All posts by Mike Murawski

From the Radio to the Museum: Storytelling, Listening, and Radical Empathy

Written by Beth Maloney

What can museums learn from approaches, models, and practices in other fields? How are we continuing to frame and define empathy and relevance in museum programming? Are we doing the research, making the connections, and learning from what else is out there?

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I love good storytelling on the radio – whether listening to NPR as a child in the back seat of my Dad’s car, pulling over to a parking lot to catch the end of StoryCorps, or indulging in a podcast while I fold laundry. I love a good story; it’s partly why I love history. Last month, I attended a live event about Out of the Blocks, a documentary series on my local NPR station. The pieces began to fall together for me and I started considering this radio program in relation to dialogue-based museum programming.

Out of the Blocks is a program from WYPR 88.1 FM in Baltimore, Maryland. Based on the simple concept of sharing the stories of people living on one block in Baltimore, radio producer Aaron Henkin and music producer Wendel Patrick create a series of episodes that present captivating narratives of real life. After interviewing everyone on one city block, they edit together interviews into one hour of radio that is lovely to listen to – opening perspective, building empathy and understanding. The show and podcast are well worth checking out; it’s truly amazing to hear interviewees share stories and see how editing, soundscape and production buoy those narratives.

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However, it was the live event that really got me thinking. On stage, in real time, Baltimoreans whom Henkin and Patrick interviewed spoke about the project. Interviewees shared their first impressions of Henkin and Patrick, talked about being interviewed and, most movingly, what it was like to hear their own stories and voices in the final program on the radio. In front of a sold out auditorium of listeners and fans, many of them shared that it was both frightening and empowering to experience what eventually aired.

In his opening remarks, Henkin described the show as an experiment in radical empathy – the idea that everyone has a story that is worth telling and that the process of having people intently listen to that story feels good – it makes you feel like you matter. Producing this show is intensive and involves selecting a block to focus on, meeting and building relationships with everyone on that block, conducting hour long interviews with each person, editing all of those interviews into one episode and building the musical backdrop that amplifies and supports those stories. In the end, Henkin shared that he imagined each block as a mosaic of experiences and stories and, indeed, the city of Baltimore as a larger mosaic of those city blocks.

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What’s the museum education connection?

Hearing from speakers at this live event, I was reminded immediately of some of the previous posts on artmuseumteaching.com about conversation and dialogue-based programming and institutional empathy in museums. Dialogue-based programming is not new to museums. Whether we are engaging in gallery and object-based discussion using techniques like VTS and facilitated dialogue or hosting thematically focused programming like Science Museum of Minnesota’s Talking Circles, Missouri History Museum’s Mother to Mother program  or Lower East Side Tenement Museum Kitchen Conversations, dialogue is central to our work. With this in mind, three points struck me immediately in Out of the Blocks:

  1. The deeply specific and site-based nature of the work
  2. The collaboration between documentarian and sound artist
  3. The relationships built through the process – between the producers, interviewees, neighbors and a broader community of listeners

In late September, I visited two major history museums in town with a friend– the Baltimore Museum of Industry and the Maryland Historical Society. In the galleries, there are glimpses of the “Baltimore mosaic” Henkin described, visible in the form of a personal object with a particularly evocative story behind it, a student curated show featuring photographs of the process of historical inquiry and research, or an exhibit designed as an immersive environment – transporting one through theatrical techniques to a different time and place. Yet, there weren’t nearly enough of those provocative and arresting personal stories that tether historical events to the experiences of real people.

When we teach in history museums and exhibitions, we sometimes get caught up in the intoxication of historical documents, artifacts, objects and buildings to the detriment of the emotional, personal, story-driven voice of those who experienced a place or event. Sometimes this may be because it’s hard to find voices, particularly of those not present in the historical record. And there is a sense of the need for “neutrality.” But even if we can’t necessarily “interview” people who are long gone, we as a field benefit from a continuous reminder about the power of visceral, real stories from real people – especially in the face of larger interpretive narratives that address the history of organizations, nations and institutions. There is power in specificity, and scaled, personal and connective stories.

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Ideas I am walking away with

Here are some reminders and lessons I’m taking away from Out of the Blocks:

  • Relationship building. It takes a long time to create an episode of Out of the Blocks (about 8 weeks). The commitment to interview everyone on one block, each person for an hour, takes time. And there is also time spent hanging out and getting to know the people on that block. This may be part of why interviewees feel comfortable sharing their stories.
  • The power of storytelling and the importance of transparency. The power of storytelling isn’t new. But at the Out of the Blocks live event I was reminded of how powerful it is to know the “backstory.” Hearing directly from both producers and interviewees added depth, nuance and made clear that the project was meaningful to everyone: the producers and the interviewees.
  • The notion of sharing and listening as radical empathy. There is power to both sharing stories and having them heard. As staff at institutions and cultural organizations, we need to remember both pieces – dialogue is both talking and listening.

What if we applied the same intensive techniques Henkin and Patrick use to interpreting our historic buildings, sites and spaces? What if in the same ways they interviewed everyone living on one city block during one moment in time, we “interviewed” everyone who lived in one place through time –the people who occupied the space before a building was built, the people who built the building, the people who worked in the building, renovated, occupied and used a space in different ways through time, and the people who are there now, in the neighborhood.  In this way, we might get closer to addressing the mythology of the “period of interpretation” as Frank Vagnone writes in his blog and the Anarchist’s Guide of Historic House Museums, co-authored with Deborah Ryan.

At one point in during the live event, Henkin shared that he and Patrick have been asked about the agenda for this series. What did they want to get out of this? What were they hoping for? Their response has been that there is no agenda but that if there were one, it would be to just show up and listen. What would it look like if museums just showed up and listened? What kinds of exhibitions, programs, partnerships and relationships might materialize? What can we in museums learn about programming and story from this kind of work? What examples of similar approaches in museums, libraries, at historic sites have you seen? Let’s amplify them.

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About the Author

BETH MALONEY works as an independent consultant, bringing educational expertise to museums and cultural organizations in the form of curriculum and program development, interpretation, visitor experience planning and professional training. In addition to partnering with a wide range of museums and historic sites, she teaches undergraduate courses that explore museum work and learning through the Program in Museums and Society at Johns Hopkins University. Former Board member and Past President of the Museum Education Roundtable, Beth serves as a peer reviewer for the Journal of Museum Education. For more information and to be in touch, please visit www.bethmaloney.com.

Header Image: Photo by Wendel Patrick. Aaron Henkin conducting an interview for “OUT OF THE BLOCKS,” 2012, photo courtesy the artists.

Photos included in this post are by Wendel Patrick, used courtesy of the artist.

Seeing without Sight: What I Learned About Photography at Sight Unseen

Written by Sarah WatkinsCanadian Museum for Human Rights

Reposted with permission from the Canadian Museum for Human Rights blog, the institution’s online presence for stories about the museum and its exhibitions, programs, education programs, and other news.  Check it out, and learn more about the exciting work happening at the CMHR. Original post by Sarah Watkins, September 3, 2016.

I have always believed that museums are powerful places. Visiting a well-done exhibit can help us to grow by opening our minds and hearts to ideas that we may never have even considered. For me, the travelling exhibition Sight Unseen: International Photography by Blind Artists is a perfect example of this.

On display at the Canadian Museum for Human Rights until September 18th, Sight Unseen showcased the photography of acclaimed international artists, all of whom have varying levels of vision loss. I was fortunate enough to work with some of these artists to create a lecture series called Shooting Blind, which explored the idea of taking photos without the use of sight. Now that I can reflect on this experience, I have come to realize that this exhibition and these artists have helped me to discover a new perspective on photography and ability.

A quiet evening on Winnipeg's Esplanade Riel. Credit: Shadow Walk/Sarah Watkins
A quiet evening on Winnipeg’s Esplanade Riel. Credit: Shadow Walk/Sarah Watkins

What is really interesting about Sight Unseen is that the art seems familiar but foreign at the same time. In today’s world, everyone takes photos – at home with family, out with friends, on our cellphones and tablets and with our digital cameras. The act of taking photographs has become commonplace, and for this reason we can all connect with this exhibition. The artists in this show, however, aren’t just taking photos or documenting a moment in time; they are communicating a message. They think very deeply and consciously about what they are going to photograph.

I used to take thousands of photos with my digital camera in an attempt to capture the exact thing that I was seeing with my eyes. Now, because of this exhibition, I have a different perspective. I take fewer photos, but I think more deeply about each one. I look beyond what is in front of me and consider why I am taking the photo. Am I trying to capture an image of the bridge, or the way that the evening light creates patterns out of shadows that reflect the shape of their source? Is it the fog on the water that is most interesting, or the stillness that it communicates the minute before I jump in the lake for a morning swim?

A foggy lake before a morning swim. Credit: Morning Swim/Sarah Watkins
A foggy lake before a morning swim. Credit: Morning Swim/Sarah Watkins

After visiting Sight Unseen, I see the photographs in a new way. When I look at the photo created by Evgen Bavčar that shows an outstretched hand touching the face of a stone statue, I no longer see just the objects. Rather, I see the careful exploration and discovery of something unknown. I can’t help but think of the artist, exploring the world in ways that I could never imagine, through the sense of touch. Similarly, I used to think of the amazing light paintings created by Pete Eckert as abstract art. His photographs created in a completely dark room with flashlights and other light sources seemed random. Now, the swirling colours and rays of light make me think of energy. Each model is represented differently, the colours and patterns as unique as the person they are highlighting. To me, this sense of energy was something previously imperceptible until Pete showed it to me through his work.

This change in perspective has me questioning what it means to be “able” to do something. If photography isn’t about sight, then maybe dancing isn’t always about what we do with our legs, and speaking isn’t always about sounds coming out of our mouths. This is the lesson that I have learned from Sight Unseen. There is more about us that is the same than different, so no matter what our differences are, we all deserve to have our humanity, dignity and rights respected in the same way.

*Sarah Watkins is a Interpretive Program Developer for the Canadian Museum for Human Rights.

Header Image: Gerardo Nigenda, Entre lo invisible y lo tangible, llegando a la homeostasis emocional (Reaching Emotional Equilibrium Between the Invisible and the Tangible).

Teaching Lab: Towards an Institutional Culture of Learning

Written by Elizabeth Williams, Yale University Art Gallery

What does good museum teaching look like? How do we as educators learn from each other? How do we constantly stay fresh and incorporate new approaches to teaching? What are our shared values for teaching in museums?

These are among the questions that my colleagues and I in education regularly pose, and which led us to launch a project called Teaching Lab almost two years ago. Teaching Lab is not a concept born at Yale; it originated at the Brooklyn Museum in the 1990s as a way for its educators to convene, outside of logistical concerns, to talk about gallery teaching. Many of us work at such a pace that, without a structure like Teaching Lab embedded into our routine, reflection simply would not happen. So when my colleague Jessica Sack introduced this great idea from the Brooklyn Museum, we adapted it to fit our needs at the Yale University Art Gallery (YUAG).

Teaching Lab at YUAG has been a way to reflect, experiment, and collaborate on issues and ideas related to teaching and learning. Monthly sessions seek to explore intersections across traditionally segmented areas of work both in education (e.g. adult, family, academic, K-12, public programs) and Gallery-wide (e.g. curatorial, education, exhibitions, registrar, etc.) The aim is to facilitate dialogue, and perhaps collaborations, related to the project of museum teaching.

Key to our sessions is that each is peer-initiated and led, with the organizer (myself) serving as the moderator. There are no defined outcomes for Teaching Lab, though some sessions have resulted in new projects. By way of example, a few departmental Teaching Labs have included: a session that brought together education teams from the YUAG and Yale’s Peabody Museum of Natural History for a discussion of different approaches to teaching with objects, especially those that can be classified as both art and artifact; a session to consider the Hirshhorn’s signature drop-in teen program, ARTLAB+, as a springboard for conversation related to how educators can, and should, respond to diverse audiences; and a session to consider a new digital app designed for a special exhibition, focusing on the self-guided visitor’s learning experience.

It occurred to us that the conversations we are having relate not just to education but to the entire museum. Everyone at the museum, in effect, teaches in some capacity. What, then, might it mean to broaden the conversation? Will other staff want to participate? How do we make the dialogue both accessible and stimulating, to have the most widespread appeal?

Getting Things Started

We started first by talking with people across the Gallery to gauge interest in the possibility of a staff-wide Teaching Lab. I realized early on that it was difficult to talk about something like this in the abstract, and I was often fielding the question: “So what do you want from me?” I didn’t really know the answer at first. After many departmental conversations about possible topics, effective structures, and anticipated barriers, we distilled the core ingredients from our departmental version of Teaching Lab that we wanted to maintain: that it be peer-driven, that it be conversational, and that it be experimental. We also decided that a natural place to start would be with objects, so we decided that the first staff-wide Teaching Lab would mine the concept of “close looking,” a term often used by colleagues across the museum to describe our teaching practice.

We roughly sketched out what a day-long Teaching Lab could look like: three sessions, starting with looking and learning together, that would eventually zoom out to examine some of the bigger questions related to audience and expertise. We enlisted peers from across the museum to co-lead each session, and these colleagues would ultimately shape the day.

On June 17, the YUAG Education Department presented the first staff-wide Teaching Lab. We invited all staff—from security guards to the Director—and offered three sessions over the course of the day. To our delight, almost 50 people of our staff of roughly 160, including four senior staff members and the Director, attended. We had representation from almost every department in the museum, from the Registrar to Development to Curatorial.

With Close Looking as our frame, our first session was entitled “Close Looking from Multiple Perspectives.” Modeled on our typical three-objects/hour education-guided visit, this session was led by three colleagues from the Education, Curatorial, and Conservation departments. Guided by a single theme, which the three presenters mutually determined, the session was meant to showcase different approaches to teaching with objects. With few parameters, facilitators were asked to teach a single object for 20 minutes and to make sure it was connected to the other objects through the common theme. One group, for example, explored the theme of absence and loss: an educator considered it in a painting by contemporary artist Titus Kaphar, a paintings conservator discussed it in a 12th century Italian panel painting by the Magdalen Master, and a curator talked about it with a 1st century Roman portrait sculpture. A member of the Education staff then moderated a reflective conversation at the end to distill both the participants’ experience as well as the facilitators’.

The second session was entitled “Multiple Frames: The Object in Context” and considered a single object through multiple lenses of analysis and understanding. To contextualize the processes of making and viewing art, participants spent half of the session in front of Jackson Pollock’s Arabesque, exploring how listening to jazz, reading quotations by and about the artist, and physically moving around a canvas on the floor, complicates the experience of viewing and interpreting a work of art. The group then moved to explore Pollock’s materials and methods in a studio session with one of our painting conservators, considering how experimenting with materials and methods might enrich our understanding of the art work.

Molleen Theodore, Associate Curator of Programs, leads staff in a listening and looking exercise in front of Jackson Pollock’s Arabesque (number 13a.)
Molleen Theodore, Associate Curator of Programs, leads staff in a listening and looking exercise in front of Jackson Pollock’s Arabesque (number 13a.)

The last session of the day was a roundtable conversation, intended to help us reflect on the experiential components of the morning but also to zoom out to consider the less obvious ways that museums teach, how we understand the role of expertise among our staff and our visitors, and how we can be more responsive to our audiences. These conversations were illuminating, especially when the group was asked to brainstorm ways that teaching and learning happen outside of the guided visit or through interpretive materials. From conversations that security personnel have with visitors to the arrangement of postcards on the wall, the group came up with fresh insights on how the Gallery regularly “teaches” and how every staff member has a stake in our educational mission. This discussion was collegial and fruitful, and as we ended the conversation with time for suggesting future Teaching Lab topics, participants raised many ideas related to better understanding the experience of our visitor and continuing to mine what it means to learn deeply in a museum.  They also evinced a keen and welcome interest in how we can collectively address issues related to inclusion and identity in our work, and plans are now underway to make this the topic of a future staff-wide teaching lab.

Beginning to Build a Culture of Learning

We never could have imagined that the staff would be as receptive to Teaching Lab as they were. Since it required actually doing it to begin to grasp what this could become, the staff took a risk in setting aside almost an entire day to participate. As part of our own reflective process, the Education Department surveyed people anonymously to ask for their feedback. When asked to rate their experience on a scale of 1 to 5 (poor to excellent, respectively), 27.8 % rated the experience a 4 and 72.2% rated it a 5. When asked whether they would participate in future Teaching Labs, 100% responded yes. In the open comments section, participants repeatedly emphasized how meaningful it was to come together as a staff to learn from each other (and to get to know one another); they had expected that Education would be imparting best practices and were surprised that it was co-presented by colleagues from across the museum; and they were surprised by how much fun they had. Our Education staff, for its part, learned a tremendous amount in the process of reaching out to colleagues from across the institution, and we have been pleased about the new relationships that have developed as a result.

I don’t want to overstate the impact of this one staff-wide Teaching Lab; in some ways, we have indeed returned to business as usual. But Teaching Lab at its core is about building a culture of learning, and this was a very positive step in that direction. Whether it be among those who are explicitly educators, or whether it be re-framed more broadly to consider and leverage the entire staff’s contributions to teaching in a museum, it is a powerful tool and structure for learning, for teaching, and for reflecting.

As we turn our attention to the future of Teaching Lab, we can’t help but think—and hope—that this experimental and peer-driven model might lead to new ways of considering the project of teaching in the museum and take our work in interesting and challenging new directions.

Staff explore Pollock’s materials in a studio session, led by Assistant Curator of Conservation Cindy Schwarz (not pictured.)
Staff explore Pollock’s materials in a studio session, led by Assistant Curator of Conservation Cindy Schwarz (not pictured.)

About the Author

Education DepartmentELIZABETH WILLIAMS is the John Walsh Senior Fellow in Education at the Yale University Art Gallery. Prior to Yale, she was the Director of Engagement and Learning at the Mississippi Museum of Art, where she oversaw the museum’s family, school, and community programs. Elizabeth has held positions at The Phillips Collection, the Harvard Art Museums, the San Francisco Museum of Modern Art, and Americans for the Arts. She holds a Master’s in Education from Harvard University and a Bachelor’s degree in Art History and Human and Organizational Development from Vanderbilt University

Featured header image: Gallery staff, led by Wurtele Gallery Teacher Tony Coleman, looking at this Equestrian Shrine Figure by Bamgboye of Odo-Owa.

Setting Families Up For Success at Art Museums

Written by Meg Davis, Explorable Places

I get to help lots of families and schools discover great museums in their cities. Parents often ask about places with specific children’s programs or areas. They are hesitant to visit an institution on their own without the support of a museum educator or children’s program. In part, they worry that without a child specific focus, children will be bored, restless or disruptive.

Nothing can be further from the truth.

An art museum is a wonderful place for children. Bringing children to museums at a young age increases tolerance, empathy and critical thinking. A visit to a museum also gives kids countless opportunities to reinforce the skills they are learning at home. Young children can practice identifying shapes, colors and feelings, while practicing expressing their opinions. Older children are able to discuss ideas, feelings and opinions, while getting practice expressing themselves and defending their thinking.

There are a number of tools you can provide to parents to help them feel welcome and prepared; here are 5 tips and strategies for museums:

1. Add a Family Visit Section to Your Website  

On the ‘visit us’ section of your website, create a ‘for families’ section. List details about your museum that would be helpful for families to know including the location of family friendly bathrooms, eating facilities (for families looking to purchase or bring lunch), nursing spaces and near by parks or open spaces. If you’ve created any family resources (like guides, scavenger hunts or interactive exhibits) have highlight them on this page.

To see a great example, check out the Carnegie Museum of Art’s family visitors page. Everything a parent needs to know, and all the resources the museum provides are listed right on the family visitors page.

2. Create a Family Guide

Create a guide especially for families visiting your museum, and encourage staff to give it to families when they visit. A guide gives you a wonderful opportunity to direct families towards galleries and pieces that are popular with children of different ages, and helps parents take full advantage of your space. It can also help families who feel like they ‘don’t know how to talk about art’ by providing questions and prompts to get the conversation going.FamilyGuide_2013-1

The Museum of Fine Arts in Boston’s Guide to Family Fun is a great example. It includes games and questions to engage young ones in the art, highlights engaging exhibits, and gives a rundown of family friendly resources available.

3. Offer a Children’s Map

A family friendly map is another great way to engage kids in your museum. A map of this type lets children take over navigating the museum, engages them in planning their trip and expressing what they are interested in discovering, all while helping students develop valuable navigation skills.

The MET’s Family Map is a great example. In this map, places that are particularly interesting to children are highlighted. The map is simplified showing under a dozen galleries, and the text is larger and more simple.

4. Supply Family Friendly Activities

Parents may be hesitant to visit an art museum with children because they are not ‘experts’. There are a ton different activities that you can supply to help parents enjoy the museum with their children. There are a number of activities that are inexpensive to make and are a big hit with families. Provide activity options to families as they enter the museum.

One easy activity to implement is a scavenger hunt. Challenge children to find items around a particular theme or to find a specific item in each gallery. Similarly, you could offer laminated activity cards. Activity cards can contain a simple game or set of questions for a family to try with a specific piece of art. On an activity card, you can provide a list of guiding questions for thinking about art. Visual Thinking Strategies (VTS) provide a great jumping off point for family art conversations, and could be the perfect activity to supply.  

Many institutions have a lot of success with activity bags or backpacks. Fill a bag with a set of activities for a given gallery or theme. Include instructions and the supplies needed to complete each activity. The Denver Art Museum has a wonderful example of an activity bag for inspiration.

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Peace & Harmony, Target Family Day at the Minneapolis Institute of Art, November 2010. Photo from MIA Flickr page. CC BY-NC-SA 2.0

5. Build Ongoing Supports

After a trip to a museum families might feel like they are ‘done’ with the museum for a while. A family club or program can encourage families to return to the museum many times and can help children feel like it is really their place, and help attendance grow.

The Philbrook Museum MyMuseum program is a great example. In this program Philbrook visitors ages 4-18 register for this free program and receive an art supply case, sketchpad, and pencil. Each month MyMuseum participants return to Philbrook and receive an art card, which features an explanation of an art object from the Philbrook’s collection as well as a new art supply for their kit.

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There is so much for families in art museums. Children are naturally curious, and art provides great opportunities for kids to question what they see. By providing a few supports, families can see their local art museum as an exciting part of their local community.

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Header Image: Miller Family Free Day at Portland Art Museum (Portland, Oregon). Photo by Cody Maxwell.

About the Author

megdavisMEG DAVIS: Founder of Explorable Places (www.explorableplaces.com), an online platform that helps museums connect to parents and teachers around curriculum aligned field trips and learning opportunities. Before starting Explorable Places, Meg worked as an elementary educator in both formal and informal settings. Meg has her BA in American Cultural Studies and Education from Bates College and an MS in Childhood Education from Hunter College.

The Urgency of Empathy & Social Impact in Museums

Written by Mike Murawski

“We are in more urgent need of empathy than ever before.”

This quote has been on my mind often over the past days, weeks, months, and sadly, years—as senseless acts of violence and hatred hit the headlines at a numbing pace of regularity.  This past Friday was no different, as we all awoke to the horrific news from Dallas, during a week when the country was already reeling from news of the deaths of Alton Sterling and Philando Castile.  We’re also seeing an alarming spike in hate crimes and xenophobia in the UK after ‘Brexit’ that correspond in unsettling ways to divisive rhetoric and acrimonious tone of Republican nominee Donald Trump’s presidential campaign.  All of this as we are still processing the Pulse nightclub attack in Orlando, where 49 individuals lost their lives.

I think in moments like these, it’s important for museums—and the people who work for them—to pause and reflect on the roles that we serve within our communities. Yes, museums are institutions that hold collections. But they can also serve a powerful role with our communities as active spaces for connection and coming together, for conversation and dialogue, for listening and sharing. Museums can be spaces for individual stories and community voices. They can be a space for acknowledging and reflecting on differences, and for bridging divides. They can be spaces for growth, struggle, love, and hope.

The words at the beginning of this post come from Roman Krznaric, author of Empathy: Why It Matters, and How to Get It and founder of the Empathy Library. Krznaric is among a growing chorus of voices who see an urgent need for empathy and human understanding in an era too often marked by violence, hatred, resentment, self-interest, and toxic political and social debates. In his TEDx Talk “How to Start an Empathy Revolution,” he defines empathy:

“Empathy is the art of stepping into the shoes of another person and looking at the world from their perspective. It’s about understanding the thoughts, the feelings, the ideas and experiences that make up their view of the world.”

In September 2015, Krznaric put these ideas into practice in the realm of museums with the development of  the Empathy Museum, dedicated to helping visitors develop the skill of putting themselves in others’ shoes. Its first exhibit, “A Mile in My Shoes,” did quite literally that, setting up in a shoe shop where visitors are fitted with the shoes of another person, invited to walk a mile along the riverside while being immersed in an audio narrative of this stranger’s life, and then write a short story about it. With contributions ranging from a sewer worker to a sex worker, the stories covered different aspects of life, from loss and grief to hope and love.  

Photo of stories written by visitors participating in the "A Mile in My Shoes" exhibit
Stories written by visitors participating in the “A Mile in My Shoes” exhibit, Empathy Museum. Photo from http://thecuriouslives.com/

Developing empathy has the potential to create radical social change, “a revolution of human relationships,” Krznaric states.  So how can we spark this empathy revolution in museums?

Museums Are Us, Not It

I want to start by making an important foundational point about how we talk about museums.  When we talk about them only as brick-and-mortar institutions or as ‘it’, it becomes easier to distance ourselves from the human-centered work we do.  So it’s absolutely essential to remember that museums are made of people (yes, just like Soylent Green): from directors, board members, patrons, and curators to educators, guest services staff, registrars, conservators, security guards, volunteers, maintenance and facilities workers, members, visitors, etc.  I am reminded of this by the Director of Learning at the Tate, Anna Cutler, whose memorable 2013 Tate Paper discussed institutional critique and cultural learning in museums.  In it, she quotes artist Andrea Fraser:

“Every time we speak of the ‘institution’ as other than ‘us’ we disavow our role in the creation and perpetuation of its conditions.”

This is an important basis for any discussion of empathy and museums, since it defines the vision, mission, and work of a museum as the vision, mission, and work of the people who belong to that museum.  So if we, myself included, say “museums must be more connected to their communities,” we’re really talking about what the people that make up the museum need to focus on – being more connected to our communities. We are inseparable from the institution, in other words. Any critique of museums is a critique of us; and any change needing to happen in museums is, therefore, a change that needs to start with us.

The Growing Role of Empathy in Museum Practice

Krznaric’s work with the Empathy Museum is but one small example of the types of civically-engaged, human-centered practices that have been instituted in an effort to expand the role that museums serve in building empathy and human connection in our communities.  Staff working for museums across the globe are launching new efforts to bring people together, facilitate open dialogue, and elevate the voices and stories of marginalized groups to promote greater understanding.

For example, I continue to be amazed and inspired by the Multaqa project developed last year by Berlin’s state museums, which brings in a group of refugees from Iraq and Syria to serve as Arabic-speaking guides. The project title, Multaqa, means “meeting point” in Arabic.  The tours are designed to give refugees and newcomers access to the city’s museums and facilitate the interchange of diverse cultural and historical experiences.  The tours have been so popular, according to a recent report, that the organizers are looking to expand the program to include “intercultural workshops, which the Berlin public can also participate in.”

Here at the Portland Art Museum, the Object Stories initiative (which began back in 2010) has continued to embrace storytelling and community voices here in Portland.  A recent exhibition that opened earlier this year featured powerful stories and personal objects from the local refugee community.  The exhibition was co-created with Portland Meet Portland, a local non-profit focused on welcoming immigrants and refugees arriving in our city by creating mutually beneficial mentoring opportunities that promote cross-cultural learning, enhance work skills, and build trust.

The work of Portland Meet Portland and this Object Stories exhibition helped to highlight the important contributions that  immigrants and refugees bring to their new homes here in Oregon, and also offered this area’s longer-term residents an opportunity to learn from these newcomers—their stories, resilience, and unique cultures. Visitors to the gallery (probably around 60,000 people) had the opportunity to listen to participants’ stories, leave a welcome message for these storytellers, and learn more about advocacy efforts and local non-profits working with immigrant and refugees in Portland (which ranks 11th among US cities resettling international refugees).

Photo of Object Stories gallery during exhibition "Person, Place, Thing: Objects and the Making of a New Life."
Photo of Object Stories gallery during exhibition “Person, Place, Thing: Objects and the Making of a New Life.” Photo by Cody Maxwell.

The Canadian Museum for Human Rights, an inspiring institution in so many ways, currently houses six different exhibits that explore the tragic story and legacy of the Indian Residential School system, one of Canada’s most pressing human rights concerns. As a national museum and hub of human rights education, the Museum has an important role to play in efforts towards reconciliation between Indigenous and non-Indigenous people in Canada. As is stated in the 2015 summary report of Canada’s Truth and Reconciliation Commission (TRC): “Through their exhibits, education outreach, and research programs, all museums are well positioned to contribute to education for reconciliation.” The team at the Canadian Museum of Human Rights is also working to keep the conversation alive and involve the voices of its communities, especially through its “Share Your Story” project that allows anyone to record their own story about human rights or listen to the individual experiences of others.

In their book Cities, Museums, and Soft Power, Gail Dexter Lord and Ngaire Blankenship discuss the human social behaviors of bridging and bonding that museums have the distinct potential to promote and amplify, especially through public programs, education, and exhibitions.  Their final essay offers a comprehensive set of strategies for how museums can be of greater value to their cities and communities:

“Museums and cities have a strong role to play together in bridging and bonding. They bring people together at similar life stages … or with identity in common … where they can share their experiences. Museums also bridge among identities, offering a public place to bring different groups together around similar interests.” (p. 222)

The International Museum of Folk Art’s Gallery of Conscience, inaugurated in 2010, serves as truly unique and visionary example of how museums are experimenting in this area.  The Gallery’s goal is to be an agent of positive social change by engaging history, dialogue, and personal reflection around issues of social justice and human rights. Since the gallery’s inception, exhibitions in this space have explored how traditional artists come together in the face of change or disaster to provide comfort, counsel, prayer, and hope through their art. This focus has earned the space membership in the International Coalition of the Sites of Conscience.

Exhibitions in the Gallery of Conscience are “community-driven, co-created, collaborative, participatory, and cumulative,” according to a press release. “Visitors and community members become part of the conversation from the very beginning—helping to shape the exhibitions and contribute to the dialogue throughout the exhibition’s run.” In 2013-14, the Gallery’s exhibition “Let’s Talk About This” focused on folk artists’ responses to HIV/AIDS through  artist and visitor participation, community programs, and a digital storytelling project with LGBTQ youth developed in partnership with N’MPower and Youth Media Project.  The oral histories that were collected were incorporated into the exhibition through listening stations, and also became part of the dialogue-based programs related to the exhibition.

The Gallery of Conscience at the Museum of International Folk Art and N'MPower worked with Youth Media Project mentors to record digital oral histories of the radio show Audio Revolution!
The Gallery of Conscience at the Museum of International Folk Art and N’MPower worked with Youth Media Project mentors to record digital oral histories of the radio show Audio Revolution! Photo from http://www.sitesofconscience.org/

Building a Broader Culture of Advocacy

The type of museum practice I’ve highlighted is certainly not new.  Many of us read about this work in museum blogs (such as Incluseum, Thinking About Museums, Visitors of Color, Queering the Museum, Brown Girls Museum Blog, etc.) and emails from the Center for the Future of Museums or Museum Hack. Many of us work on programs like these ourselves. But what concerns me is that across much of this practice, I find a lack of a broader institutional culture of support.  Too many community-based projects like the ones I mention above end up being relegated to education staff, isolated from the core mission of an institution, or left entirely invisible.  And this lack of supports extends beyond the walls of the museum. When journalists, scholars, and critics write about museums and exhibitions, they frequently ignore or denigrate the spaces that invite visitor engagement and community participation.  There are even individuals in my own field of museum education who refer to empathy-building practices and affective learning strategies as too “touchy feely.”

We museum people need to work together to build a stronger, collective culture of support and advocacy for museum practice based in empathy, inclusion, and social impact. This is some of the most meaningful, relevant work happening in museums right now. People across our institutions—not just educators but directors, curators, marketing staff, board members, donors, etc.—need to be publicly and visibly proud of the programs, exhibitions, and projects that actively embrace individual stories, dialogue about provocative questions, and the diverse and rich lived experiences of those living in our communities.  More comprehensive support for this work can lead to an expanded focus on social impact and community engagement in a museum’s strategic goals and mission, in its exhibition and program planning process, and in its allocation of resources.

So let’s all be more proud of the work we’re doing in museums to bring people together and learn more about ourselves and each other — from tiny one-off gatherings and events to much larger sustained initiatives.

Time for an Empathy Revolution in Museums

How do we start an empathy revolution in museums?  How do we more fiercely recognize and support the meaningful work that museum professionals are already leading to support open dialogues around the challenging, relevant issues of our time? And how do we radically expand this work to build a stronger culture of empathy within museums — one that measures future success through our capacity to bring people together, foster conversations, and contribute to strong and resilient communities?

In 2013, the Museums Association of the UK launched its Museums Change Lives campaign, establishing a set of principles based on research, conferences sessions, online forums, open public workshops, and discussions with charities and social enterprises.  I  think the core principles they developed from their vision for the social impact of museums (a must read!) are worth sharing to move this discussion forward and enact change:

  • Every museums is different, but all can find ways of maximizing their social impact.
  • Everyone has the right to meaningful participation in the life and work of museums.
  • Audiences are creators as well as consumers of knowledge; their insights and expertise enrich and transform the museum experience for others.
  • Active public participation changes museums for the better.
  • Museums foster questioning, debate, and critical thinking.
  • Good museums offer excellent experiences that meet public needs.
  • Effective museums engage with contemporary issues.
  • Social justice is at the heart of the impact of museums.
  • Museums are not neutral spaces.
  • Museums are rooted in places and contribute to local distinctiveness.

These principles, as with much of their vision, are inspiring — but too often we stop there, feeling inspired but lacking action.  The Museums Association report continues, “It’s time for your museum to respond to hard times by making a bigger difference. It’s time for you to play your part in helping museums change people’s lives.” The report concludes with a pretty spot-on set of 10 actions that will help your museum improve its social impact. Here is a slightly abbreviated, edited list:

  1. Make a clear commitment to improve your museum’s social impact (ie. having strategic goals).
  2. Reflect on your current impacts; listen to users and non-users; research local needs.
  3. Research what other museums are doing.
  4. Seek out and connect with suitable partners.
  5. Work with your partners as equals.
  6. Allocate resources.
  7. Innovate and be willing to take risks.
  8. Reflect on and celebrate your work. Learn from and with partners and participants.
  9. Find ways for partners and participants to have a deep impact on your museum. Bring more voices into interpretation and devolve power.
  10. Strive for long-term sustained change based on lasting relationships with partners and long-term engagement with participants.

Print these out, put them on your office wall, bring them to staff meetings, share these with your visitors and audiences, and have some open conversations about the “so what” of museums.  Take these principles and action steps seriously.  Build a broader team to advocate for the work you’re already doing at your institution; rethink existing programs; and bravely propose new projects and partnerships that better serve your community.  See how a human-centered focus on empathy and social impact might change your own practice, your museum, and your community.

“The best museums are now striving to realise their full potential for society and are far more than just buildings and collections. They have two-way relationships with communities…. They are becoming increasingly outward looking, building more relationships with partners. They are welcoming more people as active participants.” (Museums Change Lives)

Let’s be a part of making this happen!

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About the Author

headhot-cannonbeachMIKE MURAWSKI: Founding editor of ArtMuseumTeaching.com and currently Director of Education & Public Programs at the Portland Art Museum. Mike earned his MA and PhD in Education from American University in Washington, DC, focusing his research on educational theory and interdisciplinary learning in the arts. Prior to his position at the Portland Art Museum, he served as Director of School Services at the Saint Louis Art Museum as well as head of education and public programs at the Mildred Lane Kemper Art Museum at Washington University. He currently also serves as the Pacific Region Director for the Museum Division of the National Art Education Association.  Mike has given lectures and led workshops at institutions across the United States, including the Los Angeles County Museum of Art, National Gallery of Art, Nelson Atkins Museum of Art, and Phoenix Art Museum, among many others.  He is passionate about how we can come to see museums as creative sites for transformative learning and how we can take full advantage of the powerful types of learning, public participation, and community engagement that museums can offer. Mike’s postings on this site are his own and don’t represent the Portland Art Museum’s positions, strategies, or opinions.

Designing an Inclusive Audio Guide, Part 1

Written by Desi Gonzalez, The Andy Warhol Museum

Reposted from The Warhol: Blog, the institution’s online presence for stories about the museum and its exhibitions, programs, education programs, and other news.  Check it out, and learn more about the exciting work happening at The Warhol!

This is the first post in a series on the development process of The Warhol’s new audio guide. 

In 1964, Andy Warhol moved to a new studio in a large New York City loft and covered its walls with silver paint and aluminum foil. Dubbed the Silver Factory, this space became known as a gathering place for artists, friends, and celebrities.

The “open-door policy” of the Factory is something that we’re inspired by at The Warhol as we endeavor to create a communal and inclusive environment within the walls of our museum. One way we’re becoming a more inclusive place is through our commitment to making the museum friendly to visitors of all abilities. Later this summer, we’ll be soft-launching a new audio guide that takes an inclusive design approach. According to the Canadian Museum of Human Rights, this is a philosophy that designs with all users in mind from the outset:

“The inclusive design approach will ensure the museum experience is not only accessible for all ages and abilities, but is enriching and satisfying for all. It is not a design style, but an orientation to design.”

Through a series of posts on The Warhol Blog (cross-posted here at ArtMuseumTeaching.com), we’ll dive into the process behind our new audio app, which soft-launches later this summer in a limited release and will be available to all museum visitors this fall.

The story starts in the summer of 2014, when my predecessors in charge of digital engagement partnered with the education department to develop experiences for visitors who are blind or have low vision. One component of the project was an audio guide in conjunction with the exhibition Halston and Warhol: Silver and Suede. We used low-energy Bluetooth beacons to push content out to visitors based on where they are located in the museum—no need to read numbers on a wall label and type them into a device! Instead, the iOS application notifies you when there is relevant audio nearby.

In conjunction with the app, we also partnered with David White of Tactile Reproductions, LLC, to produce tactile representations of artwork in The Warhol’s collection. Tactile reproductions reimagine the contours and colors of an artwork as different relief layers, allowing visitors to use touch to gain an understanding of what a work looks like. Together, the audio guide app and the tactile reproductions allow visitors with visual impairments to delve into Warhol’s life and practice through senses beyond sight.

Working with our partners at Tactile Reproductions, LLC, to create the Andy Warhol artwork tactile reproductions. This one is a representation of Marilyn Monroe.
Working with our partners at Tactile Reproductions, LLC, to create the Andy Warhol artwork tactile reproductions. This one is a representation of Marilyn Monroe.

We learned a lot from these prototypes, but they were just the start. Since the beginning of this year, we’ve been hard at work to turn these prototypes into a reality. From the beginning of the process, we’ve kept four things in mind:

1. Put users first

We are committed to building an audio guide experience not just for community members with visual impairments, but with them as well. In our design process, we’ve worked closely with consultants with varying degrees of blindness. We talked to our partners even before we drew a single wireframe, exploring what makes a great museum experience and how they use technology. We also bring in our consultants to test prototypes at different stages of the process, allowing the findings from these sessions to guide the next step.

2. Don’t just build for accessibility

We strongly believe that if we design with different abilities in mind, we can craft a better experience for everyone. Even though we’re designing first for visitors with visual impairments, the audio guide will be available to all. Our consultants told us that they like to come to museums with friends and family, so whatever we design should be built for a social experience. Additionally, we currently don’t have an audio guide—and our front desk staff tells us this is one of the most common requests they get.

3. Reimagine the audio guide

Since we started from scratch with this audio guide, this was a great opportunity to depart from the usual way of doing things. We’re not the only ones rethinking the traditional audio guide: The newly-opened Broad Museum in Los Angeles is taking a cue from the irreverent and conversational tone of podcasts in their audio app; the British Museum has experimented with tours with longer audio files organized around themes rather than objects; and SFMOMA has designed a fully-immersive audio experience. In future blog posts, we’ll describe how we’re taking a different approach, splitting up audio content into smaller, modular stops and allow visitors to dive deeper if they’d like to learn more.

Testing the audio guide with our community partners.
Testing the audio guide with our community partners.

4. Start small, dream big

Everything I’ve described above is a tall order! From the outset of the project, we decided getting it right was more than ticking off all the checkboxes. For version one of the app, we have focused on only one floor of the building—floor 7, which displays works and artifacts from Warhol’s birth through to the early 1960s—but we’ve made it as complete an experience as possible. After launching and refining version one of the app, we want to expand to other floors of the museum.

Reviewing an exhibition floor plan with our community partners.
Reviewing an exhibition floor plan with our community partners.

Over the course of this blog series, we’ll be delving into everything from the user research we’ve done in conjunction with our blind and low-vision partners, to the process of imagining a new kind of audio experience, to the technical trials and tribulations of wrangling beacons and building our app from scratch. We’re glad you’ve joined us!

Accessibility initiatives at The Warhol are generously supported by Allegheny Regional Asset District, The Edith L. Trees Charitable Trust, and the FISA Foundation in honor of Dr. Mary Margaret Kimmel.

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Header Image: The Andy Warhol Museum by Scoobyfoo, Flickr.com, minor cropping to fit header size. CC BY-NC-ND 2.0

LGBTQ Alliance’s Welcoming Guidelines for Museums

the incluseum

Most of us agree that inclusion is important. However, we might be unsure how to activate this positive ideal in our daily professional practices. Where to begin when so much change and transformation seems needed? This week, we are excited to feature the Welcoming Guidelines that the LGBTQ Alliance, a professional network of the American Alliance of Museum (AAM), has been developing over the last couple years. These guidelines can certainly inform and help facilitate action. Thank you to Renae Youngs for introducing Incluseum readers to these guidelines that have been gathered in this document.

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Over the past two years, an AAM professional network has been developing a broad set of Welcoming Guidelines to help museums be more inclusive of lesbian, gay, bisexual, transgender and queer staff and visitors. The Guidelines touch on all areas of museum work, are available for free online, and launched at

View original post 489 more words

Visitor Response Cards: What To Do When the Exhibition Is Over

Written by Jessica Fuentes, Dallas Museum of Art

Over the past few decades, museums have positioned themselves in this post-modern society as institutions representative of multiple perspectives. One way this is happening is by inviting visitors to be active participants in the museum experience. More and more we are listening to our visitors by asking them to respond to prompts and questions. If your institution has started down this path then you may be facing a conundrum much like mine: What do we do with the thousands of visitor responses we’ve collected?

Statistics and Evaluation

As a baseline, collecting can be a way to understand trends in visitor experiences. Comparing the number of responses to total attendance can reveal the percentage of participating visitors. Depending on the data prompted by the response card, you may be able to learn more about participates. For example, the Art Spot creation labels used in the Center for Creative Connections (C3), prompt visitors to note their age. With over a year’s worth of data collected we know that 6-12 year olds make of the majority of Art Spot participants. We also know that 30% of participants are adults. It is interesting to note the months when adult participation spikes to nearly 40%, and consider what might be effecting those fluctuations. Furthermore, the actual responses can be a source for qualitative data collection, illustrating the depth of visitor experience.

Also, by collecting and reviewing responses, we can evaluate our own prompts.  When C3 first installed Starry Crown by John Biggers, we offered two prompt cards related to the work of art.

Starry Crown and responses

A high percentage of the responses we received to the prompt pictured at the top did not address the prompt. This revealed that the question was difficult for visitors compared to the other prompt (on the lower right) which consistently received more thoughtful responses. Because of this, we eventually phased out the first prompt.

In a similar way, visitor responses as feedback can offer insight into visitor’s motivations, expectations, and experiences of a program or space.  In preparing for a redesign of the Young Learners Gallery within C3, we solicited visitor feedback to find out why caregivers bring their children to the DMA. Visitors left their responses on Post-it notes and using the Post-it Plus app, we easily digitized, sorted, and analyzed the responses.  We used the three categories with the largest number of responses as a guiding force in the redesign of the space.

YLG Post its

After analyzing and sometimes digitizing, are these visitor responses then doomed to storage?  Working in an educational space that serves, on average, 18,000 visitors a month, I question our habit of simply counting, sorting, and boxing up visitor responses to store away in file cabinets or closets. When we use Post-its, we digitize the responses because the Post-it Plus app makes it an easy process and contains helpful sorting and exporting systems, but in regards to broad digitization, I have to stop and ask, “Why?”  What would we do with responses in a digital form? Would it be any better to store these responses in digital file cabinets?  Would we one day go into the vault to re-read the responses?  Have we done that in the past with the responses currently being stored?

Re-Cycling

When I’m reflecting on past visitor response prompts, I go back to the spreadsheets and summaries that help extract meaning from the raw data. But what to do with the more esoteric prompts and responses? For instance, in spring 2014, C3 hosted a community exchange project inspired by A panel depicting the Tuba Tree, with the 99 names of God on its leaves. Museum visitors helped us explore the potential meanings behind “Nur” the Arabic word that translates to “Light” in English. The work of art was on view with an accompanying interactive that prompted visitors to share one word they associate with the word “light” on a golden leaf and hang it on the fabricated tree in the space.  When it came time to extract meaning from the responses we enlisted the help of a writer.  In 2015 C3 Visiting Artist, A. Kendra Greene, started by alphabetizing the responses.  The process of doing this created some interesting word combinations, one of my favorites being “Jesus, Joy, Justin Bieber.”  From these alphabetized lists sprang arranged poems.  The creation of the poems led to a spoken word performance where Greene took the words of our visitors, re-interpreted them, and produced an engaging performance. Creating a visitor response cycle—the museum prompted visitors, visitors left responses, their responses were made into a performance, the performance was shared with visitors—and in effect an artistic evaluation and summary of the responses.

This new take on how to re-cycle visitor responses planted a seed in my thinking about how to use other responses. In early 2015 we worked with Kendra Greene to package visitor responses to Starry Crown. This painting references the importance of women as keepers of knowledge and the significance of familial traditions, stories, and wisdom passed down through generations.  Visitors responded to the prompt, “What wisdom has an important woman in your life shared with you?” The responses we received were funny, heartfelt, nostalgic, sad, universal, and at times deeply personal. In early 2015, Greene organized the responses into bite sized booklets that could be given back to museum visitors. First, she created categories and sub-categories like:

Kendra categories

From these categories emerged tailored booklets called, Common Thread: Selections of women’s wisdom, guidance, counsel, advice, experience, notions, revelations, hard truths, and plain facts. Throughout the year we have found various opportunities to share these booklets with our visitors.  First at Mother’s Day, then Thanksgiving, and now as we prepare to say farewell to Starry Crown, we are assembling more booklets to give out through the month of April.

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Share your thoughts

What creative solutions have you found for documenting, storing, or sharing visitor responses?

Podcast: 4 Museum Educators & 4 Days at SXSWedu

Posted by Emily Kotecki, North Carolina Museum of Art

From early childhood to higher ed to policy, SXSWedu aims to represent everything innovative happening in education. Museums are just starting to make a presence. I estimate that museum and library professional made up 1% of the 7,000 attendees.

Given our small presence, it was interesting to note where we intersected with the national conversation about the future of education (personalized learning, equity and access) and where we differed (STEM v. STEAM).

I sat down with three other museum educators during our time at SXSWedu: Juline Chevalier from Minneapolis Institute of Art; Claire Moore from The Metropolitan Museum of Art and Anne Kraybill from the Crystal Bridges Museum of American Art.  We talked a bit about our first-time experiences, perceptions, and reflections on SXSWedu.

(Note: Anne, Claire and I were one of three sessions – out of 400+! – talking about museum innovations.)

Here is a link to the SoundCloud podcast audio (7 min), and we’ve embedded the content below, as well. We hope you can listen to this on your desktop or mobile devices, but please share any problems or issues you have with the media (this is the first ever “podcast” attempt on ArtMuseumTeaching, which is why we’re starting small):

While SXSWedu started just six years ago, it has expanded its offerings every year. For example, this year was first year SXSWedu:

  • had an arts thread
  • had a museum and library professionals meet up
  • had a museum educator on the advisory board (yours truly!)
  • had a “Learning Spaces” track for session proposals

This young conference is still evolving and could look very different in the next few years. As we noted in the podcast, we believe it’s important for the museum field to attend and present at conferences like SXSWedu in order move from the periphery of education to becoming integral to the conversation.

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Featured header image from http://usa.sae.edu/news-and-events/news/sae-chicagos-martin-atkins-to-speak-at-sxsw-edu-2016/