This site uses cookies to improve your experience. To help us insure we adhere to various privacy regulations, please select your country/region of residence. If you do not select a country, we will assume you are from the United States. Select your Cookie Settings or view our Privacy Policy and Terms of Use.
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Used for the proper function of the website
Used for monitoring website traffic and interactions
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Strictly Necessary: Used for the proper function of the website
Performance/Analytics: Used for monitoring website traffic and interactions
You’ve read about participatory grantmaking—and maybe even heard about other organizations using this model to distribute control of their funding strategy and grants decisions to the communities they serve. Not sure if participatory grantmaking is for you or maybe you need a refresher on what it is? Is this you?
Lots of grantmakers are intrigued by participatory grantmaking. Participatory grantmaking invites to decision-making tables people who have historically been excluded. Why Would a Grantmaker Choose a Participatory Grantmaking Approach? So, what does participatory grantmaking look like in practice? Those at the top decide.
Nina has written a fantastic book engagement called The Participatory Museum. A third argues that the project won’t be truly participatory unless users get to define what content is sought in the first place. Despite its long history, few researchers studied the use and impact of citizen science until the 1980s.
--Helene Moglen, professor of literature, UCSC After a year of tinkering, the Santa Cruz Museum of Art & History is now showing an exhibition, All You Need is Love , that embodies our new direction as an institution. This post focuses on one aspect of the exhibition: its participatory and interactive elements.
Community Fund: A Participatory Grantmaking Case Study , by the Chan Zuckerberg Initiative This case study offers a first-hand look at fostering community collaboration in philanthropy. It outlines best practices and specific activities that funders can employ to safeguard and support their participatory grantmaking decision makers.
Earlier this year, I was fascinated to read the account of a participatory project at the Morrison County Historical Society in Minnesota, in which community members were invited to write essays about “what’s it like” to have various life experiences in the County. How do we get the history of the poor?
Stacey has been collaborating with local artists to produce a series of content-rich events that invite visitors to participate in a range of hands-on activities. Instead, Stacey thought, why not make the feedback experience an activity unto itself? Our typical onsite and post-event survey would attract about 20 people to opt in.
The Santa Cruz Surfing Museum recently loaned us some fabulous surfboards that tell the co-mingled history of surfing and redwood trees in Santa Cruz. We decided to approach the label-writing for these boards in a participatory way. We can certainly write a decent label based on this activity.
Two years ago, we mounted one of our most successful participatory exhibits ever at the Santa Cruz Museum of Art & History: Memory Jars. Two years later, this project is still one of the most fondly remembered participatory experiences at the museum--by visitors and staff. He creates a visual representation of his story.
This person is writing about a participatory element (the "pastport") that we included in the exhibition Crossing Cultures. They diversified the voice of immigration in the exhibition and encouraged people to share their own histories verbally. Each of these activities invited contribution on a different level.
As of May 2, I will be the executive director of the Museum of Art & History at McPherson Center in Santa Cruz, CA (here's the press release ). Because of the increased workload I expect in the months to come, as well as the likely possibility that we will start a Museum of Art & History blog, I'm lowering my Museum 2.0
Beck''s project is unusual because he deliberately resurrected a mostly-defunct participatory platform: sheet music for popular songs. In his thoughtful preface to this project, I reconnected with five lessons I''ve learned from participatory projects in museums and cultural sites. Constrain the input, free the output.
The new building was designed to meet neighborhood needs--not just in the content covered, but in the inclusion of spaces made for particular kinds of activities sought by locals (i.e. She did several things over the course of the tour to make it participatory, and she did so in a natural, delightful way. The exhibits are exciting.
In the spirit of a popular post written earlier this year , I want to share the behind the scenes on our current almost-museumwide exhibition at the Santa Cruz Museum of Art & History, Santa Cruz Collects. This exhibition represents a few big shifts for us: We used a more participatory design process. We had some money.
The best participatory projects are useful. Rather than just doing an activity, visitors should be able to contribute in a way that provides a valuable outcome for the institution and the wider museum audience. Yes, this activity is political. But it is political in a way that fits right in with the Museum’s mission and history.
The activity is clear and well-scaffolded. A personal history. This is the participatory museum, played out loud. The piano is a simple invitation to meaningful visitor participation. The outcome is open-ended and visitor-driven. It invites visitors to make the museum better. A creative talent. A special skill.
Yesterday, I had the delightful opportunity to participate in the 3six5 project , a yearlong participatory project in which 365 people write 365 journal entries for every day of 2010. The reasons to do so are many, particularly for a history-focused institution.
Good Pitch is an effort that brings documentary filmmakers together with a wide range of partners in distribution, financing and outreach for activism. But that is only the jumping off point for the inquiry.
Imagine you've just been tasked with developing an innovative, future-thinking national museum for your country's history. Blueprint is the story of a group of people who tried to create a Dutch Museum of National History (INNL). The early participatory projects are terrific. Where would you start?
Visitors bond and bridge through participatory experiences at MAH. To apply the results of my analysis to produce a community-driven program design specifically for implementation at the Santa Cruz Museum of Art & History (the MAH). You can download and read the full version of my thesis here.
As many of you know, I’m writing a book about participatory design for museums. The book is intended to be a practical guide to participatory museum experiences focused on design strategies, case studies, and activities. The WHY of participatory design is really important. And there’s a third reason.
When we talk about making museums or performing arts organizations more participatory and dynamic, those changes are often seen as threatening to the traditional arts experience. What if historic arts experiences were actually a lot more participatory? But what if the "traditional" arts experiences is a myth?
We just started to try to live up to that vision, partnership by partnership, activity by activity. It also feels amazing to see some of my theories validated in this way--that giving people the opportunity to actively participate does really transform the way they see the institution and themselves. It feels pretty amazing.
We decided to show a selection of Danny's lists in a hallway surrounded by a participatory element where we invite visitors to contribute to new lists on evocative themes ("Things we forget," "The best feelings in the world," etc.) that we selected during prototyping.
The Silk Mill is part of the Derby Museums , a public institution of art, history, and natural history. It''s clear from the diversity of activities, the professionalism of the scaffolding, and the forms of access that they are serious about inviting meaningful participation in the Re:Make project. It''s serious.
This simple participatory project invites visitors to contribute their own small objects in little alcoves in our bathrooms. We have seven participatory elements in our current exhibitions on three floors, ranging from voting to talkback walls to an in-depth "make a memory jar" craft activity.
We've been offering a host of participatory and interactive experiences at the Museum of Art & History this season. I loved Jasper Visser's list of 30 "do's" for designing participatory projects earlier this month. Different activities need different levels of materials to appear "open for business." It's just fun.
I've seen this line of questioning almost completely disappear in the past two years due to many research studies and reports on the value and rise of participation, but in 2006-7, social media and participatory culture was still seen as nascent (and possibly a passing fad). In 2008, the conversation started shifting to "how" and "what."
We can change that by embracing participatory culture and opening up to the active, social ways that people engage with art, history, science, and ideas today. The first way we open up is by inviting active participation. How can we use our artifacts to activate important conversations about the future of our communities?
Think like a musician Those who have played music in a band or orchestra or sang in a choir understand the profound impact of an engaged and participatory audience. New information, stories, and updates about your mission and activities will encourage repeat visits and ongoing engagement from your audience.
The theory of change involves both encouraging local economic activity—increasing the economic multiplier effect, in technical parlance—while fostering bonds of community. Given this history, it is unsurprising that interest in alternative currency was rekindled in the wake of the Great Recession. The experiment proved successful.
Museums have been grappling with this question for years ( here's a 2007 roundup of such projects ), most aggressively in zoos and natural history museums where staff hope to inspire conservation and in history/concept museums that focus on civic engagement and activism. They also had activities.
Then again, Saturday was hardly normal at the Santa Cruz Museum of Art & History. This past weekend, in conjunction with our exhibition about Ze Frank's current participatory project, A Show , we hosted " Ze Frank Weekend "--a quickie summer camp of workshops, activities, presentations, and lots of hugging.
Inspired by Stacy, I wanted to share some of the work we are doing at the Santa Cruz Museum of Art & History to clarify what we mean by engagement. In early 2014, we developed a set of five engagement goals: Relevant, Sustainable, Bridging, Participatory, Igniting. IGNITING : Inspires excitement and curiosity about art and history.
Participatoryhistory programming. Over the past year, we've found it fairly easy to invent and sustain participatory art and craft projects. We're having a harder time doing the same with history, especially when it comes to drop-in or single-night activities. Ethics of civic action.
Originally posted in April of 2011, just before I hung up my consulting hat for my current job at the Santa Cruz Museum of Art & History. In 2008 and 2009, there were many conference sessions and and documents presenting participatory case studies, most notably Wendy Pollock and Kathy McLean''s book Visitor Voices in Museum Exhibitions.
It was Friday, a few hours before the drawing activity, and my colleagues were worried that it would be too challenging for people to draw the icons and landmarks selected. We often avoid drawing as a community art activity because visitors can get really judgmental of their own abilities, and our staff just felt that this might be too hard.
Recently, I was giving a presentation about participatory techniques at an art museum, when a staff member raised her hand and asked, "Did you have to look really hard to find examples from art museums? History Museums OPPORTUNITIES - History museums are in many ways the best-suited for visitor participation.
To that end, our exhibitions are full of participatory elements. We actively seek participation and develop structured opportunities for visitors to collaborate with us. the most powerful evidence of it happening is when our active role as designers/facilitators becomes invisible.
There are many participatory kiosks that are functional black holes--visitors make videos or draw pictures or write stories, drop them in a slot, and. Such participatoryactivities would be seen as a waste of time. This sounds ridiculous, but it’s the way many museums approach participatory projects. nothing happens.
Today is my one-year anniversary as the executive director of the Santa Cruz Museum of Art & History. We went through a dramatic financial turnaround and redefined our relationship with our community through a series of experimental participatory projects and new programmatic approaches. 85% of our visitors attend through events.
This week, the Santa Cruz Weekly's cover story is about my museum (the Santa Cruz Museum of Art & History ) and the work we have done to make it a more participatory, community-centered place over the past two years. Perry describes me as the "conductor" of a community-programmed orchestra.
At the Santa Cruz Museum of Art & History , we''re approaching this challenge through a different lens: social bridging. Museum of Art and History programs social bridging' It can lead to parallel programming: bike night for hipsters, bee night for hippies, family night for kiddies. And rarely the twain shall meet.
It's a little living room in a lobby area that invites people to lounge on comfortable chairs, leaf through magazines and books related to art and Santa Cruz history, and generally hang out. An unnamed art museum once created an incredible interactive and participatory installation related to a temporary exhibition.
We organize all of the trending information in your field so you don't have to. Join 12,000+ users and stay up to date on the latest articles your peers are reading.
You know about us, now we want to get to know you!
Let's personalize your content
Let's get even more personalized
We recognize your account from another site in our network, please click 'Send Email' below to continue with verifying your account and setting a password.
Let's personalize your content