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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?
A Shared and Flexible Understanding of Impact As practitioners of and advocates for participatory philanthropy, we believe there’s a better way. Like many other activities in participatory philanthropy, this approach considers the process to be as important as the outcomes. It promotes mutuality instead of extraction.
In 2009 , students built a participatory exhibit from scratch. Thirteen students produced three projects that layered participatory activities onto an exhibition of artwork from the permanent collection of the Henry Art Gallery. This year, we took a different approach. You can explore the projects in full on the class wiki.
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.
I also wanted to experiment with translating some facilitation techniques I use for face-to-face meetings (like sticky note facilitation ) to virtual meetings. Designing A Participatory Hook for a Virtual Meeting. Depending on the number of people in your group, there are different ways to facilitate the report out.
It made me think in ways that I haven't before about the relation of art--as expressive culture--to democracy. It is multi-disciplinary, incorporates diverse voices from our community, and provides interactive and participatory opportunities for visitor involvement. Note: you can view these photos of the exhibition on Flickr here.)
Last week I facilitated the “ Impact Leadership Track ” at the NTEN Leading Change Summit with John Kenyon, Elissa Perry, and Londell Jackson. Here’s what I learned: Facilitation Teams. Often, facilitation teams are brought together by an event host. Photo by Trav Williams. Do you have a preferred method?
I’ve just returned from an inspiring week in Kiev, Ukraine where I got to facilitate a training for women’s organizations organized by Wake , an amazing start up founded by two respected colleagues Trish Tierney and Heather Ramsey. You have to think of your interpreters as extensions of your facilitation techniques.
Yesterday, I spent a day facilitating leadership workshops for arts leaders attending the Art House Convergence Conference near Park City, Utah. This accomplished a few things: I didn’t have to trash my plans and revert to a traditional lecture. I made it participatory so participants helped move the furniture.
blogchat which is facilitated by @mackcollier and uses wthashtag to aggregate the conversation. If for instance, you tagged a tweet about your Foundation's performing arts program with #arts, your tweet would be amongst tweets about all kinds of topics in the art world - even tweets about Paula Abdul leaving American Idol.
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.
Want to experience art in a populist, energized, industrial/urban setting? Artprize , now in its second year, is a city-wide art festival with a $250,000 top prize to be awarded to the work that receives the most public votes. It was the best experience I've ever had talking and learning about art. Want to talk about it?
It also explains how the McKnight Foundation is connecting its participatory democracy work with climate justice efforts in historically marginalized communities. . Invest in, support, and learn from intermediary organizations, many of which can help you adopt participatory approaches to grantmaking. . Not reinventing the wheel.
I''m glad to see coverage about art museums involving visitors in exhibitions. But that business model requires experienced staff who know how to empower people, facilitate meaningful participation, respond to community issues and interests, and ignite learning. The metaphor for traditional art museums is the temple. Sanctified.
Last week, Douglas McLellan of artsJournal ran a multi-vocal forum on the relationship between arts organizations and audiences, asking: In this age of self expression and information overload, do our artists and arts organizations need to lead more or learn to follow their communities more? Here are three of my favorites.
Resource List Early Use of Backchannels Tara Hunt, Backchannel=Blogosphere Marc Cantor, Spell My Name Correctly Liz Lawley, Backchannel Modes Liz Lawley, Confessions of a Backchannel Queen Clay Shirky, Snarkiness on Parade NY Times, In the Lecture Hall, A Geek Chorus Dannah Boyd, Bridging Diverse Groups Backchannel in Learning and Education Vicky Davis, (..)
Establish local networks of individuals and organizations using social media to help build stronger organizations and more participatory societies. Trainer the Trainers: Beth Kanter, Mohamad Najem, Jessica Dherre, and Mary Joyce.
I'm thrilled to share this brilliant guest post by Marilyn Russell, Curator of Education at the Carnegie Museum of Art. In a straightforward way, Marilyn explains how her team developed a participatory project to improve engagement in a gallery with an awkward entry. Reassert the "forum"?
I met her like ten years ago when I leading training workshops for arts educators, artists, and arts organizations throughout New York State on how to use the Internet. I remember her community of clocks project -- she facilitated content creation from schools around the world on the theme of clocks. Meet Susan Silverman.
Unconference sessions , featuring topics as diverse as "playing an ARG" (with real labyrinth adventures ), "engaging visitors who were dragged to the museum," and "measuring and defining success in participatory projects." Facilitator bits. You did great.
Today, we want to introduce you to Leah Horn , Director of Marketing and Communications at the Western States Arts Federation (WESTAF). WESTAF''s mission is to strengthen the financial, organizational, and policy infrastructure of the arts in the West. Plus, my track facilitators were great!)
George is a stranger I met last week at SFMOMA’s new show, The Art of Participation:1950 to Now. The Art of Participation provides a retrospective on participatoryart as well as presenting opportunities for visitors to engage in contemporary (“now”) works. Here are two pictures. The first one is me. DO message clearly.
Last week I facilitated a workshop in Detroit hosed by Co-Act , a nonprofit collaboration space in Detroit. My style of teaching is participatory; I don’t lecture with PPT endlessly and involve the audience. Last week I facilitated a workshop in Detroit hosed by Co-Act, a nonprofit collaboration space in Detroit.
I get excited about a lot of things in my work at the Santa Cruz Museum of Art & History. Ze Frank is a participatory artist who creates digital projects that are explicitly about creating and enhancing authentic interpersonal connections. Photography, video, audio, text, origami, mail art.
Facilitating personal bonds between local producers, consumers, and suppliers can increase resiliency in periods of global supply chain disruption while cutting the carbon footprint of shipping. .); and Humanity Cash , a tech venture focused on alternative digital currencies.
This week marks five years since the book The Participatory Museum was first released. I thought the pinnacle of participatory practice was an exhibit that could inspire collective visitor action without facilitation. Over the past four years, I''ve been running a small regional art and history museum in Santa Cruz, CA.
Well-planned events enable nonprofits, community groups, businesses and government agencies to showcase AAPI arts, food, performances, and more. Be sure to recruit knowledgeable facilitators. Consider featuring traditional music, dance, theater, or martial arts groups from the community.
This post was written by my colleague Nora Grant, Community Programs Coordinator at the Santa Cruz Museum of Art & History. At the Santa Cruz Museum of Art & History (MAH) , we have been experimenting with a kind of pop up museum that is primarily created by the people who show up to participate.
To that end, our exhibitions are full of participatory elements. Riding the art couch through downtown Santa Cruz with two visitors and a dog while blasting the Jackson 5 was one of the highlights of my year. the most powerful evidence of it happening is when our active role as designers/facilitators becomes invisible.
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? Aren't art museums less open to participation than other kinds of museums?" I was surprised by her question.
We partnered with foster youth, former foster youth, artists, and community advocates to create an exhibition that used art to spark action on issues facing foster youth. This project wove together many different participatory threads. The facilitation was as chaotic and fragile as a spiderweb. Short story: we learned a lot.
They were “preaching the museum gospel” in NYC via alternative tours at The Metropolitan Museum of Art. We interacted with the art and with each other through dynamic photo challenges, kinesthetic activities, and conversations. I imagine that there are a lot more presumed barriers to break down at an art museum than a science museum.
Last week I was honored to be a counselor at Museum Camp , an annual professional development event hosted by the Santa Cruz Museum of Art & History (MAH). Nina Simon, the executive director of the museum, is an expert in participatory design and fantastic facilitator.
The kind of strategic planning processes that I lead are inclusive and participatory which means that the group is consulted, the vision of the group, the energy, we kind of tap into the energy, vision, knowledge, experience of the people who will be doing the work in order to make plans. Where are we not putting our energy? ” Okay.
"The arts are future-making." I wrote this down when Deborah Cullinan said it at a meeting of arts leaders about a year ago. Deborah''s vision for the arts leading the way to stronger future inspired me. Deborah''s vision for the arts leading the way to stronger future inspired me. The arts ARE future-making.
Facilitated/Unfacilitated Blend When we started this course, I really pushed the students to think about ways to induce unfacilitated interactions among strangers. I love facilitated experiences, but I worry that they aren't scalable to every visitor. They were roped to very specific locations and activities. Not so for the post-its.
Joitske Hulsebosch, who lives and works in Netherlands, writes a blog called " Communities of practice for development " where she writes about topics related to her work of facilitating processes at different levels; teams, groups, organizations, networks, and communities of practice. The art of advising communities of practice.
Third places facilitate engagement among patrons, whereas museums and libraries deliver services to patrons. Third places are more participatory and offer fewer basic amenities than most cultural institutions provide. Museums are explicitly about something, and third places are about nothing in particular. On the other hand.
The me-to-we design stages become even more important when facilitation is not possible. Here's how the Flickr experience maps to me-to-we design: For a museum example, consider the Walters Art Museum's Heroes exhibition. Ideas participatory museum. What do unfacilitated me-to-we experiences look like?
Like many people in the arts, I'm interested in new models that help people combine mission-driven work with an entrepreneurial spirit. This relationship bit helped me think about how different kinds of folks will be involved with a highly participatory, community-co-created project in the long-term.
I want to see more multi-person exhibits, more prompts for discussion about content, more tools to facilitate connecting wtih other visitors whose interests are similar or in some way useful to your own. Use the authority of the museum to facilitate exchange of phone numbers between strangers?"
We need to set up spaces in which doing the right thing--welcoming all kinds of people--is easy, facilitated and enforced. Nina's research keeps finding that the right kind of constraints work to produce a better participatory museum experience. It was a collaborative library/design/art/community-building project.
A person is randomly designated as the facilitator for a 15 minute discussion on each of the topics in the envelope. Where do our eyes go to in art? How can we take eyes off of the TV and put them on art; how do we make the art as attractive as TV? At each table there will be an envelope with questions inside.
This session was participatory in several ways, including interactive music-making machines in the audience and half the time reserved for Q&A. A few things I learned from the presentations and discussion: Dan shared a useful 4-step mental model for the progression of how institutions move towards participatory engagement.
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