I am so proud and excited that my home institution, the Portland Art Museum, will be hosting this fall’s MuseumNext conference. I have been fortunate enough to attend MuseumNext both times that it has held conferences here in the United States thus far: first in Indianapolis, and mostly recently in New York. This conference, perhaps more than any other, brings together a diversity of thinkers and leaders in the field of museums, attracting speakers and attendees from all around the globe. And with this fall’s theme of REVOLUTION, there is no doubt in my mind that it will be a powerful, transformative event that brings together risk-takers and changemakers from museums as well as the arts & culture sector. I am thoroughly excited to showcase the great work happening right here at the Portland Art Museum, and welcome attendees to gain a richer understanding of the innovative, diverse, and creative things happening here in the incredible city of Portland (far beyond the stereotypes of Portlandia). Hope to see many of you here this fall!
MuseumNext is a global conference on the future of museums. Since 2009 it has acted as a platform for showcasing best practice today to shine a light on the museum of tomorrow. On October 2-4, 2017, we will be holding our third annual conference in the United States – with three days of presentations, discussion,s and debates at Portland Art Museum.
Every MuseumNext conference has a theme, around which the community comes together to discuss the future of museums. This year the theme for MuseumNext USA will be Revolution. Museums aren’t strangers to revolution, we are constantly responding to and transformed by our changing society, whether that’s due to politics, environment or technology. Our institutions don’t stand still. At the same time, having the mandate to conserve, revolutions are a risk and challenge to many museums.
We are now inviting proposals from our community on the theme of revolution, looking at what that means to individuals and institutions around the world.
Taking a stand – How are museums acting as agents of change within their communities and fighting for social good?
Managing change – How are museums responding to a rapidly changing society or change within their organizations?
Mini Revolutions – What trends are revolutionising the field of museums, from the maker movement to being safe places for refugees?
Collecting Revolutions – Museums collect and tell stories through their collections, but many of today’s most important stories center around civil movements, hashtags and other, uncollectable ideas. How do we document the revolutionary now?
Or – We welcome your own ideas about how revolution relates to museums.
MuseumNext follows a fast-paced format of twenty-minute presentations with the focus very much on practice rather than theory (please note that this is the only format we’ll use at this event and we aren’t seeking longer presentations or workshops at this time).
Proposals for presentations should contain a title, names of presenters, a summary of the themes to be addressed, relevant links as well as a description of the expected learning outcomes.
We offer those speaking at the conference one free ticket per session, and speakers are responsible for their own travel and accommodation.
Reposted and revised from MuseumNext, a global conference on the future of museums which has acted as a platform for showcasing best practice today to shine a light on the museum of tomorrow. Check out more details about the upcoming conference in New York by visiting their new website.
MuseumNext is very much a collaboration which brings together museum professionals to share what they feel is important and exciting, that is true of the presentations and workshops which our community propose through our call for papers and through the other activities which form our conference fringe.
Mike Murawski, Director of Education & Public Programs at Portland Art Museum, challenged us to build a Museum Social Action Project into the program and offered along with Monica Montgomery to make the project happen.
MuseumNext asked Mike to tell us more about this exciting project:
How did the Museum Social Action Project come about?
At a time when museum professionals are increasingly thinking about the social impact of museums as well as the role these institutions play within our local communities, it seemed urgent to get outside the ‘bubble’ of the conference and more directly engage with organizations responding to local realities.
I was invited to present at the MuseumNext conference in New York on the topic of enacting change in museums and converting talk into action, so it felt necessary to get outside the conference venue and ‘walk the walk.’ Not having a strong familiarity with the local communities across New York, I immediately reached out to Monica Montgomery (MuseumHue, Museum of Impact) to explore this idea of a Museum Social Action Project.
Monica and I brainstormed about some possible ideas, and she connected us with the team at The Laundromat Project, an amazing organization that works to bring socially engaged arts programming to laundromats and other everyday community spaces.
Why should a museum conference try and facilitate something like this?
As museum professionals, it is vital that we enact a mindset of giving back and supporting grassroots organizations like The Laundromat Project that strengthen our communities. Each and every professional conference should be focusing more on how it can be connected and relevant to the place of its convening, and not just think about locations as conference hotels and convention centers.
Conference sessions, panels, and topics can certainly be more grounded in the realities and issues of the conference’s city and neighborhoods, but I think it’s important to get outside the walls of the conference, explore direct ways to see our ideas in action, and be a responsible part of building stronger communities (beyond the spotlight of the conference).
What is The Laundromat Project?
Launched in 2006, The Laundromat Projectbrings socially relevant and socially engaged arts programming to laundromats and other everyday community spaces in order to reach as many of our neighbors as possible. The LP’s artists and staff work to amplify the creativity that already exists within communities by using arts and culture to build community networks, solve problems, and enhance the sense of ownership in the places where we live, work, and grow. The LP is particularly committed to long-term and sustained investment in communities of color as well as those living on modest incomes.
Their Kelly Street Initiative was launched in 2016 in partnership with Workforce Housing Group, Kelly Street Garden, and Banana Kelly Community Improvement Association, transforming a 2 bedroom-apartment on Kelly Street in Longwood, South Bronx, into a thriving creative community hub, with artist studios, arts programming, and community partnerships that allow The LP to engage the larger Kelly Street community. We are honored to be collaborating with Hatuey Ramos-Fermín, The LP’s Director of Programs & Community Engagement, to build this Museum Social Action Project together for MuseumNext.
What’s the project that you’re doing?
Participants attending this Museum Social Action Project will meet staff and artists at The Laundromat Project, learn about their various projects and programs, and tour the Kelly Street Initiative location as well as learn more about that neighborhood. LP staff and artists will then lead a short workshop and discussion on how organizations can learn more about a neighborhood’s capacities, creativity, and skills through community asset mapping.
Participants will also discuss ways to build a sustained investment in community partnerships, rather than one-sided outreach efforts or one-time program offerings. As a vital part of this project, we also ask that participants find a way to give back to The Laundromat Project and help them create more joyful spaces of creativity and community. Participants can do this by bringing an art supply Gift Card from Dick Blick or by donating directly to the Laundromat Project online (which I strongly encourage people to do, even if you are not involved in this project or the MuseumNext conference).
What do you think the delegates will get out of it?
The aim is for delegates attending the Museum Social Action Project to be able to gain a more concrete understanding of community-based practices, of how cultural organizations can serve as sites of social action and relevance, of how museums and arts non-profits can bring people together a work to build stronger, more resilient communities. They will gain skills from The LP staff and from each other around community asset mapping, and really listening to local community voices.
What impact can the project have?
For me, personally, there are a few big “what if’s” at the heart of this type of Museum Social Action Project. I know that museums and cultural organizations across the world are striving to be an essential part of their communities; but what if our communities could become an essential part of our institutions? What if we could effectively re-center this movement for change around our local communities and the power, knowledge, creativity, and capacities that they can bring to our institutions? What if conferences and professional gatherings spent more time doing and less time talking?
I don’t think we’ll achieve this all at our half-day Museum Social Action Project this November in New York, but I hope others are inspired to do similar types of projects and experiences, getting outside the walls of our conferences and harnessing the power of museum professionals to learn from and give back to our communities.
The Museum Social Action Project is one of the fringe activities for MuseumNext New York City. The conference takes place 14 – 16 November 2016 at the BMCC Tribeca Performing Arts Center. Find out more about the conference here.
Tis the season for conferences. American Alliance of Museums Annual Meeting and the National Art Education Association National Convention are just two of the big ones, but smaller or more regional conference hashtags are starting to fill twitter feeds. One tweet on how to have a good session caught my eye a few months ago. We spend SO MUCH time thinking about ‘what’ we are going to say – when is the last time we dedicated time to ‘how’ we say it? In the age of TED Talks, epic presentation skills and storytelling rule. How can we infuse that enthusiasm and energy into our conference talks?
Now, I’m sure there are quite a few people saying:
‘The message is what matters – not how people say it!’
I completely disagree.
Let’s be honest – when have you politely stayed in a session that was all show-and-tell and the presenter was just reading from their script? Or because you wanted to meet the presenter/knew the presenter/were the presenter/couldn’t get to the door without being noticed? This happens – not all the time, but more often than it should. The worst part about it? It can be fixed, so it should happen so much less.
While The Engaging Educator is known for our improv-based education in museums, we also lead Presentation Skills and Storytelling Classes, as well as conduct Private Coaching. That tweet about how to have a good session stuck with me – I haven’t seen a lot of articles on how to prepare for sessions! Because it is something we work with people on, here’s our speaking tips for conferences.
Before the conference….
Practice, Practice, Practice: This is serious. You should be going over your presentation as many times as possible with as many different people as possible. Get feedback. Think about actors and how incredible live theatre is. They practice CONSTANTLY. This isn’t about memorizing things word-for-word; this is getting the flow and knowing your bullet points, your plan and what you want your audience to walk away with.
DO NOT WRITE THINGS WORD FOR WORD:This stands repeating: Do. Not. Write. Things. Word. For. Word. Two things happen when you write word for word – you end up reading your presentation (and at that point, I ask, why didn’t you just write an article or blog post?) or you memorize word for word and then forget a word, which throws everything off. It’s the same idea behind knowing the alphabet – try saying it without singing it and skip the letters D, P, and W. It’s slower because at this point in our lives, the alphabet is memorized by order. When you take out a step in that order, the rest is harder to recall. Same thing with your conference ‘script’.
Think about how to involve your audience:If your audience is made up of superfans, they are there to hear you talk. You could wax poetic about banana bread and they would hang on your every word. Unfortunately, chances are,your audience is not 100% superfan. So how can you keep them interested? Find ways to engage them. Yes – your program/research/thoughts are incredibly interesting. And you should find new and different ways to reach your audience. Have people draw, brainstorm, share, answer questions, create, move – get them involved, and they will remember your session more, versus quietly texting or Facebooking in the back of the room while you talk. Even if it’s giving them 5 minutes to talk to one another about your focus, you’ve broken the monotony of your voice.
Work on your how:The how is just as important as the what. That’s been one of my biggest mottos with EE – how you say things matters A LOT. Your cadence, tone, volume, speed, disfluencies – all of these connect to how you are perceived as a speaker. When you are practicing, use different ways of saying things – do everything with an exclamation point, throw in a bunch of dramatic pauses, over do your gestures, speed up, slow down. Change it up. And while exclamation points may NOT work the whole time, by experimenting you might find times it does work.If you are plagued by disfluencies – essentially anything that breaks up speech – slow down. I notice many adults struggle with what I call ‘grown up’ disfluencies – the extension of words, the insertion of ‘so’ and ‘you know’. Disfluencies exist both because of habit as well as thinking what comes next. Just slow down!
An hour before the conference…
Warm up your voice: Don’t go in cold! If you’ve ever stumbled over words, you should warm up your voice before a presentation. Do a few tongue twisters – say them slowly and over enunciate.
Don’t over practice:If you don’t know it now, you won’t. At this point, you should just be relaxing, doing a quick run through of ideas and enjoying the conference. Check out your room, if possible, and make sure your tech works.
Breathe:Take a few deep breaths. Now take a few more. Even if you aren’t nervous, breathing correctly allows your voice to be rich, deep and resonant versus shrill and pinched. Make sure you are breathing low, meaning your stomach area expands when you take a breath in.
During the conference…
Breathe!THIS IS STILL IMPORTANT! If you find yourself getting lost or nervous or going too quickly – take a breath. Now take another! If you look awkward and nervous, your audience focuses on that and then starts feeling awkward and nervous.
Let it go!This is the time to fail gloriously. Go big or go home. Just do it. Let it go. All the inspirational songs and sayings!All joking aside – there is nothing to do now except rock it out. So do it now, or forever wish you had.
Reflect on what worked and what didn’t:Think about what was successful and why as well as what didn’t work. Was it you? The audience? The subject? Even if you aren’t making this presentation again, reflection is priceless.
Any other tips to add? Add them in the comment section below!
“The value of museums begins and ends with the relationship with our visitors. It’s a contract that is renewed each and every time they engage with us, and if we don’t live up to it, we will be usurped.” — John Falk, speech to AAM (2010)
Working in museums can be a messy, messy game, but I always love the conversations that crop up when you get a handful of museum educators together to talk ‘shop.’ A couple weeks ago at the National Art Education Association 2013 annual conference in Fort Worth, there was certainly a lot of that happening. I was fortunate enough to be invited to present — or rather have a public in-process conversation — about participatory culture in art museums with an incredible group of colleagues: Preston Bautista (Deputy Director for Public Programs & Audience Engagement, Indianapolis Museum of Art), Judy Koke (Director of Education & Interpretive Programs, Nelson-Atkins Museum of Art), and Susan Diachisin (Director of the Center for Creative Connections, Dallas Museum of Art). By far, the best part of preparing our presentation was the series of winding, organic conversations that led to Fort Worth.
Not only were we all wildly passionate about visitor engagement and participatory practice, but our own working environments were all changing rapidly — from my own move from St. Louis to the Portland Art Museum this past fall, to leadership changes and various grants & innovation projects. All in all, we were fairly hyper-motivated to talk about these issues with each other and, ultimately, to explore concepts of participation and exchange in our institutional cultures.
How does an institution’s hierarchy, leadership, and organizational structure actually enable (or disable) participatory practice? How could museum educators at various levels become more involved in fostering an institutional culture focused on visitor experience and engagement? Could these values find ways of ‘trickling up’ from participatory programs and smaller-scale education projects or exhibitions?
“If … museums must move away from assumed public value and begin to measure their impact, and if … museums must achieve impact for the community instead of impact for the museum, then the impetus is on museum education to rise to the challenge that lies before us and reposition the museum in the eyes of the public.” — Tina Nolan, JME (2010)
As we entered our NAEA session entitled “Toward an Even More Participatory Culture in Art Museums,” we had decided on a set of assumptions that were key to making this a valuable and productive conversation:
There is a shift happening. Art museums across the continent are taking big steps to change the ‘business as usual’ model, creating structures to put the public’s expectations, needs, and experiences at the center of interpretive planning and exhibition development. We can see this in institutions such as the Detroit Institute of Arts (see great article by their Exec Dir of Learning & Interpretation), Art Gallery of Ontario, Denver Art Museum, Indianapolis Museum of Art, Nelson-Atkins Museum of Art, and the Philadelphia Museum of Art, among many others. In the specific realm of ‘participation’ and public engagement, it is always important to note the Irvine Foundation’s support for institutions such as the Oakland Museum, as well as museum “Innovation Stories” featured via EmcArts & ArtsFwd. If you still need convincing that change is afoot, watch this video compiled by the Innovatrium at their January 2013 ‘think tank’ of museum leaders.
We’re all in this together. Instead of anyone pretending to be an ‘expert’ about these changes in organizational culture, we wanted to be conscious of the fact that we are all co-learning with each other. It doesn’t matter the size of one’s museum or how involved your senior leadership is in this shifting landscape — we’re all working toward the greater public value and relevance of museums in our communities and beyond. And this needs to be an open, inclusive conversation if it is to be meaningful one.
You can’t talk about participatory practice without becoming participatory. I always feel like every lecture on “visitor engagement” and “participatory practice” is, in part, quite disingenuous if it does not attempt to actually ENGAGE. Even if an attempt to activate a lecture hall full of 200 spectators fails, I always feel that we should try — walk the walk, right?! So I was able to convince our group to do a crowdsourcing activity to engage those attending our session, and pull out their ideas in a participatory way.
“For a museum to truly engage its users, it must cease acting as a controlling gatekeeper to its collections and expertise. Rather, the museum must work with its users and communities to unlock the stories its collections hold, responding to the choices its users make. As such, it must give up its traditional authoritarian voice so that users are free to question, debate, collaborate, and speculate — seeking out those issues that most concern them — and are given the support and inspiration required to do so.” — Graham Black, Transforming Museums in the Twenty-First Century (2012)
After our initial discussion and framing of these issues, we jumped right into the crowdsourcing exercise to activate everyone’s thinking and to have the group generate ideas. To prevent this conversation from quickly deteriorating into a litany of complaints, barriers, and reasons why we might not be able to enact change at our institutions, we granted everyone in the room freedom from all of these restraints … with a magic wand. Therefore, without concern about budget cuts, personality conflicts, and perceived curatorial barriers, we invited each participant to take two or three minutes, envision some ways to engender a more participatory culture at their institutions, and then write down a “what if” statement on a small slip of paper. We collected more than 50 “what if” statements, crowdsourced them with the group, and then spent the final chunk of time opening up a conversation around these ideas. Here are the 4 statements that, at this moment and with this group, bubbled to the surface:
What if everyone in the museum understood everyone else’s job?
What if there was a real plan for interpretive team development of exhibitions and permanent collections? What if curators and educators didn’t feel like they were ceding territory when they worked together?
What if educators/interpreters and curators worked collaboratively on creating in-gallery participatory experiences?
What if I could include funds for “things I may think of after the budget process” [an “innovation” fund] when I’m writing my department budget?
Rather than recount the conversation or provide my own opinions, thoughts, and perspectives here, I wanted to take this opportunity to open the conversation … to OpenThink the “what if” statements we collected during our NAEA session. So below is a link to all of the “what if” statements that we were able to collect, in no particular order. Feel free to peruse, and add Comments to the GoogleDoc if you choose.
I invite you to share these with colleagues, send this to others at your museums (yes, curators, too!), and let’s create a conversation in the GoogleDoc or below in the Comment area. Do you have a “What If” statement that you would like to add? Are these concerns about exhibition planning, community involvement, and staff development similar at your institution, or different? How can we engender more participatory practice/culture in our work? in our institutions?
Once again, art and museum educators from across the country (and outside the US) begin to pack their bags and prepare to head to Fort Worth, Texas, next week for the National Art Education Association annual conference (March 6-10). And I thought it would be interesting again this year to offer another quick breakdown of the sessions being offered in conjunction with the Museum Education Division. There are some great sessions being offered this year, in addition to an exciting pre-conference program run by the Museum Division that will for the first time include lots of in-gallery teaching focused on some of the great collections in Fort Worth.
The following stats are pulled only from sessions officially labeled “Museum Education,” so keep that in mind — there are certainly lots of other sessions across divisions that engage with museums, museum learning, and how museums interact with schools and higher education (and I always encourage museum educators to branch out and participate in sessions beyond our “comfort zone”).
But within our own Museum Education Division, here is what it looks like this year at a glance. Click here to compare with last year’s numbers.
Total Museum Education Sessions: 75
Total museum educators presenting: 159 (plus or minus — with 23 people presenting more than 1 session this year)
Most Frequent Session Topics:
Visitor/Audience Engagement (various ways of being more responsive to our audiences and visitor needs, etc.) – 11
Teacher Professional Development – 9 (duh, it’s NAEA — thousands of teachers attending)
K-12 Museum/School Partnerships and School Programs – 8
Interpretive Resources (gallery didactics, print, web, and mobile) – 6
Peer Learning & Communities of Practice (for museum professionals) – 5
Art Making & Working with Artist – 5
Rather than focusing on what IS popular or in the spotlight this year, I’m so much more interested in what is NOT so popular or prevalent. After reviewing all of these sessions, I found it interesting that the least frequent topics (although still addressed by someone) include Latino outreach and curatorial collaborations. These both seem cause for concern. Our museum recently has some great senior staff discussions around the November article “Diversify or Die: Why the Art World Needs to Keep Up with Our Changing Society” (see the powerful graphic below). Author Ben Davis quotes the 2010 Center for the Future of Museums (CFM) report “Demographic Transformation and the Future of Museums,” worth a read for what it says about the scandalous state of diversity in the visual arts:
“This analysis paints a troubling picture of the ‘probable future’ — a future in which, if trends continue in their current grooves, museum audiences are radically less diverse than the American public, and museums serve an ever-shrinking fragment of society.”
While these issues may come up more frequently at AAM, ICOM, or other professional conferences with wider participation than arts educators and art museum educators, the issue is certainly something we, as a field, must be addressing as central to our work. Perhaps these issues will find themselves woven into myriad sessions on visitor and audience engagement in general, but I do fear that when we use the words ‘audience’ or ‘visitor,’ there is a chance that we might unintentionally still be thinking of white, non-Hispanic visitors. I only present this as a potential spark for some conversation, and I’m always open to being corrected and proven wrong (please, prove me wrong here!).
In addition to this blind spot, I also am concerned about the lack of sessions pushing core collaborations with curators — an area that was also severely lacking last year at NAEA. This year, the word ‘curator’ was only mentioned twice in any of the 75 Museum Education Division sessions. At a moment when I know that many major museums are re-imagining (and, in some cases, totally disrupting) the traditional relationships between education and curatorial, this lack of engagement via this year’s NAEA sessions is worth notice. Especially because I know that this issue will find its way into most of the dinner conversations each night in Fort Worth as well as the quick coffee chats we have in the halls between sessions, as it did last year. I am guilty myself, as we have not drawn much attention to this here at ArtMuseumTeaching.com. Given this, I would love to find ways to share the successes and failures of our curatorial collaborations and partnerships, and find ways to push this type of work forward. If you are doing work in this area, let’s get some posts up to shine some much needed light on these collaborations.
Lastly, when I ran a quick analysis of the session titles and short descriptions this year, the most common words used (outside of “art” and “museum”) were, in order of frequency: community, visitors/audience, learning, education, and engagement. While I’m not sure how much this actually tells us, I continually find it interesting to examine the language and vocabulary we use to describe the work we do as museum educators (in fact, there is a session on this very topic on Thursday morning, “Intentional Language: How We Describe Museum Education Can Make All The Difference”). This year, the word ‘community’ rose to become the most common word in the session descriptions, followed by visitors and audience — perhaps showing a bit of a shift in how we are perceiving our work and its relationship with the communities in which we exist. A couple of the least common words to note are ‘curator,’ as mentioned, as well as ‘experimental’ (something we should be doing and sharing more and more).
For those of you attending the NAEA Convention in Fort Worth next week, I would like to extend an invitation for you to join the editors and authors of ArtMuseumTeaching.com for a casual Happy Hour event on Thursday, March 7, from 5-6pm at the Flying Saucer (111 E Third St, a short walk from the Convention Center). We’re interested in continually extending and opening up this conversation, and wanted to find a moment at NAEA to pull together anyone who has been involved in the project thus far, as well as anyone interested in learning more.
What: ArtMuseumTeaching.com Happy Hour When: Thursday, March 7, 5:00-6:00pm Where: Flying Saucer in Fort Worth, 111 E Third St
I look forward to seeing many of you in Fort Worth, and also getting more of your voices and perspectives involved in the ArtMuseumTeaching.com community!