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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?
Raise your hand if you’ve ever had a bad experience working with a group of people to make a decision. And things go wrong: roles aren’t clear, timelines extend, or people disagree. Most groups of people do not self-manage well. New to Participatory Grantmaking? Most of us have. But these “soft skills” are not magic.
All too frequently, the grantmaker alone is determining, leading, and benefiting from MEL processes with no input or collaboration from the people, organizations or community impacted. A Shared and Flexible Understanding of Impact As practitioners of and advocates for participatory philanthropy, we believe there’s a better way.
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.
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.
It made me think in ways that I haven't before about the relation of art--as expressive culture--to democracy. It was fascinating to see people--across social differences--responding to representations of love in the paintings, images, objects and narratives that were part of the installation.
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. But what if the "traditional" arts experiences is a myth? What if historic arts experiences were actually a lot more participatory?
I am putting the finishing touches on another social media lab designed for arts organizations. So, have been updating arts 2.0 Back in December, the Brooklyn Museum started to experiment with FourSquare running a promotion to get people to check in and get a free membership.
Two years ago, we mounted one of our most successful participatory exhibits ever at the Santa Cruz Museum of Art & History: Memory Jars. Over three months, about 600 people filled mason jars with personal memories and put them on display. People were spending a long time working on them. He puts it on the wall.
For those who can''t see the image, the card reads: When I first saw the "pastports" I didn''t really understand, but after reading what people wrote in them I felt an overwhelming connection to all the words of so many random people. People could take the pastports home or hang them, open to a preferred page, on a clothesline.
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. I’ve been using these participatory categories to talk about how we’d like users to participate in different projects.
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
We decided to approach the label-writing for these boards in a participatory way. note: originally, this said "we're writing a label" but with that phrasing, lots of people wrote creative titles for the surfboards (like the title for a work of art) instead of talking about content of interest.
Want to experience art in a populist, energized, industrial/urban setting? Want to be surrounded by thousands of people who are doing the same? 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. Want to talk about it?
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.
At my museum, we pride ourselves on developing programming in a collaborative way that emphasizes diversity and intentionally encourages social bridging by bringing people together from different walks of life around cultural experience. While it is not easy to ask directly "what do you think about XX people?"
Imagine this situation: You go to an arts event, one of a type you rarely or never take part in. There's been a lot of innovation in arts programming in the last few years. There's been a lot of innovation in arts programming in the last few years. How do you form an arts habit? You have a great time.
What happens when you let visitors vote on art? Let's look at the statistics from three big participatory projects that wrapped up recently. Each of these invited members of the public to vote on art in a way that had substantive consequences--big cash prizes awarded, prestige granted, exhibitions offered. Full stats here.
At the Santa Cruz Museum of Art & History, we take our interns seriously, give them real responsibility, creative challenges, and meaningful work opportunities. I'm particularly excited about two internships that relate to participatory exhibition design. First, there is the Participatory Exhibit Design Internship.
I'm finding myself really enjoying fundraising because it is fundamentally about inspiring people to participate--and to do so in a way that is significant both for the organization and for themselves. As a designer, I'm always trying to ensure that participatory activities, however casual, impact both the participant and the organization.
The tendency of philanthropic professionals, big donors, and other relatively privileged people to assume that they know what is best for the people who are directly affected by the problems that need to be addressed. Deciding Together Shifting Power and Resources Through Participatory Grantmaking. Here are 6 ways it could go.
It is also a Twitter term that describes a keyword, prefixed by that symbol, that helps people track conversations on Twitter. Nonprofit Use #2: Sharing Knowledge/Resources As Community of Practice Hashtags can create an ad hoc community of practice or a channel for people in a field to informally share resources or conversation.
This past Friday, we experimented with a new feedback format at an evening event focused on poetry and book arts. We don't yet know how people will respond to the emails, and we have some kinks to work out with the booth and camera setup. It accomplished several things at once: It drew people in. We got more feedback.
With all these options, we wanted to look back and highlight some of the Issue Lab community’s most popular publications in 2022, featuring a wide array of topics ranging from education to participatory grantmaking and beyond. Expanding Equity: Inclusion & Belonging Guidebook , by the W.K.
I’d never attended before and was impressed by many very smart, international people doing radical projects to make museum collections and experiences accessible and participatory online. The people at Museums and the Web are on the forefront of web-based innovative museum practice. Instead, I found a standard art museum.
I've been thinking about how to best incorporate the back channel or in this case Twitter. Two recent blogs, " How To Present While People Are Twittering " and " Trends in Leadership Conferences " are the most recent blog posts packed with advice. It is being used less for remote participation and more for people in the room.
People at work with the games running in the background on their computers. And it''s got me thinking about how we build energy and audience for the arts in this country. Like Barry, I feel that more art in schools is always better. If kids were checking out art supplies from the library. It''s World Cup time.
Scene: a regional workshop on arts engagement. A funder is speaking with conviction about the fact that her foundation is focusing their arts grantmaking strategy on engagement. Engaging new people. Engaging more diverse people. Engaging people actively in the arts. INTERPRETATIVE: can people understand it?
I''m glad to see coverage about art museums involving visitors in exhibitions. We don''t involve people in content development to "boost ticket sales." 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.
As many of you know, I've been working for the past year+ on a book about visitor participation in museums, libraries, science centers, and art galleries. The Participatory Museum is a practical guide to visitor participation. The Participatory Museum is an attempt at providing such a resource. Blog about it. Tweet about it.
Home About Me Subscribe Zen and the Art of Nonprofit Technology Thoughtful and sometimes snarky perspectives on nonprofit technology IP Tidbits August 18, 2005 Here are a few tidbits I’ve come across in the Intellectual Property arena in the past few days. This is very cool. It’s definitely a thing to watch.
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.
I met Janet Salmons many years ago while I working on various arts and technology projects in New York State for the New York Foundation for the Arts. I started in the Cornell University Center for Theatre Arts , where I founded and directed two programs: Cornell Theatre Outreach and the Community-Based Arts Project.
Working with arts organizations there are often concern that your constituent stories aren’t as impactful. Our job is to get those people, those lives, those schools and communities to want to tell our stories. Our job is to get those people, those lives, those schools and communities to want to tell our stories. Make it fun!
Establish local networks of individuals and organizations using social media to help build stronger organizations and more participatory societies. Multi-stakeholder projects with many organizations, people, and roles are complex. Networks are more than random gatherings of people and organizations online.
Visitors bond and bridge through participatory experiences at MAH. There were times when coordinating a fire art festival while researching social capital theory made me want to burn my computer. We continuously and actively respond to requests as well as invite people to be a part of our programs.
It's rare that a participatory museum project is more than a one-shot affair. Wikipedia Loves Art, Take One The first version of Wikipedia Loves Art first took place in February 2009. Over 13,000 photographs were submitted by 102 photographers at the fifteen different institutions, documenting about 6,200 pieces of art.
This is the second in a four-part series about writing The Participatory Museum. Several hundred people contributed their opinions, stories, suggestions, and edits to The Participatory Museum as it was written. Well actually, this post is about the people who participated at the highest level of engagement.
You can now read all the chapters in The Art of Relevance for free online. You can still buy The Art of Relevance as a paperback, ebook, or audiobook--but you can also read any chapter, any time, online. I do it for three reasons: It makes it easier for people to share and spread the ideas in the book. It's finally here!
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"?
Which of these descriptions exemplifies participatory museum practice? But the difference between the two examples teases out a problem in differentiating "participatory design" from "design for participation." In the first case, you are making the design process participatory. In the second, you make the product participatory.
Designing A Participatory Hook for a Virtual Meeting. This creates a tsunami of sticky notes. If you ask people one-by-one to share and post their sticky notes, it can take a long time and get tedious. The features include being able to easily create different color sticky notes and type in notes and move them around the board.
This simple participatory project invites visitors to contribute their own small objects in little alcoves in our bathrooms. But people have participated in completely different ways. People like participating, we take them seriously, and they take us seriously. The participation is almost 100% on-topic and appropriate.
The above powerpoint is from 1999 and excerpted from day-long workshops I used to lead when I worked at NYFA and design and ran a program called "KIT: Knowledge in Technology - Technology Planning for Arts Organizations." s latest and greatest ways of connecting to people???feels using the web???s
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