Where Do Your Exhibit Ideas Come From? Here's One Place

For a long time, I've talked with colleagues about the differences between exhibits that spring from ideas or concepts and those that come from objects.  Both have their strengths (and their weaknesses) and it's useful to consider where you're starting as you think about where you want to go.  But now I'm adding a third category--exhibits that spring from our audiences--not only the kind of crowd-sourcing content that involves voting (see Nina Simon's recent post on this) but those that spring from conversations with our communities.  These audience-driven exhibitions can involve an institution in thinking and re-thinking what we learn along the way, involving us in an iterative, creative process made richer by looking outside the simple frame of our collections.

The Chemung Valley History Museum wanted to develop a new exhibition.  We began the process by talking with several groups of local residents, including a high school history class.  There was uniform agreement  in all the groups that the sort of chronological presentation that characterizes most long-term local history exhibits was not interesting to most people (been there, done that, they said).   But,  said a student, "wouldn't it be cool if you could see how people our age lived?  what their lives were like?"  There have been some other great exhibits on teenagers (Chicago and New Jersey)  but we wanted to see what it might be like here.  We asked non-teenage groups about what they thought--and suddenly their faces lit up and they began discussing their own teenage years.  Teenagers it would be.

Often, this kind of idea languishes until a museum staff finds funding to pursue the next step.  But the team in Elmira decided all the resources needed were enthusiasm and a bit of time.  They held community conversations with several local groups of seniors and set a booth asking for information at the county fair.

This week, we sat down with that information to think about what we'd learned and what the next steps might be.  I'd read the summaries of the conversations and so decided to make objects and location as starting frames.  Armed with our hand post-it notes,  we listed all the objects mentioned in the conversations and began to sort them into thematic groups.  Almost immediately, we noticed something:  clothes were most often mentioned and we recalled a comment early on in the process from a community member, "don't make it just about poodle skirts."   Because, it's the top of mind.   But we wanted to think harder.  We then went back and listed objects that were implied in the conversations and added them (those are the circled ones) to our growing wall.  How many of these 20th objects are in the museum's collections?  Very few.  And we found unexpected objects:  under a theme of work,  lawnmowers, newspapers, diapers all were mentioned in discussions of first jobs. 

What themes did we see in our object post-its?  Independence,  gender, romance, big world issues.  What themes did we not see?  Cultural diversity,  the role of religion, class,  and neighborhoods.   We know those themes exist in this community, but we now know we need to work a bit harder on collecting that information.

We wondered if some of these issues might be found by thinking about places mentioned--so we posted those in a rough county map, above. That helped us see neighborhoods better, but also,  with these two notes below, note the way that the outside world had enormous effects on teenagers.

This iterative process--where we talk to each other and community members,  reflect, and go back out and talk again,  is not only an exhibit building process--it's a community building process.   (and for me, because this is the city where I grew up, a fascinating exercise in individual and collective memory). It's becoming clear that ownership of this exhibit will not be solely the museum's, but rather something that is created--and changed on an ongoing basis-- by the people whose stories we share.

I'm Thinking Globally, Acting Locally

One of my great joys over the last several years has been the opportunity to think more globally about the work that we do in museums and cultural organizations while at the same time, getting a chance to delve deeper into local communities.  I've got three upcoming projects I want to share with you that will offer new ways for me to expand my perspectives and understandings.

For the next six months or so, I'll be working as an education consultant with Context Travel, a small company that creates walking seminars for the intellectually curious in great cities of the world.  This fall I'll be taking tours and meeting their docents (all scholars and specialists) in New York, Philadelphia, Boston here in the states and in London, Rome, Paris, Naples, Florence and Venice.  The tours are amazing in their depth and variety--from Power and Propaganda in Roman Art and Architecture to Charles Dickens, Storyteller of Victorian London;  from The Birth of the Cocktail in  to a Paris Market Walk-- Context Tours provide a very special way to engage deeply in a city.

After my information gathering and learning this fall, I'll be developing resources and workshops for staff and docents,  and returning next spring to London, Paris, Rome, Barcelona, Madrid,  Berlin and Istanbul, to share ways to enhance what is already a highly regarded venture.  An adventure all around, and an opportunity for me to think more deeply about the ways in which we present the history, art and contemporary life of the places we live and work in.  (and by the way,  European Uncataloged readers:  I will try and squeeze some time in for museums--and would love to meet you as well!)  Look for blog posts inspired by the walks and city visits during November.

 "I have always imagined that Paradise will be a kind of library, " wrote Jorge Luis Borges.  A new project of the Museum Association of New York,  the New York Library Association, and Museumwise will work on making that paradise even more creative and interesting for the youngest members of our community.  I'll be managing an IMLS supported planning project to explore the ways that libraries and museums can work together to create engaging history-based exhibitions, sized and geared for early learners using children's rooms at libraries. New York colleagues will be hearing much more about this, but I'm very excited to explore what such a collaboration might look like and what new ideas we can bring to the table by working together.

And finally,  I'm happy to announce my return to Ukraine this winter for a couple weeks in February.  With my dear friend and colleague Gyorgyi Nemeth of Hungary,  I'll be a Cultural Manager in Residence at Eko-Art, a dynamic organizaton,  in Donetsk.  The residency program, developed by the Centre for Cultural Management in L'viv, aims to bring diverse perspectives on culture and the opportunity for a productive exchange of ideas.  Specifically, we'll be working with young people on imagining innovative ways to share the industrial history of Donetsk--a city where that history is so important that a statue of a coal miner welcomes you into the city.  (And Ukrainian colleagues--I'm attempting to sneak a few days in Kyiv as well, so I hope to see many of you!)

Top two photos via the Context website;  middle and bottom photos via Flickr.

Banish the Boring

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I'm just heading back from the American Association for State and Local History conference in Salt Lake City where I facilitated a session called Banish the Boring,  with the hope of getting my museum and history colleagues to think more deeply about the ways they do presentations (particularly at conferences) and be more experimental in our approach.  We know our museum audiences don't learn most effectively when faced with a dark room and dense powerpoint slides.  But it still mystifies me that we persist in making many (far too many!) conference sessions work this way.   So I thought I would start this 8:30 AM session with voting as you walked in the door--you got asked to vote for three top questions and then small groups worked to find new ideas for those top three that can help solve these common issues.  Here'sthe real-time solutions participants suggested. Special thanks for Alice Parman for not only notetaking but also typing up and sending me the notes--a really luxury as a session follow-up!   I think these provide great guides for rethinking sessions--but the larger question is how we can rethink the overall conference experience to enhance learning and connections. But that's the subject of another post!  If you have suggestions on the specifics or on the overall conference experience, please share in the comments.

Am I afraid of using humor in a professional presentation? 

• Establish your authenticity—then be as funny/real as you want. Authenticity relates to your own comfort level.

• Use video clips, etc.

• Use drama

• If a joke falls flat, acknowledge it. Just keep moving forward.

• Arrange with a friend to help you out in case it falls flat.

• Humor should be relevant to your topic.

How do I tactfully cut off someone who is taking over the session?

• Engage a person who’s not talking: “We haven’t heard from you yet.”

• Parking lot technique: after the session we’ll go into more detail.

• Subtly cue a fellow panelist that it’s time to wrap up

• Universalize—summarize

• Let’s meet afterward

• If you’re passing a mike around, hold onto it yourself

• Ringer(s) in audience to intervene

• Come with prepared questions to move things in a different direction

• Move around. Get closer to the person. Physical intimidation. Do what a Rotary president does when a speaker goes on too long.

How can I start a session with a bang?

• Use question or metaphor

• Pictures of things that look similar but are different

• Tell a personally engaging story

• Talk about something you did that fell on its face

• Ask audience members to reflect, write

• Give them a question, they write the answer; same question/written answer at end of presentation, have they changed perspective?

• Setting the stage

• Move people around

• Begin with anecdote, technology, video

• This is an open meeting, you’re in charge of the agenda

• Play music really loud (Nina Simon)

• Hire a high school marching band

How do I make my session description sound interesting, but accurate?

• Know your audience

• Be as accurate and specific as possible

• Fun things, active verbs

• Key buzzwords, but not too many

• Catchy title that refers to topic—alliteration, humor

• Write creatively to awaken interest by connecting to readers’ needs

• Session descriptions as little narratives/stories. See Ira Glass, What makes a good story? on YouTube

How can I develop small group activities that get to the point of the session?

• Copy what Linda did in this session

• Ask questions, group provides the answers

• Group builds something, solves a problem

• Engage people in something related to the topic

• Goal of activity must be established first

• Find out what people want to know

• Written instructions

• Talk to people like it’s a group of friends

• Speaker bingo: head shots of presenters, if you hear or meet 4 you get bingo, then you are entered in a drawing. Two-line bios of presenters on other side of bingo card.  (Comment: don’t read bios to the audience—especially if those bios are already in the program!)

Upcoming This Week

Just a quick post to say that I'll be busy as a bee this upcoming week, with lots on my plate at the American Association for State and Local History annual conference in Salt Lake City.   My last round (for now, perhaps) of working with a great group of field service providers and others on the StEPs curricula will be on Wednesday.  Over the last three years,  I've really enjoyed getting to know colleagues from states big (Alaska) and small (Connecticut) and hope all those connections continue.

On Thursday,  I hope you'll come find Rainey Tisdale and I from 12:00-1:30 in the South Foyer of the convention center.  At the meet-up--open to all--we'll be sharing what we've learned so far in our work on museums and creativity and then together, we'll work on a brainstorming an activity designed to help all of us find new ways to approach one of the core functions of history museums and historic sites.   Also on Thursday, I'm looking forward to learning about Conner Prairie's transformation and the many ways that history museums can use Historypin (I'm a huge fan already!).

Wake up early on Friday morning to make my session called Banish the Boring at 8:30.  It's pretty nervy to title a session that,  but I'm planning that, all of us working together,  can come up with some pretty great ways to make conference sessions--or any other kind of presentations--not boring,  but rather,  turn them into what my colleague Stuart Chase  calls the Three Bs:  brisk, bodacious and bold!   Need an inspiration?  Try Robin Williams in Dead Poets Society.    Later that day, Rainey's chairing a session with Trevor Jones of the Kentucky Historical Society and me where we hope to engage all of you in a lively conversation about whether museums need objects?  What does the 21st century hold for those things in our collections storage?  Or for those things in our community and not yet in our museums?

And finally,  another morning session on Friday,  an expansion from last year's webinar for StEPS--in an informal workshop format, we'll work on telling a good stories--and how those good stories can transform our institutions and our visitors.

As always,  I love to meet colleagues and bounce ideas around.  If you'll be at AASLH and want to meet for coffee or a quick meal,  just let me know!

Zoo-ming Into Labels in San Diego

Last weekend, I had the chance to visit the San Diego Zoo and was really struck by the variety of interpretive labeling strategies and designs in play.  Competing with lions and tigers and bears is tough stuff,  but I did see audiences of all ages engaging with some of the labels (in between doing things like making faces at baby hippos).  Although many of the labels were pretty traditional, the range of approaches and willingness to experiment a bit were worth observing--and provided lots of ideas that can be scaled for different kinds (and budgets) of exhibits.

So here's a bit of what I saw.  Above, the lesson that interactives are not just for kids, or even just for families as a woman poses in the fake iceberg in the polar bear section.  Below, part of an interactive showing how much meat polar bears eat daily,  using the easy to understand metaphor of a refrigerator.

The zoo had a number of fairly complicated messages about species conservation, climate change and other ecological issues to convey, and they did so in a number of ways ranging from the very simple to the complex.

This is a section of what, in a museum, we might refer to as a tombstone label, with the basic information about each species, but with the bar showing the range of endangerment of each animal.  The label below (really a large almost sculptural installation) talked about CO2 levels.

The zoo seemed to use, and appreciate the impact of sculptural installations.  Some of them were realistic animals to pose by,  but others just generated a sense of play or wonder.  Below,  metal monkey cut-outs along a walkway;  a snake skeleton, and a detail of paving.

Different areas of the zoo had distinctly different feels and incorporated designs and textures along with text and images to make those distinctions clear.  And in the popular panda area, a marker board like those found in restaurants keep visitors up to date and encouraged them to check out the panda-cam from home.

 

The zoo is a place where memories are made, and plenty of places were available for families to pose for photos:  on sculptures, behind big cutouts or playing with a big pull-out interactive.

And finally, two things that made me laugh.  First, a zookeeper, looking surprised as he's caught in the wild and second, a label with a caution I'd never seen before.  Clever and useful!

I'm California bound--and you can join in!

Next week, I'm very pleased to be headed to San Diego's Balboa Park to be a member of a session on employee engagement at the 2012 Smith Leadership Symposium, Organizational Innovation and the Engagement Equation,  of the Balboa Park Cultural Partnership on Friday, September 6.  A tremendous line-up of speakers, headed by Chip Conley, frequent Ted Talk speaker and hotelier;  Marianna Adams of Audience Focus, Inc; Richard Evans, who directs EmcArts' programs and strategic partnerships;  and Lori Fogarty, director and CEO of the Oakland Museum,  (and me!) will work with participants to  consider questions such as:

• How do we leverage the creativity we focus on into the way we work?
• What does engagement really mean?
• How can our workspaces encourage creative work?
• What can thoughtful metrics tell us about the synergy we seek to create?   And what do those metrics say about your organizational culture?
• How are different generations approaching workplace culture and how can a culture accommodate those differences.

There will also be case studies on organizational change,  and I know there will be lots of thoughtful conversation along the way.  But if you can't make it to San Diego--you can still participate online.  In fact,  online participants get a special session, facilitated by The Center for the Future of Museum's Elizabeth Merritt,  to bring ideas  home from the morning sessions.    I'll be blogging after the fact, and trying to squeeze in a few tweets on Friday as well.

I've watched the Balboa Park Cultural Partnership from afar for a while, and it'll be great to get a chance to see their museums and other cultural organizations close up,  and enjoy the work of a thoughtful, passionate collaborative.

To register for the symposium,  online or in person,  or for more information, visit their website here. 
And as always,  if you want to join me for a cup of coffee or a drink, in either San Diego or Los Angeles,  be in touch!

What I Learned in Newfoundland #2: We Think Our Visitors are Us

Who do we think our visitors are?  Many, if not most museums may have only anecdotal ideas about the answer to this question.  Based on my experience with a specific workshop activity, I think many museum people are missing the point when we think about audiences.  

My Newfoundland learning #2 is a lesson reinforced from facilitating the same audience collage activity in five different locations in Newfoundland, preceded over the last several years, by the same activity (with many thanks to Susie Wilkening who developed it for AASLH's StEPs curricula) in Connecticut, Kentucky, Oklahoma City and Ukraine. Workshop participants (usually museum staff and volunteers) are assigned a character--say, a woman,  age 65-75,  and asked to create a collage that answers questions about her, such as: 

• What is my name?
• How old am I?
• Do I have children?
• If so, how old are they? 
• Am I married?
• Am I employed?  If so, what do I do?  Or, what did I do?
• What are my hobbies?
• What are my obligations?
• What do I enjoy?
• What stresses me out?
• What drains my time?
• Where do I shop?
• What is my race or ethnicity?
• Do I visit museums & historic sites?  If yes, which ones?

With some notable exceptions, these collages do actually reflect the demographics of museum visitors,  but not museum audiences.  When groups complete the collage,  the majority of them represent audiences that are white, college-educated and relatively well-off.  And of course, they love visiting museums!  If it's an older person depicted, it's someone who's active, who travels,  who eats interesting food, and who doesn't worry much about money or a debilitating illness. We tend to think about people like us--I think because that's what we're comfortable with.  So that often means those are the people we dedicate our museum resources to,  we develop programs for, we market to--so of course, those are the people that come.  Everyone else may be left out of the circle.

This was true in Newfoundland as well but a couple groups went deeper and their collages helped groups reach a deeper understanding of their potential audiences.  Four of my five workshops in Newfoundland were in rural locations,  with declining populations and I asked groups to develop profiles of older residents in their communities. In several profiles, older men had only an 8th grade education, as they had left school to help support their family by fishing, a common occurence for that generation ("no wonder they don't want those long labels!"  said one participant).  Because many Newfoundland men of working age now work away, in Alberta or on oil rigs (as they once went away to fish);  older generations are particularly busy with childcare and family responsibilities.  

At one workshop a participant gained a great understanding from this--it was a park,  and they had offered a special seniors day last year, with little impact.  But now it will be a grandparents day, with grandparents encouraged to bring grandchildren to learn about natural history.   What do older Newfoundlanders worry about?  their health;  who will take care of them;  their children and grandchildren;  the economy; and much more.  

For me (and I hope for workshop participants) the learning really started when we probed deeper about the assumptions embedded in the collages.  Why does he like to do that?  Where does she get her information?  Is that really her only worry?  

One goal of these workshops was to make the shift from what can older citizens do for heritage organizations to what can heritage organizations do for older community members.  And our evaluations showed that shift beginning to happen.  Participants commented:

• It reminded me that seniors come from all walks of life.
• Made me question assumptions I have about audiences.  Need to think about ways of broadening my perspective and being more inclusive.
• See in the eyes of seniors, not just your own!

What other lesson did I take away from this?  I think we're often too lazy in thinking about the communities we live in.  There's a tendency to think of "the other" in terms of developing exhibits and services rather than really working to gain an understanding of peoples' interests and needs. We engage in that lazy behavior at our institution's peril, risking disinterest and irrelevance.  

Try out the profiling exercise with your staff and volunteers.  What do you learn? (and if you've been one of my workshop participants,  I'd love to hear your thoughts as well).  

Special thanks to Susie Wilkening and Jane Severs for their ongoing conversations with me on these issues.