For the past 4 years, Chinese artist Yang Weidong has posed a deceptively simple question to over 300 Chinese intellectuals: “What do Chinese people need most today?” These wide-ranging interviews have now become the core of a book by Yang as well as a in-progress documentary film titled “Xu Yao” or “Need” in Chinese, and “Signal” in English. As for their answers … “Of China’s thinkers,” Yang tells NPR’s Louise Lim, “more than 95 percent of those I interviewed need freedom, though they used different ways to express this.”
“Freedom of speech,” “freedom of expression,” and “free space for creative work” are combined with other responses in which people talked about the need for faith or spiritual life. As the Sydney Morning Herald’s John Garnaut succinctly puts it, Yang’s project is about “China’s thirst for freedom.” His simple question opened up some really powerful conversations with China’s intellectual and creative class about sincere needs and legitimate concerns — conversations that, interestingly enough, have not yet been shut down by the Chinese government (despite repeated searches of Yang’s home and after some of the interview tapes have been confiscated).
Taking the spark of motivation from Yang’s inspiring and ongoing “Need” project, I recently decided to develop an experimental prototype that would explore how museums might interact with this idea of personal/universal needs — real, sincere needs that could build toward new forms of public engagement. For the second year in a row, I am facilitating the Summer Museum Teaching Internship Program at the Saint Louis Art Museum, a unique program that brings together a diverse group of undergraduate and graduate students to explore and create different types of museum teaching and learning experiences.
On the first day of this summer’s program, I invited each of our 18 interns to take some time and reflect on the big question: “What do you need most today?” Not thinking about museums or art in anyway, their task was simply to dig into their own, personal needs and decide on one that seemed urgent right now (‘today’). After everyone had identified their “I need” statement, they wrote their needs on large pieces of posterboard and stood on the front steps of the art museum so I could take each intern’s photo (see the Pinterest board of all the photos).
For me, this was planting the seeds of a 10-week project through which these interns are slowly and intentionally developing their own public engagement projects to be enacted in August. And the next step pushed things in that direction the following week, as each intern was invited to reflect on their need statement and think about how, in some way, museums might fulfill that need — thinking creatively and outside-the-box. Below are just a few excerpts from those reflections:
An engaged community: “Experiencing art is a tangible way to engage with and learn about others – it’s an opportunity to have a conversation, which builds a community by sharing experiences that can be taken home with you. In this way, the art museum offers a unique setting for community engagement. I believe that viewing art as this kind of open invitation is what inspires visitors to return, and it is the museum’s responsibility to continue this discussion”
A variety of choices: “I believe the museum setting encourages a structured approach to the works contained within them … the standard Look, Read, Look, Move On. [B]ut without encouraging or allowing new ways to interact with the works, most viewers will stay within the confines of the standard viewing methods. By encouraging a variety of ways to interact with the works within the museum, it will allow for a visit that breaks from the norm, and encourages the development of new avenues of interest, and make visits a more unique experience.”
Stories: “People love stories — to feel connected to their fellows even across the boundaries of nationality, culture, and language. We like to know that we are not alone in our desires, our longings, and our needs. [And] an art museum seems to me to be the perfect place to go to find stories. One could invent a story based on a single painting or sculpture; perhaps all the works in a gallery could be different parts of the story; maybe the different parts of a story are scattered across the museum and the game is to find them all. Art museums have endless possibilities for finding stories.”
For the past 3 weeks now, we have been extending our conversations about these needs and how they might build toward a public engagement project at the museum. First, we laid out everyone’s needs and did a short mapping activity — a great way to make our thinking visible and allow us to explore potential connections and relationships among the group’s needs. Then, from there, everyone got into pairs based on “adjacent” needs on the map, and each pair interviewed each other about their need and how it might translate into a museum-based project. Most recently, we all connected with experimental museum work at institutions such as the Walker Art Center’s Open Field and the Hammer Museum’s Public Engagement programs, paralleling our learning about “public engagement” and social practice with our own developing ideas.
As we enter our 4th week of this summer’s program, I think we’re heading in interesting directions. This week, we will begin to form more concrete ideas and develop prototypes for projects. While I know we have lots of questions to ask and issues to navigate, I am excited to have launched into this project over the summer. The Summer Museum Teaching Internship Program has always been an exceptional time and place for experimentation, especially due to the diverse and energetic group of students who participate each summer. For me, exploring museum work from the point of view of personal and universal “needs” has the potential to make these projects so much more relevant, sincere, and “real” (however you define that). And these are all things on the minds of museums — and especially museum educators — as we trudge through the second decade of the 21st century.
Much like artist Yang Weidong’s “Need” project, mindful museums have tremendous potential and power in their engagements with communities and the issues that these communities care about most. Sometimes simply discovering those needs is an important first step, building up from them to create opportunities for engagement and learning that are more responsive and relevant to the issues facing us ‘today.’ Towards the conclusion of his 2009 book entitled Museums in a Troubled World, Robert Janes provides us with some provocative thoughts that may connect with why this type of work is valid and valuable:
“All museums have the responsibility and the opportunity to become synthesizers, and foster an understanding of the interconnectedness of the problems we face, both environmental and social. A mindful museum can empower and honour all people in the search for a sustainable and just world — by creating a mission that focuses on the interconnectedness of our world and its challenges, and promotes the integration of disparate perspectives.” (p. 166)
“It has been noted that ‘There is no power for change greater than a community discovering what it cares about.’ Will communities continue to care about museums in their current guise? Will museums discover what they care about? Or are museums at risk?” (p. 168)
I will certainly be posting again as the summer’s intern program continues and we get closer to the series of public engagement projects we plan to enact on August 9 and 10. So stay tuned. In the meantime, I invite your thoughts and perspectives below. How might you tap into “needs” (external/internal/audience) as a core for experimental program development? How important is this type of work for museums? Share your stories and practices here or on Twitter via @murawski27.
SERIES NOTE: This post is part of a series from ArtMuseumTeaching.com designed to respond to and grow from the ideas explored in An Elastic Manifesto for Museums & Artists, first presented at the 2012 American Association of Museums Annual Meeting. If you have your own response or project to share, please contact me via Twitter @murawski27. See all posts in the series by clicking here.
4 thoughts on “Experimenting in Museums: What do you need most today?”
I love this post! It reminds me of what I liked best about my own time in school studying museum education – we always paid attention to the lofty outcome we had in mind for audiences (some deeper, more profound outcome than the secondary outcomes that might relate to knowledge acquisition or participation in a specific activity) and how we would help audiences get from where they are now to that outcome. While we weren’t always using the word “need,” I think we were constantly thinking about how museums could help fulfill humans’ deepest needs for things like peace, understanding, and creativity. We also were always reminded to be attuned to basic needs that, left unsatisfied, could get in the way of a successful museum visit (the need for museums to provide restrooms, benches, etc.).
I also love that two of your students’ needs involve dogs.
Laura — I agree that it is important to have lofty ideas when it comes to museum education and working with audiences (ideas that tap into human needs), but I feel that too frequently these ideas are not enacted in actual museum programs. Our attempt this summer is to stay true to these needs and develop museum experiences around them. So far, the interns are doing an incredible job of envisioning what these museum experiences could be like, and I think August 9 and 10 here at the Saint Louis Art Museum will transform the museum experience for a lot of people who attend and participate (and for the interns enacting these experiences). Fun to take risks like this!