I attended my local march in Raleigh, North Carolina, with loved ones. While I marched for personal reasons, it was equally important for me professionally. As a museum educator, the number of colleagues who marched left me joyful and inspired. The Raleigh crowd of over 20,000 people included coworkers from my museum, staff from other institutions, educators, artists, and gallery owners. Part of the power of the march was sharing it with so many people with whom I work in a variety of contexts.
Thanks to social media, that communal experience stretched far beyond my network in North Carolina. As photographs and videos spread, I shared the day with art professionals across the country and the world. As colleagues marched in Portland, New York, Los Angeles, Minneapolis, and Washington, D.C., their images reminded me of how fortunate I am to work with many who feel the same concerns, ask the same questions, and are making the same demands. Within my museum, my local arts community, and my broader profession, there is a shared commitment to public conversations about how our society has operated in the past, how it functions now and what changes are necessary for greater equality and justice in the future.
Of course, a single march is not enough to create change. We cannot simply applaud ourselves and carry on as we have in the past. Gloria Steinem reminded us:
“The future depends entirely on what each of us does every day. A movement is only people moving.”
How, then, will I create movement? What concrete actions can I take to support the causes for which I marched? How can I promote equal rights for women, LGBTQ communities, and people of all races and religions? How can I protect the public discourse around art and science? How can I speak out for appropriate funding of schools, access to clean water for all, and the protection of our environment? Many of my answers are things that I will do as an individual – phone calls to government officials, financial support of non-profit organizations, relationship building within my community, and my own lifelong learning about these issues.
Another answer to the question of what I can do is, simply, my job. It is impossible to ignore that my largest platform is my museum and the programs we produce. As museum staff, we have the honor of encouraging community conversations around the art we exhibit. With that role, how can museum educators translate the energy of the Women’s March into our professional practice?
Much has been made of the creativity of the marchers’ signs. There were funny signs, angry signs, and emotional signs, but they were all direct and clear in their message. I think museums can look to some of the signs for direction.
Museums are frequently criticized (appropriately) for their extreme whiteness. Don’t let this be true of any aspect of the museum experience that you influence. Whether you play a role in hiring staff, identifying teaching artists, inviting guest speakers and performers for public programs, or selecting artworks for tours, you have a responsibility to be inclusive. Prioritize racial diversity in your programs and staff to reflect your community more fully and to foster meaningful conversations that represent a variety of viewpoints and experiences.
Examining whom you include shouldn’t start and stop with racial diversity. Ask if you are representing a wide range of lifestyles, perspectives, and beliefs. Include those who challenge your own ways of thinking. Like the march, the museum is a shared space. As a shared space, museums must create meaningful engagement of the many, not the few.
Gallery conversations are often open ended. This is important in order to validate multiple interpretations and empower visitors. It is equally important that museum conversations embrace the facts. A recent visitor to my museum commented, “Being a slave wasn’t so bad in North Carolina.” One opinion, stated as fact, can make another visitor feel disregarded, or even unsafe. As museums engage in difficult social discussions, museum educators and gallery teachers will increasingly need to provide historical and current information that may challenge previously held assumptions and beliefs.
Art museum programs should spotlight a full range of disciplines. Invite scientists, social activists, medical experts, legal professionals, historians, musicians, poets, and more to participate in public programs. Art connects to all aspects of life. Therefore, discussions about art should engage more than artists and curators. Creating change will require conversations across all disciplines. Museums facilitate those conversations best when they ignore programmatic norms and build surprising partnerships.
While so many of us turned out to march, our eagerness for change does not mean the work will be easy. This is not work that can be done in 140 characters. Actively respecting and engaging others is the serious work and it can be uncomfortable. Hard and uncomfortable are often part of anything that is important and necessary. Accept that mistakes happen. When they do, acknowledge them and use any missteps as opportunities to learn, to teach, and to improve.
Most importantly, remember the day we stood together. Remember how many share your goals of equality and justice. Remember that you are not doing this work alone. Remember that even when we are not marching, we are in solidarity.
Share your story from Saturday, January 21st.
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About the Author
JESSICA RUHLE is Manager of Public Programs at the Nasher Museum of Art at Duke University. Jessica founded and directs the Nasher Museum’s Reflections Program for visitors with dementia and their care partners. She has worked at the Nasher Museum since 2010. Previously, Jessica worked at the North Carolina Museum of History, the North Carolina Museum of Art, and Marbles Kids Museum. Before arriving in North Carolina, she worked at the Smithsonian American Art Museum. Jessica has an MAT in Museum Education from The George Washington University, as well as a BA in Art History from Davidson College. Jessica’s postings on this site are her own and do not necessarily represent the Nasher Museum of Art’s positions, strategies, or opinions.
Written by Sarah Watkins, Canadian 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 Artistsis 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.
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?
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).
What is the social and emotional responsibility of museums, especially as many public institutions strive to be a vital part of their local communities?
How can our collections and exhibitions help visitors critically and thoughtfully engage with present-day realities?
How do museums decide which political or social issues to engage with, and which ones to be silent about?
If these issues don’t directly relate to something in our galleries, can museums still be a site for people to gather and grapple with these difficult topics?
And finally—perhaps the biggest and most provocative question—can museums be neutral in all of this? What is the value, if any, of remaining silent?
These questions—and many more—are being asked this summer at the museum I work for, the Portland Art Museum, which recently opened two exhibitions that relate directly to the politically charged realities of our time: an immersive multimedia project by artist Josh Kline entitled Freedom, and a focus exhibition of the work of Portland artist Arvie Smith. As we personally responded to the news cycles of the summer, we wondered how our visitors might bring their feelings of anger, fear, grief, pain, hope, love, and healing to their experience with these exhibitions and our collection. Should we do anything different, or just allow the art to spark that connection on its own with the people who happen to visit?
After a few rapidly planned cross-departmental meetings combined with some unplanned hallway conversations, the general consensus was to do something. One of our attempted strategies, among others, was to develop a guide to support productive conversation and dialogue in the galleries. After all, the idea of ‘conversation’ has been such a core value for gallery teaching at our institution for many years, as well as for my own personal teaching practice (see “Reflecting on the Learning Power of Conversation in Museums”).
I am writing this post to share the prototype of our Have Conversations Here Guide, and talk briefly about the various resources that I pulled together to develop the text of this guide. While I know that this guide is far from perfect, I am such a fan of an ‘open source’ mindset and just simply getting it out there. I welcome productive feedback, other useful resources, and both success and failure stories for when others have experimented with strategies like this.
But before discussing the Guide in more detail, it only makes sense to provide a bit more information about the Kline and Smith exhibitions that essentially sparked this extended thinking about productive dialogue here at our museum.
Art Provokes Conversations
Taking up an entire floor of the museum’s modern and contemporary wing, Josh Kline’s exhibition Freedom explores issues of social justice activism, policing, surveillance technologies, and corporate/government power. The work includes video monitors; a recreation of Zuccotti Park in Lower Manhattan (a space taken over by Occupy Wall Street in 2011); life-size sculptures of police officers in tactical gear with Teletubby heads; videos embedded in the torsos of the police figures that include Black Lives Matter activists and retired police officers; and an installation of replicated donuts bearing police crests, handcuffs, asphalt, and broken auto glass. Inspired by his own participation in the Occupy movement, Kline asks visitors to confront the recent past and its repercussions, while contemplating our roles as citizens in this pivotal moment when the uses of technology, notions of privacy, and the social order are rapidly shifting.
In a different part of the museum, the brightly-colored paintings of Arvie Smith draw subject matter directly from his own African American roots and lived experience. A key work in the exhibition is Smith’s Strange Fruit (1992), depicting the lynching of a young black man by two robed KKK members, and borrowing its title from the Abel Meeropol song made famous by Billie Holiday. Additional works such as Hands Up Don’t Shoot (2015) include stereotyped caricatures of African Americans like Aunt Jemima and direct references to police violence and the death of Michael Brown in Ferguson, Missouri, in 2014.
Both Smith and Kline clearly see their work as intended to spark conversation and dialogue around these challenging issues, inviting visitors to not only grapple with the imagery and subject matter of their work but also with the connected realities of the world we are experiencing every day. In an interview with Portland Monthly Magazine, Kline talks about the relationship of activism and art, and the role he sees his art playing:
“Art doesn’t directly change the world. It provokes conversations and gives people space to think about their world in ways that aren’t usually possible through mass media, but it doesn’t have the power to topple corrupt governments or feed the hungry. Art operates via the ripple effect and through indirect influence. As an artist, I feel fortunate to have a public platform right now and I want to use it to speak out about issues that I feel are important—while at the same time making work that reflects the human experience in the present.”
Along these same lines, Smith discusses the importance of dialogue in an interview with the museum:
“I think everybody comes to these strong emotional situations from their own frame of reference, and I’m going to see things one way, someone else is going to see it another way—doesn’t mean I’m right; doesn’t mean their right or wrong. We have a difference of opinion. And, somewhere, through dialogue, hopefully, we can come together & make this a better world to live in.”
Developing a Conversation Guide
As part of our multifaceted conversations about how to support our visitors in having meaningful, respectful dialogue here at the museum (and after their visit), I spent time researching and developing a Conversation Guide that we could share. I scoured all of my existing resources on teaching, critical pedagogy, community activism, and museum learning, and printed out dozens of training manuals and facilitation guides that related directly to having conversations about difficult topics. My desk was completely covered.
After drafting up an extensive multi-page guide that included far too much text and too many prompts, I edited it all down until it fit on one single page. I sent this off to a few amazing colleagues at other museums, handed it to fellow staff at my museum, shared it with a few key community members, met with our director, and brought together all their feedback to create the final prototype: Have Conversations Here. We uploaded it to our website on the Visit page and emailed it to all staff and docents. I also began handing it out at programs and events developed through specific community outreach efforts related to these exhibitions, including the PDX Social Justice Community Art Project and a panel discussion “Race in America After Ferguson” with Rev. Traci Blackmon from Christ the King United Church of Christ in Florissant, Missouri.
As you’ll quickly notice, the key sources of inspiration and content for this guide included Hillel International’s Ask Big Questions, the Public Conversations Project, the Southern Poverty Law Center’s Teaching Tolerance Project, the curriculum resources of Teaching for Change, and PBS’ Talking with Kids guides, especially their guide for Talking with Kids about the News. If you are not familiar with any of these project and resources, I highly recommend you check them out and share them with your staff or colleagues. I have been a huge fan of Ask Big Questions for years, and I found the field manuals from the Public Conversations Project to be incredibly detailed and useful (for creating this guide, as well as for my own professional practice).
I am pasting the full text of this Have Conversations Here guide below in this blog post, so anyone can use any portion of this without needing to surgically remove it from a PDF. I hope that some of you find this useful, and perhaps might use some of this content in your own museums (if you do, let me know, and please continue to cite the sources for this guide).
I couldn’t end this post without including the following quote from curator Michael Brenson (which sadly didn’t make it into the guide); a quote that has resonated with me for years and best represents what I value about the powerful kinds of conversations we can facilitate in museums.
“In the best conversations, no one is used; ownership is shared. Everyone leaves with a sense that the ideas exchanged belong to each person present. Everyone also leaves respecting those who were part of the exchange, whether or not there was agreement. For me, conversation does make connections, it helps make connection possible.”
You are welcome to talk and have conversations here at the museum. We encourage you to use the galleries throughout the museum as spaces for dialogue, while always remaining respectful of all visitors. Explore together, look closely, and find a place within the museum to sit and talk about what you see and experience.
Dialogue is a powerful mode of conversation that genuinely seeks mutual understanding. It can occur between friends, co-workers, family members, and even among strangers. And it can certainly occur between people who do not share the same experiences, perspectives, or ideas. Learning to listen carefully and disagree respectfully are essential skills in today’s world.
Share your views.
Listen with care.
“Talking in museums is one of the things that makes them matter, and the way in which we talk in museums is one of the things that define for us what they are.” – Adam Gopnik, writer
EXPLORE THE GALLERIES
Consider visiting artworks on view that more directly explore some of the politically- and socially-charged issues we see in the news today, including policing, racial violence, stereotypes, and social justice activism.
Take some time to experience these artworks, think about your responses, and have a conversation with someone else in which you share your perspective and listen to theirs. Consider these questions:
How have events related to these issues affected you personally?
What life experiences of your own might connect with the work by these artists?
How are these artists challenging you?
If you’ve used this guide to spark any conversations with others—whether during or after your visit to the museum—think about any insights you’ve gained and how you might extend this experience.
Have you noticed anything new about yourself and how you view the world?
How might these conversations help you better understand someone else’s perspective?
How might you create more opportunities for reflection and dialogue?
TALKING & LISTENING STRATEGIES FOR FAMILIES
Talking about issues of social justice and violence with kids can be challenging. Children are curious and constantly ask questions about the world around them. In one breath, they might ask about a range of topics — from the weather to something they heard on the news. Whether at home, in the car, or here at the museum, it can be difficult to know how respond when difficult questions come up.
To help support these types of conversations here at the museum for all ages, we wanted to offer a few flexible suggestions. These strategies might help your family talk together about some of the socially- or politically-charged artworks you might encounter during your visit to the museum.
Start by finding out what your child knows.
When a difficult issue comes up, ask an open-ended question like “What have you heard about it?” This encourages your child to let you know what they are thinking.
Ask a follow up question.
Depending on your child’s comments, ask another question to get them thinking, such as “Why do you think that happened?” or “What do you think people should do to help?”
Give children the information they need to know in a way that makes sense to them. At times, a few sentences are enough.
Listen and acknowledge.
If a child sees or hears something that might worry and upset them, recognize their feelings and comfort them. This acknowledges your child’s feelings, helps them feel secure, and encourages them to tell you more.
(Adapted from “Talking with Kids about the News,” a resource for parents available online at pbs.org/parents/talkingwithkids/news)
This guide draws from the following projects and resources to develop these strategies to promote active, productive dialogue and reflection. Learn more by visiting the websites listed here:
Featured Header Image: Artist Demian DinéYazhi’ leading a conversation in the galleries of the Portland Art Museum’s Center for Contemporary Native Art with participants in the Middle East Partnership Initiative (MEPI) program. Photo by Cody Maxwell.
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.
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.
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.
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.
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
While educators can all agree that programs for students on the spectrum are extremely worthwhile, many institutions, educators, and schools have trepidation in approaching these programs – but knowledge provides comfort. While the idea of setting up programming for students on the spectrum is multi-faceted, an under-discussed part of programming is the Pre Visit. Going into the Pre Visit, we prepared a visual agenda, social story, and had a touch collection. Below, find our individual reflections on the importance and outcomes of our short but powerful Pre Visits:
Feels Like the First Time – by Alex Brown
I am accustomed to meeting school groups ‘cold’ when they come in the door. I know where they’re coming from, the size of the group, the age range, and I speak with teachers prior to visits to discuss the scope and expectations, but it is difficult to know the feel of a school group if I haven’t met the students. Starting ‘cold’ and getting to know the students during a program works great most of the time, but it is simply not enough for every group. Students on the autism spectrum often require extra attention and care that can be difficult to provide with a ‘cold’ start. That’s when the value of the Pre Visit became clear.
Typical school programs at SECCA last between an hour and an hour and a half. Since most school programs start without Pre Visits, I spend the first five to fifteen minutes with introductions, discussions around the definitions of contemporary art, and a primer on the exhibition. This not only helps students get comfortable in an unfamiliar space and with potentially unfamiliar ideas, it also creates an opportunity for me to ‘read the room’ so I can find out what the students are interested in and the kind of experiences they are open to. ‘Reading the room’ can be anything from a discussion with the students to paying attention to body language. It becomes easier to read students as a program progresses and as discussions unfold. By the middle of a visit, most students feel comfortable in the space and are open to expressing themselves. This process can be decidedly different with students on the autism spectrum.
The ability to read an audience by paying attention to both verbal and non-verbal cues is based on an understanding of typical behaviors. I am not an expert on autism, but I do know that people with autism often behave in ways that do not conform to traditional behavioral norms. Their behavior is simply different, and it can’t be read using typical behavior as a baseline. This is what makes it difficult to start ‘cold’ with people with autism. I have led programs for special needs classes, special needs organizations, and group homes, and until recently I had never done Pre Visits. I have always met the group like I would have any other. Where most students that are typically developing are comfortable by the middle of a visit, some individuals with special needs did not feel comfortable until the end, if they got comfortable at all.
Through the pilot program and partnership, we included Pre Visits with every class. We met with each class for about fifteen minutes, and in that time we got to know the students, the students got to know us, and we introduced the students to SECCA, the exhibition, and museum expectations using a social story. The value of a Pre Visit became immediately apparent. In one of the pre-kindergarten classes, some students began to cry and showed signs of anxiety when we waked in the room. By the end of our visit, a student who was in tears when I walked in the room had taken me by the hand to show me around her classroom. Responses varied from student to student, but through the Pre Visits we established a shared foundation of comfort with the students. A foundation that carried over to their SECCA visits, eliminating the need to start ‘cold’ and opening more time to explore, experience, and make art.
It’s Not Just You, It’s Me – by Jen Brown (Oleniczak)
I haven’t always been a fan of the Pre Visit. So much of what I believe in with improv-based education is the idea of focusing on the current moment – maintaining a presence in the here and now to honestly react and respond to that here and now. Initially, it seemed a bit contradictory to have a Pre Visit with that mentality. The ‘secret’ I’ve discovered after doing a lot of Pre Visits through multiple organizations, including The Engaging Educator, is: the Pre Visit is as much for me as it is for the students.
As one of the people that initiated this partnership, I was insistent on the aspect of a Pre Visit. Modeling the program after the Guggenheim for All program, I saw a lot of success in getting the students ‘ready’ for their visit to the museum, as well as preparing the teachers with expectations. As an educator that has worked with students on the autism spectrum, as well as an improv advocate, my mentality behind the Pre Visit need was simple: while when you’ve worked with one person with autism, you’ve worked with one person with autism, and people are different every moment, it’s imperative to understand individuals where they feel comfortable and where they don’t. Yes, every child would be different. Yes, we were going to roll with it and be flexible and connect to the moment – but spontaneity? NOPE.
Now is a good moment to dispel a misconception about me as an educator. I plan. A LOT. I over plan. A LOT. The reason I over plan? So I can be flexible within a great big structure I’ve planned for myself, scrap things when necessary, pivot on a dime, and connect to the people in front of me. That’s improv.
Back to the Pre Visit – by going into the students’ classrooms, a space where they understand expectations, rules, and interactions, we could see how they connected with those consistent expectations, rules, and space. We could see that the high school class was VERY responsive to the prompts given to them, that the elementary class moved around a lot and like to hold our hands, and that the kindergarten class loved counting. We noticed the wanderers and the ways the teachers interacted with the students by saying, “follow the leader” to line up and the student’s attention span.
Yes, the students got to know us. Absolutely, they heard the social story, learned the expectations, practiced a ‘museum walk,’ and touched samples that would also be at the museum. We got to tailor and inform where we met the kids because of the Pre Visit. We were able to connect with them at a completely different level and prepare with more than just the teacher information (which is so valuable! Never stop doing this, teachers!)
There is an improv and storytelling principle of “starting in the middle” – essentially you get more accomplished by starting in the center of a conversation versus using time with exposition. The same happens with a Pre Visit – instead of using time to assess the group, you have a baseline. You can begin in the middle, and fine-tune the plan based on the individual moment of that student – the student you already have a relationship with. And how much better is that museum visit when you’ve increased your structure – when you’ve over planned for things, thought of possibilities, different directions, and prepared properly for anything? That’s where my flexibility as an educator comes in. Not from an “anything goes” attitude, but a larger structure to move around in. And a Pre Vist built into a special needs program, specifically one for students on the autism spectrum, makes my structure even larger, and my flexibility even smoother.
Have you had success with a Pre Visit program, or working with students on the autism spectrum? Share your comments, challenges, or best practices.
About the Authors
JEN BROWN (OLENICZAK): Founder and Artistic Director of The Engaging Educator, a NYC, LA and Winston Salem based organization that specializes in improv based education and development for the advancement of professional, social and communication skills. Through The Engaging Educator, her pedagogical approach has trained educators, students, professionals and individuals from organizations such as W Magazine, SFMOMA, Viacom, Columbia University, The Field Museum, MOMA, UNICEF, and Saks 5th Avenue. Recently the company opened a non-profit Foundation, offering free and low cost improv workshops to educators, at-risk teens and adults, and individuals on the autism spectrum. She holds degrees and accreditation from Marquette University, City College of New York, St. Joseph’s University and Second City.
ALEX BROWN: Programs Coordinator and museum educator at the Southeastern Center for Contemporary Art (SECCA), in Winston-Salem, North Carolina. As a member of both the curatorial and education departments at SECCA, Alex designs, develops and leads educational programs, family programs, exhibition and non-exhibition-related programs and film programs. In collaboration with the Curator of Contemporary Art and the Curator of education, he is also responsible for creating SECCA’s interpretive materials. By developing and offering programs that appeal to more than just one audience, Alex strives to make contemporary art approachable and accessible to everyone. He holds a B.A in History, Ancient Civilizations and Classics from the University of Iowa and a M.A in Museum Studies from Western Illinois University.
In recent years, there has certainly been increased awareness and discussion about salaries within the museum profession. I can speak from my own place within the field of museum education when I say that this has become a very frequent (and more urgent) topic of conversation at conferences, leadership convenings, and professional meetings in recent months. Thanks to the efforts of museum activists involved with movements such as Museum Workers Speak, #MuseumsRespondtoFerguson, protests at individual museums, and several leaders in our field, we are seeing an increase in awareness around museum labor practices, hiring, and worker pay as well as the intersection of these issues with race, gender, and class.
Last week, Joan Baldwin wrote an insightful and widely-read piece entitled “Museums and the Salary Conundrum” via the Leadership Matters blog — a site that emerged in conjunction with the 2013 book of the same name written with Anne Ackerson and studying museum leadership in history and cultural heritage organizations. In her post, Baldwin so clearly and boldly frames the problem of museum salaries:
“we work in an underpaid, under-resourced field. And for too long, too many people have told us that it is such a privilege to participate, that we should suck it up, deal with the fact that we’re thirty and still need roommates to pay the rent, and revel in the fact that we have a museum position.”
Joan quickly followed her post with another this week entitled “The Salary Agenda,” in which she and Anne take a stab at what they think a Museum Salary Agenda for the 21st Century could look like. I really appreciated this action-focused series of items, which can begin to help the conversation focus on real change — from professional organizations and institutions to graduate programs and individuals. Here is a quick repost of their Agenda, and I invite everyone to read their entire post and add comments to the already-active conversation on their blog.
Be prepared to negotiate. Be prepared to say no. A dream job isn’t a dream if your parents are still paying your car insurance and your mobile phone bills.
Ask about the TOTAL package not just salary. If you are the trailing spouse and don’t need health insurance but do need time, make that part of your negotiations.
Network. Know what’s going on in your field, locally, regionally, nationally.
What Graduate Programs Can Do:
Be open about job placement statistics
Teach students to negotiate salaries and benefits.
Teach students to calculate a Living Wage plus loan payments and quality of life.
Encourage networking, mentoring and participation in the field.
Just as Joan and Anne are not speaking from a position of having solved all these problems, neither am I. However, I wanted to share their recent writings and ideas as a way to ensure that this conversation remains strong within the field of museum education. As we enter the spring season of conferences (AAM, NAEA, etc.), let’s make sure to keep these issues at the forefront of many of our conversations about diversity, inclusion, and leadership and work toward making appropriate and necessary changes within our professional organizations and institutions.
Thank you to Joan (and Anne) for sparking another important exchange around these vital issues to our field, and thanks to all the museum thinkers and activists pushing this issue through Twitter chats each week and in-person meet-ups across the country.
Written by Alyssa Greenberg, doctoral candidate in the Department of Art History at the University of Illinois at Chicago; founding member of Museum Workers Speak
Reposted from The Incluseum blog, an online forum advocating that inclusion become an integral priority for all museums and flourish through supportive community relationships.
On September 25-26, I participated in MuseumNext’s first stateside convening at the Indianapolis Museum of Art (IMA). Since 2009, MuseumNext has organized annual conferences in cities across Europe to highlight current best practices and future directions for the museum field. Starting with Indianapolis this year, MuseumNext will hold conferences annually in the fall in the States and in the spring in Europe. This fall’s topic was “Building Inclusive Museums” (not to be confused with the International Conference on the Inclusive Museum — though it’s great to see the topic gaining increasingly widespread attention).Through two days of jam-packed conference sessions, the themes explored ranged from sharing power and authority with museum audiences to fostering more inclusive hiring and labor practices within institutions. In this blog post, I’ll share two of my greatest takeaways from the conference.
1. Redefining and interrogating inclusion
There were at least as many definitions of inclusion as there were speakers at the podium. Something that came up again and again was the idea of sharing power and responsibility with communities beyond museum walls. For example, Independent Curator and and Public Engagement Consultant Sarah Schultz used the Open Field project, which she founded at the Walker Art Center in Minneapolis, as a case study to explain how inviting “community members” (a phrase that merits further unpacking) into the process of creating public programming is essential to creating an inclusive space.
Similarly, in the realm of exhibition development, Smithsonian Curator Masum Momaya advocated engaging community members “from concept to closing.” Manager of Digital Content/Social Media Lori Byrd-McDevitt shared a case study of a “community blogging” initiative at the Children’s Museum of Indianapolis.The museum demonstrated “radical trust” by allowing selected bloggers free rein to create content for their website. Byrd-McDevitt anticipated that questions of compensation might arise in the audience, and she was clear that community bloggers received the benefit of blogging experience as well as perks such as meals, goodie bags, access to museum events, and museum membership — but not financial compensation.
Momaya followed up on this topic in the Q&A following Simon’s talk, asking how an activist museum director can address wage disparity and privilege. Though Simon’s talk was called “Fighting for Inclusion,” she responded that the issues of working conditions described by Momaya were “not our fight” — a viewpoint with which I disagree. When museum staff members partner with community members to do museum work, and there’s an imbalance in voice or compensation or decision-making power, that partnership can reinforce rather than challenge social inequalities. If we are to continue promoting inclusion as a value within our field, we will need to put more thought into how to address this tension. How can we persuade museum workers at all levels — including museum leaders — that equitable working conditions are central to inclusion?
2. Who’s (not) in the room
Museum Evangelist Adrianne Russell pointed out that the high registration cost (tickets were in the $400 range) (not to mention travel costs!) kept MuseumNext attendance out of reach of many museum workers. I was fortunate to be able to attend the conference with the help of a senior colleague, who let me ride with her from Chicago and even subsidized my lodging! This amazing, above-and-beyond support for an emerging professional from a leader in the field was instrumental — but not everyone can be so lucky.
I concur with Russell that while the free livestreaming went quite far in making the conference accessible to a wider audience, the impact of having a more diverse community of museum workers in the room would have had a significant impact on the conference discourse, especially if the conference had had a more audience-engaged format. Many people followed the stream and engaged the conference topics over Twitter, but having their voices physically present to ask questions and address the presenters in person would be a huge improvement.
Presenters and participants alike called attention to who was in the room — and who was missing. With a few exceptions, the “sea of white women” (to borrow an apt phrase someone used to describe the museum field at a Museum Workers Speak event in Chicago) was visible both behind the podium and in the audience. This topic deserves further interrogation. In her presentation, Co-Founder of Brown Girls Museum Blog Ravon Ruffin mentioned the Andrew W. Mellon Foundation Art Museum Staff Demographic Survey and argued, “We can’t talk about museums unless we confront our own privilege to collectively be in this room.”
By far, the most radical and provocative presentations were delivered by women of color — specifically, Co-Founder of Museum Hue Monica O. Montgomery, Momaya, and Ruffin. Those are the presentations I encourage you, readers, to watch or rewatch. Throughout the conference, most of the presentations delivered by white women were operating in the “success story” mode pervasive in the museum field, flattering participants’ current understandings of inclusion without pushing further. Why was the critical role of pushing the field to work harder for inclusion seemingly left to women of color alone? And since they did speak up, will we listen?
Reposted from project CODE WORDS, an experiment in online publishing and discourse around issues of technology and theory in museums. Read more great essays by leading thinkers in the field by visiting the project on Medium. [republished with permission of the authors]
In the early nineteenth century, a small population of free people of color speckled the United States. Some of them did not disrupt the status quo, but revolutionaries like Denmark Vesey of Charleston, South Carolina called for the nation to burn.
A founding member of Emmanuel AME Church, Vesey primarily recruited church members for the insurrection. His plan leaked to slave owners before he could make Charleston a site of liberation. The Mayor organized a militia to catch all co-conspirators. Vigilante justice reigned over the city too, but it did not stop for good. On June 17, 2015 self-proclaimed white supremacist Dylan Roof reignited that spirit of vigilante justice and murdered nine Emmanuel AME Church parishioners with the intent to start a race war nearly a century after Vesey planned his uprising.
Black people have long struggled for their freedom and civil rights in America. Denmark Vesey is an example of this. Therefore, uprisings across the nation after repeated incidents of white police officers shooting unarmed black citizens is not just an inciting 2015 headline. It falls along the continuum of black people protesting against state sanctioned violence and over policing in their communities. So why do museums continually hesitate in responding to Ferguson and Baltimore and Staten Island and Cleveland and Charleston and…?
Are Museums Really Ready to Respond to Ferguson?
In Bridget McKenzie’s Code:Words piece, “Toward the Sociocratic Museum”, McKenzie proposes a new model of museum to counter the existing plutocratic and bureaucratic archetypes that have arisen from plunder and oppression or are discomfitingly in bed with problematic corporate entities, respectively. In theory, the sociocratic museum would forego being participatory and engaging on its surface for “governance that is non-hierarchical, consent-based and rooted in its communities.” Recently, museums have championed inclusion and engagement. But the digital landscape and communities of color have pushed back, creating spaces that discuss their lived experience and critiquing how other people view it.
McKenzie’s piece cited #museumsrespondtoFerguson, a Twitter chat we co-host the third Wednesday of each month 1PMCST/2PMEST, as an example of how people-driven movements in the digital realm can inspire change in museums. In 2014, tens of thousands of Americans took to the streets protesting the killings of unarmed black citizens by police in Staten Island, Beavercreek, Ferguson, Cleveland, Baltimore (and unfortunately many more in subsequent months). These actions were inspired, organized, shared (and ultimately spied on) via a host of digital platforms, most notably Twitter, which has the highest percentage of black adult users according to recent research. It’s the digital equivalent of an old-school office water cooler. It’s where news breaks, information is shared, and racist tomfoolery is dragged to the carpet.
Claiming Their Space Digitally
#BlackLivesMatter, and other movements, rallied marginalized people and amplified their unified voices. They claimed virtual space instead of waiting for it to be doled out to them. Traditional gatekeepers were rendered moot. Schools, arts organizations, libraries, and other entities responded with public statements denouncing police brutality, presented related programs, or offered their venues as community gathering spaces.
“No matter what a museum’s legal structure, whether publicly funded, or authorised by society to function as a charity, it is expected to contribute to the common good. If its basic values do not include solidarity with the excluded, then the museum is reinforcing that exclusion”
Museums pride themselves on embodying the common good, on honoring its social compacts, and being physically and virtually relevant. Precious resources are devoted to “engagement”, a term so buzzy and overused that it often elicits groans and eye-rolls from museum employees tasked with bringing the nebulous concept to life.
These colleagues regularly communicate via tags such as #musesocial, #musetech, and #museEd to crowdsource solutions and exchange practices, so convening in digital spaces isn’t new. However, using those spaces to openly examine anti-blackness in museums certainly is.
Twitter: The Tool for Activists Online
Social activism is inherently risky but protest in the physical world can take place with a certain degree of professional protection. You can demonstrate outside of work hours or anonymously donate to causes of your choice. But participating in a Twitter chat explicitly dedicated to confronting your current or potential employers’ systemic oppression under your personal account, which might even include your image (and almost overwhelmingly some variation of a “these ideas are mine alone” disclaimer), is practically an act of rebellion in an industry with a long history of conformity, exclusion, and aversion to transparency.
The aforementioned Joint Statement was born digitally and continues to live online, making it more accessible than a paper document. Conversations responding to overarching themes like race, police brutality and community relations dominate the online landscape now. The monthly Twitter chat is a limb of the statement, keeping the conversation alive. Twitter has been the most appropriate online social media platform seeing that it is the most immediate and democratic.
Facebook, the most popular social media platform, originally started exclusively for Harvard students. Eventually, it expanded to a service for all Ivy League schools along with Stanford University. It was not until 2006 that anyone of appropriate age could join the site. Contrarily, Twitter has always allowed anyone with a valid email address to join the site. Anyone can build a sizeable audience without educational, economic or social weight.
While one of the high points of Twitter is that it very democratic, that aspect also hurts our ability to account for everyone engaged in the conversation. Twitter allows participants to see the full conversation. It also gives them the choice to be an onlooker without forcing them to participate. Because of this, we know there is a group of people who read the Tweets but do not contribute to the conversation. This is frustrating because it does not allow us to capture a complete sample of the comments surrounding certain themes.
To capture the Tweets that are present in the chat, we use Storify. While Storify provides a great summary of the chat, it does not retain tweets if a user deletes them. We are still researching the best tools for tracking tweets on a limited (i.e. no) budget. So far, NodeXL (visual) and TAGS (archiving) are possible contenders due to free, open source templates, although the TAGS archive reflects some bias in its often incomplete results.
Twitter is also useful in the sense that it’s immediate. It’s a space for discourse and thinking aloud in public. And it has a record for social change. Among many other times, Egyptians most notably used Twitter in 2011 to organize actions in hopes of overthrowing President Hosni Mubarak. Its record for serving as a platform for social change made it the top choice for housing #museumsrespondtoFerguson.
This particular Storify, which focused on museums and oppression illustrates how Twitter introduced new perspectives and sources outside the mainstream to some of our chat participants. Margaret Middleton noted, #BlackLivesMatter has completely transformed the way I see the world.” Through these chats, Twitter continues to demonstrate to us that we can spread information that disrupts traditional narratives quickly and effectively.
The Stutter-Step Between Hashtag to Action
For all the good Twitter is, it still presents some challenges. How do we move out of an online safe space, to a space of action? We did not even provide a Storify for our fifth chat which asked participants to share anti-blackness work they have engaged since being a part of #museumsrespondtoFerguson. There were barely any tweets to archive. Instead of seeing action, that particular chat pulled back a veneer and exposed fear and tepid hopes. After several chats, it seemed like participants were still unsure about how to respond to Ferguson. We have pushed for museums and museum professionals to first examine the ways they perpetuate or dismantle oppression. Before museums can truly engage communities, they have to do the internal work. To be sure, this work is not easy, and it is far more complex than providing a tidy and succinct list of ten steps to engage with the black community.
Some comments, like one that relegated #museumsrespondtoFerguson to being “about museum staff talking amongst themselves — not a bad thing, but seems tangential in some way to community engagement,” are discouraging. Museums can’t engage communities of color before acknowledging and working through their role in marginalizing black and brown people. Furthermore, museum professionals cannot continue to cite early museologists like John Cotton Dana without providing the context that Newark struggled with desegregating its public spaces.
While John Cotton Dana wrote about engaging all people and making collections accessible and relevant, black people were not necessarily included in this plan. Dana demonstrated progressive ideas about gender, but never explicitly advocated for race equity. This is the type of deconstruction that needs to take place before museums attempt to engage a community that they have historically turned away. Learning about the likes of Mabel Wilson, in addition to Dana, makes for a more thoughtful and relevant approach to engaging black communities. #museumsrespondtoFerguson seeks to expose participants to different voices and thought processes that museums continue to ignore.
The chat generates thoughtful commentary, and has also inspired #MuseumWorkersSpeak, a conversation about labor and equity in the field. However, participants express some hesitancy, and even fearfulness, in putting these conversations to action. This was especially evident in our fifth chat where participants could barely answer the questions because they had not actually put in work to evaluate or comment on. We have not found the best solution for moving the conversation to action. Jumping back to the Egyptian Revolution of 2011, participants in their online advocacy never hesitated to take action. Action was intuitive. They believed in change and were willing to work for it.
Maybe, in this country racial change is not intuitive. And while Twitter can foster productive conversations, it has not fostered enough tangible actions in the museum community. The Charleston Massacre unfortunately connects us to the nineteenth century motto of vigilante justice against black people. Museums can no longer view contemporary iterations of racialized violence as traumatic headlines too difficult to work through in their spaces. As organizations with renewed commitment to community engagement, #museumsrespondtoFerguson needs to manifest in gallery spaces, programming and outreach.
As the new school year officially starts here in New York, I am reminded of the thousands of students in the city, who will eventually descend upon our museums, science centers, botanical gardens, libraries, historical societies, and many other informal places of learning. As always, I am inspired by these young learners who bring a richness of experiences, languages, cultural identities, curiosities, and imagination that make our institutions come to life. In my own practice, I often wonder how I can tap into the wealth of characters and personalities each student brings to the table to create a truly engaging and equitable learning environment for all.
As school programs educator at Queens Museum, I was amazed by the diversity of the students that were coming into the museum; reflecting the demographic of the borough (one of the most diverse in the country!). It was more than I had ever experienced working in other museums/cultural institutions in New York. Based on my own observations and conversations with teachers, I realized that in a class of 35 students there might be knowledge of at least 10 languages whether spoken by the students or by their families at home. Census data shows that close to half of Queens residents (47.8%) are born outside of the US and more than 50% speak a language other than English at home. Some estimate show that there are more than 150 languages spoken in Queens.
In many ways, I saw myself in these students. As an immigrant, I also come from a multilingual and multicultural home. I consider myself part of generation 1.5, coming to America when I was 13 years old. These students inspired me to reflect on how I can further challenge my teaching. How can my own immigrant background inform my teaching? What are some of the effective teaching strategies I’ve learned the field? And how could I combine this sensitivity and the strategies to engage multilingual students and their peers in the group. So for a couple of months last year, I explored and used many different strategies in our Panorama of the City of New York exhibition, the crown jewel of the Queens Museum’s collection and our most requested school groups tour. The result was an “Educators Guide” which I compiled and illustrated by Megan Leppla. The guide was originally presented for school programs at Queens Museum and am sharing here as a resource for other educators.
Check-in with the Teacher.
The classroom teacher should know their students best. Prior to their visit or right before the tour, check in to see what the teacher’s goals are for the museum visit, what curriculum connections the class is making or want to make, and if there are any special needs or considerations. This is a great time for me to ask if there are other languages spoken or used in the classroom. I also let the teachers know that I welcome and encourage moments to translate key words, questions, concepts, and/or ideas to reach the most students. This is a great way to collaborate and engage the teacher during their visit.
Use active cues to get students attention.
Teaching with the Panorama can be challenging because of many factors, including its size, impressive detail, and a moving model airplane touching down and taking off at LaGuardia Airport! So it’s important to use creative and active ways to gather students’ attention. Check with the teacher to see if they already have strategies in place in the classroom. Some of my favorites include:
Clapping: I like rhythmic clapping because it involves both sound and movement. Make sure that this does not distract other groups.
Sign: First, I introduce the sign language for the word “Focus” and then I reinforce this gesture when I need a student’s attention.
Give students equitable opportunities to participate.
Allow students to engage with the Panorama in other non-verbal ways or without being the focus of everyone’s attention. I like to have low-stakes, low-pressure activities for all students to participate in. For example, as students walk into the Panorama, I ask them to think of a word that describes how they are feeling. Then, I ask students to write down the word on an index card. To share I ask students to look at each other’s cards. Students can then be grouped into similar words or ideas for further conversation.
Encourage partner talk.
Students often have lots of great observations, ideas, or thoughts but may be uncomfortable with sharing in a new space or in large groups. Give students space to express these observations and ideas comfortably with a friend. You can ask open-ended questions such as: How is this borough different or the same from the last borough we looked at?
Affirm students’ background such as knowledge of other languages.
When I hear students speak or use languages other than English, it’s an opportunity for me to relate it back to the Panorama. I ask questions like: “What’s another word we use for “bridge”?” In Spanish? Russian? Farsi? Tagalog? And more. I like to ask: What are some of the languages we speak, hear or read in the classroom? At home? In Queens? In NYC? This allows students to share their own knowledge inside the museum.
Activate students’ relevant prior experiences.
In Queens, when students point out LaGuardia and John F. Kennedy Airport, it is a great opportunity to talk about their own experiences of migration, movements, and travel. Here, I start our conversation with: What are airplanes used for? They are used for people to travel and move between two places. Then I follow up with: What are some of the places you or your family members have traveled to? Santo Domingo, Mexico, Pakistan! In this way, students are sharing their personal experiences with movements on their own terms. By reframing this question, students can freely share their own experience without necessarily answering: “Where are you from?” This is a great way for students to learn more and teach each other.
Make room for student questions.
As educators, we often get excited about teaching and sharing knowledge and information that we sometimes forget to stop and ask students if they have any questions or need any language clarifications. Once during a visit with a 2nd Grade group, I kept using the word “gallery” to describe the spaces we were moving in until finally one brave student stopped and asked “What does “gallery” mean?” A-ha!
Reinforce vocabulary students are learning in the classroom.
Check to see if there are any concepts or vocabulary from the classroom that you can bring into the visit. Teachers often use the Panorama as a way to learn about rural, urban, and suburban communities. I like to emphasize this classroom connection by asking students to define these terms using the Panorama. I ask students questions like: How can we identify the different communities? Where do you see an “urban” community here? What does “rural” look like? What makes this “suburban”?
Engage students actively through multi-sensory activities.
See: Try extended looking. I like to challenge students by asking them to look closely at the Panorama for an extended time, about 2-3 minutes without comments, questions or raising their hands.
Sketch: Use a Telescope! Students can observe closely by sketching a detail (building, bridge, statue!) they find most interesting in the Panorama.
Hear: Create a Soundscape! Each student can make a sound or noise that they might hear or imagine in the space. Direct the soundscape symphony with a meter!
Feel: How does it feel? Have students touch and feel building blocks, models, and other touch objects.
Move: Students can pose like their favorite skyscraper in Manhattan or decide like the Statue of Liberty what their pose might be if they were a statue or monument.
The museum is a great place for all students to learn, discover, and come together as a community. What makes the Panorama special is that it gives all of us a singular view of our city. We all have a piece of NYC in us, together with 8 million others, that makes it special no matter where we or our families come from.
I welcome fellow educators to share or reflect on their own strategies that allow students fair opportunities to engage and participate during school group visits.
Written by Joni Boyd Acuff, Ohio State University, and Laura Evans, University of North Texas
As dear friends and colleagues, we met in the middle for the book Multiculturalism in Art Museums Today (Rowman & Litlefield, 2014). We — Joni, an expert in critical multiculturalism, and Laura, whose specialty is art museum education — had known each other for years and talked about just about everything, but never truly understood what the other researched in more than a cursory manner. The idea to collaborate came from this uncomfortable space of not really knowing what the other person did with their work. We decided to find out instead of to continue in our ignorance of what was really important to the other person. And, hence, this book was born. We realized as the Venn diagram of our research interests intersected, that there was a big gap in the literature on multiculturalism in art museum education. “Why?” we wondered. And, secondly, “What can we do about it?”
The book, Multiculturalism in Art Museums Today, is the result of this curiosity and our inquiries, as well as the diligent, creative, and groundbreaking work of our contributors (some of whom will also be posting here on ArtMuseumTeaching.com in the next few weeks). In this post, we will attempt to explain why we think multicultural practices in art museum education are important, and give a context for the book. We welcome your thoughts, comments, and questions, and hope that we can provide a welcoming space for stories and sharing.
Why is a Book on Multiculturalism in Art Museum Education Important?
First of all, what is critical multiculturalism, in brief?
Critical multicultural education works to investigate the maintenance of authentic cultural history, the subjugation of non-dominant cultural knowledge and the continuous movement, fluidity and evolution of culture (May, 1999). Multiculturalism in Art Museums Today aims to consider ways in which museums can work more effectively to become “social systems that enable the spaces of equitable educative possibility” (Dixon-Roman, 2012, p.3). We conceptualize equitable education as inclusive, comprehensive and “ubiquitous to the social process of thinking, feeling, being, and doing everyday human experiences” (Dixon-Roman, 2012, p.3), as per the tenants of critical multiculturalism. Unfortunately, as historic and existing debate suggests, museums struggle to meet the educational needs of its diverse patrons. If a museum is a suggested way of seeing the world (Macdonald & Fyfe, 1996); it is fair to assert that it must support various cultural frames of reference, as well as numerous versions and translations of the world. A practical and theoretical resource on multicultural museum education is important for two main reasons:
the increasingly diversified population of the United States, and
the heightened attention (due to economic, political, cultural, and ethical stimulus in the museum profession) and added importance placed on museum educators as representatives of their institutions, their field, and their communities.
These two realities provide the basis for this book and for the readers, who we hope will benefit from a deeper understanding of critical multiculturalism and its applications to museum education.
The U.S. is diversifying at a rapid rate and it is important that museum educators acknowledge, accept, and learn how to utilize the educational benefits of having such diverse populations to consider. According to the 2010 U.S. census:
20% of the population over the age of five speaks a language other than English at home.
72% of citizens are white, non- Hispanic; 16% Hispanic or Latino; 13% black or African American; .9% American Indian or Alaska Native; 5% Asian; 1% Native Hawaiian or other Pacific Islander; 5.5% another race; and 2.4% two or more races.
The projected racial composition of the United States in the year 2050 is 50.1% white, non-Hispanic, 24.4% Hispanic, 14.6% black, 8% Asian, and 5.3% all other races.
These statistics show that America is a vastly diverse nation and will continue to become even more so. Therefore, issues surrounding multiculturalism and equity will remain relevant and important as social and political issues. The above statistics are a stark reminder that art museums should be institutions of inclusivity, rather than exclusivity, and they show us why it is important for museum educators to understand the complexities and practicalities of critical multiculturalism. As stated by Winter (1992):
“At issue is the social and educational responsibility of public institutions in the face of cultural diversity, as opposed to the moral assumption of the museum as repository, both of ‘Art’ and of cultural values.”
Multiculturalism in Art Museums Today seeks to situate the educational role of the museum as one of multicultural expansion rather than abbreviation.
Context for Multiculturalism in Art Museums Today
Some people believe that “isms” (ex: racism, sexism, classism, ableism, etc.) are no longer relevant to the discourse around museums. In reality, the goal for museums and museum educators to engage in critical multicultural education work is relevant more now than ever. While some scholars and educators argue that issues of race, class, gender and sexuality are problems of the past, current data reveals that oppression based on these social indicators persist and have actually magnified well into the twenty first century (Weber, 2010).
According to the U.S. Census Bureau and the National Center for Public Policy and Higher Education, since the year 2000, the international economic crisis has intensified inequities of race, ethnicity, gender, and class; specifically, accessibility to higher education decreased dramatically, as tuition and fees more than doubled, disproportionately affecting groups with low socioeconomic status most (Weber, 2010). In addition, sexual politics relating to same sex marriage and same sex adoption laws continue to be heavily contested in most states. Social inequalities are still heavily implicating the present and future of members of non-dominant groups (Weber, 2010). Therefore, it is imperative that we continue to call for critical pedagogies and praxis that “confront the racial, class, gender, and homophobic biases woven into the fabric of society” (Stuhr, Ballengee-Morris, and Daniel, 2008, p. 83).
Why are we attempting this call to action?
Because, if repetition is the precursor to establishing a habit, then we feel that it is necessary and important to continue checking in on issues of diversity in our museums so that, someday, things might change to a greater degree than the infinitesimal shift that has occurred so far in our museums. Eileen Hooper-Greenhill (2006) wrote a decade ago about the shift in museums, the “turn” towards the visitor. We would parenthetically like to add emphasis to Hooper-Greenhill’s call to action, to suggest that we need to (re)turn to the visitor. This shift in language alludes to the realization that, in turning to the visitor, we, as museum educators, need to revisit what turning to the visitor means in a rapidly diversifying society where museums are frequently being turned away from by public(s) that we do not serve. The authors who contributed to this book are a group of groundbreaking, talented, empathetic, creative, change agents. They are museum educators, researchers, writers, and human beings who care about the audiences they serve in deep and meaningful ways.
Through case-study examples, the authors of Multiculturalism in Art Museums Today address issues such as cultural misrepresentation in the museum, inequality as it relates to resources, and the exclusion of certain voices in the museum. They offer practical, contemporary educative practices that foster democratic, equitable museum practices. We believe that museums have the potential to be agents of social change and, in this way, our book is hopeful and inspiring, as it identifies and commends the effective practices that some museum educators and staff have enacted in an effort to be inclusive. We hope to show, through the chosen chapters, how the merger of museums and diversity initiatives can create positive change and can help guide, address, and suggest ways that museums can be more inclusive, supportive, and equitable spaces for all visitors.
Online Book Club Hangout (VIDEO)
On August 20th, ArtMuseumTeaching.com brought together a group of authors and editors of the book Multiculturalism in Art Museums Today for a live discussion via Google+ Hangout. Those joining the Hangout included Joni Boyd Acuff, Marianna Adams, Briley Rasmussen, Alicia Viera, and Veronica Betancourt. Please find the video archive of this conversation below, and enjoy!
Don’t Have Your Copy of the Book Yet? No problem. As part of this collaboration with Rowman & Littlefield Publishers through this series of posts about Multiculturalism in Art Museums Today, we are able to offer ArtMuseumTeaching.com readers a special discount. To receive a 25% discount, go to www.rowman.com to order this book and enter the discount code: 4S14ACUEVA
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ABOUT THE AUTHORS
JONI BOYD ACUFF: Assistant Professor of Art Education in the Department of Arts Administration, Education & Policy at Ohio State University. Before joining OSU, Acuff was an Assistant Professor of Art Education at the University of North Texas. She holds an MA in Community Based Art Education from the University of Texas at Austin and her PhD in Art Education from Ohio State University. Acuff has published about her research in varying scholarly, peer-reviewed journals such as Art Education, Studies in Art Education,and Visual Culture & Gender.Her research agenda and scholarship attends to critical multicultural art education, critical race theory in art education, community-based art education and culturally responsive teaching and curriculum development. Joni’s postings on this site are her own and do not necessarily represent Ohio State University’s positions, strategies, or opinions.
LAURA EVANS: Assistant Professor of Art History and Art Education and the Director of the Art Museum Education Certificate at the University of North Texas. Evans received her PhD in Art Education, with a Museum Studies specialization, at The Ohio State University, a Master’s in Museum Studies at the University of Toronto, and a Bachelor’s in Art History at Denison University. Previous to her PhD, Evans was a year-long fellow at the National Gallery of Art, Washington, DC, in the Department of Education. She has also interned or worked at the Museum of Contemporary Art in Chicago, the Lodell Gallery in New Zealand, the Columbus Museum of Art, the Wexner Center for Contemporary Art, the Ringling Museum of Art in Sarasota, Florida, the Denison Museum of Denison University, and the University Art Centre at the University of Toronto. Laura’s postings on this site are her own and do not necessarily represent the University of North Texas’s positions, strategies, or opinions.
Emily Shallman and I started talking about exclusion in arts and education while we were both working on our respective Master’s degrees. Lately, I have been eager to ask her to blog about her extensive research in inequitable access to the arts in public schools. Her findings suggest that museums, along with many non-profit arts organizations, are needed as key partners in providing equitable arts engagement and learning for students. Emily’s research prompts me to consider the museum’s place in the “landscape” of arts access, best practices for partnering with schools, and if museum’s are achieving their full potential to impact students. How are different art museums sustaining partnerships with public schools in high poverty areas? Are museums offering comprehensive arts education that represents art across cultures and communities? With more dialogue about these questions art museums can become more inclusive parts of this “landscape” themselves. – Aletheia Wittman, The Incluseum
You can also read this post in its entirety on The Incluseum website, including additional citations and notes. The Incluseum is a blog and project to promote social inclusion in museums coordinated by Rose Paquet Kinsley and Aletheia Wittman. Art Museum Teaching and The Incluseum are co-hosting this post in hope that Emily’s work and observations can catalyze a broader dialogue among museum professional and educators.
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Arts education is a complex system today, as public schools–in conjunction with Parent Teacher Associations (PTA’s), local arts organizations, teaching artists, art specialists, volunteers, museums, school boards, the state legislature, and national policy–work in collaboration to deliver the arts to children. This intertwined web of arts advocates is a reaction to the worsening reality that the arts are no longer a stable piece of public school curriculum, with many schools excluding the arts altogether. The arts have had to react, and find a solution for inclusion in this landscape of severe budget cuts and focus on math and literacy. Rather than demanding to be included in the daily curriculum, with a mantra of “Do not cut the arts,” the arts have forged new partnerships to keep arts education alive in some public schools.
Let me paint the picture for you as best I can in an effort to make arts education more transparent, so that you can see how you fit into this landscape, and where there is room for improvement.
Schools, in the way they deliver (or do not deliver) arts education to children are highly diverse. This diversity means that public school A in Los Angeles, CA, is very different from public school B in San Francisco, CA, based on school population, size, parent involvement, student engagement and achievement, and of course, arts education. In the same way, public school B in San Francisco is also drastically different from public school C in San Francisco. Public schools are increasingly centered on the local, as arts education funding (at least in California) is distributed by local school districts. This distribution of funds, while on the surface entirely equitable, is not.
While each public school may get an equitable amount (based on school population and size, among other factors), PTA’s can quickly change the picture of arts education. More affluent schools tend to have more active PTA’s, and usually raise additional funds for academic programs that they value (and this sometimes includes the arts). Moreover, schools can decide how best to use the money they do receive—does this mean hiring a teaching artist for a week-long intensive for third graders in dance instruction, or does it mean buying new music stands and replacing outdated instruments, or does it mean using these funds to add to the overall school budget to help save a teacher from getting laid off (and hoping that teacher involves her students in arts learning)?
As you can see, arts education in public schools gets complicated quickly, and the picture can also seem rather bleak. However, I believe we are in a golden age of opportunity and collaboration.
Getting Arts Education into Public Schools
Local arts organizations, arts non-profits, and museums, have been afforded the opportunity to help deliver arts education to public school children. These institutions can provide a critical piece of learning to students, and if the success is documented, these collaborations can have a large impact on student learning. Unfortunately, there is no one model to follow when it comes to arts education delivery. As schools are centered on the “local” so is the delivery of the arts. The report from the President’s Committee on the Arts and Humanities (2011) summarizes this nicely, stating:
“Almost every community—indeed almost every school—that tries to address the vexing problem of how to get more arts into schools does so differently. A complex patchwork of arts education services across the country is the result, representing a mix of delivery models that include standards-based sequential arts curricula taught by arts specialists; formal and informal arts integration strategies; and short and long term teaching residencies for artists…There is no one model that works best for every community, and no single solution for the host of economic, pedagogic and logistical challenges faced by arts education advocates.”
Much progress is still to be made in terms of equitable and engaged learning with the arts, however. Interestingly (as based on my thesis research), a local elementary school in San Francisco with a high-poverty student population was a target of grant funding for the arts and actually had so many arts programs that the teachers were concerned about having enough time to teach other subjects. Comparatively, another elementary school in San Francisco, with an average socioeconomic student population (neither affluent, nor high-poverty) had very limited arts education, despite a very vocal and committed PTA full of arts advocates. Lastly, another elementary school in San Francisco, with an affluent student population and a highly involved and highly funded PTA, had hired a full-time art specialist (a very rare occurrence, I can assure you) to teach sequential visual art to all students for an hour each week. The national trend, however, is still that those students in the highest poverty areas are the ones with the least amount of arts education, and are those that could most benefit from them.
There are substantial connections and programs to be cultivated with schools and outside organizations to bring quality arts education to all children. The arts, more than any other academic subject, is an area pioneering these partnerships. One successful example is seen at the Children’s Creativity Museum (CCM) here in San Francisco. At CCM, public and private elementary-school through high-school students can participate in creative field trips such as claymation, music studio, or innovation lab taught by museum educators.
High school students can work at the museum in the C.I.T.Y. (Creative Inspiration Through Youth) Teen Program, a paid employment opportunity, helping run exhibits and getting job experience in an arts non-profit environment. In addition, CCM has a growing outreach program, teaching claymation workshops at after-school programs in the Bay Area. While CCM’s programs are quite established and the link to childhood and youth arts education is evident, I know of other arts institutions that are taking baby steps toward inclusion. For example, some art museums now have field trip guides (sometimes just a folded pamphlet) for elementary students to learn about famous artworks in understandable language.
Arts advocates, one school at a time, are inserting the arts, sometimes briefly, to change the landscape of learning. Hopefully this trend will continue to gain momentum. I know that it takes a whole ecosystem of arts advocates, from those working at the national and state level who make policy that supports equitable and quality education, to those at the local level, who raise additional funds for arts education to be taught in public schools, to teachers who understand the importance of the arts, to researchers who publish this knowledge, to people who have been impacted by the arts who share their stories to create more arts advocates.
Wouldn’t it be wonderful to have a full-time arts specialist in every school, in addition to a visiting teaching artist and relevant field trips to museums, as well as after-school arts programs by local arts organizations? Just think of all those students could accomplish!
How are different art museums sustaining partnerships with public schools in high poverty areas? Are museums offering comprehensive arts education that represents art across cultures and communities? With more dialogue about these questions, art museums can become more inclusive parts of this “landscape” themselves.
EMILY SHALLMAN has a BA in Elementary Art Education with a Washington State Teaching Certificate and Reading Endorsement from Western Washington University, and a MA in Urban Studies from the San Francisco Art Institute. Emily has experience as an Art Specialist, teaching visual art to grades K-5. Her MA thesis researched the history of arts education in public schools, as well as case-study analysis of the inequality of arts education based on socioeconomic factors. Currently, she works at SFAI, serves as a Board Fellow for the California Alliance for Arts Education and runs a children’s illustration blog www.illustrationsby.com. She lives in San Francisco, CA with her husband and two cats.