“Leaving the Museum Field”: A Reaction to the Alliance Labs Blog

Added to Medium, September 27, 2017

This week I am posting earlier than usual because I have a family event this weekend I am preparing for and I also want to address a blog post from Alliance Labs, the American Alliance of Museums blog, discussing the topic of why many museum professionals are leaving the field.

It is an important topic because there are so many people considering leaving the field for various reasons, and we need to do something to work towards making our field more inclusive and rewarding for museum professionals to make it more appealing to stay. After reading this blog and similar articles, the experience made me think about my own reasoning for staying in the field as well as my resolve to be a part of making this museum field a more encouraging field to continue working in.

Sarah Erdman, Claudia Ocello, Dawn Estabrooks Salerno, and Marieke Van Damme last week talked about this topic in their blog “Leaving the Museum Field”. These four museum professionals got together after the 2016 AAM conference in DC to try to find out the reasons museum workers leave the field. In this blog, they presented their findings based on the over one thousand individuals who participated in a survey with open-ended questions. One of the questions that were placed in the survey include,
Why we stay. Hands down, we stay because of the work we do. Unsurprisingly, for those of us who have made lifelong friends at our museums, we also stay because of our coworkers. The close 3rd and 4th reasons for staying are “Pay/Benefits” and “No Other Option.” The least popular response was “Feel Lucky to Have a Job” (1%) and the write-in “I love dinosaurs.”’

I have mentioned in previous blog posts my reasons for joining the museum field, and for me my reasons are definitely for the love of the work I do as well as my passion for museums. In my very first blog post, “Writing about Museum Education”, I mentioned my family trips to museums inspired my passion for and my career in museum education. I also pointed out that

“Education for me has always been my favorite part of life, and while at times it was challenging for me field trips especially to museums have given me a way to understand the lessons I learned in the classroom.”

I still believe museums can illuminate an individual’s educational experience, and by continuing in the museum field I hope to make an impact on the public. It is a challenge to accomplish this when there are things that prevent me from fulfilling this goal.

As I was graduating with my Master’s degree in Public History, there were limited opportunities to get a position in the field that would meet the typical needs. Similar limitations were addressed in the blog post as reasons museum professionals are leaving. According to the blog,

Reasons why museum workers leave the field. We had about 300 answers to this open-ended question. We grouped them by theme and found the following reasons (in order of frequency of response):
1. Pay was too low
2. Other
3. Poor work/life balance
4. Insufficient benefits
5. [tie] Workload/Better positions
6. Schedule didn’t work.”

There was a point that I thought I should consider leaving. However, I thought about my experiences I have had at this point, and knew there is so much I still have to offer to the field. I began working at the Maritime Explorium, a children’s science museum, which is a little different from my previous experiences but is just as passionate about education for children and the public as I am. Also, I began work on this blog sharing my experiences in the museum field as well as my impressions on current trends in the field. I also became involved in museum organizations, including the Gender Equity in Museums Movement, to help other museums and museum professionals make a difference in the community and within their institutions.

In a way, I adapted my career in the museum education field and I found a way to stay in the field. I continue to work hard to stay in the field. This blog pointed out a number of ways to help museum professionals stay; it stated,

How can we prevent museum workers from leaving? Again, increasing pay was at the top of the list, but respondents also suggested many free or cost-effective ways to create better working environments, like:
Create mentoring opportunities
Respect each other – break departmental silos
Make room for new ideas.”

By following the previously mentioned suggestions, we as museum professionals will be able to work towards making museums a better workforce to stay in so we would be able to work within our communities better.

While I continue to face challenges in attaining these needs, I am thankful for every opportunity that I have experienced in the field. Each experience has led me to getting to know various people in the field and to learning lessons in the field that help me grow as a museum professional.

The key to making this field a more appealing field to stay in is to keep working towards making a change in our museums and the museum community. It would not be realistic to expect the museum field to be better overnight. We need to keep talking about this situation, and be able to learn from this experience to move forward. I included the original link to the blog in my resources section for all museum professionals to refer to, and it also includes a variety of resources related to this topic to refer to.

Please leave your responses about this topic on my blog and/or the Alliance Labs blog, and continue this discussion among your colleagues.
Resources:
http://labs.aam-us.org/blog/leaving-the-museum-field/
https://www.genderequitymuseums.com/

 

What Can We Learn From the DreamSpace Project?

Added to Medium, August 24, 2017

I was reading the Alliance Labs blog posts when I came across one that I found not only interesting but also relevant for museum professionals and other readers alike. It is an example of a blog post that provides information about how to have a better understanding of race and racism. American Alliance of Museum’s Ford W. Bell Fellow in P-12 Education and Museums Sage Morgan-Hubbard has transcribed an interview she had with Alyssa Machida, an Interpretive Specialist at the Detroit Institute of Arts, about the workbook, The DreamSpace Project in the Alliance Labs blog post “Building the Dreamspace in Museum Education”.

What is a Dreamspace? A Dreamspace is a place in the museum where museum educators are able to learn how to provide a safe space for discussion about race and racism.

We need to take the time to acknowledge what is going on in our nation and look deep down into ourselves and in our communities. The Dreamspace project is one of the ways we can do so in the museum field.

According to the blog post on incluseum website called “The Dreamspace Project: A workbook and toolkit for critical praxis in the American art museum Part I”, there is a growing need for tools and resources to guide museum educators in developing more nuanced understandings of race and racism throughout their institutions; in order to do so, Alyssa Machida researched concepts from critical pedagogy, critical race theory, and ethnic studies to integrate with museum education pedagogy.

Machida, as of last year, was working on the Dreamspace workbook which translates theoretical concepts into practical language and frameworks adaptable for art museum professionals with key vocabulary, diagrams and graphic organizers, ideas for building tours, and questions for critical reflection.

The purpose of this workbook is to take educators through a significant amount of content for the purpose of raising critical consciousness. Educators, especially in this day and age, engage us in wide-reaching social forces and dynamics beyond our peripheral vision, and as a result teach us how to become better human beings in the process.

Machida also discussed in the blog post “The Dreamspace Project: A workbook and toolkit for critical praxis in the American art museum Part 2” contextualizing, deconstruction, and decolonization. She explained that in the chapter of the Dreamspace workbook “Contextualizing: Mapping and Navigating Terrains” it introduces the practice of developing critical self-awareness, building knowledge of the many ecologies we inhabit, and expanding understandings of our roles and responsibilities. There are also key points that museums have to keep in mind when establishing critical self-awareness and openness to being challenged within ourselves to see individuals as agents of change.

The key points in mindfulness to keep in mind provide a framework for openness. In the blog post, she stated the first key point is everyone is complicit with racism; in other words, it is everyone’s responsibility to be attuned and counteract deeply ingrained behaviors and biases which will take time. The second key point is don’t let emotion get in the way of critically and consciousness; while learning about racism and systems of oppression is an emotional and painful, it is important to not let emotions take control since we are learning something that is changing our perspectives, and make sure we breathe, stay calm, and keep going. Then the third key point is to bring it up; these conversations are difficult to bring up to colleagues and supervisors but if you have trust and respect speak up since it is an opportunity for learning, teaching, and growth. The fourth key point is listen with your skin; in other words, when the subject of racism is brought up, be ready to put all biases and assumptions aside as well as listen for understanding. In addition, it is important to be open to being challenged and look for multiple ways to be supportive.

Machida’s work has gained a lot of attention in the past few days especially after what had happened in Charlottesville this month. These blog posts about her work were included as resources to look over while reading the Alliance Labs piece by Sage Morgan-Hubbard.

In the interview, Morgan-Hubbard used some of the questions in the Dreamspace toolkit. Some of the questions include: What was one of your first experiences with a museum? What does education mean to you? What is your personal learning style? Do you teach in a way that leans towards your personal learning style? and How do you see your role in society, or in your community?

By learning about Machida’s background in museum education and her work on the Dreamspace project, I am able to think about my own background and know that there are many museum educators that can identify with her answers.

When we understand more about individuals of all backgrounds within our own communities we would be able to provide a safe space for both museum professionals and visitors.

Here are the links to the blogs I referred to:
http://labs.aam-us.org/blog/building-dreamspace-in-museum-education/
https://incluseum.com/2016/08/11/a-workbook-and-toolkit-for-critical-praxis-in-the-american-art-museum/
https://incluseum.com/2016/10/13/the-dreamspace-project-a-workbook-and-toolkit-for-critical-praxis-in-the-american-art-museum-part-2/
Have you read the Dreamspace workbook? What do you think of the Dreamspace workbook and toolkit?

Reactions to Blog: “Emotionally Charged Spaces”

I read another blog post from Museum Hack, which is one of their case studies, called Emotionally Charged Spaces: Why You Should Create Immersive Tours with Sensitive Subject Matter. While this was a case study of one of the services they performed for the Canadian Museum of Human Rights in Winnipeg, Manitoba, there is a lot to learn about the challenges of telling a story of a difficult past. According to the blog post, the Canadian Museum of Human Rights’ mission “to create lasting global change in the field of human rights, shining a spotlight on some of the most egregious violations of human rights around the world, and to inspire activism.” To help fulfill the mission, Museum Hack provided the staff training on how storytelling can help people connect with the subject matter the museum presents.

Museum Hack uses the case studies in their blog not only to share what they were able to do for the museums that asked for their services but Museum Hack shared case studies like this one to show what museums can learn from these organizations.

As we know as museum educators, it is important to know how to tell a narrative or story effectively to show audiences how significant these stories are to be able to understand our past or subject matter. Museum Hack pointed out that the goal for programming on difficult subjects is for visitors to be educated, informed, and inspired to make change instead of leaving the place depressed. Also, it stated creating programming and telling stories that both acknowledge the gravity and seriousness of issues while getting audiences engaged without overwhelming them is a challenging objective but worth the effort when received positively. As a public historian, I have both learned and practiced storytelling of difficult subjects, especially slavery.

My previous experience was more focused on doing research for Stanley-Whitman House in Farmington for their symposium program discussing slavery in 17th century Connecticut. In addition to the research presented at the symposium, there were other colleagues that did their own research and presented their findings to share with the community of professionals and individuals interested learning more about the subject.

This experience is one of the examples of the points the blog made that not many challenging subjects are told through engaging programming but mostly through lecture series. To create more engaging programs and storytelling on difficult subject matter, there must be human connection to the topic discussed.

In the case study, Museum Hack revealed that by having guides share their personal connections it will further humanize what the visitor is interacting with. I agree with this because to have relevance in museums, especially with museums discussing difficult subject matter, visitors have to recognize the human connection in these stories. Whether they have their own personal connections to difficult subject matter or not, visitors should at least be able to learn from and understand those who have a personal connection.

Museum Hack also briefly talked about one of their best practices called scaffolding. According to the blog post, scaffolding is a way to strategically maximize visitor engagement throughout a tour. This practice is vital to making sensitive environments less overwhelming for visitors. Scaffolding is a practice museum professionals continue to adapt the museums’ stories to the visitor tours.

What we should take away from the Museum Hack blog post is when presented with the challenge to create an engaging tour with difficult subject matter it is important to make sure there is human connection with the stories. This is also an example of how relevance can be used to encourage engaging visitors to the museums.

What did you think of Museum Hack’s blog post on engaging in emotionally charged spaces? Have you seen scaffolding in other emotionally charged spaces? Share your thoughts. Here is the link to the original post:
View at Medium.com

Reactions to Blog: “9 Ways To Supercharge Your Museum Volunteers”

Also posted on Medium, June 29, 2017.

I decided this week to talk about another one of the blog posts I have been reading this week. I found this blog on Medium, 9 Ways To Supercharge Your Museum Volunteers, written by Ashleigh Hibbins for Museum Hack. As I prepare to help with revamping the docent manual for the Three Village Historical Society, I review resources I have to use as guides for this project. Part of developing the volunteer program is working on the docent manual. When I read this post, it reinforced what I already learned from the webinar I attended in January and the book I have read, Recruiting and Managing Volunteers in Museums by Kristy Van Hoven and Loni Wellman. Museum Hack’s post provides additional resources that are very helpful for the readers, and there were many statements they made that reaffirmed not only the knowledge I have gained but the importance of maintaining a great relationship with volunteers.

In the past and currently, I have volunteered for various organizations that have different ways of running their volunteer programs. I have also run a volunteer program in the past where I was responsible for volunteers teaching larger school programs. By learning how they could be run through professional development and reading books, I gain knowledge on how I should be treated as a volunteer and learn how I can improve my skills when I run a volunteer program. There is always something to learn when revisiting a subject including volunteer management, and this post is no exception.

I liked that they included how important volunteers are to museums at the very beginning of the article. They stated “Who are the most excited and engaged people in your museum?… Your volunteers!” And this is very true because as a volunteer and a leader in the volunteer program I see so many passionate people who have been volunteering for many years. It is important therefore to make sure that passion is kindled and used to help complete projects for their museums. Also, the post pointed out the importance of keeping volunteers happy.

It is true that volunteers are our museums’ biggest fans and advocates since they are dedicating their time to help museums to continue to adapt and develop. What I have not thought about before that they pointed out was according to a U.S. survey two-thirds of volunteers also donate money to their place of volunteering (they used Fidelity® Charitable Gift Fund Volunteerism and Charitable Giving in 2009 Executive Summary as a source). It makes sense because they work hard to keep the museums running and they are willing to do whatever is possible to keep them running including donations of time and sometimes money. The rest of the post gave the ways to supercharge volunteers, and then gave detailed explanations for each way.

Some of the ways they shared in the post include treat volunteer interviews like job interviews, don’t just smile and nod-volunteers have great ideas, volunteers are your secret recruiting weapon, and remind your volunteers how awesome they are. While these tips should seem obvious when considering volunteers, there are various points that need to be brought to our attention. For instance, when it was stated that readers should treat volunteer interviews like job interviews they pointed out that “don’t set someone up for failure by giving them a position they are unable to perform.” It is not only important to keep this in mind because no projects will be accomplished if volunteers cannot perform tasks but it will also affect their self-esteem and passion for the organization. Without that passion, we will not be able to retain the hard-working volunteers we need.

The post also pointed out how important it is to learn about volunteer programming from other museums in the community. In the post, it talked about being a nosy volunteer manager, or be continuously involved in making sure volunteers’ and museums’ needs are met, and then they stated “Also, be nosy with volunteer managers at other museums so you can pick up tips and tricks from them too.” I believe that it is important for volunteer managers should learn from other museums on how they run their volunteer programs not only because the programs can inspire their own way of running volunteer programs but museum professionals can come together to learn how to keep their museums relevant in the community through their volunteer programs.

What we should take away from this post is to be sure to keep our volunteers needs and happiness in mind when developing volunteer programs. I have also provided the link to the original post from Museum Hack for you all to read, and links to the resources they used in their post especially for anyone running volunteer programs.

Do you run volunteer programs? What do you think of Museum Hack’s contribution to the subject of museum volunteers? Have you followed similar advice Museum Hack discussed? What challenges have you faced when developing your volunteer program(s)? Share your reactions.

Resources used in Museum Hack article:
https://aamv.wildapricot.org/Standards-and-Best-Practices

Click to access Technical_Bulletin_45_-_Creating_a_Successful_Volunteer_Program.pdf

Click to access Volunteerism-Charitable-Giving-2009-Executive-Summary.pdf

View at Medium.com

Response to Blog: “Museums are places to forget”

Originally posted on Medium, May 4, 2017. 

I chose to do something a little different this week for my blog post. While I have done something similar in the past by responding to what museum professionals discuss in professional development programs. This time I decided to write about what other people discuss about in the museum field in their own blogs. I came across the blog post “Museums are places to forget” written by Steven Lubar. Lubar is a professor of American Studies at Brown University in Providence, Rhode Island, and a museum consultant. Before that, Lubar was the Curator at the National Museum of American History, Director at the Haffenreffer Museum of Anthropology, and Director at the John Nicholas Brown Center for Public Humanities and Cultural Heritage. He has written a book called Inside the Lost Museum: Curating, Past and Present which will be released in August.

When I came across this blog and finished reading this blog, I thought it was an interesting piece since it reminds me of lessons I have learned while in both college and graduate school. At least one of my previous classes had a deep discussion about what it means to be a professional historian, and one of the topics discussed was about history and memory. The relationship between history and memory is an ongoing discussion that takes place outside of the classroom especially during my experiences as a museum professional. This blog post Lubar wrote is a discussion about how museums are examples of how history and memory are dealt with within our community.

One of the things that caught my attention as I read the blog was this subtitle for the blog. Lubar stated that “sometimes, museums are places of forgetting, not remembering” which I find interesting since in general people believe that they are supposed to attend museums to be reminded of our past and learn about a part of the past that help them understand a community’s culture. While this is true that people come to museums to be reminded of the past, museums can represent what we have forgotten and chose to forget. Museums can also sometimes choose to forget the past and/or unintentionally forget the past.

Museums have the purpose to tell a narrative that supports the institution’s mission, and sometimes when museum professionals decide on a narrative not every item in its collections can be displayed to explain their narrative. For instance, when I worked at the Butler-McCook House & Garden in Hartford, the historic house is set up to tell the story of the third and fourth generations of the family who lived in the house during the 19th century even though the history of the house and family can be traced back to the 18th century.

The staff created an exhibit in the History Center that gives an overall history of Hartford and of the family during the 18th and 19th century; the exhibit included not only narratives but also objects and photographs from the house’s collections. While I was there, the staff and myself worked on projects based on the interpretive framework that will help start including more information from the Butler-McCook House’s history; to this day, the Butler-McCook House continues to create interpretive programs that covers more history that can be shared with visitors of all ages and backgrounds interested in learning more about this family.

The example of the Butler-McCook House showed how a historic house museum while still maintaining its display in the house as a 19th century house it also works on incorporating other significant parts of the house’s history. There are more objects that are found in both the collections storage room and on the third floor of the house not open to the public which are not seen by the public.

This brings up a point Lubar brought up in his blog that there are times that not everything in a museum, especially at the Butler-McCook House, can be viewed by the public for various reasons. Some items in museums’ collections are those that are in poor condition, and even have stopped serving purposes for the museum and are forgotten with the passage of time.

Of course, there are more than a couple of reasons museums forget. Lubar pointed out that sometimes “society decides that it’s not longer ethical for museums to hold certain kinds of artifacts.” And this can be true especially for museums that have Native American artifacts in its collections. The Native American Graves Protection and Repatriation Act (1990) was created to require museums receiving federal funding to return Native American human remains and other artifacts to appropriate tribes. Between museums and the government, they work together to find out what is no longer ethical to hold onto for educational purposes and it is important for all museums to acknowledge ethical issues and find ways to make sure artifacts are given respect. It is also important for museums to serve and work with society to remain relevant, and to stay relevant museums need to pay attention to how society views its own practices in ethics.

Another statement that stood out to me was this statement about religion and religious artifacts. Lubar stated in the blog “When something’s put in a museum, it loses part of its meaning. Religious artifacts become art.” That can be true for museums that include religious artifacts in the collections. As Parish Historian at my childhood church, I have seen a unique situation where the meaning behind the artifacts in Trinity Church that have both its own original identity and an identity as a historic collection item. When I last talked about my experience as a Parish Historian, I talked about the exhibit I designed to celebrate the Easter season using items that were viewed as items used in church services in addition to photographs.

At the same time, Trinity Church also has items in the collections that are not stored with the rest of the items but are still used in church ceremonies (such as the chalice and prayer books); these items are listed in a book of donated items to the church which is one of the items in the collections. In my experience, the collections are constantly crossing the line between being part of a collection that is, until recent years, has been forgotten about by the Trinity community and being part of Trinity’s practices today. The Trinity community continues to rediscover its collections from the past as future projects are getting underway.

Museums today continue to practice its practice of helping the public remember and forgetting its history, and will always constantly cross the line between remembering and forgetting to meet expectations of society and its surrounding communities.

The link to the original blog post can be found here: https://medium.com/@lubar/museums-are-places-to-forget-ba76a92c5701
Do you agree that museums are places to forget? What are some examples you have seen and experienced with remembering to forget and forgetting to remember?

Equity and Inclusion in Museums

Originally posted on Medium, March 10, 2017.

This week’s blog post is both a continuation of the previous blog post “How to use Food to Create Relevance in Museums” and a discussion on equity and inclusion in museums. The topic was inspired by a New York City Museum Educators Roundtable (NYCMER) event Lessons in Equity from Culturally-Specific Institutions: Beyond the “Target Program” that took place this week at the Museum of Chinese in America. This panel began with a gallery exploration of the exhibit “Sour, Sweet, Bitter, Spicy: Stories of Chinese Food and Identity in America” and snacks and refreshments were provided based on the exhibit.

The panel was moderated by Stephanie LaFroscia who is the Arts Program Specialist at New York City Department of Cultural Affairs. Each of the panelists who spoke at the program represent culturally-specific institutions and discuss their experiences and challenges of inclusivity and equity. The panelists were Nancy Yao Maasbach (President of the Museum of Chinese in America), Shanta Lawson (Education Director at the Studio Museum in Harlem), Joy Liu (Education Specialist at the National Museum of the American Indian in New York), and Isra el-Bishar (Curator of Education and Public Programming at the Arab American National Museum). While I was listening to the panelists’ experiences, I also thought about how equity and inclusion is discussed in the general museum field. Last month’s Museum magazine issue was dedicated to the topic of equity and inclusion. Also, I recently received my issue of the Journal of Museum Education which includes articles based on the issue’s title “Race, Dialogue and Inclusion” (Volume 42.1, March 2017). By attending this program, I learned more about how to create an environment that is more inclusive as a museum professional.

The program took place at the Museum of Chinese in America (MOCA) located on Centre Street in New York City. The Museum of Chinese in America is an organization that is dedicated to preserving and presenting the history, heritage, culture and diverse experiences of people of Chinese descent in the United States; the museum also promotes dialogue and understanding among people of all cultural backgrounds. The central part of this museum’s mission is the goal to make Chinese American history accessible to the general public. Also, the museum not only promotes the understanding and appreciation of Chinese American arts, culture, and history but it also informs, educates and engages visitors of Chinese American history in the making.

Museum of Chinese in America

After I walked from the subway to the Museum of Chinese in America, I had the opportunity to try the food related to the museum’s exhibit “Sour, Sweet, Bitter, Spicy: Stories of Chinese Food and Identity in America” before the program began. The snacks were provided by Nom Wah Tea Parlor which is a vintage dim sum parlor that dates back to 1920. There was a sample of various dim sum featured on their menu as well as sparkling water and lemonade for beverages.

I had the opportunity to try vegetarian dumplings, scallion pancake, chicken siu mai, and fried sesame ball with lotus paste. Vegetarian dumplings have mixed vegetables and mushrooms in homemade tapioca starch wrappers. Scallion pancakes are made with wheat flour batter mixed with scallions and then the batter is pan-fried. Chicken Siu Mai is minced chicken in wonton wrappers. The fried sesame ball with lotus paste is lotus paste (sweet and smooth filled paste made from dried lotus seeds) that is wrapped in rice flour dough and then wrapped in sesame seeds. Each of these were delicious, and it is different from other Chinese dishes I have had during my lifetime so far. By trying dim sum, I was able to see what authentic Chinese food tastes like and I had the opportunity to appreciate the culture even more than I had before this experience.

Once I finished eating dim sum, I explored the exhibit “Sour, Sweet, Bitter, Spicy: Stories of Chinese Food and Identity in America” which opened on October 6, 2016 and will now close on September 10, 2017 due to its popularity. The exhibit had a large table and chairs around it in the middle of the room which featured plates, utensils, place settings, and ceramic sculptures; this exhibit told stories of thirty-three Chinese and Asian-American chefs. Also, this exhibit weaves together various complex stories through video installations featuring pioneering chefs including Cecilia Chiang, Ken Hom, Anita Lo, Ming Tsai, and Martin Yan; new restaurateurs like Peter Chang, Vivian Ku, and Danny Bowien; and persevering home cooks like Biying Ni, Yvette Lee and Ho-chin Yang.

This video as well as the large table in the center of the room create a tapestry of various stories that tell their experiences with immigration as well as sharing food memories, favorite dishes and cooking inspirations that define the culinary and personal identities of these chefs. The name of this exhibit comes from an expression that not only refers to the balance of flavors that define Chinese cooking but it also refers to the ups and downs of life. As I read each personal story and explored the rest of the museum’s exhibits, I began to understand the Chinese American experience and I was able to see the relevance of how important it is to continue telling stories of and to appreciate various cultures in our nation.

The program began, after spending time in the exhibit, with each representative from culturally-specific institutions describing their institutions’ missions. For instance, Shanta Lawson of the Studio Museum in Harlem stated that the museum, founded in 1968/1969, was created in response to the lack of diversity in the community and fifty years later there is still a long way to go, and was created to support black artists and art education. Nancy Yao Maasbach of the Museum of Chinese in America discussed the Journey Wall which features Chinese immigrant families and talk about how each of the items in their collection (which is about 65,000 items) have value to the museum and the community. Also, Isra el-Bishar of the Arab American National Museum stated that the museum has been around for twelve years and continues to fulfill its mission by finding ways to represent individuals’ narratives from each Arab country. At the conclusion of the program, after answering various questions from the moderator and people in the audience, each panelist discussed how their respective organizations move forward towards inclusion and equity.

Lawson, for instance, stated that the Studio Museum in Harlem staff plan to continue challenging themselves on how to push forward and challenge norms to see what works and what doesn’t work. Joy Liu of the National Museum of the American Indian in New York discussed the opportunity to include other indigenous peoples’ stories (Latin American indigenous groups), integrate indigenous history, and answer the question what does it mean to be indigenous today? Liu also stated that it is important to emphasize that indigenous peoples’ stories continue to this day, and make sure the truth about indigenous people (indigenous people are the majority in North America for example) is told. Also, Maasbach stated that the museum will use technology more to help visitors understand stories in a way people of different cultures can understand what they did not experience (such as the chair to simulate interrogation of twelve-year-old that was separated from family on Angel Island, California). This program made me think more about equity and inclusion, especially how it is discussed by organizations such as the American Alliance of Museums and the Museum Education Roundtable.

The American Alliance of Museums publishes Museum a magazine that publishes articles written by museum professionals and by writers who write about topics that help museum professionals run their museums. As an AAM member, I have the opportunity to subscribe to this magazine. The previous issue, January/February 2017, main topic was “Equity in the Museum Workforce”, and each article was written with this topic in mind. For instance, there is an article written by Elizabeth Merritt (founding director of the Center for the Future of Museums [CFM]) called “Taking the Bias out of Hiring” which discusses identifying and eliminating unconscious bias in the recruitment process. Another article is “We’re Not That Hard to Find: Hiring Diverse Museum Staff” by Joy Bailey-Bryant (who is responsible for the U.S. operations of Lord Cultural Resources) which presents a set of guidelines to implement change in the museum and identify a pipeline of diverse employees.

Museum Education Roundtable’s publication Journal of Museum Education presents articles written by museum education professionals and museum professionals to discuss current trends and practices in museum education. This month’s journal is on the topic of “Race, Dialogue, and Inclusion: A Museum on the National Stage” and it is broken down into a few sections. The Journal starts with an editorial from Cynthia Robinson, editor-in-chief, and then moves on to an article from guest editors and additional articles from various museum professionals; the Journal also includes a section Tools, Frameworks, and Case Studies which provide exercised examples of how the topic can be addressed in the museum, and What the Research Says which is a research study. I will also be participating in AAM’s discussion on Race, Dialogue and Inclusion based on this month’s Journal of Museum Education so I will discuss this one in further detail. I leave you with these questions to ponder on:

What is your museum/organization doing to move forward on equity and inclusion? Have you read any of the above articles and journal I referred to? If so, what do you think?

Writing about Museum Education

Originally posted on Medium website on October 19, 2016

As I continue my career in museum education by having many adventures in the field, I realized someday I want to be able to look back on all of the work I accomplished and be able to share these experiences with other educators. This was when I thought about writing this blog series. When I started to create this blog, the first words I see are “Tell your story.” I kept thinking about how to start this first blog entry, and when I saw those words I thought about how to begin this story. In order to tell my story of when I first found my passion for museum education, I will start from the beginning.

When I was a child, my mother encouraged my sisters and I to visit museum during family vacations. One of the family vacations was a trip to Plimoth Plantation with my nana, mom, and my two sisters. During that trip, all of us were in the meetinghouse and suddenly my mom and nana saw me go up to the pulpit to pretend to be a minister. My mom told me years later that I encouraged people coming into the meetinghouse to come sit down on the benches and a bunch of people sat down as I continued my pretend lecture; I even came up to people to give them communion and shake their hands. This is one of those kids say and do the most interesting things, and not only that it was also the moment that I truly enjoyed learning about history. My family made a number of trips over the years, and I enjoyed visiting museums and sites such as Monticello, Battle of Gettysburg battleground, Colonial Williamsburg the most. Education for me has always been my favorite part of life, and while at times it was challenging for me field trips especially to museums have given me a way to understand the lessons I learned in the classroom.

In school I was a student with learning differences that according to my I.E.P. (Individualized Education Plan) made speech, reading, and math a series of challenges I overcame as I continued my education. I thank my teachers every day for their commitments they made to fill my head with knowledge and their efforts to provide my classmates and I educational experiences outside the classroom. Even when I entered Western New England College (now University) in Springfield, Massachusetts and joined the Historical Society I enjoyed planning Historical Society trips to places such as Salem and Old Sturbridge Village. While I was in college, I looked back on my experiences and realized that I wanted to have a career in the museum field. Every day I was thankful for all of those field trips and family vacations I went on. Each of those trips gave me wonderful experiences I will always cherish.

While I was in graduate school at Central Connecticut State University, I began my museum career at the Old State House in Hartford as an intern in the education department during the summer. Then I worked as a Museum Teacher at the Stanley-Whitman House in Farmington as I continued graduate school. Towards the end of my graduate program, I began working as a Museum Interpreter at Connecticut Landmarks’ historic house museums, Butler-McCook House and Isham-Terry House, where I gave tours to both school and the public. After I graduated with my degree in Public History in 2013, I also began to work at the Noah Webster House & West Hartford Historical Society as a Museum Educator. Then I transitioned to New York to work as a Museum Educator with the Long Island Museum in Stony Brook. I also have been working as a Parish Historian for the church I grew up going to and volunteer at various museums on Long Island. All of these experiences I plan to talk about as I continue to write in this blog.

This story will continue not only with a discussion about my experiences in greater detail but I also will discuss recent topics in the field as well as recent books and journal articles I read. I also will write about conferences and workshops I attended. What I hope to accomplish with this blog is to give educators and aspiring educators both a personal account of and resources on the museum education field. I will end this entry with one of my favorite quotes on education:

“Wisdom is not a product of schooling but of the lifelong attempt to acquire it.”
― Albert Einstein