Tag Archives: Museums

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?

Museums Advocacy Week: How to Promote Museums Significance in our Nation

Originally posted on Medium, March 2, 2017.

This past week the American Alliance of Museums presented Museums Advocacy Days, which museum professionals go to Washington, D.C. each year since 2009 to speak to legislators about museums significance in our society. Museums Advocacy Day 2017 took place on February 27th and February 28th in Washington, D.C. and throughout the United States. Museum professionals also participate from home by promoting through social media, and by contacting their state representatives to send letters stressing how important museums are to our nation and society to continually give financial support to these organizations.

I have participated in various Museums Advocacy Days promotion over the years, and this year’s Museums Advocacy Days were no exception. For instance, I promote the significance of museums by posting facts and reposting information on Facebook and Twitter. I have also used templates provided by the American Alliance of Museums to write to legislators to help them understand how important museums are to our nation. The American Alliance of Museums announced that this year about 400 museum professionals went to Washington to speak with legislators.

When the museum professionals attend Museums Advocacy Day on location in Washington, D.C., there are various sessions scheduled to discuss the importance of museums. Much of this year’s Museums Advocacy Day took place at the Washington Plaza Hotel. The day before Museums Advocacy Day was when registration and material pick up begin, and a couple of optional programs are offered to give museum professionals advice on how to prepare for meetings with legislators. Then there was a Welcome Reception at the National Museum of Women in the Arts.

On the first day of Museums Advocacy Day, there is a networking breakfast before orientation. Then AAM’s President and CEO, Laura Lott, welcomed advocates by addressing why they were there and what is at stake in 2017 for museums. Dr. William (Bro) Adams, the National Endowment for the Humanities (NEH) Chairman, gave an overview of NEH while presenting its current priorities and explained how the agency partners with museums. The Director of National Public Engagement at the US Department of Education, Karen Stratman, provided an overview of the department’s priorities and gave details on how its programs can support museums’ work. Then Wendy Clark, Director of Museums, Visual Arts & Indemnity at the National Endowment for the Arts, discussed the NEA and how this organization supports museums. Paula Gangopadhyay, Deputy Director of the Institute of Museum and Library Services, then explained what IMLS is, its priorities, and the number of ways this organization supports and serves the entire museum field.

Then the first day continued with various sessions that help advocates successfully discuss with Congressmen and legislators about museums significance in our country. Also, they provide information about public policies and how to use them when discussing with legislators. Towards the end of the day, there is a way that advocates can practice with other advocates from their state and region as well as plan for their visits to the Hill.

On the second day of Museums Advocacy Day, it starts with a Congressional Kick-Off as well as a breakfast that will give advocates inspiration as they prepare to meet with legislators. The entire day is filled with meetings on Capitol Hill arranged by the American Alliance of Museums based on what information museum professionals give during registration. At the end of the day, there is a Congressional Reception located in the Madison Building of the Library of Congress to celebrate a long day of advocating for museums. If museum professionals like me did not go down to Washington, D.C., they still get involved by participating on social media and sending letters to local legislators.

All over social media, museum professionals post on social media to promote Museums Advocacy Day. Even museum professionals who were in Washington, D.C. used social media to quote presenters discussing museums and museums advocacy. Each quote is used to reinforce why museums are important in our country and why our government should provide sufficient funding for our museums and cultural organizations. For instance, the United States Department of Education, the American Alliance of Museums, and the American Alliance of Museums Education Committee was tagged with this quote on Twitter: “Nothing is more important than kids getting a broad education including museums”. I agree with that statement because museums provide lessons that will help supplement lessons taught inside the classroom, and help students develop skills that will be useful once they enter the working field.

Another tweet tagged the National Endowment for the Arts with this quote on arts and museums: “The arts are everywhere, they are all around us, belong to everyone & enrich our lives”. There is a quote that really resonated with me when I followed Museums Advocacy Day on Twitter: “We are from A-Z, Art Museums to Zoos & need to tell the truth, advance your mission. Always be advocating for museums!” This quote resonated with me because even when Museums Advocacy Day has come and gone I always stress the importance of museums in my daily practice as a museum professional; I also discuss museums impact on our society with my friends and family to help them understand what I do and how the museum field works. Additional resources are provided for museum professionals promoting Museums Advocacy Day.

The American Alliance of Museum provides resources to assist museum professionals successfully promote Museums Advocacy Day. For instance, on their website they present five ways to advocate today; the five ways are to speak up, engage your board members, visit legislators locally, raise awareness, and join the cause. AAM suggest to museum professionals can speak up by customize and send template letters to Congress on the issues you care about, including supporting NEA and NEH funding, supporting funding for IMLS Office of Museum Services, and demonstrating your museum’s economic impact. Also, AAM started a museum trustee initiative that gives museum professionals an opportunity to download a copy of Stand for Your Mission to inspire discussions with your board about how their role is significant in advocating for your museums and museums overall. The site also provides resources on how to make appointments with local legislators or invite elected officials to visit your museum. Also, the site includes a Publicity Toolkit that makes it easier to write an op-ed, craft a media pitch, write a press release, or be on talk radio to get viewers’ and listeners’ attentions. To join the cause, the AAM launched a campaign to recruit museum supporters and encourage supporters to enlist other people to support the campaign. Additional information is provided on AAM’s website under their Advocacy page.

What I have learned from each Museums Advocacy Day is that we can all participate whether we are in the area or located across the nation. Also, I learned that advocacy does not have to be practiced in one day but it can be continued throughout the year. Every now and then, no matter what happens within our nation, we still need to remind people of how museums are important resources for our society.

How has your organization participated in Museums Advocacy Day? What ways do you advocate for museums? What information from your organizations do you share to show how important your resources are to the public?

Professional Development: Shared Authority and Relevance of Education

Originally posted on Medium, February 16, 2017. 

This week I attended a couple of professional development programs on shared authority through the American Association of State and Local History (AASLH) called Peb Yog Hmoob Minnesota: Sharing Authority and Building Relationships with Your Communities and on education called The Relevance of Education through the American Alliance of Museums (AAM). The AASLH program was a case study of the Minnesota History Center and the Hmong community members’ relationship, and how they worked together to create an exhibit in 2013 on the Hmong culture anchored on the 40th anniversary of the first Hmong refugees’ arrival in Minnesota. The Relevance of Education program was a discussion based on the Committee on Education’s Excellence in Practice: Museum Education Principles and Standards that was released in 2002 and revised in 2005, and the program tackled questions including What has changed in the 15 years since its publication? How has the document impacted the field? How do the principles and standards hold up over time? In what way would the document be different if it was written today? These programs are significant to the practice of museum education since both topics discuss how to adapt the field to a changing society.
The concept of shared authority is certainly not a new one in the museum field but is continually discussed to be relevant in our evolving communities. While I was in graduate school earning my Master’s degree in Public History, I did some research in 2012 on shared authority between museum officials and the public by presenting the challenges in interpreting history with articles and case studies found in my research. Shared authority is a partnership between museum professionals and outside parties to work on projects for the public. I discussed in my presentation the positive impacts and the challenges shared authority has on museum staff.

 

 
Positive impacts shared authority presents includes encouraging experts to engage with the world around them; encouraging museums to stretch out beyond their communication channels and include others to interact more with the projects; visitors can engage deeply with the exhibits and museum experts are still able to share expertise in the collaborations. Partnerships also bring as many challenges into developing projects as they bring positive impacts. For instance, it is hard to please each visitor, and therefore it is important to have as balanced input from both museum professionals and visitors or outside parties as possible to have a successful program or exhibit. As we continue to work with others within our communities, our involvement in the community is increasingly becoming more significant as it is demonstrated in AASLH’s shared authority professional development program.

 

 
The presenters in the Peb Yog Hmoob Minnesota: Sharing Authority and Building Relationships with Your Communities program were Dan Spock (the Director of the History Center Museum and Exhibitions & Diversity Initiatives at the Minnesota Historical Society), Wameng Moua (the publisher of “Hmong Today,” a community newspaper and the voice behind HMONG-FM, a radio variety show focused on the Hmong), Sieng Lee (exhibit designer for the Peb Yog Hmoob/We Are Hmong Minnesota exhibit/visual artist), and Nicholas J. Hoffman (Managing Director of Education and Visitor Experience at the Missouri History Museum in Saint Louis, Missouri). The program discussed how the idea for the exhibit began and went through the entire process of creating this exhibit. It also revealed how museums can overcome the lack of diversity and diverse viewpoints within historical interpretation.

 

 
Before the exhibit was added to the Minnesota History Center, there was a lack of diversity that was in the exhibits as well as a lack of items that reflected what the community was really like in St. Paul. One day a committee from their local Hmong community, led by Wameng Moua and Sieng Lee, approached the History Center with a huge binder of photographs and materials of Hmong history. The committee asked this museum for full collaboration on this project, since they were concerned about having their impact on the state lessened in the eyes of MNHS’ visitors, by sharing curatorial control with Hmong community representatives from a list put together of a good mix of people that would form an advisory committee to discuss ideas. A few examples of what the advisory committee discussed include figuring out what do the people want to see (and it was decided they will tell the whole story of the culture), put together what the narrative would be, and the layout of the exhibit throughout the galleries.

 

 
The challenges that they faced while creating this exhibit was figuring out what objects to include and exclude in the exhibit, and where these objects would be placed in the exhibit. These challenges are always going to be present in every institutions’ exhibit planning, and it especially includes project collaborations with individuals outside the institution; the best way to approach these challenges is to stick with the narrative chosen for the exhibit then base decisions on that narrative. The presenters stated something similar in their discussion amongst other things they took away from this experience.

 

 
Some of the advice they present include the whole staff must be on board with doing things a little differently than what they normally do, and maintain authenticity for projects especially when presenting someone else’s culture within an exhibit. Also, they say to hit the streets and be open to learning all aspects of the community. It is also important to keep up with the evolving history of the community; exhibits like this one must be reflective of what the community is today. If an institution ignores the community surrounding it and does not acknowledge the evolution of a community, then the institution will not be supported by the community. The exhibit should also be created to attract each member of the community; for instance, an interactive element of a farmer’s market was added for children to learn about the food in the culture in English and Hmong by scanning the food to visually see the names associated with them. Each of the presenters also discussed what happened after the exhibit opened to the public, and how the History Center was affected by the exhibit.

 

 
During the exhibit opening, the staff noticed that there was a positive reaction to the exhibit. The exhibit also lasted longer than they were expecting; it ended up running for six months after the exhibit opening. After the opening, the staff conducted visitor research to find out how this exhibit affected the museum. According to the visitor research, the number of Asian visitors had quadrupled and a lot of them were under thirty years of age which means these individuals wanted to learn more about their history and their community. The exhibit also inspired to continue to develop new relationships with more people in the community. For instance, the exhibit led to the creation of Asian Pacific Heritage Day which celebrated various Asian cultures represented in the St. Paul community and currently they are working with Native American communities. Shared authority is a part of maintaining relevance in education, and the American Alliance of Museums’ The Relevance of Education program continues the discussion of learning to continue adapting the museum education practice.

 

 
The Relevance of Education program was hosted by Greg Stevens and moderated by Timothy Rhue II (Senior Informal Education Specialist at the Space Telescope Science Institute, Baltimore, MD and Communications Chair in EdCom). The panelists for this discussion were Jim Hakala (Senior Educator at the University of Colorado Museum of Natural History in Boulder, CO), Sage Morgan-Hubbard (Ford. W. Bell Fellow for Museums and P-12 education at AAM), and Mary Ellen Munley (Principal at MEM & Associates in Bennington, VT). After providing links to the original 1990 Statement on Professional Standards for Museum Education and the 2002 (revised in 2005) Excellence in Practice: Museum Education Principles and Standards for our reference, the discussion began with this question: How do these principles apply today? It was agreed that the principles in museum education need to be updated on a regular basis instead of addressing the need 15 years later.

 

 
Another point that was mentioned in the discussion was our institutions are constantly evaluating our communities and because of this we cannot stay static. Also, our institutions make efforts to make connections within our communities as well as include community members in collaborated projects to create a shared space for multicultural groups to get together in. The discussion also pointed out that our roles as museum professionals transitioned from about education being about what we want the public to know to serving the public by having the responsibility to earn the recognition of how important our institutions are.

 

 
Then we also need to acknowledge how we now define museum educators in the museum community. The term “museum educator” has a different definition at each institution. Based on my experience, I have noticed that museum educators can describe individuals who specifically teach school programs as well as museum staff in general that are dedicated to their institution’s mission in education. As a museum professional, I have had different titles at each museum I work for. For instance, at Stanley-Whitman House my title was “Museum Teacher”; at Connecticut Landmarks, when I started there it was simply “Tour Guide” but as I and my previous co-workers became more involved with interpretation and creating our own ways of presenting the material the title changed to “Museum Interpreter”; at Noah Webster House & West Hartford Historical Society, my title was “Museum Teacher”; and at the Long Island Museum my title was “Museum Educator” and yet my role included not only teaching school programs but also I was responsible for administrative tasks including mailing flyers and booking school programs as well as assisting running family and public programs. Since we include outside parties collaborate with museum staff, we allow their contributions to define their relationships as being co-curators, co-authors, and co-educators within our museum community. As a result, we need to keep in mind that the terminology for museum educators will change based on what the institutions and communities value in our society.

 

 
Another question that was addressed in the discussion was: How do the principles and standards hold up over time? The panelists discussed that the principles had a theoretical base work but it does not provide an example of applied best practices. Also, they stated that the basic principles were there all along but the interpretation changes over time. I agree with that statement because the principles do address ways to engage audience members of various backgrounds that would theoretically work in the museum setting, and yet our institutions learn to adapt and change with our society and because of these changes we view these education principles differently. Since our policies continue to change we need to be able to understand that we will not be able to get our programs right the very first time and that we need to be able to leave room for adjusting our programs based on audience members’ reactions and interactions with the programs. The next question on our minds would then be: What are the next steps?
Do we need to write another document to reflect what is going on now in museum education practice? The panelists concluded that the principles do need to be readdressed to reflect the changes that have been made since it was written in 2002 and revised in 2005.

 

 
Then we need to also address how the museum education field as its own community will support each member as we allow it to evolve with the changing society. Mary Ellen Munley had stated that she noticed there is what she calls an “isolation in practice” or in other words we do not have the time to catch our breath let alone get together to figure out what we need to do collectively as our own community. I see where she is coming from since as museum professionals we continue to create and implement programs, maintain and protect our collections, and run our administrations there is little time to stop and figure out our communities in practice.

 

 
However, I also see that there are moments where we can stop and develop our skills as professionals as well as connect with our community. For instance, there are opportunities for museum educators to develop their skills with state museum educator roundtables (like Connecticut Museum Educators Roundtable and New York City Museum Educators Roundtable), and the national group Museum Education Roundtable that offer resources and programs to allow them to be involved in the practice. Also, there are other ways that museum professionals can connect with the community and develop our skills including writing blogs about our experiences and joining various organizations that will help both parties grow and develop. The challenge is to finding the right balance so we would be able to both run our institutions and continue to grow with our community.

 

 
What is your opinion on how museum education is changing? Have you read Excellence in Practice? What are your answers to the questions I posted from the program? Do you have an example of shared authority that has occurred involving your institutions? What worked and what did not work?

Books I Want to Read on Museum Education in 2017

Originally posted on Medium. January 12, 2017.

After I read a blog post from Museum Hack called Ten Inspiring Museum Reads for 2017, I was inspired to write my own list of I want to read about the museum education field in 2017 except I created a list of books written for the field. I used Amazon and American Alliance of Museums websites to research available literature for this field. Keep in mind not all books written about the museum education field are included on here because this blog post would take you all days to finish reading. Each book includes descriptions of what they are about as well as publication information, and I also explain why I put these books on the list. The books on this list are in no specific order; I chose these books based on when I first came across them. I will later discuss the books I already have on the field in another future blog post. Enjoy the list! What books do you want to read this year, both on museum education field and other books capture your interests? Do you have a book you have read on the museum education field?

I want to read the following:
1. The Manual of Museum Learning by Brad King (Rowman & Littlefield Publishers, 2nd edition, 2015, ISBN 978–1442258471): This book offers practical advice for creating successful learning experiences in museums and other institutions including galleries, zoos, and botanical gardens. The first edition was published in 2007, and in the second edition focuses on the ways museums staff and the departments they work in can facilitate experience that point out connections between institutional strategic planning and its approach to museum learning. The book acknowledges that not all institutions run the same way so it identifies various approaches and enables museums to find the paths for which they are individually best suited, that will help them identify their own unique approaches to facilitating museum learning. I put this book on the list because in the past I thought that each department work separately to fulfill one mission but the longer I worked in the museum world the more I realize that education is a part of museums’ mission. Also, I read a book review of King’s book in the Journal of Museum Education, the publication of the Museum Education Roundtable. It is important to recognize that museum learning should be incorporated into a part of museums’ strategic planning. I want to see the various approaches King presents in the book to have a better understanding of how museum education is presented in different types of institutions.

2. Engagement and Access: Innovative Approaches for Museums by Juilee Decker (Rowman & Littlefield Publishers, 2015, ISBN: 978–1442238756): The book addresses how museums forge two-way communication and engaged participation by using community curation, social media, collaboration, and inquiry-based learning. Decker collected case studies that advocate for doing and listening, or in other words the institutions mentioned in the case studies can understand the importance of meeting the audience’s needs both onsite and online. This book is part of a series called Innovative Approaches for Museums which offers case studies, written by scholars and practitioners from museums, galleries, and other institutions; each case study present original, transformative, and sometimes wholly re-invented methods, techniques, systems, theories, and actions that demonstrate innovative work being done in the museum and cultural sector throughout the world. The contributors come from various institutions and each volume offers ideas and support to those working in museums while serving as a resource and primer, as much as inspiration, for students and the museum staff and faculty training future professionals who will further develop future innovative approaches. This book is on my list because I am interested in seeing different ways other museums approach engagement and access for their visitors.

3. Museum Learning: Theory and Research as Tools for Enhancing Practice by Jill Hohenstein and Theano Moussouri (Routledge, 2016, ISBN: 978–1138901131): This book is not released yet but the reason why I included this book is I think it is important to review educational theories to make sure museum educators revitalize their skills for school and public programming. I hope to gain both methods to retain my skills as a museum educator and different insights on how learning as well as teaching in museums would benefit our education.

4. Identity and the Museum Visitor Experience by John H Falk (Routledge, 2016, ISBN: 978–1598741636): Falk’s book reiterates that understanding the visitor experience provides essential insights into how museums can affect people’s lives. Visitor experiences have various meanings, such as personal drives, group identity, memory, and leisure performances, for each individual and that experience extends beyond the four walls of an institution in time and space. Falk reveals there are five different types of visitors who attend museums and identifies the processes that inspire people to visit time and time again. I would like to read this book since by finding out different aspects on why people visit museums it would help museum professionals like myself to increase our ability to retain visitors as well as gain more visitors to our museums.

5. The Multisensory Museum: Cross-Disciplinary Perspectives on Touch, Sound, Smell, Memory, and Space by Nina Levent and Alvaro Pascual-Leone (Rowman & Littlefield Publishers, 2014, ISBN: 978–0759123540): Levent and Pascual-Leone’s book brought together scholars and museum professionals to highlight new trends and opportunities for using scent, sound, and touch to offer more immersive experiences as well as diverse sensory engagement for visually- and other impaired patrons. The book also reveals that education researchers discover museums as unique educational playgrounds that allow for various learning styles, active and passive exploration, and participatory learning. I include this book on this list because I believe museums can provide people of all abilities access to education, and I find the psychological and museum connection would be fascinating to get a more in-depth knowledge of.

6. Creating the Visitor-centered Museum by Peter Samis and Mimi Michaelson (Routledge, 2016, ISBN: 978–1629581910): Samis and Michaelson’s book brought up numerous questions that are answered with cases and additional resources to help transform their museums into visitor-centered museums: What does the transformation to a visitor-centered approach do for a museum? How are museums made relevant to a broad range of visitors of varying ages, identities, and social classes? Does appealing to a larger audience force museums to “dumb down” their work? What internal changes are required? I think we can always learn more ways to help adapt our museums to the changing viewpoints of visitors.

7. The Museum Effect: How Museums, Libraries, and Cultural Institutions Educate and Civilize Society by Jeffrey K. Smith (Rowman & Littlefield Publishers, 2014, ISBN: 978–0759122956): The book explores how museums, libraries, and cultural institutions provide opportunities for people to understand and celebrate who they are, were, and might be. According to Smith, the “museum effect” is a process through which cultural institutions educate and civilize us as individuals and as societies. I think it is an interesting book to read since I have known from when I was a kid that museums can provide ways to educate visitors and help them identify with what museums offer. By reading this book, I would gain another perspective on how my work as a museum professional can affect our society.

8. Contemporary Curating and Museum Education by Carmen Mörsch, Angeli Sachs, and Thomas Sieber (will be released February 2017): The writers of this book share insight that international scholars discovered as they answer the question: How does museum work change if we conceive of curating and education as an integrated practice? This is the second book that has not been released yet but I believe I would enjoy this one because not only it would supplement the knowledge I gained about creating an exhibit to design an education plan through a NYCMER workshop I attended, Exhibition Design for Educators, but the book can offer additional insights that would allow me to explore more the intertwining of curatorship and education.

9. All Together Now: Museums and Online Collaborative Learning by William B. Crow and Herminia Wei-Hsin Din (American Alliance of Museums, 2011, ISBN: 978–1933253619): Crow and Wei-Hsin Din’s book discusses the potential of online learning for museum professionals and visitors from all over the world. The book reveals that online collaborative learning offers museums and visitors new possibilities for learning, both in small, “narrowcast” groups and at the larger institutional level. The writers included extensive case studies and practical advice for museum educators. As an online learner, I think the concept of museum education in the online community is fascinating and would be a possible move for more museums to engage in online learning. I also think it would be able to help the museum education field reach out to more people as fewer field trips are booked each year due to limited school funding. I also like that this book is endorsed by EdCom (American Alliance of Museum’s education group) and the Media and Technology Committee of AAM because it reassures me as a reader that the United States’ museums organization sees online learning as a possible outlet for museum education to branch out to various audiences inside and outside the museum.

I am sure that this list is not set in stone, and I will continue to find more books that I will add to my list for 2017. I hope you all read many books this year, museum education related or not. Thank you all so much for reading! I really appreciate all of your support for this blog, and if you know of anyone who is interested in the museum education field please refer them to this blog. Thank you to all of you who are currently following this blog. It really means a lot that you continue to be interested in what I have to write about. I am so touched that there are more and more people reading these posts. Thank you all again and stay tuned for more blog posts.

The Future of Museum Education

Originally posted on Medium. January 5, 2017.

2017! It has been a few days since it has officially become the new year, and it has been so far so good. Everyone around this time of year hopes to start accomplishing their new year’s resolutions and I am no exception. To start the new year, I am going to be fulfilling my resolutions to be a better person and a better professional. I always strive to be a better person but it is important to remind myself about the important things in life, and if we all strive to be better people I believe we can make the world a better place for the individuals we treat well. In addition to fulfilling personal resolutions for the new year, I have also been researching about the future of museum education and the trends of museums.

I read Trendswatch 2016 published by American Alliance of Museums Center for the Future of Museums. For each year, the American Alliance of Museums has written a guide for museums to help shape their futures based on cultural, political, and economic challenges by doing the following: monitoring cultural, technological, political, and economic trends that are significant for museums; assist with museums to share with their communities challenges that will be faced for decades to come; and builds connections between museums and other sectors in the country. Trendswatch 2016 is written about trends that occurred in 2015 to predict what may occur for 2016, and it discusses the future of jobs as well as the use of technology especially digital technology used in museums and the relationship between museums and identity. This report discusses the 2015 trends in five articles after introducing the guide as well as providing examples of how organizations could use the report.

The first article was written about labor continuing to be reshaped by technological, cultural, and economical changes in the United States; technological advances will continue to reshape the nature of work, culture, and our economy. The second article discusses the 25th anniversary of the American Disabilities Act being passed and hypothesizes what the next 25 years will be like for creating equity for all people in diverse states; advances in technology has allowed museums to expand the spectrum of human physical, sensory, and cognitive abilities. In the third article, it shares information about augmented reality and virtual reality technologies that hold promise and peril for museums and argues that if AR and VR experiences become widely accessible and affordable museums will need to sharpen their positions and value the proposition within their communities. The fourth article pointed out that museums have found themselves entangled in the struggle over representation, identity and material culture. The fifth article argues that it is important to remind ourselves to make us happy we need to measure how we feel rather than money by revealing that people as well as organizations are rebelling against the focus on finance to point out the government has fostered accumulation of wealth at the expense of health, sustainability, and wellbeing. If we redefine success to include not just cash, museums will have the capability to make sizable contributions to our communities.

While I read these articles, one question came to mind: What will Trendswatch 2017 look like when it is published? If I was writing about trends in Trendswatch 2017, I believe a lot of the trends introduced in the most current report would reveal they continue to develop in 2016 and then start discussing how museums would be effected by introducing the new presidential administration. Then I read about trends for museum education to help me foster and improve my knowledge of the field.

I read Building the Future of Education: Museums and the Learning Ecosystem, also published by the Center for the Future of Museums and published in September 2013, is a bunch of essays by educators, students, researchers, and reformers that explore how leaders from the worlds of education and museums to combine its assets to create ways to make education better for the future. Each essay reinforces the idea that it is important to help schools and education organizations see museums can tailor their educational programs to the needs of state and local curriculum standards. Also, the essays discuss possible futures for education including vibrant learning grid (all who care about learning create a personalized learning ecosystem to meet the needs of all learners) and a fractured landscape (families who have the time, money, and resources to customize or supplement their learning experience have access to learning that adapts to their needs). They also emphasize the need to allow students to work on projects that are related and adapted to the real world of museums, businesses, organizations and communities.

It is important to figure out the future of museums and museum education all staff members need to emphasize the significance museums have in our communities now. What do you think about where education is going in our country?

New Year’s Resolutions in Museum Education Field for 2017

Originally posted on Medium. December 30, 2016.

All museum educators, including myself, strive to improve our programs for the people we teach and ourselves as educators. 2016 was an interesting year for me as a museum educator. I transferred from historic house museums in Connecticut to New York to work at the Long Island Museum; I started working there and found out that it was not the right fit. Afterwards, I ended up doing some work for various historical organizations including the Long Island Maritime Museum. With each year I have had as a museum educator, I gained experiences that help me to become a better educator and museum professional. At the Long Island Museum, I learned new skills that I have never had before.

For instance, before I started there I educated the children and the rest of the public in various programs focused on eighteenth and nineteenth century Connecticut history; later in my career, I started work with colleagues at Connecticut Landmarks to improve the quality of the visitor experience by researching a theme introduced in the interpretive framework. When I started at the Long Island Museum I learned about how education programs for audiences such as schools, Alzheimer’s patients, and public programs were booked; I had the opportunity to schedule and supervise docents for school programs; wrote introductions for presenters in Arts & Alzheimer’s Conference and helped run the Arts & Alzheimer’s Conference; and collaborate with the education and communications department on promotional flyers for education programs, then I was responsible for mailing them to the county libraries. These are some of the examples I have done at the Long Island Museum, and I am thankful for the experiences I have gained because I learned a lot more about the field including the difference between how historic house museums and larger American Alliance of Museums-accredited museums are run. As I began work with the Long Island Maritime Museum, I also learned more about the museum field.

When I discovered the Long Island Maritime Museum, I acknowledged that I had limited knowledge about maritime history and thought that it would be an enlightening experience for me. I was not disappointed. My first experience at the LIMM was assisting school groups go to each station to learn about boats and boat building, the oyster business in an actual Oyster House, what life was like as a bayman inside the Bayman’s House, and lifesaving stories from storms, shipwrecks, and pirates. As I saw the kids invested in each station, the smiles on their faces reminded me of why I love being a museum educator in the first place; to get kids invested in what we teach them is a rewarding experience and to know we can make an impact on their learning experience gives me hope for future generations. Another experience I had was working on transferring collection information to digital databases by scanning books and photographs, and adding information from the Excel spreadsheets to the PastPerfect software. By looking through the photographs and information, I learned about the collections and the unique history of the local area. I also answer phone calls, and sell admissions and gift shop items; while I have done similar tasks in Connecticut, there are different procedures to learn and perform. I enjoy my time at the Long Island Maritime Museum so far because the staff is dedicated to working together to run the museum, and we enjoy our time together while we work. Being able to work together in a close community is what I value as a museum professional since each role in a museum is significant to keep a museum running. I hope to apply the experiences I have gained and the lessons I learned to my current and future endeavors.

This time of year, many people make lists of New Year’s resolutions they hope to accomplish in the new year, and museums and museum professionals are no exception. My New Year’s resolutions include developing my skills as an educator and improving my knowledge of museum administration. I participate in professional development programs as well as utilize resources museum organizations including American Alliance of Museums and New York City Museum Educators Roundtable provide. I also am researching online programs that provide information on museum administration. Also, I continue to utilize my growing experiences at places like the Long Island Maritime Museum. 2016 became a year of big changes for me, in more ways than one, that have opened my eyes to many opportunities to grow as a person and a museum professional. Let’s see what 2017 has in store for all of us especially museum professionals.

What are your New Year’s resolutions? Whether they are personal or professional, it is important to have goals to help you become a better person and professional.

To all of you who have been reading my blog posts so far, thank you so much! It really means a lot to me to see so many people have an interest in what I have to say. I have read and responded to all the replies you have made, and I am glad to hear all of your insights on topics I have written about. I am also happy to hear that there are people who have been inspired by what I write about, and have supported me as I continue to use my voice in the field. For those who have just started reading my posts, welcome and thank you for reading! If there is something you want more insight on or want my perspective on, please let me know. Expect more blog posts in the upcoming year. Happy New Year!!

Happy Holidays! Museum Education during the Holiday Season

Originally posted on Medium. December 15, 2016.

“It’s the Holiday Season…while the merry bells keep ringing Happy Holiday to you!”

It is that time of year again when everyone prepares for the holiday season by decorating their homes, shopping for gifts, and visiting family and friends. During my over seven-year experience in the museum education field, I found that especially between mid-November and the end of December not many school programs are scheduled and taught but there are plenty of family programs that encourage kids and family members to play as well as create together. For instance, at the Stanley-Whitman House there was a family program that took place around Thanksgiving. At Connecticut Landmarks’ Butler-McCook House, the historic house museum participated in First Night Hartford by allowing parents and kids to create hats and masks for the New Years’ Eve parade. At Noah Webster House & West Hartford Historical Society, they have Gingerbread Day in which both kids and adults create miniature gingerbread houses made from fresh-baked gingerbread, icing, and candy. At the Long Island Maritime Museum, the museum has a Dutch Christmas event which includes a lantern-led tour of the museum’s property, ornament-making for the kids to decorate Christmas trees that will be given to families in need, and a visit from Sinterklass (Santa Claus); the museum also hosts a Gingerbread workshop to teach people how to design gingerbread houses. All the events mentioned not only encourage families to visit the museums but they allow families to spend time together, and the holidays are about spending time with family and loved ones. In addition to spending time with family and loved ones, this is also a time to appreciate the time spent on our passions especially if you work in a museum. This is the season when holiday parties are held at various organizations, and museums are no exception.

At the Noah Webster House & West Hartford Historical Society, all staff members including museum educators and volunteers have pot luck lunch and brought various desserts as well. Also, the staff played trivia games, and played the movie “It’s a Wonderful Life”. The most recent holiday party I attended was at the Long Island Maritime Museum which was a pot luck lunch volunteers and staff gather together to celebrate the end of the year as well as the hard work put into running the museum. In addition to working and participating in these events and holiday parties, I also enjoy reading Christmas themed books. Around the holiday season I always like to refer to Stephen Nissenbaum’s The Battle for Christmas ever since I read it during one of my first history courses when I was a college freshman.

Nissenbaum’s The Battle for Christmas discusses the origins of Christmas and the transformation of the holiday into the celebration we know today. His book went into detail about the origins of Christmas by discussing the Puritan’s views on the holiday. The Puritans outlawed Christmas since it was at the time Christmas was known as a holiday filled with drunkenness and rioting. Nissenbaum then discussed the transition from the drunken celebration to a holiday of gift-giving and spending time with family. During the nineteenth century, Christmas became a holiday of domesticity and consumerism, and most of the traditions people partake in during the season started during this time. Some of these traditions include the story of St. Nicholas, the Christmas tree, and giving gifts to children. After I read this book, I came to appreciate the holiday more since I understood how Christmas has evolved over centuries to become the holiday my family and I celebrate, and it also confirmed that my views on Christmas have changed since I was a child. While I was a little more focused on gifts as a little girl but the more I grew up to becoming the museum professional I am today I not only appreciate the time spent with family but I also enjoy seeing the joy in the next generation’s eyes when they experience Christmas. During this holiday season, I am thankful for my family and for the journey my career has taken me. I hope you all take the time to appreciate the people around you this holiday season and to enjoy the little things that come your way. Happy Holidays!!

What are some traditions you enjoy most? Does your museum/organization have their own holiday traditions? If so, what do you like to do at your holiday gatherings?

 

Museum Education Online: Museums’ Position in the Virtual World

Originally posted on Medium. December 8, 2016.

Museum education is continuing to evolve as a museum field after many years of creating programs for schools and the public. While I have over seven years’ experience in the field so far, I have seen many changes to advance the field and make an impact on the community around us. For instance, in my last blog I discussed the continuously evolving inclusion of programs for people with special needs. Also, the internet has given the world, especially the museums, opportunities to connect and provide ways to learn online. This week I am looking at museums in the virtual world, including social media and online learning, and my reactions to these changes. When I was growing up attending museums, the internet was still a new concept created and not many websites offered online learning. As a child, I visited more museums than finding out about museums on the internet. My family would drive down to see Washington D.C., Thomas Jefferson’s Monticello, and Gettysburg battleground during the summer. I used the internet later to assist me with research for school and I used the internet more when I went to college and graduate school.

When I was at Western New England getting my Bachelor’s degree I participated in different courses that used online tools as part of curriculum. Most of my classes were in person courses with activities and assignments taken in an online portal, MYWNEC, as a supplement to these courses. I took two online courses, and with some exceptions the class met online; my first course was a psychology course that was entirely online and my second course was an art history course that occasionally had assignments where I had to attend a museum to complete them. I had a few courses that took place completely in the classroom. Meanwhile while I was at Central Connecticut State University getting my Master’s degree, there were no online courses provided in the program but I used resources online as part of my research for papers and projects. For instance, when I worked on the proposal for Connecticut Historical Society’s next exhibit which was eventually accepted and became Cooking by the Book (it was displayed from January 2013 to April 2013), I used their online collections resource to decide which objects to include in the proposal. Outside of school I took a few online courses on edx.org about various subjects including history and interactions in the classroom; I take these courses at my own pace to keep my skills relevant and updated. While I was becoming a museum professional, I saw how museums utilized the internet to create websites that provide information about their exhibits, programs, and resources.

Each museum I worked for have various ways visitors and potential visitors can access what they offer on the internet. On Stanley-Whitman House’s website, it has the history of the house and information on the museum as well as information about education programs, adult group programs, and special events & programs. The Stanley-Whitman House also provides information about the collections, gardens, exhibits, and research services. On Connecticut Landmarks’ website, it provides information about the nine properties it owns especially the two properties I worked at, Butler-McCook House and Isham-Terry House; the website also provides other information including information about the organization, upcoming special events, events calendar, a link to the facilities rental site, various ways individuals can donate to the organization, ways to get involved in the organization, and press releases. On Noah Webster House & West Hartford Historical Society’s website, in addition to information about the historic house museum/historical society and on how to become a member, it has information about school, youth, adult, and public programs as well as information about their exhibits especially their new tablet tour I learned about while I was a museum educator there. The website also has a Discovery & Learn section which includes the history of Noah Webster and West Hartford, brief descriptions of the historical society’s collections; a kid’s corner that includes interactive activities kids can download and click on tabs to learn about the history of West Hartford and Noah Webster, and teachers can download keys to a couple of the activities; and a Q&A section with the Executive Director that is coming up soon. On the Long Island Museum’s website, it has various information including on exhibits past and current, programs for students, adults, public and families, and a collections database that allows visitors to look up various pictures, books, and objects found in the museum’s collection. The previously mentioned museums’ websites have different ways to grab people’s attention and help bring them to these museums.

Museums use and should use the internet to their advantage to expand their reach to their audiences. As technology and the internet continue to evolve, museums also need to evolve to gain as well as maintain visitors to their exhibits. One of the books I read about museums and the internet is called Unbound By Place or Time: Museums and Online Learning by William B. Crow and Herminia Din published by the American Association of Museums Press (now called the American Alliance of Museums) in 2009. This book discusses various forms of online learning, the advantages and challenges of online learning, and how museums can utilize online learning.

Crow and Din also provided case studies that gave examples of how museums can create successful programs for visitors. The authors also stated that it is important to recognize that in the end our online programs are tools, no matter what we learn and experience our relationship with it will change as it evolves, and that what is consistent is our dedication and commitment for providing resources our museums offer. This is true even today especially with new technology being used in school and adult programs; at Long Island Museum for instance has a program for Alzheimer’s patients that use a tablet to play music related to objects and sections in exhibits. It is also true especially as skype is used to communicate with people and it has the potential to be used in more museum education programs. What do you think of the relationship between museums and online learning? Does your organization have online programs? If so, what are the advantages and challenges you find as an educator using these programs? If your organization does not use online learning programs, would you like to introduce this to your museum/organization and create your own?

As you ponder these questions, I recommend visiting these sites:
www.stanleywhitman.org
www.ctlandmarks.org
www.noahwebsterhouse.org
www.longislandmuseum.org

 

What Museums Mean to Me: My Relationship with Museums when I was a College Student

Originally posted on Medium. November 17, 2016.

In my first blog post, I wrote about how my love for museums has begun as a child and I will share how this love has continued since then. Recently I read the latest edition of Journal of Museum Education in which the articles focused on the relationship between museums and universities, and how that relationship can be improved. In an article written by the guest editors Beth Maloney and Matt D. Hill, they briefly discussed the articles in the journal and expressed hope that this journal will be able to be used as a source for successful collaborations. As I read this edition, I thought about my own experiences in museums as a college student, and I believe there is potential in creating more successful collaborations with colleges and universities. My career in museums began when I was in college; I was involved in Western New England College’s (now University) Historical Society as both a member and treasurer. Also, I went on a couple of trips to museums for one of my courses. Of course, I gained more experiences in museums as a graduate student at Central Connecticut State University.

While I was a college student at Western New England College, I was the treasurer of the Historical Society which is a club that encouraged visitations to various museums in the area and in neighboring states. I volunteered to be a treasurer for the Historical Society when no one else wanted to take over since the last treasurer left the organization and because I was also a treasurer for Western New England’s Campus Chorus so I already had the experience; I was then given the previous slips and forms to reorganize the organization’s budget, and since then I was re-elected as treasurer each year it was not until a few months before I graduated from college that someone was willing to take on the role. As a treasurer, I was responsible for organizing and maintaining the club’s budget for various materials such as pens and t-shirt as well as expenses including hotels, museum fees, and food for Historical Society trips. We planned trips to various museums including Springfield Museums, Old Sturbridge Village, The Pequot Museum, The Salem Witch Museum, Salem Maritime National Historic Site, The House of Seven Gables, and The Breakers Mansion in Newport, Rhode Island. I also planned the trip to a couple of places in New York including Hyde Park and Martin van Buren’s home with the Historical Society. During the four years I was both a member and treasurer of the Historical Society, I went to various museums in Massachusetts, New York, Connecticut, and Rhode Island. This experience not only taught me about running an organization whether it was a college organization or behind the scenes look at how a museum is run but it also was a source of many wonderful college memories I look back fondly on.

I attended museums while I was taking courses at Western New England, but unfortunately there were not many opportunities for going to museums in many of my classes and I was a History major. Much of my History courses at the time were taken in the classroom with limited possibilities for exploring museums; my freshman seminar course gave an overview on possible career paths we could take as History majors and invited professionals (also WNE alumni) to discuss their work outside college, and a few of them were museum professionals. While my History courses had guest speakers come into the classroom, a few of my other courses could have a couple of visits to museums. In my art history course, I was able to visit the Springfield Museums to complete an assignment. My France and French Caribbean culture course also had class at the Springfield Museums where we visited art galleries featuring French artists and had discussions about the artists and their works. After I graduated from Western New England, I continued to visit museums and became more involved with museums.

While I was in the graduate program at Central Connecticut State University, I continued to visit museums and this time my visits were more focused on developing my career in the museum field. I started my museum experience by having an internship at Connecticut’s Old State House during the summer where I assisted with one of the last school programs of the school year where over a hundred students participated in various activities including an I Spy activity which kids designed their own spy glasses using paper towel rolls and walked around the Old State House playing I Spy. Also, I assisted with public programs including the Farmer’s Market, and Conversations at Noon (lunchtime lecture series with guest lecturers presenting in the Old State House gallery). I also created an Animal Scavenger Hunt as a summer activity for kids to find pictures of animals in the Education Center based on clues I wrote. In many courses I took while in graduate school, my classmates and I were encouraged to complete projects and we collaborated with museums and organizations to gain exposure for our collaborations. For instance, for my Museum Interpretation course we were split into small groups to write a proposal for an exhibit that will be featured at the Connecticut Historical Society; my group’s proposal we collaborated on writing, about the split between in and outside the kitchen and featured a few pieces from their collections in our presentation, was approved by the decision committee at CHS with some changes suggested. We then collaborated with University of Connecticut art students to design the exhibit. This exhibit became Cooking by the Book: Amelia Simmons to Martha Stewart and it was opened from January 18 to April 13, 2013. During graduate school, we were also encouraged to attend conferences. I attended a few New England Museum Association conferences which were held in various cities in the area and have various opportunities to have sessions and ceremonies at museums. I continue to attend museums even as a museum professional to enjoy the exhibits and to continue developing my skills as a museum educator.

I am thankful for each of the opportunities that I gained and I hope that wherever I end up I will be able to take the lessons with me. We should be able to develop a better relationship with universities, and show them that we have resources they can use in teaching in the classroom and aid in their students’ career paths. Have a Happy and Safe Thanksgiving everyone!

Book Review: Engaging Young Children in Museums by Sharon E. Shaffer

Originally posted on Medium. November 10, 2016

This week I decided to write a review of a book written to help develop skills in the museum education field. As a museum educator, I believe it is important to read published works about the field to continue to provide new ways of educating school groups and the public. I chose to review Sharon Shaffer’s Engaging Young Children in Museums because not only it reiterates the importance of developing various ways to educate people but the methods shared can be used in any type of museum and audiences of various ages. The following is the review of Shaffer’s book:

Shaffer’s book was laid out in three different sections to introduce the idea of engaging young children in museums. The first section discusses the audience and brings up these questions: who are they? How has the audience changed over the years? The second section then discusses using learning theory and transition the theory into practice. Then the third section revealed future possibilities in museum education especially for young children. Each of the sections have two or three chapters that go into detail about the audience, learning theory and practice, and the future possibilities; the chapters are also divided by providing sections: an introduction, descriptions and arguments, and a conclusion.

In the first section, the three chapters introduce the book as well as discuss understanding young children as an audience. The first chapter introduces the framework for thinking about early learning in museums, and it explores object-based methods that were used effectively in all disciplines as well as in early childhood classrooms. Shaffer also discusses twenty-first century trends and reiterates that it is important to create experiences that are interesting, engaging, inspiring, and provocative.

In the second chapter, she revealed the history of museums in America and the emergence of children’s museums as well as the development of the relationship between children and museums. She also revealed both children’s and traditional museums are partnering with schools in new and different ways to be able to bring content and learning strategies to students and teachers to enrich understanding. In the book, Shaffer brought up these questions that still need attention and time to answer: What role should museums play in education that has traditionally been the responsibility of schools? What strengths do museums offer that are unique to these institutions, yet relevant for children and teachers in more formal settings? In what ways can museums support and contribute to formal early learning? While we cannot immediately answer these questions yet, it is important to figure out the answers by understanding our communities’ needs and our museums’ role in the community.

The third chapter is mainly focused on learning theories and how they can be applied into practice. To have a better understanding of how to educate young children, Shaffer explains how the learning theories can be reviewed and interpreted as educators plan lessons for young children. I appreciate that this chapter give a description of the learning theory and a layout of the theory to visually explain how it can help educate our audiences. For instance, Shaffer describes George Hein’s model in the book Learning in the Museum (1998) which revealed the complexity of learning; the model is divided into four domains that represent different categories of educational theories where the values and beliefs are defined about knowledge ascribed to each domain, and ideally within the theory support each other. Also, other theory models include Early Learning Model (made of key elements essential to construction of knowledge: explore, experience, conceptualize, imagine, create, and knowledge constructed through the process), and thematic approaches to learning (nature of experience, learning through play, ways of knowing, and motivation and learning). Each of these theories were described in detail to purposely aid educators in the classroom and museum setting.

The second section went into detail about early childhood classrooms and museum learning, the key concepts of best practices and best practices for a foundation for early childhood programming in museums. In the fourth chapter, Shaffer discussed various early childhood models and programs, and especially went into further discussion on models including the Montessori Method, the Reggio Emilia model, and the High Scope approach. The Montessori Method focuses on using the child’s surroundings especially nature as inspiration for learning. The Reggio Emilia model encourages collaboration between the child and the teacher to maintain the child-focus in the lesson and embraces self-expression as well as creativity. Meanwhile the High Scope approach focuses on the concept of active participatory learning, or a process designed to make the child a co-creator in his or her learning experience through observation.

Then the fifth chapter discusses key concepts of best practice by explaining the transition to including young children as museums audiences, and how educating young children in museum spaces has grown in the museum community. The chapter also gives the reader an example of a program developed by the Denver Art Museum that uses games and art making activities to allow children to explore their American Indian galleries. It is important that the book included real scenario examples because it gives museum educators detailed ideas to help our organizations get inspired to create similar programs for our young audiences. The fifth and sixth chapters also stress the importance of creating a welcoming environment for museum goers of all ages, and how educators and interpreters can utilize professional development to learn to adapt their lessons that appeal to young children. The last section focuses on making a difference and future promises in the field.

Shaffer describes future trends that will affect the way museums use early learning in their programs. The trends include continuing to see value in creating early learning programs, collaborations and partnerships, and use of technology. To continue to run our museums, we need to make sure we adapt with the changing society and understand its role in the community. Our museums would always have the past as our museums contemplate current practices and the future of the museum field to influence our thinking as well as rekindle our outlook reflecting today’s perspective. I agree with this statement because our institutions are founded in our past and we create innovative programs based on our museums’ missions.

In my experience, educating young children is an essential part of our society and the museums, especially the ones I have worked for and currently work at, can aid their educational experiences. At the Long Island Museum, for instance, I taught young children in kindergarten about primary colors using the museum’s art gallery to help them recognize the colors in paintings and later I gave children color wheels to color in the colors using watercolor pencils; they also listened to a story about the use of colors. I also participated in Family Fun Day at the Long Island Museum by creating crafting activities for families with young children to participate in. By using interactive activities for the children, they can understand the world around them and create a foundation for their continued education as they grow up. As I continue my career in museum education, I hope to continue to learn innovations in engaging with young children in the museum.

What are some examples your institutions are using to educate young children? Are there programs that you collaborate with other institutions or families?