Friday, March 25, 2011
Monday, March 21, 2011
From Conference to Change
But the conference raised the same issues for me that much training in the US does. How do we encourage museums to really embrace what they've learned, to make change and reflection a part of daily work? Since I began coming to Ukraine two years ago, I do see signs of change--but I also see a willingness to attend workshops (and for organizations and embassies to present workshops) but not so much readiness to make real change in an institution. I'm pleased that this conference opened up some conversations about creating real change in organizations.
I'm far from having any real answers to this, but a few thoughts (and by the way, I think the same issues exist for many American museums).
I often think that museums think that if they just produce the latest four-color brochure or have more money to allocate for advertising, then people will flock to their museum. It's much harder to get the point across that your product (a word I know that will meet some resistance here in Ukraine) needs to be better--your exhibits more interesting, your programs more engaging, your lobby staff friendlier--BEFORE new marketing commences.
Practice, not theory
I have pretty clear ideas about the process of exhibit development--but I also know that talking about it doesn't generate the best understanding. Museum colleagues here can see my slides of interactive, hands-on exhibits, but until people have the opportunity to actually work on a project that involves, for instance, thinking about a big idea for an exhibition, writing engaging exhibit labels, and developing a creative installation, those theoretical new ideas just stay theory.
I think some of the next steps in Ukraine are about beginning to integrate real practice into training to follow upon theoretical experiences--and I'd love the opportunity to work with colleagues here on the practical applications. Some of my best memories here come from the start of those practical discussions in some organizations and a real hands-on project at the National Museum of Books and Printing in 2009 where I taught staff simple paper and book-making activities that are now offered on a weekly basis.
Interested in what audiences think? The same thing holds true. We need to find ways to move the discussion from talking about talking to audiences to actually talking TO audiences. Recently, in the US I did some community conversations with an organization who had been a little resistant about doing them--but afterwards, said a staff member, "I'm a convert--these were great!" There's the old saying,
- Give a man a fish and you feed him for a day. Teach a man to fish and you feed him for a lifetime.
- We need to move from giving the fish of pure information to actually providing museums with a rod, a hook and a worm, and sitting on the bank with them as they learn to fish. Then, I think, real learning will occur. And the museum with its own efforts, will sustain its community--and its community, in return, will help sustain the museum.
- Change comes from the top and from the bottom
So not matter where you are in the hierarchy, you can think differently, in large or small ways.
Creating Knowledge Networks
One of the best results of the Dutch-funded MATRA museum training project here in Ukraine was the development of an informal network of colleagues who learned together and continue to share ideas and information. I have always found the museum field in the US (and now, increasingly, all over the world) incredibly generous with information, ideas and support. I think an important next step here is building these knowledge networks to share information and ideas in inexpensive ways (I'm not necessarily a fan of expensive publications in this context).
From Contest to Competency
AAM, for instance, and AASLH's Award of Merit program. But both those programs recognize multiple winners and make the submissions and winners available to the entire field. I wonder whether resources might be better allocated towards small improvement grants rather than prizes and at the very least, a system developed to clearly share the winning efforts and highlights best practices so others can be inspired. And that gets back to the whole idea of sharing skills and knowledge, as above.
More posts to come about other lively discussions at the conference--but the best part for me--was, I think, that most Ukrainian museum professionals now understand that my commitment to them and their work is a increasingly deeper one. Who would have thought that two years ago!
Monday, March 7, 2011
The Kandy-Kolored Tangerine-Flake Streamlined House Tour
Last week, I spent a great deal of time on the road, a not unusual occurence, and in the early morning, I'm always happy to hear Garrison Keillor come through my car radio with the Writers' Almanac.
On March 2 it was Dr. Suess's birthday--but it was also Tom Wolfe's birthday and Keillor shared a bit of Wolfe's essay on journalism, in which he suggested that reporters needed to employ four technical devices more commonly used in fiction to get at the emotional core of any story. As the story continued, I realized that Wolfe's four rules were exactly in line with what makes a great guided tour (something I've been pondering lately for a couple different organizations, including the Thomas Cole National Historic Site in Catskill, NY).
So, what did Wolfe, the author of both fiction and non-fiction classics such as Bonfire of the Vanities, The Right Stuff and The Kandy-Kolored Tangerine-Flake Streamline Baby think journalists (and by my extension, historic site tour developers) do to engage their audiences? It's pretty simple.
- Construct scenes
- Dialogue, lots of it
- Carefully noting social status details everything from dress and furniture to the infinite status clues of one's speech.
- Point of view in the Henry James' sense of putting the reader inside the mind of someone other than the writer (or tour developer).
Think about the last tour you took and compare it to the last novel you read. A novel requires a significantly greater investment of time but we stick with it, because the rewards, those emotional connections, may be far greater. I'd love to hear from readers about tours that made those strong emotional connections--where have you been?
Photos from Flickr
Top by Lachlan Hardy; bottom by Mo Riza
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