis, an important component of Chicano/a Studies pedagogy. Incorporating Lorraine’s body of work, the course linked to the Museo Eduardo Carrillo’s online exhibition launched in November 2013. After a semester of critical inquiry of the testimonio genre and visual analysis of 1960s and 1970s civil rights murals, students were adept in this literary form. With close review of Lorraine’s visual art and selected writings, students began writing (see Museo’s website archive) revealing how García-Nakata visualizes her story as a comprehensive experience, testifying to the power of everyday life. Students conveyed, in clear resonant voices, how Lorraine speaks to viewers through her life events, childhood innocence, hopes, vulnerability, desires in later years, and raising of children.

Student Photo: From left to right: Professor Ella Diaz, Sarah Proo, Ashley Elizondo, Carmen Martínez, Stephanie Martinez, Elizabeth Ferrie, Kerry Close, Eamari Bell, & Gabriela Leon. (Not pictured: Phoebe Houston)
Student Photo: From left to right: Professor Ella Diaz, Sarah Proo, Ashley Elizondo, Carmen Martínez, Stephanie Martinez, Elizabeth Ferrie, Kerry Close, Eamari Bell, & Gabriela Leon. (Not pictured: Phoebe Houston)

Working with an artist and a museum, I designed a dynamic, interdisciplinary pedagogy for students regarding genres of Latina/Chicana prose. Students considered ways we tell our stories beyond printed autobiography. Through interpretation of works by Lorraine Garcia-Nakata as narrative, they made insightful commentary that she digested and the public witnessed.

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Written by Lorraine García-Nakata, Artist        

Lorraine García-Nakata, "1950’s Self Portrait," Charcoal on Paper, 7’x 4’ 2”, 2008
Lorraine García-Nakata, “1950’s Self Portrait,” Charcoal on Paper, 7’x 4’ 2”, 2008

When young, I took myself through a disciplined process resulting in a clear understanding that my life required the creative process. From that point, it was never a question, rather a quest informing my life as an artist, parent, art/cultural specialist, and as a museum professional who introduced to the field progressive best practices linked to redefinitions of community, further evolution of curatorial and public programs, development of partnerships of mutual benefit and related reciprocity, and use of accurate terminology.

As Latino contemporary artistic work has become part of the broader aesthetic, I’ve expected research, interpretation, and related writing (from within and outside our culture) to delve the complexity of Latino cultures: Chicano(a), Uruguayan, Indigenous, Caribbean, Afro Cuban, Afro North American, other cultures of Latin America, and the growing population of mixed race contemporary youth that embrace all parts of their identity. I’ve also expected exhibitions to expand beyond, and not regularly default to, group or cultural holiday exhibits. When Cornell Professor Ella Diaz approached me about an exhibit focused on figurative art by women of color, I agreed to lend my work. As a next generation, first voice (from within the culture) scholar/curator, Ella was not afraid to critique periods of our contemporary Latino history (that later evolved), such as the gender-biased framework of early phases of the Chicano movement or initial perceptions/invisibility of our LGBT Latino population. Ella also possessed a capacity to witness, interpret, and scribe the nuance of my artistic work, which is not overt or linked to the “expected” Latino iconography or color palette.

When approached by the Museo Eduardo Carrillo regarding a solo online exhibition, I agreed only if Professor Diaz could write the curatorial statement. It also seemed important for the Museum Director, Betsy Andersen, and Ella to meet. An interpretive component was developed by Ella, which included a Cornell graduate seminar focused on my work. I was delighted that students would research my work in depth and produce individual writings. I was excited to read them. For an artist, museum exhibitions are important as well as research of one’s work by a key academic institution. Cornell student writings were published on the Museo’s website, adding another important educational/interpretive element. We all worked hard to mount this exhibit, and it was clearly of mutual benefit to the Museo, myself as artist, Professor Diaz as curator, and participating Cornell students. The online exhibition provided a multi-level experience for the viewing public and offered a forum for publishing research by our next generation scholars.

While I am active in the local/national community, my artistic work is not obvious or overt in its protest or politic, but it does testify. It also challenges assumptions about how we live, how we intend our action. Being an artist, writer, and musician can be solitary and hard work. It’s a responsibility. Yet, I have long since committed my life to this practice and it will continue to be how I navigate my life.

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Click the link below to read the essays written by nine undergraduate students at Cornell University who enrolled in Professor Ella Diaz’s fall 2013 course “Telling to Live: Critical Examinations of Testimonio.”

Read Essays from Cornell University Students

Lorraine García-Nakata, "Facio Nova Omnia II: Colonia" and "Facio Nova Omnia II: Indigena" (Diptych), Pastel on Paper, each 7’x 3’ 9” 2005
Lorraine García-Nakata, “Facio Nova Omnia II: Colonia” and “Facio Nova Omnia II: Indigena” (Diptych), Pastel on Paper, each 7’x 3’ 9” 2005

All Artwork ©2013 Lorraine García-Nakata protected under U.S. and International Law. Other than for exhibition related uses, no part of this material can be altered, reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without prior written permission of the copyright owner and artist, Lorraine García-Nakata/Lorraine García. This includes all rights now in existence or which may hereafter come into existence, including but not limited to authorship, documentation, lectures, or any other creation or presentation by Lorraine García-Nakata/ Lorraine García in any artistic medium, print, audio, electronic, video, CD ROM, photographic, digital, film, and any future medium.

ABOUT THE AUTHORS

andersenBETSY ANDERSEN: Founding Director of Museo Eduardo Carrillo, created to extend the artist’s work and compassionate legacy into the world.  Andersen received her Bachelor of Arts from University of California, Santa Cruz.  Since that time she has enjoyed being the host of a radio interview show devoted to the visual arts and has explored producing documentaries on regional artists.

emd233ELLA MARIA DIAZ: earned her Ph.D. in American Studies from the College of William and Mary, teaching several courses at William and Mary and developing the College’s first Chicana Literature course in spring 2005. Her research pertains to the interdependence of Chicano/a and U.S. Latino/a literary and visual cultures. Her dissertation, “Flying Under the Radar with The Royal Chicano Air Force: The Ongoing Politics of Space and Ethnic Identity” explores these intersections and, for this project, she received The College of William and Mary’s Distinguished Dissertation Award in 2010. She was a Lecturer in The School of Interdisciplinary Studies at the San Francisco Art Institute between 2006—2012. Her current book project explores the historical consciousness of a Chicano/a arts collective that produced major and canonical works of poetry, art, and literature. Diaz has published through Aztlán: A Journal of Chicano Studies, U.C. Santa Barbara’s ImaginArte, and in Chicana/Latina Studies: The Journal of Mujeres Activas en Letras y Cambio Social.

Lorraine-garciaLORRAINE GARCÍA-NAKATA: Since 1973, Lorraine García-Nakata has been a “pilot” with the world-renowned Sacramento Chicano artist collective, the Royal Chicano Air Force (RCAF). One of six original primary muralists, Lorraine was the only female artist asked to join her fellow pilots José Montoya, Esteban Villa, Juanishi Orosco, Stan Padilla, and Juan Cervantes in painting the renowned and historic South Side Mural located in Sacramento, California. Ms. García-Nakata is a recognized visual artist and has exhibited extensively since 1970 on a local, regional, national and international level. Adept in a range of visual arts medium, she is noted for her large-scale works in drawing and painting. Lorraine is also recognized for her command of mixed media, printmaking, installation work, ceramics, and sculpture.

Visitor participating with Kristen Cochran's "Notes to self" from the exhibition [IN]Translation
ARTIST WEBSITE:  http://kristencochran.com/home.html

Reflecting on a Hybridized Museum Practice

Editor’s Note: This post is part of a series on ArtMuseumTeaching.com during August that focuses on the recent book Multiculturalism in Art Museums Today (2014). Find links below to additional posts in this series by several of the book’s authors, and please join us for an Online Book Club via Google Hangout on August 20th.

Written by Marianna Pegno and Traci Quinn, University of Arizona

In our chapter entitled “Collaborating with Communities: New Conceptualizations of Hybridized Museum Practice” in Multiculturalism in Art Museums Today (2014), we explore Homi K. Bhabha’s ideas of hybridity and cultural translation as they apply to our own practices.  We focused on two programs — Peaceful Migrations and Giving Voice — wherein participant voice was key to creating content, programmatic structures, and exhibition design.  In this reflection we demonstrate how these guiding frameworks continue to inspire our practice as museum educators and researchers, and further explore how we utilized these ideas while developing an exhibition entitled [IN] Translation.  Focusing on the concept of hybridity, we reflect on three continuing issues:

  1. the difficulties of including many voices;
  2. persistent hierarchy and departmental separation in museums; and
  3. our desire to include the museum visitor as a key player in hybrid museum practice.

Bhabha (1994) explains hybridity as an act that “entertains difference without an assumed or imposed hierarchy” (p. 5).  Through this lens, we view the museum as a place of multiple meanings that produces a mixing and mingling of ideas, opinions, and creative visions. For museum educators, it can foster new ways of thinking about educational practice, programmatic structure, and exhibition content not as separate entities but as collaborating endeavors.   Thus, through the process of developing [IN]Translation, our goal was to work with audiences and artists to rethink how the museum pedagogy can be more experiential in nature.  We were working to transform the museum into an empowering environment that conversed with multiple narratives rather than simply our own curatorial or educational voice.

 Thoughts After Publication

InTranslation installation view
InTranslation installation view

We continue to grapple with hybridity as it relates to museum education and institutional structures.  In the development of educational programs we are trying to include as many voices as possible — which is not always easy.  We have continued working with refugee families who participated in Giving Voice to develop in-gallery activities in which participants collaboratively created narratives about artworks in the museum.  As a result, some of these reflections were affixed as a wall label next to the respective artwork, empowering refugee participants to display ideas about an artwork. While the institution has been more accepting of our work to reflect hybridity within the museum space, it is not as widely pervasive as we would like and only selectively displayed and included.

In relation, we constantly face inquiries and pushback from individuals and colleagues who are unfamiliar with the projects or who have no desire to make museum practice more collaborative across departments and with audiences.  The projects we discussed in the book chapter and the projects we continue to develop & research take significant effort and time in order to avoid falling back into the institutional habits of hierarchy.

Individuals that do not have a relationship with the projects are often reluctant to participate in shared planning – or simply cannot dedicate the necessary time. We believe that their experience in the field is invaluable to the success of collaborative efforts, and yet we are met with frustration when they remain separate from educational motivations and thus the program participants.

Another issue that emerged throughout the development of our chapter and ongoing practices was our inability to anticipate visitors’ responses to exhibitions and educational endeavors addressing racial, political, and cultural interpretations of hybridity.  When addressing such content, many visitors revert to stereotypical views that we are hoping to complicate through hybridized co-creation.  Thus, we have been pressed to develop new experiences in the gallery that foster hybridity within the audiences’ interaction with the museum space and artworks.   This idea of including visitor voice was one of the central components to the curatorial and educational design of [IN] Translation.

Thoughts on [IN] Translation

 Visitor participating with Kristen Cochran's "Notes to self" from the exhibition [IN]Translation ARTIST WEBSITE:  http://kristencochran.com/home.html
Visitor participating with Kristen Cochran’s “Notes to self” from the exhibition [IN]Translation
ARTIST WEBSITE: http://kristencochran.com/home.html
Through [IN] Translation, which was displayed in an exhibition space where were not beholden to a defined structure or hierarchy, we were able to explore these above concerns further and reflect upon our practice under conditions that fostered an ideal hybrid between education, curation, artist, and visitor voice.   More specifically, we designed educational installations to supplement the works of art, most of which included opportunities for visitors to add visual or text elements and share stories and reflections. The goal was for the works and the participatory elements to hold equal weight in the design of the exhibit.

[IN] Translation featured eight works of art: one commissioned multi-media work by collaborating curator and artist Anh-Thuy Nguyen, plus seven juried works.  The educational component of each artwork was planned with the artists throughout the development of the exhibition, in order to ensure that the artwork was not inappropriately changed or compromised by the educational elements.  This exhibition provided us an opportunity to challenge hierarchies within a gallery space. We were able to show how the multiple positionalities of educator, curator, artist, and visitor inform one another – migrate within, around, and through one another – in order to foster a different sense of a museum experience.

[IN] Translation was an opportunity to play with the boundaries that normally exist as impermeable divisions between curator, artist, educator, and visitor; we could question how these roles could be seen as transitional, or process based.  Within this exhibition we recognized how ideal this space was, especially considering that freedoms from hierarchical structures will not always be present in a more traditional museum or gallery setting. However, the instance of hybridity, in which these four voices were all present, gave way to dynamic conversations and learning opportunities and are worth noting for our future practice in more traditionally defined spaces.  As we evolve as researchers, museum educators, and collaborators, our goal is to continue to develop programming that positions experiential learning at the core of curatorial and educational design.

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ABOUT THE AUTHORS

TraciQuinnTRACI QUINN: Doctoral student at the University of Arizona in the department of Art and Visual Culture Education. Traci’s research focuses on museum and community-based education.  Currently, she is researching instances that challenge the hierarchical structure of museums and exhibition design and how exhibition and program can be collaboratively developed.  After working in museums and community-based organizations for over 7 years, Traci has experience in the various facets of museum education including: program development, docent training, grant writing, community outreach, and institutional partnerships.   As an art educator and a researcher, Traci is committed to the development of museum-based education as a catalyst for culturally rich and dynamic experiences.

MARIANNA PEGNO: Doctoral student at the University of Arizona in the department of Art and Visual Culture Education. Marianna’s research focuses on community and museum collaborations exploring instances of decentered authority and equitable partnerships. Having worked in museums for more than 8 years, Marianna has experience in museum management, educational programming, and curatorial practice.  She has developed inclusive museum programming including tours for the visually impaired, K-12 enrichment programs for at-risk youth, and a multi-visit program for refugee families.  In practice and research, Marianna aims to transform the museum into a community-centered institution, which is responsive to the voices of its constituency.

OTHER POSTS IN THIS SERIES:

“Building Canopies for Multiculturalism: (Re)Turning to the Visitor,” by Joni Boyd Acuff & Laura Evans

“It’s Not Always about You: Facilitating Critical Self-Reflection in Others,” by Keonna Hendrick

“Eggs, Oreos, and Solidarity: MCRP in Our Daily Lives,” by Melissa Crum

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Online Book Club Hangout (VIDEO)

On August 20th, ArtMuseumTeaching.com brought together a group of authors and editors of the book Multiculturalism in Art Museums Today for a live discussion via Google+ Hangout.  Those joining the Hangout included Joni Boyd Acuff, Marianna Adams, Briley Rasmussen, Alicia Viera, and Veronica Betancourt.  Please find the video archive of this conversation below, and enjoy!

Don’t Have Your Copy of the Book Yet?  No problem.  As part of this collaboration with Rowman & Littlefield Publishers through this series of posts about Multiculturalism in Art Museums Today, we are able to offer ArtMuseumTeaching.com readers a special discount.  To receive a 25% discount, go towww.rowman.com to order this book and enter the discount code: 4S14ACUEVA

crum-establishedmyths

Eggs, Oreos, & Solidarity: MCRP in Our Daily Lives

Editor’s Note: This post is part of a series on ArtMuseumTeaching.com during August that focuses on the recent book Multiculturalism in Art Museums Today (2014). Find links to additional posts in this series by several of the book’s authors, and please join us for an Online Book Club via Google Hangout on August 20th.

Written by Melissa Crum, PhD

Writing the chapter entitled “Multicultural Critical Reflective Practice and Contemporary Art” in the book Multiculturalism in Art Museums Today (2014) challenged Keonna Hendrick (Brooklyn Museum) and I to consider our roles as critical multiculturalists when our marginality is not the focus, and how multicultural critical reflective practice (MCRP) manifests in our daily lives. MCRP is an on-going theoretical framework and practice that requires educators to investigate and challenge their cultural beliefs and assumptions in order to become a more cognizant, critical, and culturally competent educator (Crum & Hendrick, 2014). We reflected on our experience and impact on teachable moments in and out of learning spaces.

In what follows, I explore how past traumas might be used to form allegiances with other marginalized bodies in order to offer Socratic engagement in microaggressions from others. As classroom and museum educators, our job is to offer new ways of thinking for our pupils and patrons when we discuss complex and emotionally wrenching topics. We often prepare for offensive comments from youth but not from adults. My reflection questions, what do we do when we hear uncritical comments from peers?

Eating Identity

I was attending a conference that marked the 50th anniversary of Freedom Summer of 1964. Freedom Summer was a project where over 1,000 volunteers from across the U.S. were trained to support Mississippians in non-violent disobedience to combat racist Jim Crow laws. The conference consisted of scholars, artists, and activists reflecting on the historic moment and imagining ways to organize for the future. Before the conference, three colleagues and I had brunch at a local restaurant that served an Asian twist on American dishes. When the waitress came to our table, a colleague asked the waitress’ opinion of the unique kimchi breakfast meal. The waitress offered a positive review and referred to herself as “an egg.” “Egg” is a metaphor for how she, a white woman, internalizes an Asian or “yellow” identity. Presenting herself as “an egg” was her way of aligning herself with Asian culture so we could view her food review as accurate. Upon her leaving, we questioned her statement, its purpose, and our role as scholars who critically interrogate presentations of identity. Each of us identify with different ethnicities – African-American, Mexican and Filipino, Pakistani, and Native American – and agreed that the statement was problematic. At the end of the meal, I decided to address the statement with her.

When she came to our table, I thanked her for the food review and great service. Then I said, “I have a question about a statement you made earlier. I was wondering what you meant when you said you were like ‘an egg.’” A bit flustered, she casually explained that it was a running joke and the restaurant owner, also a white woman, referred to herself as “an egg.” She added that the Asian cook also referred to her by this name. In between her retorts, I asked her a series of questions with a calm and genuinely inquisitive disposition absent of patronization: How did you expect us to feel after you made the statement? If any of us appeared Asian to you, would you have made the comment? If an Asian person were here, how do you think they would feel about your statement? Do you think Asians you encounter, like the cook, determine if your statement is appropriate? After some discussion, she noted that she is part Native American, reads Angela Davis, and concluded with an apology.

There were a few concepts at work in this moment: My empathy with other marginalized bodies and her assumed cultural clearance from them. I explained to the waitress that, “an egg” was similar to a Black person being labeled an “Oreo.” The idea that one’s exterior (skin color) contrasts their interior (cultural norms and sensibilities) doesn’t allow for complex identities and can be hurtful. But “egg” and “Oreo” are metaphors that operate in different ways.

“Oreo” is a derogatory term often used against African-Americans to signify the absence of language, mannerisms, and ways of life connected to stereotypical ideas of Blackness. To call a Black person an “Oreo” assumes they are mentally disconnected from a “true” Black identity and their supposed internalized whiteness makes them “safe” to those who may fear them. In contrast, the white of the egg hides any signs of difference represented by the yellow yolk. As a result, those who consider themselves “eggs” have the flexibility to hide or present their elements of difference on occasions that best suit their interests. Those who wear their difference on the outside (i.e. African-Americans) are not offered such leeway.

The white waitress referring to herself as an “egg” was not in an effort to demean herself in the way “Oreo” can. It was a way for her to validate her culinary tastes and do what bell hooks calls, ‘spice up the dull dish of whiteness’ (hooks, 1992). Calling herself an egg was her presentation of cultural clearance. For me, cultural clearance is a self-determined license to explore cultural tropes, stereotypes, and concepts through one’s own experiences as a way to make sense of one’s own identity and marginalized identities one chooses to appropriate. All cultural clearances require a back story to validate a connection to a foreign identity. The waitress’ back story – being “part Native American”, sharing the “egg” identity with the restaurant owner, the Asian cook using the term, and her familiarity with activist Angela Davis – was her way to align herself with marginalized bodies to validate her comment. As the white-owned restaurant is appropriating Asian flavors to “spice up” mundane American dishes, the waitress mimics the behavior in her self-presentation.

Our Responsibility

In practicing MCRP, we question individuals appropriating segments of culture and presenting them as identity accouterments to be displayed and removed at will. Such practices are reductionist in ways that do not allow for the cultural consumer to seek a deeper understanding of other cultures. Euphemisms like “egg” and “Oreo” are Enlightenment and Eugenic-eque attempts at categorizing identities, thus limits humanity. I believe, as an MCRP practitioner, I have the responsibility to speak up for other marginalized groups while locating my marginality in respect to theirs. At the restaurant, I connected to the trauma of African-American colleagues and students labeled “Oreo”, empathized with the absent Asian person whose identity was relegated to the consumption of fermented vegetables, and situated my identity along both groups in solidarity. Its important to do all three. If not, we risk supporting the causes of others to the detriment of our own. This solidarity acknowledges a larger interconnected social justice effort for which we are all responsible.

crum-changethemodel

MCRP can help us build solidarity so that we can imagine ways to organize for the future. As I continue to consider the role of MCRP in my daily life, I seek to operate in the spirit of the brave Freedom Summer members of CORE, SNCC, and their volunteers combating discrimination through critical education.

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 ABOUT THE AUTHOR

crum-headshotMELISSA CRUM: Founder of Mosaic Education Network, a consulting firm that provides services to companies, non-profits, and educators for arts-based diversity training and social justice curriculum. Crum earned her Masters of Arts in African American and African Studies and her PhD in Art Administration, Education, and Policy from The Ohio State University. She offers services to businesses, non-profits, educators and school administrators to address individuals’ self-perceptions and misconceptions of their employees, patrons, and students so that they work together to create an inviting atmosphere. Additionally, her work connects culturally appropriate curriculum, community-based problem solving, and arts-based methods to build innovative education strategies to help parents, teachers, and other community stakeholders to transfer their knowledge into curriculum regardless of their level of formal education. 

REFERENCES & RESOURCES

  • hooks, b. (1992). Eating the other. In Black looks (pp. 21-40). Cambridge, MA: South End Press.
  • Crum, M & K. Hendrick (2014) Multicultural critical reflective practice and contemporary art. In Multiculturalism in art museums today (pp.271-298). Lanham, MD: Rowman & Littlefield.

OTHER POSTS IN THIS SERIES:

“Building Canopies for Multiculturalism: (Re)Turning to the Visitor,” by Joni Boyd Acuff & Laura Evans

“It’s Not Always about You: Facilitating Critical Self-Reflection in Others,” by Keonna Hendrick

“Reflecting on a Hybridized Museum Practice,” by Marianna Pegno and Traci Quinn

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Online Book Club Hangout (VIDEO)

On August 20th, ArtMuseumTeaching.com brought together a group of authors and editors of the book Multiculturalism in Art Museums Today for a live discussion via Google+ Hangout.  Those joining the Hangout included Joni Boyd Acuff, Marianna Adams, Briley Rasmussen, Alicia Viera, and Veronica Betancourt.  Please find the video archive of this conversation below, and enjoy!

Don’t Have Your Copy of the Book Yet?  No problem.  As part of this collaboration with Rowman & Littlefield Publishers through this series of posts about Multiculturalism in Art Museums Today, we are able to offer ArtMuseumTeaching.com readers a special discount.  To receive a 25% discount, go towww.rowman.com to order this book and enter the discount code: 4S14ACUEVA

Hendrick-writing

It’s Not Always about You: Facilitating Critical Self-Reflection in Others

Editor’s Note: This post is part of a series on ArtMuseumTeaching.com during August that focuses on the recent book Multiculturalism in Art Museums Today (2014). Find links to additional posts in this series by several of the book’s authors, and please join us for an Online Book Club via Google Hangout on August 20th.

Written by Keonna Hendrick, Brooklyn Museum

Melissa Crum (Mosaic Education Network) and I came together to develop multicultural critical reflective practice (MCRP) as a protocol because we shared the belief that the decisions museum educators make about our teaching practice — such as the artwork to discuss, language we use, expectations we set for learners — are informed by our willingness to move beyond our individual interpretations and values. When we teach, we may create opportunities for our biases to shape and limit learners’ perspectives on artworks, peers, and themselves. MCRP is a theoretical framework and ongoing practice in which educators identify, analyze, and challenge the cultural beliefs, values, and assumptions that color our interactions with artworks and learners. Leading others through MCRP while writing about the practice has challenged me to re-address my biases while reflecting on how my perspectives and values impact our teaching. I have facilitated practical applications of MCRP with many groups; however, my experience training a small group of emerging educators in a mid-sized art museum in this practice greatly impacted my engagement in the process.

Developing Critical Self-Reflection in Educators

Keonna Hendrick challenges learners to think critically about cultural representations in art.  Photo by Jonathan Dorado , Brooklyn Museum
Keonna Hendrick challenges learners to think critically about cultural representations in art. Photo by Jonathan Dorado , Brooklyn Museum

In the first of a two part-session focused on developing critical self-reflection in educators, I asked each educator to write a short autobiography at home, reflecting on a moment of their lives and writing freely for 30 minutes. I met with each of them individually one week later to discuss the process and to consider how their personal narratives might inform their work in museum education. Although they were not asked to share the details of their autobiographies, several chose to tell me about their personal experiences. They explored relationships, events, and expectations that informed the way they saw themselves in the past and present. I knew when I assigned the exercise it might trigger difficult memories, hard feelings, and even trauma that might be challenging for both participants and myself to work through.

As I listened to their stories, I was incredibly aware of the trust they vested in me to receive their personal truths and to guide them as they considered the intersection between their personal and professional lives. They were vulnerable, honest, passionate, and confused. I found it necessary to be present and aware of my own biases and experiences, and to resist responding from the feelings they may evoke. There were some moments when values were expressed that were in direct conflict with my own, and I had to remind myself that no matter how difficult reflections can be to hear, the purpose of exploring MCRP is to identify and address our attitudes (no matter how negative).  It took courage for these educators to share their autobiographies — without any certainty of how I might respond — and to challenge themselves to think critically about their experiences. And it challenged me to listen without judgment and to respond with care while encouraging them to engage in deep reflection. While the educators commented on the success of the workshop, I couldn’t help but feel exhausted, wondering how Melissa and I might assist others in preparing to facilitate such delicate discussions.

Promoting Critical Self-Reflection in Our Practice

Facilitating exercises that promote critical self-reflection is hard work but it’s worth it. Just as museum educators should be aware of information, teaching strategies, and audience, facilitators of MCRP should be comfortable with and actively engaged in this practice. Witnessing the courage of the participants and facilitating MCRP with many participants individuals has urged me to delve deeper in my own critical reflective practice and to ask: Why have I been afraid to acknowledge certain aspects of myself and others? Identifying these fears and their origins helps me understand why my progressing self-awareness may have been stifled at times and charges me to take responsibility for working through those fears towards an improved cultural consciousness.

Creative Commons image from www.worldette.com
Creative Commons image from http://www.worldette.com

Identifying fear is no small feat. Even taking the first steps of facing those fears while admitting to behaviors and attitudes that negatively impact others can be incredibly difficult. When we offer MCRP as a resource to others for improved pedagogy, we become more accountable for our own failings as educators. Learning from my failures in teaching, forgiving myself for poor decisions, and continuing to engage in the work to address the limitations of my actions and knowledge are challenges I have encountered as a practitioner and facilitator of MCRP. Through journaling, reading both scholarly writings and personal narratives, and engaging in a monthly peer group, I have grown to recognize some prejudices that I had not previously explored as a result of ignorance and limited conversation. Although I am not proud of these prejudices, my ability to acknowledge and work to overcome them has enabled me to be more patient with others and myself. It has helped me engage in an ongoing practice of forgiveness for others and myself. Educators may make poor choices from time to time; however, resisting the temptation to rest complacently in those decisions and repeat them with learners and with artworks disrupts educators’ potential to support learners in becoming self-actualized and expanding our cultural perceptions.

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 ABOUT THE AUTHOR

HendrickHeadshotKEONNA HENDRICK: Senior Museum Educator at the Brooklyn Museum, Hendrick oversees the 10-month Museum Education Internship Program, a professional development opportunity for emerging museum educators working with school, youth, family, and adult audiences. She has also worked as a Family Programs Educator at the Museum of Modern Art and served as a board member for New York City Museum Educators Roundtable and Classical Contemporary Ballet Theatre. She holds a B.A. in History and Studio Art from Wake Forest University and a M.A. in Arts Policy and Administration from The Ohio State University. Hendrick is an innovative museum educator and arts administrator who develops practical applications for big picture ideas and issues. She is committed to exploring the transformative nature of art-centered experiences, promoting cultural understanding across communities, and engaging adults, children and adolescents in personally relevant experiences.  Keonna’s postings on this site are her own and do not necessarily represent the Brooklyn Museum’s positions, strategies, or opinions.

OTHER POSTS IN THIS SERIES:

“Building Canopies for Multiculturalism: (Re)Turning to the Visitor,” by Joni Boyd Acuff & Laura Evans

“Eggs, Oreos, and Solidarity: MCRP in Our Daily Lives,” by Melissa Crum

“Reflecting on a Hybridized Museum Practice,” by Marianna Pegno and Traci Quinn

*     *     *     *     *

Online Book Club Hangout (VIDEO)

On August 20th, ArtMuseumTeaching.com brought together a group of authors and editors of the book Multiculturalism in Art Museums Today for a live discussion via Google+ Hangout.  Those joining the Hangout included Joni Boyd Acuff, Marianna Adams, Briley Rasmussen, Alicia Viera, and Veronica Betancourt.  Please find the video archive of this conversation below, and enjoy!

 

Don’t Have Your Copy of the Book Yet?  No problem.  As part of this collaboration with Rowman & Littlefield Publishers through this series of posts about Multiculturalism in Art Museums Today, we are able to offer ArtMuseumTeaching.com readers a special discount.  To receive a 25% discount, go towww.rowman.com to order this book and enter the discount code: 4S14ACUEVA

MA-SURVEY

Evaluation Can Be Fun

Written by Marianna AdamsAudience Focus, 2014 Educator-in-Residence at the Isabella Stewart Gardner Museum

Cross-posted from mariannaadams.blogspot.com

One of the great luxuries I value about my time here at the Gardner Museum has been the opportunity to have rather leisurely and unstructured conversations with museum educators here and at other museums in the Boston area. I appreciate the value of not always having an agenda and not needing to solve a problem. We bounced ideas off each other and I always came away with a fresh perspective, a deeper conviction in my intuition, and lots of new ideas. Our talks often meander around the relationship between a museum experience or program and how we choose to evaluate it. A few themes have emerged from the conversations so far.

There is Life Beyond the Survey

MA-SURVEYOver the years I have not made a secret of how much I don’t like written questionnaires, paper or online, despite how much I end up using them on evaluation projects. Why? The written survey is the most difficult methodology to do well. It’s the default methodology that most people think of when planning an evaluation and most of them are tedious and poorly focused. It’s a blunt instrument that cannot capture much in the way of subtlety and nuance (and life is so much about nuance). In recent years, with the plethora of online survey programs, we are drowning in surveys so survey-fatigue is a reality. Most surveys are really asking for the visitor to tell us that we did a good job (e.g., How satisfied were you with this experience?) and not enough about how the visitor values or benefits from the experience. Besides, the written questionnaire usually does not reflect the spirit of the experience we’re trying to evaluate, bringing me to my next point.

Match the evaluation method to the experience.

Imagine yourself at a museum’s “evening hours” event. There is a great band, wine, engaging activities going on throughout the galleries, good friends, and a happy crowd of people of all types and ages. The atmosphere is both relaxing and energized at the same time. As you stroll towards the door to leave the museum, someone hands you a piece of paper. It’s a survey asking you to evaluate this time you just had and it smacks you out of the pleasant, liminal state you spent several hours dropping into. That’s an example of how the survey methodology is not well matched to the quality of the experience you just had.

So what methodology might better align with the evening program experience you imagined yourself attending above?

First you start with what you want to know and why.

So often we select the methodology before we figure out what we want to know and why. We decide on surveys or focus groups when those may or may not be the best ways to collect the data. Often we collect more data than we know what to do with. Here’s an example that came up in a recent conversation:

Like many art museums, the Gardner offers several community nights with free admission throughout the year and these events are very well attended. Primarily, the Gardner wants to know if these events are indeed attracting people from communities close to the museum. Yes, we could easily get zip code information via a written questionnaire. The problem is that we tend to throw in a lot of other questions that we don’t really need the answer to. The other area of inquiry the Gardner would like to know about revolves around how visitors connect to the museum. So let’s keep those two data points in mind, residence and connection, as we think about how to get useful information.

Think creatively about ways to get that data and match it to the spirit of the experience.

How could we get zip code data and not make people fill out a survey?

Imagine a big map (maybe near the wine bar because most everyone would go there), with zip code areas and neighborhoods clearly identified. Give people a small colorful adhesive file folder dot and invite them to put it on their zip code. It becomes a fun, social activity and, for some reason, people like to find themselves on a map. It’s simple and inexpensive. At the end you have a picture of the zip code distribution of your audience. You could do this for other evening events and compare the maps.

MA-response wall

What about the ways visitors connect to the museum?

One methodology that I love to experiment with is embedded performance assessment. This means that visitors don’t realize they are providing evaluation data, even when we tell them, because the process is engaging on it’s own. At a workshop for the Gardner Museum education staff this week, artist-in-residence Paul Kaiser inspired us all to explore new ways to engage visitors and possibly end up with some interesting evaluation data.

MA-galleryPaul first introduced us to the concept of collaborative writing, using the example of Japanese renga poetry. He then provided us with a set of words —  rising, distant, enclosed, fold, release — and asked us to take the spirit of renga into the galleries, substituting the verses for objects, spaces, or views based on that set of words. We did it and were struck by how beautifully the experience honored the spirit of what Mrs. Gardner did in the ways she arranged objects to suggest ideas or relationships.

We played with ways to use this activity with visitors, discussing ways to engage families and adult visitors at community nights in something similar. Perhaps if we created a more playful set of words to match the feel of these events, visitors would find it enjoyable. We brainstormed possibly having a place where people could post their responses and read what others thought about. Having these responses could be a rich data source that helps us better understand ways that visitors make connections to the museum. We were jazzed!

What are some unconventional ways that you have collected rich and useful data about the visitor experience?

OTHER POSTS IN THIS SERIES:

Towards a More Mindful Practice

Falling in Love with Your Visitors

Barriers to Family Engagement in Museums

*     *     *     *     *

ABOUT AUTHOR

AdamsMARIANNA ADAMS is President of Audience Focus Inc. Her professional roots began in K-12 public and private school teaching (fine art, English literature, social studies, and special education) and segued into museum education where she headed several education departments in Florida museums. She founded Audience Focus Inc., in 2007 after 12 years of conducting evaluation, research, professional development, grant proposal writing, and concept development for the Institute for Learning Innovation. Her degrees are from George Washington University (Ed.D.), University of South Florida (M.A.) and Mercer University (B.A.). In her spare time she is an avid yoga practitioner and teacher.

MoMA Education_2012_SMALL

Barriers to Family Engagement in Museums

Written by Marianna Adams, Audience Focus, with Elizabeth Margulies, Museum of Modern Art

Cross-posted from mariannaadams.blogspot.com

All three families scheduled for last week had to cancel or reschedule so it gave me some time to think and have some great conversations with museum educators around the country. What emerged as a theme for me this week was thinking about challenges to facilitating exciting, authentic co-participation in family experiences. I’ve invited Elizabeth Margulies, Director, Family Programs and Initiatives, at MoMA to chime in as she has some valuable reflections to share.

MoMA 1

Since 2004, the USS Constitution Museum has been actively involved in experimenting with and evaluating techniques that foster family engagement. Currently their IMLS-funded project “Engage Families” seeks to identify characteristics of family programming that result in active intergenerational engagement, enjoyment, and learning in museums and libraries. To assist that effort, I implemented an online survey of museum and library professionals around the country in November 2013. Two key findings emerged that will be the focus of this post: 1) professionals value and want to create fun, authentic, opportunities for visitors of mixed ages and interests to co-participate and learn together; 2) accomplishing this comes with many challenges. We want to address two frequently cited challenges here.

1. It’s Really About What You Value

MoMA 3The most frequently cited barrier to achieving their vision for engaging family programs in the USSCM study was lack of resources – specifically time, money, space, and/or staff. Interestingly, whenever I ask museum professionals what prevents them from doing anything this is often the first response. For me, these resources will always be in limited supply, therefore, they become expressions of what we value. For example, we might say that regular exercise is important, but unless we really value it, we will not juggle our personal budgets and complex schedules around to get to the gym or that yoga class.

MoMA is proactively addressing how family programs are perceived and value within the organization by engaging in a cross-departmental dialogue.

As Elizabeth Margulies explains:

Retail, Publications, and Education began meeting over a year ago to see how we might build on the success of some publications written by Education and developed by Retail. In our conversations we realized that we could use some help defining what we all wanted and we hired an outside consultant, Stephen Gass of The Gass Company to work with us. The goal is to articulate the personality and voice of the programs, experiences, and products MoMA creates for kids and families along with the values that drive our decisions. It’s been gratifying to find that everyone thinks this is a worthwhile effort. We wouldn’t have known how important everyone felt the child/family audience was if we didn’t bring them all together to discuss it.

If lack of resources tends to be your main reason as to why you don’t have the kind of family experiences you say you want, then this is where your work has to start.

What are ways that you have been able to shift the culture of your organization towards a more family-friendly position?

2. But Parents Won’t or Don’t Want to Participate!

Museum and library practitioners express concern and even frustration at not being able to get the adults to engage or to engage “properly.” This always raises the question “What is proper?” When I have felt like being the “bad” grandparent and check my phone, it’s mostly because I’m bored. Either I’ve been separated from my wonderful granddaughters or what we are being asked to do is uninspired and/or disconnected from what’s important in the artwork.

It always comes back to intention. If we want co-participation across generations then everything we do has to support that intention. I’ve heard from that when they clearly and consistently communicate the expectation that adult caregivers participate, they have better engagement within the groups.

Certainly we want families to feel comfortable doing what they feel is best. There always needs to be room for groups to engage as much or as little as they want. As the educators at MoMA and the American Museum of Natural History advise, if we communicate clear intentions early and often then we will see more co-participation and enjoyment. More importantly, if what we are asking groups to do is compelling then there will be more engagement. Studies suggest that some parents want to hand over the experience to the program facilitator. We always have to graciously accept that some people don’t want the experience we’ve provided. In that case, if we are true to our intentions they will self-select other programs that better suit their needs. It’s also why a variety of youth and family programs is advisable.

MoMA Education_2012_SMALLBut enough about the parents/caregivers. I want to focus more on the responsibility of the museum educators who deliver experiences designed to encourage co-participation and engagement. Some museums are able to hire experienced museum educators for their family programs, giving greater consistency and depth to the experiences. For many museums, family programs seem to be shuffled off to the youngest, least experienced facilitators who are given almost no mentoring on how to engage intergenerational audiences effectively.

In the UK Kids in Museums is “compiled entirely from visitors’ comments. It’s a practical and powerful tool to encourage and support museums, galleries, and historic houses around the country” to more successfully engage family audiences. For example, a few points from their Manifesto speak to the importance of the educator’s approach:

  • Be positive and do away with the word ‘No’. Tell visitors what they can do at the door, don’t pin up a list of things they can’t.
  • Share storieswith each other. Listen. Families can be experts too.
  • Don’t say ssshhhush! If kids are being noisy, ask yourself ‘Why?’ Is it because they’re excited? Great! Then capture that excitement. Is it because they’re bored? Then give them something meaningful to do.
  • Say ‘Please touch!’as often as you can. Everyone finds real objects awesome. Direct kids to things that can be handled, teach respect and explain why others can’t.
  • Give a hand to grown-upsas well as children. Sometimes it isn’t the kids who are shy – parents need your support too. Produce guides, trails and activities so everyone can join in.
  • Be aware of different families’ needs.Use your imagination with signs, symbols, and words understood by all. Design everything you offer to be equally accessible to disabled and non-disabled visitors alike.

The educators for MoMA’s family programs have developed a range of guidelines and self-evaluation tools to support their family educators. Most importantly, family program facilitators are asked to:

Reevaluate. After your program, think about why families might not have participated as you hoped. Possible reasons:

  • Adults didn’t know they were expected to participate;
  • Adults weren’t asked to participate or work with their child until too late in the program;
  • Instructions weren’t clear about what parents were supposed to do, or the activity, discussion was too difficult (even for the adults);
  • The gallery has too many distractions or logistically doesn’t give families enough room to do what you’ve asked;
  • There is a language barrier;
  • Families couldn’t hear you.

PLEASE SHARE

What strategies do you use to facilitate greater co-participation within and across family groups?

OTHER POSTS IN THIS SERIES:

Towards a More Mindful Practice

Falling in Love with Your Visitors

Evaluation Can Be Fun

*     *     *     *     *

ABOUT AUTHORS

AdamsMARIANNA ADAMS is President of Audience Focus Inc. Her professional roots began in K-12 public and private school teaching (fine art, English literature, social studies, and special education) and segued into museum education where she headed several education departments in Florida museums. She founded Audience Focus Inc., in 2007 after 12 years of conducting evaluation, research, professional development, grant proposal writing, and concept development for the Institute for Learning Innovation. Her degrees are from George Washington University (Ed.D.), University of South Florida (M.A.) and Mercer University (B.A.). In her spare time she is an avid yoga practitioner and teacher.

moma Elizabeth Margulies - HeadshotELIZABETH MARGULIES, Director, Family Programs and Initiatives, Department of Education, joined The Museum of Modern Art in 1999. Elizabeth designs, develops and oversees MoMA’s wide array of Family Programs and resources including gallery talks, workshops, artist talks, film programs, digital projects, activity cards, games, audio guides and the Museum’s interactive space, MoMA Art Lab. She collaborates with MoMA Retail and Publications, on children’s books and products, and in 2010 with Cari Frisch, co-authored, Make Art, Make Mistakes: A Creativity Sketchbook. In 2012, she collaborated with colleagues in Education, the Museum’s Digital Media and Graphic Design Departments, and Rendor Monkey, to launch MoMA Art Lab, an app for the iPad. The app won a 2013 Webby Award in the Education & Reference (Handheld Devices) category, and a Parent’s Choice Silver Honor for app design. Before coming to MoMA, Elizabeth worked in theatrical and television production. She holds a B.S. in Theater from Skidmore and a Master’s of Education from Bank Street College of Education. Elizabeth has taught in both public and private schools in New York.

tapestry-small

Falling in Love with Your Visitors

Written by Marianna AdamsAudience Focus, 2014 Educator-in-Residence at the Isabella Stewart Gardner Museum

Cross-posted from mariannaadams.blogspot.com

I know this sounds a bit too new-agey but it’s what keeps coming up for me after my first full week in my residency at the Gardner Museum. Three families came to the museum this past week and the best way I can describe the experience is that I just fell in love with all of them. They arrived so excited and in good spirits, even if some of the children were a bit wary at first.  Their openness to new experiences reminded me to be more open in turn  to their unique ways of visiting and looking at art. A few reflections are shared below (while the experience are real, the names of the family visitors have been changed).

It’s About Choice & Control

One of the first things I learned from my mentors, John Falk and Lynn Dierking, was that visitors like and need choice and control in their museum experience. When I checked back with the families a day or so after their visit, the one consistent remark was how much they liked doing their own thing. Cole (age 10) told his mom, who had not been able to come to the museum, that he liked the visit because “they let us do whatever we wanted.”

tapestry-smallOne thing visitors like to choose is the pace. Eva, who visited with her two sisters, and her grandniece, Suzie, (age 7) and grandnephew, Chuck, (age 12) said she liked the “very relaxed pace” of the visit and added “this is a great way to come to the museum together.” A rather quick and focused pace was set by 8-year-old Zuri because she wanted to use the family guide, while her father and brother, Cole, (age 10) were happy to keep up. In another family, Baylor (age 10) had recently discovered audio guides and he immediately plugged into one during the visit. This slowed the pace down considerably. As his mother wrote to me the next day, “Using the audio guide really clicked in for Baylor last summer, and has totally changed our museum experience, allowing us both to have more private and quiet looking times as well as more social looking.”

Kids See the Darndest Things

I am continually fascinated by what draws children’s attention and this week’s visits were no exception. Typically it is not what educators tend to include on tours. For example, Suzie was first taken with the missing head on a statue in the courtyard. Throughout the visit she commented on how many statues were missing heads and arms. This caused us all to heighten our attention to what was missing. When we passed along a hallway to go upstairs she paused at a niche housing several stone and marble heads a long with a sculpture missing all limbs and the head. She said, “Oh, so this must be where they keep the heads” and calmly walked on.

combined headless & heads

Because the Gardner is one of the few museums lit primarily by natural light, and there are many cases with small, fascinating objects and notes, sometimes things can be difficult to see. Even though, there were opportunities in all the groups where they were straining to see something they did not ask to use the flashlights. or magnifying glasses. Sometimes I would shine the light where they were looking and everyone in the group would gather round and spend more time looking and talking. Reports from families a few days after the visit suggested that the flashlights were a big hit, even though they never directly asked for them.

combined magnify flashlight

They “Stumped the Chumps

Children frequently stumped us all with their insightful questions that we couldn’t answer. When that happened, all of us, adults and children, got involved in the conversation, equally contributing bits and pieces of what we knew and speculating on all the possible answers. Yes, I could analyze these interchanges and point to how they are modeling critical thinking, good inquiry, and how children need to see that no one has all the answers, but I’m not. They were just beautiful moments of people coming together and puzzling out something. I want to leave it at that.

What About Content?

It’s challenging for educators to intentionally lighten up on content in any museum experience, even though research continually finds that family motivations for museum visits is NOT to learn new knowledge. Families seek an enjoyable time together that serves as a sort of family glue, creating memories that they continue to share. Certainly parents and children like to learn things but it’s not the focus or reason for their visit.

At the beginning of the visits this week, I let families know that I did not have any plans for them, I just wanted to wander around with them, that I didn’t know the collection but there was a Gardner Museum educator with us in case there was anything they wanted to know.  Having a knowledgeable person with us proved to be a popular feature for families, for when questions came up Julia Brucker and Michelle Grohe were there. I’m grateful for their skilled ability to know just when and how much to engage so that the experience stayed in the family and was not diverted to the educator. That said, the families did not automatically think to ask the educators when a question arose. In most cases, after listening to families wonder out loud about something, I suggested asking the museum educator, which they eagerly did and it enlivened the conversation. I’m not sure why this is the case and together with families enjoying but not asking for the magnifying glass and flashlight, it feels like a pattern might be emerging. I will see if it continues in this week’s visits.

talking with volunter and elbow of hanger-onAt one point a group intercepted a gallery volunteer roaming the gallery for just this purpose. The volunteer noticed that Suzie and Chuck were interested in a silver encased ostrich egg and talked to them about it. This brief interchange warmed my heart as the volunteer was focused totally on the group’s interest and experience. She had no agenda except to facilitate visitors’ interest.

Implications for Practice

Realistically we can’t accompany every family group in this way, but it feels increasingly important that we, as educators, connect with audiences on more than an intellectual level. Finding practical ways to fall in love with the visitors seems key to me. When we connect with visitors on a deeply human level then the way we design experiences will change. When we start to see visitors as thoughtful, insightful friends who are eager to explore what the museum has to offer, we stop seeing them as security risks or potential dollar signs. I invite you to find your own ways to authentically connect with your visitors and share what happened.

Note: All the photos were taken with Blynk a tiny time-lapse camera during the family visits. This little gadget is now my new best data-collecting friend. And the “Stumped the Chumps” reference is a nod to Car Talk.

OTHER POSTS IN THIS SERIES:

Towards a More Mindful Practice

Barriers to Family Engagement in Museums

Evaluation Can Be Fun

ABOUT AUTHOR

AdamsMARIANNA ADAMS is President of Audience Focus Inc. Her professional roots began in K-12 public and private school teaching (fine art, English literature, social studies, and special education) and segued into museum education where she headed several education departments in Florida museums. She founded Audience Focus Inc., in 2007 after 12 years of conducting evaluation, research, professional development, grant proposal writing, and concept development for the Institute for Learning Innovation. Her degrees are from George Washington University (Ed.D.), University of South Florida (M.A.) and Mercer University (B.A.). In her spare time she is an avid yoga practitioner and teacher.

Figure 1: I did this awkward little drawing as a composite memory of many family programs in different museums. While this is from my experience, try a Google image search for "family programs in art museums” and you will find, amidst lots of pictures of kids making art, some images that have this same basic choreography. Yes, the odd tilt of the painting bothers me too.

Towards a More Mindful Practice

Written by Marianna AdamsAudience Focus, 2014 Educator-in-Residence at the Isabella Stewart Gardner Museum

Cross-posted from mariannaadams.blogspot.com

Amid many possible areas of exploration I considered for my residency at the Gardner Museum, I decided to see if I can bring more mindfulness to my own thinking about families in museums. Through my research and evaluation on families in many types of museums and my experience taking my granddaughters (currently 6 & 7 years old) to museums, I have been struck by what Ellen Langer refers to as “mindless” practice. It’s when we keep doing the same thing over and over without questioning the underlying pedagogy or assumptions. We stop paying attention and go on autopilot. Nothing very interesting can happen in that place.

I know that there are increasing examples of innovative and thoughtful work by museum educators in the area of family programs and I encourage you to share those ideas with us here. Yet over the years of both watching and participating in family museum programs three key questions keep emerging for me.

Where is the family in family programs?

Figure 1: I did this awkward little drawing as a composite memory of many family programs in different museums. While this is from my experience, try a Google image search for "family programs in art museums” and you will find, amidst lots of pictures of kids making art, some images that have this same basic choreography. Yes, the odd tilt of the painting bothers me too.
Figure 1: I did this awkward little drawing as a composite memory of many family programs in different museums. While this is from my experience, try a Google image search for “family programs in art museums” and you will find, amidst lots of pictures of kids making art, some images that have this same basic choreography. Yes, the odd tilt of the painting bothers me too.

First, what is billed as a family program often turns out to be a program for kids but the parents/caregivers have to stay with them. Adults are rarely engaged in a meaningful way and connections within the social group are neither acknowledged nor fostered. For example, when a family program facilitator takes families into a gallery, they often sit the children on the floor and the adults (either because they don’t really know what else to do or because they don’t want to sit on the floor) stand around in a semi-circle behind the kids. For me, this is a clear example of an invisible pedagogy. We are teaching adults that this experience is for kids and adults need not participate. When I talk with family program educators, they usually say they want adults to engage in the program. Sometimes they go so far as to imply that it’s the fault of the parents, as in “They won’t get off their cell phones.” Having been one of those adults at a family program who dearly wanted some sort of diversion and thought often about pulling out my phone, I ask, “What are we offering to the adults that is more interesting than their mobile devices?”

A host of questions emerge for me that I would love some e-conversation about: Why do we repeat this model over and over again? Does our training push us towards a developmental model where we know only how to program towards children or adults, but not both at the same time? Is the skill of encouraging parent child engagement one that is better fostered through other disciplines and thus should we be looking at best practices in other disciplines such as social work or psychology?

Why do we use a school model of discussion and interaction in family programs?

I’ve watched many well-meaning facilitators sit or stand in front of a work of art and make eye contact with the children almost exclusively. Not only does this tell parents to stand back but children quickly figure out that they are supposed to look at the facilitator and most of them conform. Children are asked questions and they raise their hand to answer, just like in school. Families tend to have fluid conversations, a lot of give and take, and while we might remind a child to not interrupt we rarely ask our children to raise their hands when having a conversation around the family dinner table. Why then do we default to the school model in the museum experience?

Even more frustrating is that this school model draws attention away from the objects and instead focuses attention on the educator. I’ve taken time-lapse photos and the average time spent looking at the art when sitting in this configuration is about 2-3 seconds – total, unless of course a child is not paying attention to the facilitator and looks at the art anyway.

How does the experience leverage the uniqueness of the museum?

The most important issue for me is that too many of the activities we offer in family programs don’t maximize the value of what the museum has to offer.

Engaging people of all ages in hands-on activities in the galleries can be a wonderful way to guide them into a deeper appreciation of the artwork. Yet, I’m concerned because too often the activities don’t connect very well with the artwork or the way the artist worked. I keep asking, “Why is this activity happening in the museum?” Most of what I see could be done anywhere and, sometimes, would be more effective without the visual distraction and noise of the gallery. I wonder, do we continue to under-maximize the uniqueness of the museum because we aren’t clear on what that is? Or do we operate on the assumption that families aren’t able to grasp it?

What will be my focus at the Gardner Museum this summer?

Figure 2: Sam Bates a.k.a. Smug, Girl with Magnifying Glass, Glasgow, Scotland.
Figure 2: Sam Bates a.k.a. Smug, Girl with Magnifying Glass, Glasgow, Scotland.

As I continued to think about these issues I realized I was focusing only on how the educators planned and implemented programs. I began to wonder if I, too, have gone on autopilot. I know what kind of family experiences I’d like to see in the museum but, as I frequently warn my colleagues, using ourselves as a representative for the general visitor is not very smart. So, during the month of July I’ve invited families to come to the Gardner and allow me to accompany them.

I won’t have an agenda, lesson plan, protocol, notebook, or audio recorder and I plan to allow both the “educator me” and “evaluator me” to recede to the background. I want to explore facilitating “with” families rather than “for” them. I want to pay more attention to invisible pedagogies – both how the physical space itself instructs and how actions from people (me included) communicate behaviors and attitudes. I will invite the families to begin where they want to. I will have a few things with me, such as a flashlight for dark corners, some sketching materials, and magnifying glasses but I may not ever pull them out. I’m imagining, for instance, that as conversations evolve the need for things like that magnifying glass will naturally arise and I will, much like Mary Poppins, slide it out and hand it to the adults so they can facilitate the experience for their family.

Admittedly I’ve had moments of near panic just thinking about the unstructured quality of this experience. I have no idea what will happen and have to trust that if I stay mindful, sensitive, and observant that I will notice new things and be filled with wonder. I’ve invited local museum educators to come hang out with me. They can’t bring notebooks either and they have to agree to talk with me afterwards and write up a reflection of their experience.

The family visits begin on Wednesday, July 9. Meanwhile, I invite your comments. I hope I’ve raised some hackles one way or the other. If everyone is nodding in gentle agreement then I haven’t pushed enough buttons.

OTHER POSTS IN THIS SERIES:

Falling in Love with Your Visitors

Barriers to Family Engagement in Museums

Evaluation Can Be Fun

ABOUT AUTHOR

AdamsMARIANNA ADAMS is President of Audience Focus Inc. Her professional roots began in K-12 public and private school teaching (fine art, English literature, social studies, and special education) and segued into museum education where she headed several education departments in Florida museums. She founded Audience Focus Inc., in 2007 after 12 years of conducting evaluation, research, professional development, grant proposal writing, and concept development for the Institute for Learning Innovation. Her degrees are from George Washington University (Ed.D.), University of South Florida (M.A.) and Mercer University (B.A.). In her spare time she is an avid yoga practitioner and teacher.

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What Might Museums Look Like in the Future? NMC Virtual Symposium

Submitted by Alex Freeman, Director of Special Projects, New Media Consortium

The New Media Consortium’s upcoming Future of Museums Symposium will bring together a collaborative global conversation around issues of technology, museums, and the future. This free, online Virtual Symposium will be held on Wednesday, July 23rd, 2014, and will feature keynote speakers and crowdsourced presentations by your peers.

unnamedAs its name suggests, the Symposium looks toward the future: what might the museum world look like in five years? Ten? Further out? Technologies and practices that are just beginning to show promise in an educational or social context may well be commonplace in that time frame. In this day-long event, we are bringing the research and work behind the NMC Horizon Report 2013 Museum Edition to the greater museum community. The Horizon Report’s advisory board participates in thoughtful discussions about an array of museum technology topics, trends, and challenges in the museum wiki that informs the writing of the report — this virtual event will give participants an opportunity to engage in similar discussions with museum thought leaders in real-time.

The Symposium grows from the NMC’s Emerging Technologies Initiative, which seeks to answer the question of how to keep abreast of emerging technologies that may be important to our collective work as educators. At the core of this initiative is a focus on emerging technologies and the ways they can be applied in the service of teaching, learning, research, and creative inquiry. A major goal is to stimulate systematic thinking and discussion of the real challenges that face our world and our society, and in particular, how emerging technologies might be applied to solve them.

The program will run from 11am to 6pm ET and is going to consist of an opening keynote by Jasper Visser, a lunch Keynote by Nik Honeysett, and a closing keynote by Nancy Proctor with a variety of small group discussions based around topics in the latest NMC Horizon Report > Museum Edition  (BYOD, crowdsourcing, location-based services, and makerspaces).

In the past we have utilized platforms such as Second Life to bring our international community of practice together, but for this special museum edition we are exploring the online communication tool Business Hangouts which shares similar functionality to Google Hangouts On Air. A virtual symposium offers many of the affordances of a face to face conference without the need for travel.

To register for this event please visit: http://go.nmc.org/SympReg

Keynotes and Panelists include:

Jonathan Carfagno, Director of Learning and Audience Engagement, Grand Rapids Art Museum (USA)

Lath Carlson, Vice President of Exhibits, The Tech Museum of Innovation (USA)

Marc Check, Associate Vice President, Information and Interactive Technology, Museum of Science, Boston (USA)

Jennifer Corriero, Executive Director, Taking It Global (Canada)

Alex Freeman, Director of Special Projects, New Media Consortium (USA)

Barry Joseph, Associate Director for Digital Learning, American Museum of Natural History (USA)

Jeffrey Inscho, Web + Digital Manager, Carnegie Museum of Art (USA)

Vivian Kung, Former Director and CEO, Balboa Park Online Collaborative (Japan)

Elizabeth Merritt, Founding Director of the Center for the Future of Museums, American Alliance of Museums (USA)

Nancy Proctor, Deputy Director for Digital Experience at the Baltimore Museum of Art and Co-chair of the Museums and the Web annual conference (USA)

Ed Rodley, Associate Director of Integrated Media, Peabody Essex Museum (USA)

Sarah Stierch, Susan B. Miller Fellow,  Berkeley Center for New Media (USA)

Mariano Ulibari, Founder and Director, Parachute Factory Makerspace (USA)

Jasper Visser, Author of Digital Engagement Framework and blogger at “The Museum of the Future” (The Netherlands)

Elycia Wallis, Manager, Online Collections, Museum Victoria (Australia)

Holly Witchey, Director, the Wade Project, Western Reserve Historical Society and Faculty of Museum Studies at Johns Hopkins University. (USA)

A Forum for Reflecting on Practice

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