Tag Archives: social change

Towards a More Community-Centered Museum, Part 1: Let Your Community In

Written by Mike Murawski

Last summer (2017) I made my first-ever visit to the Santa Cruz Museum of Art and History (MAH)—a long overdue pilgrimage to this institution led by author and change agent Nina Simon.  She had invited me to be a ‘camp counselor’ for their summer MuseumCamp, and I could not turn down a chance to visit the MAH, see what makes it tick, and be a part of this community of changemakers that gather each summer for the MuseumCamp experience.  Not only have I known Nina for several years and been a dedicated reader of her Museum 2.0 blog and her books on museums, but the MAH had just officially opened Abbott Square, an adjacent public plaza that the museum converted to a bustling community gathering place and food market. For me, the Santa Cruz museum is fundamentally one of the exemplars in turning an institution toward a focus on its local community.  Since arriving in 2011, Nina has worked with her team to tirelessly transform the MAH into a thriving museum and community center for Santa Cruz.

I was fortunate to visit during their exhibition Lost Childhoods, an issue-driven exhibition that the MAH staff created with their community.  Showcasing the stories, struggles, and triumphs of youth who are aging out of foster care, this powerful exhibition was co-created with the Foster Youth Museum and a group of over one hundred local foster youth, artists, and youth advocates.  This community was at the core of the exhibition, and there was even a large wall text that boldly declared “We made this with our community.” Through years of getting to know its local community and becoming intertwined in its people, the MAH team has embodied a shift from being a museum ‘for’ its community to being a museum ‘of’ and ‘by’ its community.  And most recently they launched the global OF/BY/FOR ALL movement to bring these community-centered practices to institutions everywhere (watch the MuseumNext 2018 keynote presentation by Nina).

Amidst all the workshops, small group discussions, beach trips, and conversations with over a hundred passionate changemakers last summer during my first MuseumCamp experience, one moment still resonates with me more than any other—perhaps because of how simple and straightforward it was.  Portland-based writer, game critic, and creative entrepreneur Josh Boykin stepped up to the microphone during a series of fast-paced lightning talks.  Josh works outside of museums yet cares a great deal about building community; and while he lives and works in Portland, Oregon, our paths had not yet crossed.  His lightning talk was personal and inspiring, yet there’s one simple thing about his talk that has stuck in my mind.  Projected on the screen behind him during the entire duration of his talk were four words, large and bold: “Let Your Community In.”

Photo from Dalila Huerta, Instagram dlhuerta1848

Since that moment, Josh’s message has become one of my mantras when it comes to museum practice.  How do museums let community in?  Is community always separate and outside of museums, in need of being ‘let in’?  What does ‘community’ even mean?  Like many museum professionals, I have grappled with these questions my entire career, yet the complexities and challenges of engaging communities has come into focus in recent years as my own institution has created opportunities to advance this work.

It’s so important for museums to be a local place intertwined and inseparable from local realities and issues.  We are located in our communities, but we’re also a part of those communities.  How do we, as museum professionals, define our place, our town, our city, our neighborhood, our community?  How do we identify ways to break down the barriers between museums and their communities as well as build relevance through local community partnerships?  How do we learn about the people of our places (past and present), learn about what connects us and what brings people together into a community?

Right now, at this moment, some of the more challenging questions for me are: why open up museums to the challenges and potential failures of community-centered work?  Why invest the time, staff, energy, and resources it takes to do this work really well?  Why take on such risks?  Wouldn’t it be easier to just keep with business as usual?

When faced with these questions, I often find myself going to museum scholar Stephen Weil’s befitting statement: “The museum that does not prove an outcome to its community is as socially irresponsible as a business that fails to show a profit. It wastes society’s resources.” (Weil 2003, p. 43, as cited in Watson, ed. Museums and Their Communities, 1).  As museums and other institutions take steps to embrace community engagement, it is important to understand why this shift is occurring toward working with communities and local residents.  The meaning of community requires more thoughtfulness and deliberation than we typically give it. Going forward, museum professionals and leaders must embrace this complexity as they strive to understand and create social change.  It is not enough for museums to become an essential part of our communities—our communities also need to become an essential part of our museums.  Are we ready to let our community in, as Josh Boykin proclaimed, and allow neighbors, local residents, community members, and those who may have traditionally been excluded from our institutions to shape practices, programs, and policies?

Echoing the words of bell hooks, what would it mean for museums “to be in community, to work in community, and to be changed by community”?

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Through a new series of posts, I am exploring a range of ideas, challenges, and strategies for building community-centered practices in museums and advocating for deeper connections between institutions and community.    What do we mean by ‘community’?  How can we value community?  What are some strategies for change that we can enact now in our institutions?  I’m open to all types of critiques and questions, as long as they are aimed at moving this collective work forward.  My ideas, thoughts, and questions have emerged from decades of meaningful conversations with others, so I don’t claim ownership of these ideas — I simply hope they can spark new conversations and allow us all to add to our learning and growth as we work to transform museums.

About the Author

MIKE MURAWSKI: Founding author and editor of ArtMuseumTeaching.com, museum educator, and currently the Director of Education & Public Programs for the Portland Art Museum. Mike earned his MA and PhD in Education from American University in Washington, DC, focusing his research on educational theory and interdisciplinary learning in the arts. Prior to his position at the Portland Art Museum, he served as Director of School Services at the Saint Louis Art Museum as well as coordinator of education and public programs at the Mildred Lane Kemper Art Museum at Washington University.  He is involved in the Museums as Sites of Social Action (MASS Action) initiative, contributing author to the MASS Action toolkit, and co-created the #MuseumsAreNotNeutral tshirt campaign with LaTanya Autry to erase the myth of museum neutrality. As a cultural activist and museum professional, he is passionate about how we can come to see museums as agents of change in their communities as well as sites for transformative learning and social action. He has led workshops and presented at conferences and institutions nationally and internationally, including a keynote at the 2016 MuseumNext conference. Mike’s postings on this site are his own and don’t represent the Portland Art Museum’s positions, strategies, or opinions.

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The Dangers of Superficial Activism

Reposted from the blog of MASS Action (Museums as Sites of Social Action), an important cross-institutional initiative leading to actionable practices for greater equity and inclusion in our institutions. Be sure to visit the MASS Action website and check out their Toolkit under “Resources.”

Contributed by Kayleigh Bryant-Greenwell

Those that know me, especially those dedicated to the antiracist movement in museums, will likely find this post surprising and uncharacteristic of my practice. As a staunch supporter of social justice and changemaking in museums, it is very “off-brand” for me to affirm the limits of museum activism. Truthfully, I do believe museums can make a difference and more importantly that it is our duty to try. I am, nonetheless, writing this post on the boundaries of museum activism.

I was recently on an email chain conversation about the human rights crimes being committed at the border. A group of museum changemakers, we were discussing the damnable silence of museums on the issue. A group member wanted to end the silence with a social media post both condemning the atrocity and claiming a call to action for museums at large.

While I wholeheartedly support the effort to end museum silence—in silence we are complicit—this proposed effort gives me pause. We’re talking about the horrifically cruel and inhumane separation of children from their families upon entering the U.S. It is sickening and it is wrong.

But what is the call to action for museums?

The call to action as seen in Saturday, June 30th’s March was: reunite families and never separate them or any others ever again. The March served to demonstrate an angered public; but by the time it happened, the Trump administration had already enacted an executive order to cease forced separations, at least temporarily, because that’s not the endgame. The oppressive regime in power is actively rolling back human rights towards the goal of increased power and control. Their endgame is closed borders. So within museums, what is ours?

I point to the limitation of ineffective activism in museums in this specific situation, not to diminish the spirit of activism in museums. In fact, I want to see activism greatly expanded within our field. But I want true activism. Activism that is centered in action.

Unfortunately, I feel that most museum activism lies on The Scale of Effective Activism, somewhere between Superficial and Performative activism (see chart below).

Performative activism is highly visible, highly praised, but empty of strategy and impact. It is marches, rallies, viral hashtags, and grand displays of social cohesion around an issue. These efforts do not have a measurable impact of change. As the great activist organizer Saul Alinsky noted in his seminal Rules for Radicals, “Communication on a general basis without being fractured into the specifics of experience becomes rhetoric and it carries a very limited meaning.”

Even worse, Superficial activism—coopting the “brand” of activism without context or steps towards enacting internal or external change within the museum—serves to raise the visibility or popularity of the museum without any effort towards the cause. Alinsky dedicates an entire chapter in Radicals, “The Education of an Organizer,” on warning against the proliferation of organizing in name alone. He cautions, “They were radicals, and they were good at their job: they organized vast sectors of middle-class America in support of their programs. But they are gone, now, and any resemblance between them and the present professional labor organizer is only in title.”  To paraphrase Alinsky, tactics must always follow the communicated idea of change.

While it is important to be outraged and vocal, and there will always be a place for some Performed activism, we must consider the impact of these activist efforts. How do these efforts affect the opposition?

Do these efforts move the needle?

In our angered, empowered masses we have yet to effectively communicate to those who continually diminish the humanity of others. We are speaking in completely different languages. Without a radical action plan, our shows of force are dismissed as unimportant and ineffective.

In progressive Marches we speak in a language of “rightness, fairness, justice” while our opposition, in executive orders, policy change, and official mandates, speaks in a language of realized power unthreatened by words. And yet, we applaud every pithy protest sign we painstakingly create, as if we’ve achieved change, whereas we’ve frankly only communicated unrest, which is only enacted the first step towards change. The difference between working towards change and change is a lived experience: a constitutionally-protected marriage, a chance at a new life in a new land, the freedom to control your own body.

We cannot live in an illusion that museums can fix the world. Superficial and Performative activism can only provide an illusion of change. As illustrated in the Scale of Effective activism below, Superficial activism serves to provide the look of progress alone. Performative activism provides a sense of the magnitude of resistance, but doesn’t inherently provide changemaking action.

We must recognize these distinct versions of activism to truly understand the logistics of changemaking.

Museums can, and as MASS Action points out in the toolkit, museums should, sit somewhere between Performative and Authentic activism on this scale, and some may even achieve fully-realized change in Authentic activism. But in order to do so, we must recognize the progressive museum’s place within this trajectory.

Change is strategic. Justice is strategic.

When we eagerly take up activism in visible but actionless ways, we diminish the cause. When we jump to labeling ourselves “woke” without centering our practice in Social Justice and Critical Theory, we dilute our knowledge base. Mistakenly, we convince ourselves that we’ve done enough, when we’ve only done something.

Justice isn’t about “doing something,” it’s about doing the right thing. We are empathetic professionals. When we see the atrocities at the border we are inflamed and eager to start “doing something.” And of course museums can do any number of somethings (see examples below) in this border chaos and the resistance at large. Alinsky wrote, “The organizer knows that the real action is in the reaction of the opposition.” Authentic activism considers the endgame: protecting, expanding, or officializing human rights, not simply raising voice against the infringement of rights.

Effective Authentic activism demands us towards strategic, focused and goal-oriented action. We need our efforts to be tactical in order to be effective. Our future selves and loved ones don’t need our superficial activist distractions. They need real change.

If our goal is true justice we can’t continue to distract with all the unimpactful “somethings” we do. The cause isn’t over when we’ve accomplished something.

Yes, be courageous and radical and outraged. Be vocal and visible about it. But keep action at the center.

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About the Author

KAYLEIGH BRYANT-GREENWELL is a Washington, D.C. cultural programmer and strategist with over 10 years of GLAM experience devoted to exploring ways to engage with marginalized audiences through art, museum, and social justice practice. As a DEAI facilitator, she is a contributor to national initiatives towards increasing equity and inclusion in museums including: MASS Action, The Empathetic Museum, and the inaugural National Summit for Teaching Slavery. She moderated the keynote conversation on education and equity for the American Alliance of Museums 2018 Annual Conference in Phoenix, AZ, with Suse Anderson, Donovan Livingston, and Frank Waln. As an education specialist with the Smithsonian Institution National Museum of African American History and Culture, she curates participatory public programs focusing on social justice issues, which empower museum audiences to share their own ideas and strategies towards equity. In 2015 she launched the inaugural year of the National Museum of Women in the Arts’ Women, Arts, and Social Change initiative, bringing in over 600 new audience members to the museum’s advocacy programming. Her writing is featured with Americans for the Arts, the American Alliance of Museums, and the National Art Education Association’s Viewfinder: a journal of art museum practice.

Is There Another Way? – Reflection on Museums, Neutrality and Activism

Reposted from the blog of the Coalition of Museums for Climate Justice, which works to mobilize and support Canadian museum workers and their organizations in building public awareness, mitigation and resilience in the face of climate change.  To join the Coalition, please visit their Facebook Page or contact them directly.

Written by Douglas Worts

Last year, there was a flurry of activity within professional museum circles revolving around the assertion that ‘Museums are not Neutral’.  This initiative has been motivated by the desire that museums should move out of the margins of societal relevancy and take their place as central forums for addressing the issues that define the culture of our era. Whereas the tradition of museums has been to avoid controversial topics like the plague, there is a burgeoning sense that museums can be vital contexts for addressing controversial issues.

When museum education leader[s] Mike Murawski [and LaTanya Autry] created and publicized a T-shirt with the logo “Museums are not Neutral” emblazoned on the front, [they] opted to use a provocation to generate both reflection and dialogue.

Since then, there have been many conversations about the role of museums as activists. I have encountered numerous online museum discussion groups that have engaged with Murawski [and Autry]’s public statement. At times I could feel a tendency within these discussion groups to simply adopt the position. At other times I have witnessed a deeper analysis emerge. The following is my attempt to add value to this conversation.

We seem to exist in an era that has embraced slogans

It seems to me that the field of marketing is taking over the world. With its roots firmly in business – enticing people to act in ways that they may not have otherwise done (i.e. to purchase products and deliver profits to businesses) – the reach of marketing has spread in a rather malignant way. Recent shock waves have erupted from the widespread use of electronic data mining to manipulate people towards scary destinations. Forensic technology analysts are drawing convincing lines between the manipulative activities of a range of right-wing enterprises and large swaths of populations in numerous countries. These enterprises used nefarious means to cull data from social media, providing pathways to getting at voters in so-called democratic electoral activities, and manipulate the electorate towards their self-centred ends. They also have developed ways of using fake news and polarization tactics in a bid to sway political processes. Out of this, some very peculiar voting patterns have emerged — in the USA, the UK and even in Canada.

It feels like democracy has all but died – because it is being directed not by an honest commitment to dialogue, respect, equality and responsibility, but rather by partisan, manipulative and devious activities. If it weren’t for the groundswell in grass-roots, public resistance to some of these shocking trends, I suspect that democracy might be officially on its way out. Several years ago, close to home, in Toronto, we were subjected to the ideological rantings of Rob Ford who could rarely muster much more than his favourite slogan of ‘we’re going to stop the gravy train’. Hmmm. As a result of the Ford mayoralty fiasco, the Trump presidency and Brexit, I am very leery of slogans – and that includes the “Museums are not Neutral” slogan.

Slogans can be powerful things. Like mottos, slogans have a long-standing place in the world. At their best, they can communicate an idea, value or a vision succinctly and memorably. The real problem with slogans occurs when they are being used to pre-empt thoughtful, respectful, considerate reflection and dialogue.

“Make America Great Again” is a good example of a twisted, retrograde, manipulative attempt to stoke the fires of popular discontent with a suggestion that the solution to the USA’s complex problems lie in revisiting some version of a romanticized idea of the past. It is like a snake oil salesman selling a simplistic dream to people who have real problems, but ones that won’t be fixed with snake oil.

Even when one considers the traditional ‘successes’ of slogans at driving growth within businesses and economic markets – humanity is slowly realizing that economic growth is not only not a solution to our current problems, but is itself a malignant direction. Since humanity has tied economic growth to consumption, and consumption is tied to carbon, and carbon is bound to climate change – nothing good is going to come out of this direction. Slogans are unhelpful, even dangerous, when they boil down actions into simple adopting of a new position, when what is required is a full appreciation of the complexities of a problem and a plan to address the issues.

“Museums are not Neutral” is a a puzzling slogan to me because it is not clear just where this line of thinking is going. I would be the first to agree that museums are not neutral. As an audience researcher in a large art museums for many years, I know only too well how the simple act of walking into a museum – especially an art museum – creates a sense of intimidation for many people.  The quiet sense/ expectation of authority, institutional integrity and trust that is projected by museums often squelches potentially creative and thoughtful engagement with visitors.

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Photo by MontyLov on Unsplash

Beyond this, I am very familiar with how museums have historically claimed a necessity to be ‘neutral’ in relationship to topical issues – such as racism, climate change, growth-based economies and much more.  Museums have been grappling with the ‘problem of controversial topics’ for decades! In my experience, this ridiculous claim about needing to be neutral (i.e. avoiding any controversy) was based on the systemic insecurity and fear of museum managers/boards that really had little idea of what the cultural ‘to what end?’ of museums might involve – if museums were to be involved in the living culture. Since they assumed that museums’ roles involved collecting and exhibiting, they didn’t want to put those activities in jeopardy by becoming embroiled in some messy, controversial topic.

But this institutional ‘neutrality’ was not harmless avoidance.

By avoiding the issues of the day, museums were at times responsible for a museum systems-level perpetuation of a host of cultural ills, such as social inequality.

For example the use of museum mission statements and collection policies enabled many art museums to keep the visual culture of Indigenous communities out of collections and exhibits for decades. One rationale for this policy was rooted in the argument that historical visual cultural objects linked to Indigenous communities were “not art… they were ethnology, and belonged in ethnological museums.  The siloed, and often self-centred world of academic disciplines had a hand to play in this type of situation. Thankfully, most museums today are trying to correct those past wrongs.

Being activist can be a difficult and uncomfortable place to stay for very long

goemp-posting
Posted on Group of Ontario Emerging Museum Professionals Facebook Page https://www.facebook.com/groups/306357482771679/

As for the Jillian Steinhauer article, I have a lot of sympathy for her ‘call to action’. Museums need to be venturing into the middle of the issues that are defining our living culture. I have considered myself an activist in all kinds of ways, over most of my life. It can be a difficult and uncomfortable place to stay for very long. However, venturing into the middle of vital issues – be it decreasing social/economic equity, increasing environmental degradation, increases in the high-jacking of political processes, increasing guns and violence, etc. – should not mean simply taking and holding a position. In many ways, if there is one cultural pattern that needs to be broken here, it is that of everyone having to decide what slogan to stand under.

In our pluralist, urban, globalized, economically driven world, there is a need to open up the conversations and find ways to truly create societies based on peace, empathy, creativity, relationships and some viable form of balance within the natural systems of our planet.

Steinhauer speaks about artists taking up activist positions. Artists do react to the world in powerful and provocative ways – hopefully that stimulate others to reflect deeply on issues, take a hard look at where they stand personally on such issues, foster respectful and empathetic dialogue between people who hold various views and ultimately lead to responsible, engaged actions.

I see the role of artists as very different from the role of museums

The complex, fast-paced changing world that we live in needs systems to help facilitate how citizens engage as fully as possible with cultural dynamics.

By bringing people together in ways that build bridges within and across human communities, museums have the ability to strive towards supporting our living culture in making room for deep personal reflections, public dialogue and human action.

Of course artworks, history, science, storytelling, shared spaces, and more can help provide the catalyst for these processes. But we need to be clear that our goal is not simply to push out a perspective into the world through the work of our institutions, through our various discipline-based lenses.

We need our cultural organizations to be nimble, engaged, in-tune, skilled, humble facilitators of the kind of meaning-making that is required of in our era.

This likely means that museums can and should stretch far beyond the walls of traditional museums/collections.  Similarly, they should operate far outside the confines of the leisure-time economy.

More than anything else, from my perspective, museums desperately need to develop cultural feedback loops that are rooted in living communities to help guide their activities towards meaningful cultural impacts. These ‘impact measures’ and feedback loops – essential how museums assess their ‘success’ at being relevant – will need to be stratified, so that they shed light on impacts on individuals, groups, communities, organizations, cities, economic and social systems and more. New skills will be needed. But museums have the ability to venture into the middle of vital cultural issues of our time.

I don’t think it works if they see themselves as ‘activists’, because, if museums and their staffs take sides, they will have a very limited ability to be effective facilitators within the culture.

My gut feeling is that we need fewer slogans and more honest dialogue.

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About the Author

dougpicDOUGLAS WORTS is a culture & sustainability specialist with WorldViews Consulting, in Toronto, Canada. Douglas approaches culture broadly, as ‘how we live our lives’, seeing museums as potential facilitators in forging an emerging ‘culture of sustainability’. His professional work combines a 35+-year career in museums with over two decades exploring how culture shapes and directs the prospects for global human sustainability.

Finding Common Ground: An Interview with Manuel Padilla

Editor’s Note: As we strive to work more closely with our local communities, be a more inclusive institution, and connect meaningfully to the issues that affect the lives of those living in our city, I wanted to share a recent interview with Manuel Padilla.  Manuel is the Executive Director of Portland Meet Portland, a local non-profit dedicated to welcoming immigrants and refugees to the Portland area, enriching community by creating mutually beneficial mentoring opportunities that promote cross-cultural learning, enhance work skills, and build trust. The Portland Art Museum is proud to partner with Portland Meet Portland on programs, events, and a community gallery related to our current special exhibition Common Ground: Photographs by Fazal Sheikh. This partnership is part of our broader efforts to focus on building community, and the following interview is part of efforts to recognize this work and tell these stories as core to our museum’s purpose and mission.

This partnership and relationship with Portland Meet Portland led to the co-creation of a series of public programs, community events and workshops, an in-gallery resource for reflection and action, and a community-centered gallery space within the exhibition (see 2 photos of the gallery below).  I have enormous gratitude for Manuel, everyone with Portland Meet Portland, and all of the community members and organizations that have come together to make this happen.  I also want to recognize everyone on the Education team here at the Portland Art Museum for their dedication when it comes to making our museum matter, and the curator of this exhibition for being open to community involvement and for valuing the knowledge, voices, and experiences of community members whose knowledge, voices, and experiences are largely devalued by the institutions of museums.  None of this would be possible without a growing community of change within and beyond the walls of our museum, and I have so much gratitude for being a part of this work and for being a learner in this process.   -Mike Murawski

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Portland Meet Portland community gallery, Portland Art Museum. Photo by Jon Richardson.
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Portland Meet Portland community gallery, Portland Art Museum. Photographs installed in this gallery are by Kaykay Wah. Gallery photo by Jon Richardson.

The following interview was posted on the Portland Art Museum’s blog on February 27, 2018, and is republished here with permission.

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Manuel-Padilla-768x1024An interview with Portland Meet Portland’s Manuel Padilla

How is Portland Meet Portland involved in the Common Ground exhibition?

Portland Meet Portland is working with the Portland Art Museum’s Department of Education and Public Programs as, what could be called a “community partner in residence.” We are co-creating the educational and interpretive programming in connection with the exhibition. This involves a broad range of things like designing and facilitating dialogues with museum participants, producing podcasts, working with the museum and refugees to provide content for the interpretive space, training docents, and helping create informational resource guides for visitors and docents alike. It has, and continues to be, a very inspiring and meaningful partnership for us.

How has the experience of working with an art museum been similar or different than other projects and partners that PMP works with?

Working with the Portland Art Museum is a unique and special experience for us. We have worked with the museum before on an Object Stories exhibition, and this is a deepening of that partnership. Words I would use to describe working with the museum are: dynamic, collaborative, creative, and celebratory. Our work together has been synergistic and generative, each person strongly contributing to breathing this project into life. One of the most fundamental points I want to stress is the museum’s direct, hands on participation with refugee community members. This experience was crucial to the cross-cultural learning and growth of everyone involved and gave vital context to exactly what it takes to make sure refugees can be truly relevant in their participation in projects like these. Institutional flexibility and change are at the heart of that level of participation. Ownership and agency of refugees’ own work and needs, throughout this partnership, was always prioritized.

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What do you hope that visitors learn about their own community through the Common Ground exhibition and related programs?

Primarily, I hope people visiting this exhibition, and interacting with all of the great programming, are challenged to examine their own narratives of refugees and the narratives that are manufactured for them. And I want visitors to not only learn, but to find moments where they are outside of their heads and more into their hearts. Learning information means little if it does not become instrumental, in some way, in our own lives.

I would like visitors to understand how truly segregated Portland is and how different things could be if we made a decision to remove barriers and injustices that divide us. How quickly the black and white of segregation could turn into a Kodachrome of connection. But desegregation and cross-cultural relationship building with refugee individuals and communities requires that dominant culture give something up, and that is the primacy of its interpretation of the world. And dominant culture must leave open the possibility of being transformed by that. This is no less true when thinking of dominant culture’s relationship with any historically marginalized or underrepresented community. Yet, when we do this, we find we gain so much more than we have given up.

It’s important, too, to realize that refugees are more than just the sum of their experiences fleeing violence and persecution. They are more than victims. Thinking about refugees only as victims crystallizes their identities and marginalizes them even further. We should honor those experiences of suffering AND understand they had lives before and after that. We are all more than the worst moments of our lives. Right relationship with refugees means a “walking with,” sharing in the full nature of our personhood together.

Lastly, I want people to understand that refugees have often lived longer in Portland than the person reading this sentence right now. I want to blur the lines between newcomer and local. Also, resettlement to a new country and community can be the most traumatizing event in the experience of becoming and being a refugee.

Do you think or how do you think about the power of art to serve as a platform for big/ tough conversations?

I love this question and the answer seems at once both obvious and elusive. In my work I have dealt a lot with something called Cognitive Theory of Metaphor. There is a book called Metaphors We Live By by George Lakoff and Mark Johnson. The idea is that our entire cognitive structure, how we navigate and make meaning in the world, is determined by the foundational metaphors that emerge linguistically and pre-linguistically in our culture and society. The fundamental comparison of one thing to another in terms of “like” and “unlike” forms the building blocks of our worldview. If we think of art in terms of symbol, sign, and metaphor, then art IS the conversation. Aesthetic, in that sense, is not simply mood to us, but morality. What we consider beautiful or ugly takes on much more significance than simply being a matter of taste.

So, if we can challenge or change cultural aesthetic, if we can change the “art” on which society is built, then we have not only been able to navigate tough conversations, but we have, in doing so, changed the composition of the conversation itself. Art (and the people who create and consume it) are individual and collective manifestations of moments in dialogue. Photos, painting, dance, music, pottery, comics, movies, and other forms of art are part of the syntax and grammar, punctuation and silence in the language of art that we use to speak aesthetic reality into being for and with each other. Therefore, they are also the tools at our disposal to be able to speak and be different to one another. Through this we have emergent relationship, we can challenge one another and create mutual understanding and build trust.

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How can people learn more and/or get involved with Portland’s refugee community?

Well I would be remiss if I did not answer with “get involved with and support the work of Portland Meet Portland!” It’s a little shameless, but true. I am proud of our organization, what we are doing, and where we are headed. But, coming to visit Common Ground is certainly a place to start as well. The museum is hoping, through the exhibition, to provide perspective on the continuum of life “as a refugee.” This might help to ground and encourage you to take a step toward being in closer relationship with refugees in your own neighborhood and the larger Portland community. From there, I would point people toward the printed and on-line resource page [PDF] on the museum website that is connected to this exhibition. That should give you what you need to start to get involved.

Anything else you want to share?

I just want to thank all of the people who were instrumental in making this project happen. All of the people in the Department of Education and Public Programs at the museum, other staff of Portland Meet Portland, and particularly the refugee community members that are sharing their time, expertise, and lives with us through this museum space.

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GET INVOLVED

Learn more about some of the organizations working to support refugees and immigrants here in Portland and Oregon, and find ways to get involved.

Catholic Charities
catholiccharitiesoregon.org

Immigrant & Refugee Community Organization
irco.org

Lutheran Community Services Northwest
lcsnw.org

Muslim Educational Trust
metpdx.org

New Portlanders Program
portlandoregon.gov/oni/62226

PDX Friends of Refugees
pdxfriendsofrefugees.com

Portland Meet Portland
portlandmeetportland.org

Refugee Care Collective
refugeecarecollective.org

Please visit Refugee Volunteer Organization (refvol.org) for more complete information on organizations that provide services to refugees in Oregon.

Towards a More Human-Centered Museum: Part 2, Building a Culture of Empathy

Written by Mike Murawski

In the current air of divisiveness and disconnection, it can feel more challenging each day to bring people together in meaningful ways. When I listen to the news on my commute to work each day, the negativity and misunderstandings can seem overwhelming when compared to the small changes and connections I might make possible through my own work in a museum.  As we celebrate communities, cultures, histories, memories, and stories in our museums, others deride them and shape a narrative that negates their value here in our society.

Yet at this time when we are surrounded by an increasingly fragmented society of ‘us versus them,’ I continue to firmly believe that museums have the potential to be powerful catalysts for empathy and human connection.  As museums respond to issues affecting our communities, both locally and globally, there is a clear shift toward focusing on human connection and the role museums play as catalysts for empathy and cohesion in a society rife with intolerance, discrimination, inequality, social isolation, and self-segregation.

In their essay included in the recently published volume entitled Fostering Empathy Through Museums (2017), a team of leaders and changemakers (past and present) from the Levine Museum of the New South powerfully reflect on their decade-long commitment to dialogue and civic engagement:

“With shared empathy, individuals can move from isolation to belonging, from division to connection, from suspicion to trust, and come together to begin the hard work of creating a cohesive diverse community that values and gives opportunity to all its residents” (235)

Embracing a human-centered mindset in museums asks us to advance these concepts of empathy and connection as integral elements to our museums’ values and culture.  And it is time to take these principles seriously, and recognize the essential need for museums to lead and take action rather than just follow and passively react.

Expanding Our Definitions of Empathy

While there are many definitions of empathy out there (and we certainly throw the word around quite a bit these days, present company included), I really appreciated how this concept was framed by educator Thom Markham in a January 2018 article for KQED’s Mind/Shift about empathy and learning in our connected world.  I would whole-heartedly agree that we need to move beyond narrowly defining empathy as ‘I like others’ or ‘walking in someone else’s shoes.’  A more complex definition of empathy considers it as a “deep interpersonal skill necessary for effective teaming, customer design, and other aspects of life that require openness to the flow of information.”  It involves collectively working toward the common good and making a positive difference in the world.  I’m interested in how we can expand our definitions of empathy to consider its relationship with social justice, so that striving for a culture of empathy means that we’re also committing to actions and convictions that lead to more equitable and just communities.

These core social functions of museums have been clearly emerging as museum leaders and professionals reflect on how institutions can be relevant and sustainable now and in the future. The Alliance of American Museums 2017 TrendsWatch highlighted empathy and social justice as key forces of change in the field. In a chapter devoted to empathy, Elizabeth Merritt states that “museums’ inherent strengths position them to be effective ‘empathy engines’ helping people to understand the ‘other’ and reinforcing social bonds” (8).  To embrace these values, museums are working to build experiences based in storytelling, lived experience, memory, healing, and civic engagement. Exhibitions are being designed in partnership with community members, content is being co-created between museum staff and visitors, and marginalized voices are being brought into the core of museum spaces.

Strategies for Change

How can we more fully integrate these values in our own museum practice and institutional culture?  How can those of us working in, for, and with museums begin to make this shift happen toward a more human-centered mindset?   In addition to rethinking hierarchies and internal structures, another key starting place for this type of change is simply practicing more empathy within the workplace environment and culture of a museum institution.  

Building Empathy on an Individual Level

While this sounds very broad, it can start with anyone at any level of an organization.  In many museums, especially large ones, the proliferation of departments and reporting structures combined with an over-reliance on email communication can lead to silos and barriers among staff within the organization.  People are not connecting with other people in meaningful ways.  

I can speak from my own personal experience, having been in plenty of tense meetings in which everyone comes in with their defenses up, ready to battle.  A curator is certain that the education staff are going to ‘dumb down’ their ideas.  An educator assumes that their suggestions to make an exhibition more accessible to families will be belittled by an exhibition designer.  Situations like these are happening in museums everyday, and they are creating and maintaining barriers to change.  We’re making assumptions about other people’s values and positions without ever listening to their perspectives.  

To counteract this, we can begin to form a culture of empathy through the basic building blocks of conversation and listening.  Building empathy on an individual level means identifying those people in your organization or in your community about which you might be making assumptions, then spending time having face-to-face conversations with them, taking a step back to truly listen, and trying to gain a greater sense of what they value and why.  Being a human-centered museum starts with the human connections and social relationships we build within the institution and among our community.  Getting this process started can be as easy as having coffee with co-workers that you find yourself rarely interacting with or even butting heads with. Removing these smaller-scale disconnections is a powerful way to start working toward change in your institution, one conversation at a time. 

Building Institutional Empathy

In addition to embracing empathy on an individual level, it is vital to consider how museums can embrace a broader form of institutional empathy.  Just as individuals can practice listening to and responding to the needs of other individuals, museums have the ability as institutions to mirror those same skills in building empathy with their communities. The amazing work of the Empathetic Museum group has focused on helping organizations move towards a more empathetic future.  According to their model, “an empathetic museum is so connected with its community that it is keenly aware of its values, needs, and challenges.”  

Using a rubric called the Maturity Model, museum staff and leaders can assess their own institution’s commitment to building empathy across a series of characteristics such as civic vision, institutional body language, community resonance, and sustainability. For museums just beginning to think about their work as human-centered, models such as this can provide a spark for meaningful conversations among staff about what it means to be empathetic and better reflect the values of your community.  For museums at more advanced stages of this change process, this model can help structure goal setting and inform strategic planning.  

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Photo from John Love’s interactive space “Bound in Yes,” part of the exhibition “Without Sanctuary: Lynching Photography in America” at the Levine Museum of the New South.  This project is discussed in Elif Gokcigdem’s edited volume “Fostering Empathy Through Museums” (2017).

Identifying and Advancing Core Values

So this all sounds great, but what if just a few passionate staff are advocating for these ideas and models within an institution?  How can these human-centered values of empathy and human connection be integrated into the DNA of an organization, and not just fade if those few passionate staff get frustrated or even leave?  

Beyond advancing individual empathy as described above (an important strategy toward spreading empathy within an organization), one key strategy is developing core values and a values statement that reflect these ideas.  If your museum does not have any type of core value statement, there is never a bad time to get one drafted.  

Traditionally, this type of institutional language has been created through a top-down process and likely doesn’t have the buy-in of most staff and volunteers.  Rather, it’s best to go through a process that allows staff at all levels (perhaps even some volunteers and community members) a chance to express their thoughts about a museum’s core values. These conversations might start during hallway conversations or cross-departmental meetings, and trickle up to the leadership team.  The goal here is to develop a simple, clear, open, and transparent set of values that can guide everyday decisions and help organizations answer difficult questions and challenges when they arise.  If an organization’s overall culture does not seem ready for this (yet), a similar process can occur within a single department and then often spread from there.

Having established a set of values based in human connection can more effectively lead to institutions becoming more human-centered and making decisions that reflect these values.

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Photo from Oakland Museum of California via The Empathetic Museum: http://empatheticmuseum.weebly.com

Share Your Thoughts

These conversations and actions cannot take place solely behind museum walls or in the isolation of professional conferences. We need to work together to realize the full potential of museums and discover how a human-centered focus on social action can transform your practice, your museum, and your community.

Are you working to embrace empathy in your organization?  How do you define empathy in your practice?  What challenges do you face in this work, or in thinking about empathy in museum practice?  This conversation deserves to be more complex, and bring in as many perspectives as possible.  Add your voice to the comments below or via social media (@murawski27), and share your experiences or questions as part of this effort to make change happen in museums.

Let’s be a part of making this change happen together!

Check out the previous post on rethinking hierarchies, and stay tuned for further posts in this series about how museums might become more human-centered institutions working toward positive impact in our communities, including reflecting on personal agency.

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About the Author

IMG_3329MIKE MURAWSKI: Founding author and editor of ArtMuseumTeaching.com, museum educator, and currently the Director of Education & Public Programs for the Portland Art Museum. Mike earned his MA and PhD in Education from American University in Washington, DC, focusing his research on educational theory and interdisciplinary learning in the arts. Prior to his position at the Portland Art Museum, he served as Director of School Services at the Saint Louis Art Museum as well as coordinator of education and public programs at the Mildred Lane Kemper Art Museum at Washington University. Mike has been invited to lead workshops, lectures, panels, and training sessions at various institutions, including the Aspen Art MuseumCrocker Art Museum, the Museum of Contemporary Art in San Diego, Los Angeles County Museum of Art, National Gallery of Art, Nelson Atkins Museum of Art, Philadelphia Museum of Art, and Phoenix Art Museum, among others.  He is passionate about how we can come to see museums as agents of change in their communities as well as creative sites for transformative learning and social action. Mike’s postings on this site are his own and don’t represent the Portland Art Museum’s positions, strategies, or opinions.

Header Image:  “Wall of Empathy (6)” photo by David Goehring, not changed, CC BY 2.0.  Photo depicts a “wall” of sticky notes installed by an artist group in selected San Francisco BART stations following the 2016 presidential election. This project was inspired by a similar one in the New York subway.

Towards a More Human-Centered Museum: Part 1, Rethinking Hierarchies

Written by Mike Murawski

As common sense and straightforward as it sounds to think about museums as people- and human-centered institutions—a concept you’ve heard me write about quite a bit—this idea has faced a legacy of rather fierce opposition grounded in outdated traditions and histories. How many museums have mission statements that prioritize the colonizing actions of “collecting” and “preserving” objects, rather than fore-fronting the people-centered work of building community, growing empathy and understanding, celebrating human creativity, and cultivating engaged citizenship?  How often do museum leaders and boards make decisions that value objects and collections over staff, volunteers, and museum visitors?  What if museum leaders and professionals considered human relationships and human impact, first and foremost, when making decisions about exhibitions, interpretation, programs, facilities, policies, and practices?  Embracing a human-centered mindset in museums asks us to do just that, advancing empathy, human potential, and collective well-being as integral elements to our institution’s values and culture.  And this is not just putting visitors at the center of our thinking, but all of the people that make up a museum’s community—visitors, staff, volunteers, members, donors, and community partners as well as neighbors and residents of our localities and regions.  All of these individuals are part of a museum’s interconnected human ecosystem.

Embracing a mindset of openness, participation, and social connectivity allows museums the chance to extend the boundaries of what is possible, and serve as sites for profound human connection in the 21st century.  In their 2011 book Humanize: How People-Centric Organizations Succeed in a Social World, Jamie Notter and Maddie Grant discuss their ideas for developing a more human organization in a world affected by social media and the Internet.

“We need organizations that are more human.  We need to re-create our organizations so that the power and energy of being human in our work life can be leveraged. This has the power not only to transform our individual experiences in the work world, but also to access untapped potential in our organizations” (p. 4).

Jasper Visser writes about museums and these aspects of a social business, quoting the Social Business Forum in defining a social business as “an organization that has put in place the strategies, technologies, and processes to systematically engage all the individuals in its ecosystem (employees, customers, partners, suppliers) to maximize the co-created value.” The model of a social business, therefore, focuses on building relationships and connections among its entire community, or ecosystem of people.  For museums, this goes beyond just being visitor-centered and means thinking about staff and volunteers as well as neighbors and the broader public.  As Visser states:

“museums and most other cultural institutions are inherently social organizations to begin with. They have always thrived on intimate relations with all individuals involved in the joint creation of value.”

Insert cliche image of people working together (couldn’t resist, sorry)…

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This concept of a social museum relies on each and every stakeholder working together toward change, value, and impact (which is why using the stock image above actually makes sense to use in representing museums). The key elements of a social organization—embracing networks of people, considering social relationships inside and outside the organization, and enhancing collaboration in a way that crosses traditional boundaries—are all core to developing a human-centered mindset in museums.

Strategies for Change

So how can those of us working in museums begin to make this shift happen toward a more human-centered mindset?  In order to become social organizations that achieve positive impact in their communities, museums need to be rethinking their internal organization structures.  Most museums rely on deeply ingrained, top-down structures that rely on territorial thinking, defined protocols, and traditional reporting structures based on academic degrees, power, silos, division, and oppression.  In these traditional hierarchies, communication flows from the top to the bottom which means that “innovation stagnates, engagement suffers, and collaboration is virtually non-existent” (Jacob Morgan, “The 5 Types of Organizational Structures: Part 1, The Hierarchy,” Forbes, July 6, 2015).

Furthermore, as stated in the nationwide report Ready to Lead: Next Generation of Leaders Speak Out (2008), organizations that maintain traditional hierarchies “risk perpetuating power structures that alienate emerging leadership talent in their organizations” (p. 25).  The sluggish bureaucracy of this embedded management structure prevents a museum from being responsive to its staff and its broader community.  In other words, traditional top-down museums are just not very human-centered.  They tend to be leader-centered or focused on a few powerful individuals at the top.  So how can this be changed?  What steps can museum professionals take to think about and enact alternative structures?

To be more people-centered, museum leaders and staff can work toward more participatory, democratic, and flatter models for organizational structure.  In their recent book Creating the Visitor-Centered Museum (2017), Peter Samis and Mimi Michaelson discuss this transformation taking place in museums taking a more visitor-centered approach: “new ways of working ultimately shift traditional structures and may end up equalizing roles or flattening hierarchies” (p. 6). Efforts to decentralize decision-making and promote broader collaboration lead to museums that are more innovative, more responsive to change, and more likely to have a shared central purpose across its staff, volunteers, visitors, and community stakeholders—its human ecosystem.  When we rethink and replace the outdated hierarchies, there is clearly a greater potential for a broader base of individuals to feel personal ownership over the meaningful work of museums in their communities.

In 2011, the Oakland Museum of California (OCMA) made major changes to their structure that resulted in a new cross-disciplinary and cross-functional model focused on visitor experience and community engagement.  Referred to within OCMA as “the flower,” this new organizational structure has attempted to rid the museum of some of the barriers formed by outdated ways of operating.  In 2016, their updated organizational chart had “visitor experience & public participation” at its very center, and only text references to the CEO and executive team floating around the outside.  What started as a “rake” of institutional silos, according to Executive Director Lori Fogarty, became a “flower” of cross-functional teams emphasizing transparency, input, and communication. The more decentralized flower structure has positioned this civic-minded institution to better serve and engage its community.  Here is Fogarty speaking at an ArtsFwd event in 2014:

But What Can I Do?

Aside from reinventing your entire museum’s organizational structure (which is awesome, but quite challenging and rare), there are smaller action steps that anyone can take within their own institution.

One way to make these types of changes happen is to work toward flattening communication and expanding participation in decision-making.  Seek ideas and input from staff and colleagues on a regular basis, and you don’t have to be a manager to do this.  For example, instead of using meetings to passively report out information about upcoming projects or policies, use these times to also discuss critical issues and gather input.  Even a large staff meeting can be a platform for two-way communication.  In addition, empower staff at all levels to participate in setting goals for their departments and for the museum.  This can happen at any level of an organization, and sometimes making changes at the smaller ‘grass roots’ level of an organization can eventually lead to significant changes at the top.  And involving more staff input in goal setting may take a greater investment in time across an organization, it will lead to broader feelings of ownership once those goals are being implemented and achieved on the floor with visitors.  Involving staff at all levels of an organization in goal-setting and decision-making can also work toward cultivating leadership at all levels.  Human-centered museums are institutions that recognize leaders across all levels and departments, not just at the top.

Finally, one important strategy for embracing a human-centered mindset in museums involves replacing outdated “org charts” with new ways of visualizing connections.  Everyone reading this is probably familiar with the org charts that have each position in a box, and lines connect everyone based on management and reporting.  Who manages who?  Who evaluates who? Who has power over who?  These charts fan out from the Director or CEO box at the top, ending at the bottom with lots of little boxes filled with part-time staff, security guards, volunteer docents, etc.  Not only are these charts confusing (and oftentimes quite ugly), but they emphasize oppressive power relationships and do not accurately represent the way a museum works and how staff interact with each other.

Your museum or organization might have something that looks a bit like this:

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We need to replace these old org charts with new maps that emphasize human connection and collaboration.  And you don’t need to be the human resources director or CEO to give this a try.  Take a piece of paper, draw a circle to represent yourself, and then begin adding in other staff, volunteers, or partners based on your working relationships with them.  Who do you collaborate with on a regular basis?  What working group meetings or committee meetings do you attend?  What are some of the social connections you have within your organization (yes, these count, too)?  Soon, you begin creating an organic map of your organization based on human relationships and connection.  Maybe something a bit more like this:

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Not only is this a great way to visualize and map your existing connections with others, but you can also use this as a way to identify individuals or departments in your organization that you are currently not connected with.  What are some ways you might begin to develop new connections to those people?  What impact might building new connections have on your work, their work, and the museum’s work in the broader community?

Share Your Thoughts

These conversations and actions cannot take place solely behind museum walls or in the isolation of professional conferences. We need to work together to realize the full potential of museums and discover how a human-centered focus on social action can transform your practice, your museum, and your community.

Are you working toward rethinking hierarchies and outdated structures in your organization?  Add your voice to the comments below or via social media (@murawski27), and share your experiences or questions as part of this effort to make change happen in museums.

Let’s be a part of making this change happen together!

*     *     *

Check out additional posts in this series about how museums might become more human-centered institutions working toward positive impact in our communities, including reflecting on personal agency as well as embracing a culture of empathy.

About the Author

IMG_3329MIKE MURAWSKI: Founding author and editor of ArtMuseumTeaching.com, museum educator, and currently the Director of Education & Public Programs for the Portland Art Museum. Mike earned his MA and PhD in Education from American University in Washington, DC, focusing his research on educational theory and interdisciplinary learning in the arts. Prior to his position at the Portland Art Museum, he served as Director of School Services at the Saint Louis Art Museum as well as coordinator of education and public programs at the Mildred Lane Kemper Art Museum at Washington University. Mike has been invited to lead workshops, lectures, panels, and training sessions at various institutions, including the Aspen Art MuseumCrocker Art Museum, the Museum of Contemporary Art in San Diego, Los Angeles County Museum of Art, National Gallery of Art, Nelson Atkins Museum of Art, Philadelphia Museum of Art, and Phoenix Art Museum, among others.  He is passionate about how we can come to see museums as agents of change in their communities as well as creative sites for transformative learning and social action. Mike’s postings on this site are his own and don’t represent the Portland Art Museum’s positions, strategies, or opinions.

How do museums help people hold on to inspiration – and act?

Reposted from the blog of the Coalition of Museums for Climate Justice, which works to mobilize and support Canadian museum workers and their organizations in building public awareness, mitigation and resilience in the face of climate change.  To join the Coalition, please visit their Facebook Page or contact them directly.

Written by Henry McGhie

Hello, I’m looking for your views please.

The Science Centre World Summit will be in Tokyo in November. At the meeting, a Tokyo Protocol will be discussed and ratified, which reaffirms the potential and commitment of global museums and museum networks to support the UN sustainable development agenda, to transform our world by 2030, for the benefit of people, and nature, everywhere.

This programme is based on 17 sustainable development goals; these are just brilliant for museums to connect with, whether locally, globally, or locally and globally. More information can be found here.

If you click on the icons you get more information, and detailed targets. So, for museums with natural heritage collections, for example, some obvious links would be:

  • 4.7 – By 2030, ensure that all learners acquire the knowledge and skills needed to promote sustainable development, including, among others, through education for sustainable development and sustainable lifestyles, human rights, gender equality, promotion of a culture of peace and non-violence, global citizenship and appreciation of cultural diversity and of culture’s contribution to sustainable development
  • 11.4 – Strengthen efforts to protect and safeguard the world’s cultural and natural heritage
  • 12.8 – By 2030, ensure that people everywhere have the relevant information and awareness for sustainable development and lifestyles in harmony with nature
  • 13.3 – Improve education, awareness-raising and human and institutional capacity on climate change mitigation, adaptation, impact reduction and early warning

Any museum could find something to connect with among the 135-odd targets, and indeed it could be very fruitful to connect different types of museums and networks together to create new opportunities for people to explore sustainable futures.

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Manchester Museum. Photo Courtesy Henry McGhie

The full Protocol can be found here

I’m interested to hear people’s initial responses to this. Is this the kind of thing you and your museums are interested in supporting/connecting with? Beyond time and money, what support would you need to do so?

I’m doing a couple of talks at the summit and it would be great to hear that at least some people are on board with this, or that this is something that they would be interested in progressing, or what concerns would need to be addressed. No names or organisations would be mentioned in the presentations, and just a very short reply will be fine.

My personal feeling, beyond being very, very supportive of the initiative, is that:

it’s important to recognise that most people don’t think scientifically (yes, it’s true) – and that while the evidence and information may be derived from science, transferring that into action will not be achieved by more and more facts, depressing information, or telling people what they should do. We need to connect the science with what people care about themselves, what motivates them and inspires them.

This isn’t about diluting the science, but deploying it effectively to help people always move forwards.

If inspiration is the feeling that moves us to action, our job is to help people feel (and hold onto) that feeling, and enable them to act on it beyond our four walls.

Thanks,
Henry

Some aspects of the Tokyo Protocol:

  • Investigate how to engage even more effectively with local communities and increasingly diverse audiences, and keep the focus on gender differences in engagement.
  • Continue taking actions that have a positive global impact and that will make people everywhere more aware of the opportunities that science and technology hold for the sustainable advancement of humankind.
  • Draw the attention of decision makers and the media to the essential role of public engagement with science and technology by setting up high-profile global activities.
  • Endeavour to leverage the position of science centres as “trusted” places to introduce the public to new technological solutions and sustainable technologies, and to broaden the potential use of these solutions.
  • Take the lead in developing the best methods for engaging learners and optimizing their education in both formal and informal settings using appropriate technologies in widely varying contexts.
  • Engage the public more directly with research, using this engagement to help empower people, broaden attitudes and ensure that the work of universities and research institutions is relevant to society and to wider social concerns on a global scale.
  • Work together in a creative celebration of the International Science Centre Year 2019, encouraging people throughout the world to take part in shared experiences relating to science and technology and society.

About the Author

HENRY MCGHIE  is Head of Collections and Curator of Zoology at Manchester Museum, part of the University of Manchester. He wants to find ways for museums to effectively support people to engage with the natural environment, and to create opportunities to discuss and shape the future we want for ourselves and others.

Changing the Things We Cannot Accept – Museum Edition

Written by Mike Murawski

In September 2017, I was honored to be a part of the Smith Leadership Symposium in San Diego, an annual program of the Balboa Park Cultural Partnership.  Not only was this my second year being involved in this program, but I was also fortunate to be among a powerful group of presenters that included Shamell Bell (community organizer and choreographer), Milenko Matanovic (artist and community builder), and Monica Montgomery (founding director of the Museum of Impact).  Throughout our conversations leading up to the symposium and that day, we shared ideas about the value of community dialogue and the role of community care in our personal and professional work.

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Photo courtesy of Balboa Park Learning Institute.

My talk entitled “Changing the Things I Cannot Accept” was inspired, in part, by the writings of scholar and activist Angela Davis.  Davis’s powerful work had been on my mind after being encouraged by a colleague to read the recently published collection of her writings and interviews entitled Freedom is a Constant Struggle.  I am so grateful that this and other works by Davis made it to my ‘must read’ list, as she brings forward the urgency of feminism, intersectionality, and global solidarity to the struggles against injustice and oppression in our country.

In a speech to a gathering of Ferguson protesters in St. Louis in 2015, she stated: “Any critical engagement with racism requires us to understand the tyranny of the universal. For most of our history the very category ‘human’ has not embraced Black people and people of color. Its abstractness has been colored white and gendered male.”  It is within this tyranny of the universal, the neutral, the apolitical, the fair and balanced, and the objective that my frustrations lie when it comes to the role of museums in our society and in our communities.  Which brings me right back to the often-quoted words of Angela Davis:

“I’m no longer accepting the things I cannot change…. I’m changing the things I cannot accept.”

These words have resonated with me for quite some time.  Not because this has become an internet meme since the election, but instead because I hear these words repeated by activists that I greatly admire and respect in my own community and beyond.  And on that day of the Smith Symposium in San Diego, two of the other keynote presenters also included this exact quote from Davis in their slides.

So what are the things we can no longer accept when it comes to museum practice?

Well, for me, it is certainly not enough to lay out a laundry list of ‘things I cannot accept’ and continue to make the assumption that these are also ‘things that I cannot change.’  I think I was stuck in that long, deep rut earlier in my museum career.  I still hear many museum professionals talk about “the way things are” in museums and our inability to change things from where we are located in our organization (and in these power structures, more importantly). Many of the entrenched behaviors, policies, and practices in museums are based in a whole set of false stories we tell ourselves — self-sabotaging and oppressive narratives that hold us back, maintain the status quo, and create a fearful and hesitant attitude towards change.

I came across this specific idea of recognizing our false stories in a self-help book by Jen Sincero called You Are A Badass (ok, so not everything I read is as intellectual and hard-hitting as Angela Davis).  In it, Sincero writes:

“Because we’re so set in our ways and committed to our stories about who we are and what our reality looks like, we only scratch the surface of all that’s available to us every single moment.”

I’ve used Sincero’s framework in a few workshops I’ve led with museum professionals this year, working to identify the potential false stories that create barriers to change in our professional work, and then creating new powerful stories of change to replace them.  In a couple instances, we made our new powerful stories of change public by writing them outside museums using sidewalk chalk (I’ll never forget how it looked to have these messages written all across the main entrance plaza to the Museum of Art & History in Santa Cruz — thanks Nina!). We have too often upheld a systemic ‘big bad no’ that has dramatically limited the potential of museums to be agents of positive social change.

Rather than simply re-hashing the same concerns and complaints over and over again, it is far more vital and urgent to take action and change these things we cannot accept.  It is on us to replace these false stories with new powerful stories that envision a bold future for museums.  Below is my raw attempt at creating a new set of stories that I am working to tell myself — a set of stories that can lead to action and change in the work that we do as museum professionals as well as citizens, civic leaders, and members of our communities.

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Photo courtesy of Balboa Park Learning Institute.

This modest manifesto – first shared with the community of museum changemakers that came together for the Smith Symposium in September — brings the forces driving change in my own work out in a public, transparent, and vulnerable place.  No doubt this list is incomplete, imperfect, abbreviated, and oversimplified, yet I invite readers to add on to this list, flesh it out, and help us all move forward to change the things we can no longer accept:

1.  I cannot accept that museums are neutral. Museums have the potential to be relevant, socially-engaged spaces in our communities.  Yet, too often, they strive to remain “above” the political and social issues that affect our lives — embracing a myth of neutrality.  Well, MUSEUMS ARE NOT NEUTRAL, plain and simple.  In a 2015 article entitled “The End of Neutrality: A Modest Manifesto,” scholar Robert Janes writes, “neutrality is not a foundational principle of museum practice, but rather a result of the museum’s privileged position in society.” He continues, “complacency, the absence of continuous learning, and the weight of tradition are persistent factors in the inability or unwillingness to rethink the meaning of neutrality and its implications for the role and responsibilities of museums in contemporary society.”  It’s time to erase the tyranny of neutrality and move past this entrenched, limiting idea of museums.

2.  I cannot accept that museums are entirely object-centered and their primary purpose is to serve and preserve their collections. Museums are human-centered institutions, in the broadest and most inclusive sense.  This means more than just being visitor-centered or audience-centered.  It’s a mindset that recognizes the human potential and impact of our work, externally as well as internally. It’s a mindset that has the power to inform our decisions as museum professionals (around exhibitions, programs, partnerships, budgets, security, collections management, etc.) in a way that places a spirit of human connection at the core of our thinking, rather than just the objects.

3.  I cannot accept that museums function as separate from their communities. We often use language that externalizes those outside of our walls, setting up a false ‘us’ versus ‘them’ dichotomy. Museums can, instead, think of themselves as part of their communities. All museum staff, volunteers, members, donors, trustees, and partners are members of the community, and we only need to strive to be more inclusive and reflective of the broader local community.

4.  I cannot accept the thought that involving community members and their knowledge in a museum’s core practices will lower the quality of content and decrease overall trust in a museum’s authority. I’ve heard this too many times. Instead, let’s repeat and amplify the words that changemaker Josh Boykin projected on the wall behind him during his entire lightning talk this summer at MuseumCamp: “Let Your Community In.” Our communities know more than we do, and we need to recognize and embrace the knowledge, creativity, and lived experiences of these communities.  It’s no longer enough for museums to strive to be an essential part of their communities; we need to be working to ensure that our communities become an essential part of our museums. Quoting the transformative words of the Smithsonian Asian Pacific American Center’s Culture Lab Manifesto, “those who have historically been pushed to the margins hold the stories that will center our future.”

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Photo from Dalila Huerta, Instagram dlhuerta1848

5.  I cannot accept that museums do not consistently and persistently recognize the indigenous peoples on whose ancestral lands our institutions now stand. It’s time – now, today — to regularly and consistently honor the indigenous peoples of our place as well as the genealogies and hidden histories embodied in these spaces. It’s time to work toward decolonizing our institutions, and partnering with indigenous communities (artists, leaders, educators, activists) as we rethink the roles and responsibilities of museums.

6.  I cannot accept that issues such as immigration, refugees, police violence, transgender rights, water, and climate change are too political for museums. Museums are inextricably linked to these complex issues that are relevant to us today, and they permeate everything we do (whether we choose to acknowledge it or not).  I believe we can boldly come together around a respect for each other and the environment, rather than continue to allow these issues to divide us.

7.  I cannot accept that museums still use ‘keeping their donor base happy’ as an excuse to not be socially relevant and forward thinking. This fear of losing donors and patrons is far too pervasive. No way. I’m not buying it. If museums have a clear, bold, community-based vision for inclusion and social change, donors will support this work.  We need to have more trust in those individuals and foundations that support our institutions, and begin working with new funding sources specifically seeking organizations dedicated to inclusion, social change, and building stronger communities.  Some supporters may leave, but new ones will join in.  Like the old proverb says, “The best time to plant a tree was 20 years ago. The second best time is now.”  Get that tree planted today!  — And I wanted add to this a powerful, brutally-honest sentence from Brene Brown’s latest book Braving the Wilderness: “When the culture of any organization mandates that it is more important to protect the reputation of a system and those in power than it is to protect the basic human dignity of the individuals who serve that system or who are served by that system, you can be certain that the shame is systemic, the money is driving ethics, and the accountability is all but dead.”

8.  I cannot accept that many museums are hesitant or afraid to proclaim that Black Lives Matter and black life matters, or work with activists in the Movement for Black Lives and other intersectional movements standing up for human rights. Museums need to unapologetically recognize and engage the brave, transformative work of the Movement for Black Lives and their vision to “move towards a world in which the full humanity and dignity of all people is recognized” (Vision for Black Lives), as well as other important movements fighting for these same basic principles of human rights. We should look toward the leadership and vision of the Ford Foundation, a global organization leading efforts to support social justice and human welfare. In their statement “Why black lives matter to philanthropy,” they bravely proclaimed, “now is the time to stand by and amplify movements rooted in love, compassion, and dignity for all people.”

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Community Social Justice Art Project in memory of the death of Michael Brown, organized by Don’t Shoot Portland, August 2016 at the Portland Art Museum

9.  I cannot accept that, for museums, being socially responsible is just a liberal trend. Museums have the potential to serve as agents of social change, bringing people together, contributing to local communities, and changing people’s lives. It is time for our institutions to respond to the challenges of our times by making a bigger difference. This is not a trend that involves museums starting a few new programs or pulling together an exhibition that is socially-engaged – this is a movement to re-envision the purpose of museums as collaborative, participatory, and socially responsible spaces in a way that will affect all of the work that museums do.

10.  I cannot accept that we, as museum professionals and as citizens, do not fully recognize and celebrate the work we do to be inclusive, relevant, and responsive to the issues affecting the lives of our communities, our neighborhoods, our audiences, and our staff & volunteers. We must fiercely and consistently recognize the work we’re already doing to make positive change in our society and for our planet, and build communities of changemakers within and across institutions.  This is some of the most meaningful, relevant work happening in museums right now, so let’s work to make these stories the central stories of our museums. People across our institutions—not just educators but directors, curators, marketing staff, board members, donors, etc.—need to be publicly and visibly proud of the programs, exhibitions, projects, and strategic & structural changes that actively embrace equity, unheard stories, dialogue about provocative questions, and the diverse and rich lived experiences of those living in our communities.  More comprehensive support for this work can lead to an expanded focus on social impact and community partnership in a museum’s strategic goals and mission, in its exhibition and program planning process, in its staffing and hiring decisions, and in its overall allocation of resources.

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In his introduction to Freedom Is a Constant Struggle, journalist and activist Frank Barat brings light to an unexpected key aspect of activism and change: trying.  “Trying to change the world…,” he writes, “That is victory in itself.”

“Everyone and everything tells you that ‘outside’ you will not succeed, that it is too late, that we live in an epoch where a revolution cannot happen anymore. Radical changes are a thing of the past. You can be an outsider, but not outside the system, and you can have political beliefs, even radical ones, but they need to stay within the bounds of the permissible, inside that bubble that has been drawn for you by the elites.”

Time to break outside that bubble, and be an active part of creating a new, radical future for museums.

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About the Author

IMG_3329MIKE MURAWSKI: Founding author and editor of ArtMuseumTeaching.com, museum educator, and currently the Director of Education & Public Programs for the Portland Art Museum. Mike earned his MA and PhD in Education from American University in Washington, DC, focusing his research on educational theory and interdisciplinary learning in the arts. Prior to his position at the Portland Art Museum, he served as Director of School Services at the Saint Louis Art Museum as well as coordinator of education and public programs at the Mildred Lane Kemper Art Museum at Washington University. Mike has been invited to lead workshops, lectures, panels, and training sessions at various institutions, including the Aspen Art MuseumCrocker Art Museum, the Museum of Contemporary Art in San Diego, Los Angeles County Museum of Art, National Gallery of Art, Nelson Atkins Museum of Art, Philadelphia Museum of Art, and Phoenix Art Museum, among others.  He is passionate about how we can come to see museums as agents of change in their communities as well as creative sites for transformative learning and social action. Mike’s postings on this site are his own and don’t represent the Portland Art Museum’s positions, strategies, or opinions.

Header Photo: “Time Piece – 2” by lewishdreamer, Flickr photo, CC BY-NC 2.0 license, some rights reserved.  Photo taken during Liberate Tate’s protest performance called “Time Piece” at the Tate Modern in June 2015.  Read more about this action here.

 

“Museum Are Not Neutral” by Anabel Roque Rodriguez

Reposted from Anabel Roque Rodriguez’s blog.  Anabel is a curator, writer, and historian who focuses on political art, the artist as activist, art as labor, feminism, photography and the art market. ArtMuseumTeaching is thrilled to share her thoughts about the issue of museums and neutrality.

Written by Anabel Roque Rodriguez

The online dictionary Merriam-Webster defines neutrality as “the quality or state of not supporting either side in an argument, fight, war, etc. : the quality or state of being neutral”. The question is whether institutions who deal with primary sources, historical and contemporary narratives and a culture that decides which discourses get public attention should engage in neutrality? My opinion is that Museums are not neutral.

We live in a time where people mourn their dead, fear crawls into daily life and one headline leads to another. A certain narrative seems predominant these days trying to make us believe that we are divided by more than we have in common – depriving us of our humanity. There is no question whether museums can be part of these dialogues. They can, in fact, they have to and their museum policy resembles the questions of our time. The core of every institution is its people: the arts professionals employed there, artists and their own narrations their bringing, and, of course, the public. How could we not embrace the dialogue when people come together? And aren’t museums exactly a space for encounter, for getting acquainted with familiar problems that we engage with, or with unfamiliar things that spark our curiosity and of course with narrations we find problematic, and where silence is no longer an option.

I find myself often in passionate conversations about, whether museums are (still) relevant and/ or that museums should be neutral. Let me state loud and clear, that museums have never been neutral. An important part of a museum is to state facts. There shouldn’t be a confusion about whether museums need to speak up against any form of misinformation, lack to state the sources, fight any form of hate in its community, protect the values that embrace the integrity of minorities and discuss which narratives need to be enforced.

And still, I do find myself in arguments that if museums use public money they should not have any political opinion; that museums are temples of knowledge and need to keep their neutrality as they are above the everyday; that art in general cannot change anything…; What these people don’t acknowledge is the fact that museums have evolved from a temple of muses and knowledge that preserved the purity of the genius of a few (usually straight white men) to huge and central figures in the cultural and economic life of a city. There is no doubt that museums enrich the cultural economy of cities and become leading tourist attractions. As soon as there is money involved interests come into conflict (Sponsorship does matter!).

The range of visibility of big museums and museum brands like the Guggenheim, Tate or Louvre is different than the one of more regional or local museums. Nevertheless, museums cannot act outside the circumstances of the time they are in. If we want them to freely act as pillars of our cultural dialogues we need to carefully talk about their sensitivity to political decisions, censorship and the financial economy.

I sometimes do get the impression that the people who argue so passionately that museums need to keep their neutral role are afraid to endanger the purity of the art temple and that art might suddenly be complicated and relevant, and actually be open to engage with the whole public and not just with a few who are able to decipher the art code. And there is indeed the danger that if museums do take a stand, they might get instrumentalized by politics, be more sensitive to suffer financial cut backs and they risk not being “liked” by everybody anymore (has there ever been an illusion that we are?). A clear language might not be common in a world in which we talk in PR statements and a so called thought leader constructed a concept that we actually refer to as “alternative facts”. But if museums, who deal with history and the contemporary, choose neutrality they choose silence and as history has shown us in many examples: Silence means complicity with the demons of their times.

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IF WE WANT TO ENGAGE CRITICALLY WITH HISTORY AND WITH OUR PRESENT TIMES WE NEED TO ENGAGE WITH THESE QUESTIONS:

  • If our definition on the neutrality of museums is based on (hetero)normative standards, shouldn’t museums engage with what and who states the “norm”?
  • There should be no doubt that commemorative culture is highly political. Which narrative gets valued in our historical thinking? Who gets publicly commemorated and space or monuments to enforce the narrative?
  • How can museums engage with their communities without turning into dispassionate agents?
  • How can museums take a stand and still try to be sensitive to the future discussions without limiting themselves to the possible outcome? Museums can’t dictate what people are going to think or how they’re going to respond and react.
  • How much freedom of expression are institutions willing to give to all of their employees?
  • How can a code of ethics concerning the limits of museums neutrality look like? An ICOM Code of Ethics for Museums does exist but it does not contain concrete parts on museum neutrality and resulting conflicts. Keywords such as diversity, equality and community engagement are never free of political implications.

What you’ve just read is my opinion and I hope that more people will join this conversation. I’d love to hear from you. Have a look at the hashtag #MuseumsAreNotNeutral and make yourself heard.

Read more by visiting Anabel’s blog, which includes lots of fantastic links and resources focused on this issue.

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This post is part of a series focused on the myth of museum neutrality. My friend and colleague, LaTanya Autry, and I decided to collaborate to create a t-shirt along with a campaign to spark conversations about the role of museums, while raising funds to support the work of the Southern Poverty Law Center.

We hope you can order a t-shirt, wear it proudly, and talk about the potential of museums to do good work, advocate for human rights, and take a stand against hate. Museums can be agents of positive social change in our communities, and it’s up to us to make this happen together.

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Order your MUSEUMS ARE NOT NEUTRAL t-shirt here!  And help us spread the word.

The profits from each t-shirt purchased go directly to support the critical work of the Southern Poverty Law Center in combating hate, injustice, and discrimination through education, legal services, advocacy, and anti-bias resources.  You can also donate directly to the Southern Poverty Law Center through this link to their Donate page.

Stay tuned for more!

MUSEUMS ARE NOT NEUTRAL

By Mike Murawski

Museums have the potential to be relevant, socially-engaged spaces in our communities, acting as agents of positive change.  Yet, too often, they strive to remain “above” the political and social issues that affect our lives — embracing a myth of neutrality.

Well, MUSEUMS ARE NOT NEUTRAL, plain and simple.  Let’s come together and spread this message.

My friend and colleague, LaTanya Autry, and I decided to collaborate to create this t-shirt along with a campaign to spark conversations about the role of museums.  For the first run of this campaign, more than 500 people purchased t-shirts and we worked together to raise $5,669.79 total for the Southern Poverty Law Center!  So amazing!  We just recently launched our second version of this campaign (including some new colors), and we’re donating 100% of the profits to support World Central Kitchen, an initiative using the power of food to empower communities and strengthen economies. 100% of the profits from this campaign will go to support World Central Kitchen’s efforts in Puerto Rico. World Central Kitchen has demonstrated its in-depth commitment to Puerto Rico, its people, economy, health and future.

We hope you can order a t-shirt, wear it proudly, share your pics with our hashtag #MuseumsAreNotNeutral, and talk about the potential of museums to do good work, advocate for human rights, and take a stand against hate. Museums can be agents of positive social change in our communities, and it’s up to us to make this happen together.

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Order your MUSEUMS ARE NOT NEUTRAL t-shirt here!  And help us spread the word.

Here is a list of blog posts and articles that discuss the issues of museum neutrality (last updated January 2018).  Stay tuned for more, and be sure to follow the hashtag #MuseumsAreNotNeutral on social media to get connected to the community.

Changing the Things I Cannot Accept: Museums Are Not Neutral, by La Tanya S. Autry, Artstuffmatters blog, October 15, 2017

Museums Are Not Neutral: Wear It Across Your Heart, by La Tanya S. Autry Artstuffmatters blog,  August 31, 2017

“The Idea of Museum Neutrality: Where Did It Come From,” by Gretchen Jennings, Museum Commons blog, June 26, 2017

“Museums Are Not Neutral,” by Anabel Roque Rodriguez, September 2017

“Your neutral is not our neutral,” by Nathan “Mudyi” Sentance, January 2018.

Sean Kelley, “Beyond Neutrality,” August 2016. https://www.aam-us.org/2016/08/23/beyond-neutrality/

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About the Author

IMG_3329MIKE MURAWSKI: Founding author and editor of ArtMuseumTeaching.com, museum educator, and currently the Director of Education & Public Programs for the Portland Art Museum. Mike earned his MA and PhD in Education from American University in Washington, DC, focusing his research on educational theory and interdisciplinary learning in the arts. Prior to his position at the Portland Art Museum, he served as Director of School Services at the Saint Louis Art Museum as well as coordinator of education and public programs at the Mildred Lane Kemper Art Museum at Washington University. Mike has been invited to lead workshops, lectures, panels, and training sessions at various institutions, including the Aspen Art MuseumCrocker Art Museum, the Museum of Contemporary Art in San Diego, Los Angeles County Museum of Art, National Gallery of Art, Nelson Atkins Museum of Art, Philadelphia Museum of Art, and Phoenix Art Museum, among others.  He is passionate about how we can come to see museums as agents of change in their communities as well as creative sites for transformative learning and social action. Mike’s postings on this site are his own and don’t represent the Portland Art Museum’s positions, strategies, or opinions.

Header Image: Protest badges from Sheffield’s Social History collection, part of an exhibition entitled “Sheffield: Protest and Activism” curated by Louisa Briggs.  

Nothing About Us Without Us: Culture Lab Manifesto

Written by Andrea Kim Neighbors

The first time I experienced a Smithsonian Asian Pacific American Center (APAC) Culture Lab, a pop-up museum experience, it was as a visitor repeating the word “finally.” Crosslines: A Culture Lab on Intersectionality took over the Smithsonian’s Arts & Industries Building during Memorial Day weekend in 2016, and was APAC’s first Culture Lab. It was a truly immersive experience with emotional weight—over 40 artists from all over the country created original works of art and interactive spaces where visitors of all ages and backgrounds entered to learn about, challenge, and be challenged by the Lab’s theme of intersectionality. The atmosphere was festive with a constant murmur of excitement as deep conversation filled the air of an historic building erected as the first United States National Museum. Since Crosslines, APAC has co-created Culture Labs in New York City (CTRL+ALT: A Culture Lab on Imagined Futures) and most recently in Honolulu (‘Ae Kai: A Culture Lab on Convergence). Culture Labs are built with communities, a co-created and collaborative experiment that has since impacted the way we think about and approach the idea of what a museum should be.

I am grateful to be a part of APAC as their Education Specialist. Since joining the team earlier this year, I find the one question I get asked by my fellow museum educators is, “What does museum education look like at a Culture Lab?” My answers can be found in APAC’s Culture Lab Manifesto, which was published this July in an all-Asian American issue of Poetry Magazine (see full text below, along with links to Culture Lab’s Manifesto page).

As a museum educator, I think back to my impressions of Crosslines, and how surprising  it was to walk into a museum space feeling like I belong, like my voice would be heard and that I would experience genuine empathy. How often can you walk up to an artist at a museum and jump right into conversations about intersectionality, what our futures may hold, and how our stories may converge into paths of better understanding? What I love most about being a museum educator is what is learned and shared from visitors of all ages and backgrounds. Creative dreaming and building with communities is something we don’t often allow ourselves the time and space to do in our professional realm. This manifesto was created out of a team effort steeped in reflection and proactive energies—it was time to share our vision and belief in how museums could be re-built with communities.

As an education program builds at APAC and future Culture Labs, I welcome conversation, idea sharing, and creative dreaming. I hope you will take a look at our manifesto and reach out if you would like to discuss re-building museum spaces with communities.

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“Hijabs & Hoodies,” portraiture installation, 2016, by Tracy Keza with Studio Revolt. Photograph by Les Talusan.

Culture Lab Manifesto

BY SMITHSONIAN ASIAN PACIFIC AMERICAN CENTER

We at the Smithsonian Asian Pacific American Center believe the soul of a museum lies not in its brick-and-mortar walls but in what happens inside those walls — the experiential friction between guests and hosts, history and future. We believe that curation can be a form of community organizing; that art can be collaborative, participatory, and socially responsible; that those who have historically been pushed to the margins hold the stories that will center our future.

With these beliefs, we introduce the Culture Lab into the fold of museum practice. Culture Labs are fleeting, site-specific happenings that recognize art and culture as vehicles that can bring artists, scholars, curators, and the public together in creative and ambitious ways.

The images in this slideshow are from the first two Culture Labs: CrossLines: A Culture Lab on Intersectionality (May 2016, Washington, DC) and CTRL+ALT: A Culture Lab on Imagined Futures (November 2016, New York City). What you see are alternatives to traditional museum exhibitions — or perhaps their next evolution. What follows 
is a declaration of principles for you to consider as you envision the museum experiences of today and tomorrow.

We at the Smithsonian Asian Pacific American Center believe that museums engaging communities should be built upon:

  • A CULTURE OF MEMORY. Every place embodies genealogies we must honor. Amplifying hidden histories builds empathy. Intervening in public space enriches our collective memory.
  • A CULTURE OF REPRESENTATION. Prioritize local artists, participants, and organizers. Nothing about communities without those communities.
  • A CULTURE OF AMBITION & EVOLUTION. Scale up. Open yourself to growth through conversation. Push both your ideas and practices.
  • A CULTURE OF IMAGINATION. Place value on daydreaming. Not everything is a logistic. Find the amazing in the margins.
  • A CULTURE OF PRESENCE. Live-time interaction — nothing 
replaces human contact. Make all spaces maker spaces.
  • A CULTURE OF EQUITY. Pay artists. Pay artists fairly. Dismantle hierarchies. Everyone shares in the work.
  • A CULTURE OF COMMUNITY. Create lasting collectives. Come to museums to be challenged, to change, to fall in love.
  • A CULTURE OF INTERSECTIONALITY. Step outside the silos that constrain our narratives. Allow yourself to think, feel, and remember in the same complex ways that we live.
  • A CULTURE OF RELEVANCE. Choose to engage in what matters right now.
  • A CULTURE OF BELONGING. Forge brave space. Extend welcome and safety to all peoples and communities. Make room for the marginalized, especially by questioning what marginalizes them.
  • A CULTURE OF BEAUTY. Who gets to decide what counts as beautiful? Question aesthetic classifications and priorities.
  • A CULTURE OF INSPIRATION. Open the process. Dream together. Make together.
  • A CULTURE OF FUN. Play is innovation. Play is care. Play is life.
  • A CULTURE OF ACTION. Stay woke. We have a social contract with one another to protect the vulnerable and ensure human rights for everyone.

—Adriel Luis, Lawrence-Minh Bùi Davis, Nafisa Isa, Kālewa Correa, Jeanny Kim, Hana Maruyama, Clara Kim, Nathan Kawanishi, Emmanuel Mones, Desun Oka, Carlo Tuason, Lisa Sasaki, Andrea Kim Neighbors, Deloris Perry, and Emily Alvey.

Originally Published, Poetry Foundation: July 5th, 2017

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Header image: The Red Chador: Threshold, durational performance, 2016, by Anida Yoeu Ali. Photograph by Les Talusan.

‘This is the time when museums go to work’: MuseumNext Keynote Address

Written by Mike Murawski

A few weeks ago, I had the privilege of being invited to give the keynote address to begin Day 2 of the MuseumNext conference in New York City. My talk expanded on some of my thinking around the vital importance of empathy, change, and social action in museums, and focused on 5 actions we can take as museum professionals.  I’m pasting the video, SlideShare, and extended notes from my talk below.  I hope this sparks more conversations within and among museums about the role our institutions play in our communities and in relation to issues of social justice, equity, and inclusion.  Please feel free to email me at murawski27@gmail.com with any questions, and add Comments or questions below for a more public exchange around these ideas.  I welcome all perspectives, ideas, and voices in this dialogue about museums.  And special thanks to Jim Richardson and the team at MuseumNext for putting together a powerful conference in New York!

Link to SlideShare PowerPoint slides.

Link to Vimeo video.

NOTE: These views are my own and don’t necessarily represent the Portland Art Museum’s positions, strategies, or opinions.

Keynote Address: “Urgency of Empathy and Social Action in Museums”

November 15, 2016, Tribeca Center for Performing Arts, New York, NY

[I began this address by playing an excerpt from Janelle Monae’s “Hell You Talmbout,” which I encourage you to listen to by playing the video below. And crank up the volume or pop on some headphones.]

This visceral performance was recorded by Janelle Monae and the Wondaland Arts Society collective.  It is a striking protest piece that responds to instances of police violence against minorities in this country, and honors the lives of those lost in a way that boldly confronts indifference.

Janelle Monae said, “Silence is our enemy, and sound is our weapon.”  In an interview about her recording “Hell You Talmbout,” she said something that really struck me and made me want to bring this in to begin our day here at MuseumNext: “It’s important that we see each other as human beings. We need to take care of each other.”  Her piece stands as a form of art that can connect us all as humans through empathy as well as action.

I want to spend some time talking this morning about the urgency of empathy, social impact, and social action in museums today, focusing on 5 actions—that’s right, I said actions … not ideas, concepts, or principles.  5 actions that we can all get involved in to help museums reach their full potential as meaningful, relevant, human-centered institutions in our communities.

But before I begin, I would like to recognize and honor the indigenous peoples on whose ancestral lands this theatre now stands here in Manhattan, on which our museums stand, and on which we live and work every day.

ACTION 1: Be More Local

It’s so important for museums to be a ‘local’ place intertwined and inseparable from the local realities and issues.  We are located in our communities, but we’re also a part of those communities.  This idea of community is important to address – we use that word a lot and don’t often think about it. What is community, and what is audience?  What do we mean by these words?  For me, so much of this idea of “community” is grounded in geography.  How do we define our place, our town, our city, our neighborhood; and how do we learn about the people in this place, what connects us, and what brings us together into a community

So what can we do to help museums be more local?

First, I think there is a false binary and divide we have created between ‘museum’ and ‘community’ that is troubling.  It’s so ingrained in the way so many of us talk about our work, myself included.  We might be feeding this gap, this divide, by simply not addressing it.  What if “the museum” included the people in our local community (including our staff and volunteers)?  What if, instead of just museums seeing themselves as part of their communities, our communities actually saw themselves as part of our museums?  We fight so hard for outreach, but sometimes we just need inreach—a way for us to open our ears and our hearts and let others get involved in new and different ways.

This may sound radical, but I believe it’s also a fact: our community knows more than we do. There is so much expertise and knowledge outside of our institutions that we tend to reject and ignore, but it’s greater than what we hold on to within our institutions.  We have got to start breaking down those walls, listen more, and rethink the way we value some knowledge and stories over others.  Identify and value the assets of our community — their stories, experiences, creative energies, and knowledges.

One powerful example of this local work is The Laundromat Project.  The Laundromat Project brings 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, and enhance the sense of ownership in the places where we live, work, and grow. Their Kelly Street Initiative was launched in 2015 in the South Bronx, in partnership with Workforce Housing Group, Kelly Street Garden, and Banana Kelly Community Improvement Association, transforming a 2 bedroom-apartment into a thriving creative community hub.  I’m looking forward to heading there with a group of conference participants for MuseumNext’s first ever Museum Social Action Project.

ACTION 2: Recognize and Support the Movement for Black Lives

I believe there is a need for us museums to publicly recognize and engage the brave and transformative work of the Movement for Black Lives. The Movement has forged a new national conversation about the legacy of racism, state violence, and state neglect of communities of color in the United States—a conversation grounded in those communities’ own experiences. As stated in their Vision for Black Lives policy statement, the Movement’s vision is to:

“move towards a world in which the full humanity and dignity of all people is recognized.”

I know this is something  museums can stand behind unapologetically.  We need to engage with and learn from the Movement, help support and expand this community of social justice activists without dictating or distorting the work underway. Supporting this work is not putting museums and its employees in a bubble, but rather it powerfully unifies us in support of basic human rights that have been wrongly politicized since the first colonists stepped ashore some 500 years ago.

Some examples of brave, courageous museums that are putting themselves out there to support this work are:

Science Museum of Minnesota: Back in July 2016, they posted a sign at entrance to RACE: Are We So Different? exhibition after tragic killing of Philando Castille in July, joining their community in mourning.  Unfortunately that sign was eventually removed, but I want to acknowledge that courage of those people who sat in a room to make the decision to put that sign up so we can have this conversations about whether museums can do this or not.

New Museum in New York: Black Women Artists for Black Lives Matter, which began back in July 2016 when a group of more than 100 black women artists began meeting at New Museum.  The group took over the Museum for an event in September that included performances, workshops, videos, and a procession. Reflecting on that September event, artist Ariel Jackson recalls: “some of us wanted a space to laugh and celebrate our blackness in the face of trauma. Others wanted a space to scream, cry, and holler. We ultimately agreed that we wanted to express our humanity — both joy and grief”

Smithsonian National Museum for African American History and Culture: Among many other ways that this new Smithsonian Museum is collecting, exhibiting, and recognizing the Movement for Black Lives in historic ways, I wanted to draw attention to their acquisition of the Mirror Casket Project into their collection. The Mirror Casket is a sculpture, performance, and call to action for justice in the aftermath of the murder of Michael Brown in Ferguson, MO. Created by a team of seven community artists and organizers, the mirrored casket responds to a Ferguson resident’s call for “a work of art that evokes more empathy into this circumstance,” with an aim to evoke reflection. This work will be included in future exhibitions at the NMAAHC.

Portland Art Museum: At the Portland Art Museum, we have recently been partnering with members of Don’t Shoot Portland, one of the main Black Lives Matter groups working for change across the Portland community.  On August 9, 2016, the anniversary of Michael Brown’s killing, we were the site for a gathering and community social justice art project organized by Don’t Shoot Portland that involved music and dance performances, speakers, and free admission to the Museum and exhibitions.  This was planned, in part, as a result of conversations with our community in conjunction with the opening of two exhibitions which focused on issues of racial violence, police brutality, and social justice activism.  Many of us at the Portland Art Museum wanted to be listening to our community and engaged with our community, so we reached out and had these powerful things happening at the museum. It was a space of creation, a space of community and coming together.

I can’t mention these events without mentioning Teressa Raiford, who is one of the most powerful activists in Portland and probably in many of our communities, who’s putting a lot of this together and who has for the past six days been on the streets in Portland with peaceful protestors standing up for basic human rights. Teressa continues to be an inspiring, driving force behind the ways that the Portland Art Museum is beginning to listen to its community and engage in a new dialogue around race and social justice.

Following up the event in the Portland Art Museum on August 9th, we had a panel discussion entitled “Race in America After Ferguson” where Reverend Tracy Blackman from Florissant, Missouri (one of the pastors that’s been involved in the Ferguson Commission with President Obama and also the Federal Government’s faith-based initiatives work) came and spoke with artist Arvie Smith, Teressa Raiford, and Mykia Hernandez, a young activist in Portland.  With two or three days’ notice we had an incredible crowd from the community come, including docents and staff from the museum who came out to this conversation. It was really important, internally and externally, for the museum to be having these conversations and be seen as a space for these conversations.

In the words of leaders at the Ford Foundation who publicly supported the Movement for Black Lives earlier this summer–and a quote that I think is as timely now as it was back in July:

“now is the time to stand by and amplify movements rooted in love, compassion, and dignity for all people.”

ACTION 3: Flip the Script

What does it look like to “flip the script” in museums, to work toward de-centering the traditional power structures of our institution?  How can we actually shift away from the old, traditional narratives that got us where we are today, right now, right here?   How can our work as museum professionals shift power?

Letting go of these traditional historic notions of museum authority and power relationships is essential but it’s also very challenging, and I’m going to break the rules of conferences and do something that you’re not supposed to do. I’m going to read a text panel from a museum exhibition, and this is not a text panel that is a typical voice of authority, it is not what I call the ‘voice of god’ text panel for a museum. This text panel was the intro panel to our new Center for Contemporary Native Art during our second exhibition in that space, written by indigenous artists Demian DinéYazhi’ and Kali Spitzer and unedited or unimpeded by curatorial voice or museum voice. I think it says something powerful. So, when visitors waked into the gallery during Demian and Kali’s exhibition, they were immediately confronted by this wall text panel:

“By entering this space you have an ethical responsibility to acknowledge that all Indigenous thought, creativity, fantasy, activism, & existence is grounded in continual acts of Survivance. You have agreed to forfeit your misconceptions of Indigenous identity & respect the sacredness of Indigenous traditional practices. You are not stepping into the past or staring into a picture plane void of Indigenous inhabitants. You are not glorifying Western historical inaccuracies or romanticizing the cowboys & Indians narrative. By entering this space you agree to never again place your hand over your mouth in a mock “war cry” or teach your children to be ignorant of the Indigenous peoples whose land you have claimed as your own. From this moment onward you promise to learn the history of the Indigenous ancestral lands that were stolen/continue to be stolen through colonization & genocide. By entering this space you have agreed to become a lifelong agent against humanitarian & environmental injustice.”

It is such a powerful statement. So, flipping the script can mean changing who gets to write these narratives. The Center for Contemporary Native Art at the Portland Art Museum is one of these spaces where we have experimented with decentering traditional museum authority.

The Center for Contemporary Native Art is a space that we have developed dedicated to displaying the work by contemporary indigenous artists at the museum. It’s supported by an IMLS grant currently and it really gets the museum to step out of the way and let Native people tell their stories.  Through exhibitions in this Center, we’ve been really privileging native voice, native language, indigenous knowledge, and indigenous perspectives. It has been one of the most powerful things I’ve been able to work on in my work in museums and I have to give a shout out to Deana Dartt who was recently our curator of Native American Art at the Portland Art Museum and whose powerful vision made this possible.

Another example of ‘flipping the script’ is the long-running initiative at the Portland Art Museum called Object Stories, and these images are just some of the examples of the people whose voices have been brought to the center of our museum during this project: from people living with Alzheimer’s and their caregivers, to recent refugees to Portland, and we currently have on view in that gallery a project that highlights the voices of deaf artists and highlights their work in the gallery.

In her article from earlier this year entitled, “We Need a Decolonized, Not a ‘Diverse,’ Education,” scholar Zoe Samudzi writes:

“Until marginalized communities are the storytellers of their experiences, history will be rendered partially complete, but wholly-privilege the knowledges and perspectives of the colonizers.”

These marginalised voices and stories, often rendered completely invisible, need to be brought to the center.

One final example – this is just something I thought was amazing project that I just read about this past week or so – at the Detroit Institute of Art, they’re working on an exhibit for summer 2017 to highlight and reflect on the 50-year anniversary of the summer of 1967 rebellion. It’s a year-long collaborative project to uncover home movies and perspectives from people living in Detroit in 1967, and the project aims to reflect on one of the most painful times in the history of Detroit and spur thoughts on how that region can continue moving forward. What an incredible way of bringing community voices and stories into such a significant museum project, and privileging those stories and knowledge in the museum.

ACTION 4: Have a Personal Vision for Change

Have a personal vision for change, and work to create a personal vision. I think this is something that’s important.

I hope you’ve had your coffee, because I’m going to have you do something for me before we wrap up here. Put your notebooks and devices down just for a second, take a deep breath, and clear your mind. Now I want you to try and think about: what matters most to you right now? Try to boil it down to a word or a phrase. Now, I want you to shout that out. [audience loudly shouts out words at the same time]

Thank you, and not only is that energy that we need to make change happen in museums, but it also illustrates this need for our own personal vision and purpose to help guide this work. What do you care about? What is your high dream? What is the change you’d like to see? Have a personal vision. Write it down. It doesn’t have to be some sort of perfectly crafted, wordsmithed mission statement. Think about what matters to you, write it down, add it to your desktop background, tape it to your wall, share it on social media, wear it on a tee-shirt. Connect with your core values on a daily basis. Stand behind these values. Share them. Don’t be ashamed of them. After all, if we don’t know where we’re going, how in the hell are we ever going to get there?

I’m most recently inspired by De Andrea Nichols, an activist, educator and artist in St Louis.  She said in a commencement speech she gave earlier this year at Washington University in St. Louis: “Do what makes you come alive!” Nichols’s “Sticky Note to Self” project is also worth checking out through Tumblr and Instagram.. It is so inspiring to see her inspiration, to see the things that she’s thinking about, done so creatively. She just writes these sticky notes to herself, which is something I’ve been doing more and more.  When you’ve got a moment of inspiration, write it down, stick it somewhere, keep it, reflect back on it on a daily basis so we can keep pushing ahead on this work.

Bring your passion with you to work. I think this is important that we stop the unnecessary separation between our work and ourselves and this type of passion. We need to create environments and museums where we, as museum workers, can be our whole selves, can bring our passion.  One of the things that I’ve been motivated by in my own practice has been this inspiring quote from James Baldwin, which I added to my email signature as a daily, public reminder:

“not everything that is faced can be changed, but nothing can be changed until it is faced.”

ACTION 5: Build Communities of Action and Change

I firmly believe museums are people-centred institutions (something I have written about in more detail). Museums are us. If we don’t bring in other people too, our work cannot grow. We need to identify change agents within our institutions. Invite people to meet with you over coffee. Think about the barriers to your work, and consider how those barriers are they people-based.  What people are involved with those barriers? OK, now go have coffee with those people and listen.  Listen to what those people are talking about in terms of why those barriers might exist. It is also important to positively recognise when others take steps in the right direction towards this work.  We need to build supportive, positive, connected communities of change within and among our organizations.

And I think it’s time that, no matter where you are in your organizations (new employee or seasoned veteran); it’s time for us to stop thinking of ourselves as followers and thinking of ourselves as leaders within our institutions. You can grow a community of change in your organisation and it doesn’t matter how long you’ve been there. Remember, museum are made of us people, and our museums are only as empathetic, connected, and engaged as the people who work for them.

An important aspect of building these communities of action is also recognising the new collective platforms and movements that exist now online. If you are on social media, #MuseumWorkersSpeak and #MuseumsRespondToFerguson are hashtags that are bringing people together to talk about these issues. Also #MuseWomen, #a11y, and the blogs Incluseum, Brown Girls’ Museum blog, Visitors of Color Tumblr site, Queering the Museum Project, Museum of Impact, Museum Hue. And so many more projects that are bringing people together to create these communities of change and communities of action across the field of museums, arts, and culture.

The last slide I want to show is the team of education staff at the Portland Art Museum. We took this photo here last Wednesday morning, which I regretted scheduling that photo the morning after the election here, but we immediately gravitated to this empowering work “Power Up” by artist Corita Kent, who’s been feeding a lot of our souls in Portland with this exhibition on view of her work. I include this photo only to give recognition, honor, and support to this amazing group of educators and to the power that they bring to all of this work at the Portland Art Museum, to our vision for doing good, meaningful, more local work and in building communities of change across our institution. It is not ‘me’; it is a ‘we’ situation, and there is so much power in the people on this team and so many who are not even this photograph.

As we bring on more people to rise to this challenge with us, we can convert ‘aspiring to change’ into ‘real change’. The time has come to move beyond symbolically standing up for social justice. This may often mean breaking the rules but it never involves silence. We need to permanently put to rest the idea that a museum should be a neutral place and that its employees should be dispassionate.

CONCLUSION

Let me wrap up with something a bit more personal. One week ago this morning, I was proud to go turn in my ballot alongside my wife, inspired by her power, energy, and resilience.  Just hours later, that night, I found myself in tears, holding my confused 7-year-old son in my arms as I put him to bed.  I know I am not alone when I say I felt numb and almost paralyzed.

I want to close by connecting with the words of writer Toni Morrison, who many of us read during recent days and weeks.  12 years ago, she recounted her own election-induced feelings of depression, paralysis, being unable to write, when an artist friend interrupted her and said, “No, no, no.  This is precisely the time when artists go to work.  That’s our job!”  

So I channel the power of Ms. Morrison at this difficult moment, because This is precisely the time when museums go to work.  That’s our job!

Thank you.

About the Author

IMG_3329MIKE MURAWSKI: Founding author and editor of ArtMuseumTeaching.com, museum educator, and currently the Director of Education & Public Programs for the Portland Art Museum. Mike earned his MA and PhD in Education from American University in Washington, DC, focusing his research on educational theory and interdisciplinary learning in the arts. Prior to his position at the Portland Art Museum, he served as Director of School Services at the Saint Louis Art Museum as well as coordinator of education and public programs at the Mildred Lane Kemper Art Museum at Washington University. Mike has been invited to lead workshops, lectures, panels, and training sessions at various institutions, including the Aspen Art MuseumCrocker Art Museum, the Museum of Contemporary Art in San Diego, Los Angeles County Museum of Art, National Gallery of Art, Nelson Atkins Museum of Art, Philadelphia Museum of Art, and Phoenix Art Museum, among others.  He is passionate about how we can come to see museums as agents of change in their communities as well as creative sites for transformative learning and social action. Mike’s postings on this site are his own and don’t represent the Portland Art Museum’s positions, strategies, or opinions.