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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?
Power Imbalance in Traditional Evaluation As grantmakers, we tend to monitor and evaluate our strategies and programs using metrics that we deem important. A Shared and Flexible Understanding of Impact As practitioners of and advocates for participatory philanthropy, we believe there’s a better way.
In our years of talking to staff, boards, and communities about participatory philanthropy, people often talk about their worst participatory decision-making experiences. New to Participatory Grantmaking? It often takes clarity of roles and purview and even some structure to do that. But these “soft skills” are not magic.
Last month, the Irvine Foundation put out a new report, Getting In On the Act , about participatoryarts practice and new frameworks for audience engagement. Here's what I think is really strong about the report: Coordinated, succinct research findings supporting the rise of active arts engagement.
This winter, I once again taught a graduate class in the University of Washington's Museology program. 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.
Since then, Stacey has become an indispensable member of our staff, leading our community programs and inspiring us to think in new ways about how we can build social capital in our community. Visitors bond and bridge through participatory experiences at MAH.
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
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 artsprogramming in the last few years. There's been a lot of innovation in artsprogramming in the last few years. How do you form an arts habit? You have a great time.
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.
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.
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.
It is an art form completely dependent upon the creative potential of each audience member in relation to the events on stage. Over a month ago I told Emily from the Nonprofit Blog Exchange that I would participate in the most recent exchange and write about The Artful Manager. art social media social web web net2 nptech
A few weeks ago, the MAH Director of Community Programs, Stacey Garcia, came to me with an idea. This past Friday, we experimented with a new feedback format at an evening event focused on poetry and book arts. The events are informal, personal, and fun, but our feedback mechanism--onsite and post-event surveys--not so much.
If for instance, you tagged a tweet about your Foundation's performing artsprogram 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. engaging in conversation, finding it more useful as a social media tool).
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. Are participatory activities happening on the web because that is the best place for them? Instead, I found a standard art museum.
Note From Beth: Yesterday, I attended a convening called “ Beyond Dynamic Adaptability ” for arts organizations about cultural participation in the arts. Good Pitch is an effort that brings documentary filmmakers together with a wide range of partners in distribution, financing and outreach for activism.
In addition to the education and inspiration, NTEN is promoting accessibility, equity, and inclusivity like never before with dedicated racial affinity spaces, meditation sessions, and even virtual art galleries and live music. Where to Find Cloud for Good. Opportunities for Professional Development.
Grantmakers should be thinking now about how to use a climate justice lens within their existing programs to plan ahead to address this reality. It also explains how the McKnight Foundation is connecting its participatory democracy work with climate justice efforts in historically marginalized communities. . Not reinventing the wheel.
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.
How do you develop programs that are responsive to your community in a meaningful way? At the Santa Cruz Museum of Art & History (MAH), we've started experimenting with a "community first" approach to program development. Six goals for MAH community programs. Then, we went honeycomb-crazy.
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.
Working with arts organizations there are often concern that your constituent stories aren’t as impactful. million likes surely someone touting the effect of music and art on their lives can get just as many. Would you like to share this with others that may contribute to our program? to participate in an event. Make it fun!
Establish local networks of individuals and organizations using social media to help build stronger organizations and more participatory societies. When the Ryan Sweeney, Program Assistant and techie at IIE introduced himself, he used the word “Nerd.&# We asked the team leaders if there was an Arabic translation.
We are hiring for a School Programs Coordinator to wrangle the 3,500+ students and their teachers who come to the museum every year for a tour and hands-on experience in our art and history exhibitions. What kinds of programs should we consider providing for these groups? Not all learning happens in school.
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.
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.
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." He defines participatory culture as a culture: 1.
Earlier in 2013, I was amazed to visit one of the new “Studio” spaces at the Denver Art Museum. The Denver Art Museum is no stranger to community collaborations, but we’ve been dipping in our toe a little more deeply when it comes to developing permanent participatory installations.
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. inclusion Museum of Art and History research social bridging Unusual Projects and Influences'
It can lead to parallel programming: bike night for hipsters, bee night for hippies, family night for kiddies. At the Santa Cruz Museum of Art & History , we''re approaching this challenge through a different lens: social bridging. This has led to a surprising outcome: we are now de-targeting many programs. Why fight it?
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."
I can't say that any one experience--working on a collage with other visitors, swinging on a hammock, discovering a participatory display for pocket artifacts in the bathroom--directly contributed to increased attendance and giving. They all have in concert, and they build on each other.
Last year, NTEN Community Champions helped to raise over $36,000 to help support the NTEN Community Challenge , which helped to enhance NTEN''s program accessibility, including sending over 50 people to the 2014 Nonprofit Technology Conference (14NTC) and the 2014 Leading Change Summit (14LCS) with scholarships.
George is a stranger I met last week at SFMOMA’s new show, The Art of Participation:1950 to Now. We didn’t need a staff member or a program to meet each other. The Art of Participation provides a retrospective on participatoryart as well as presenting opportunities for visitors to engage in contemporary (“now”) works.
Our work to transform the Santa Cruz Museum of Art & History into a participatory and community-centered place has been heavily supported by the James Irvine Foundation. The report is a slim 12 pages on the common characteristics of arts organizations that successfully and continuously engage diverse audiences.
Last week, Dr. Louise Govier posed this provocative question in an excellent paper on co-creation in the arts: Leaders in co-creation? Why and how museums could develop their co-creative practice with the public, building on ideas from the performing arts and other non-museum organisations (free to download).
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.
But we've just compiled all our attendance data for the past year at the Santa Cruz Museum of Art & History (our fiscal year ends on June 30), and several people have written to me asking for the numbers behind our turnaround. The busiest day in both 2011 and 2012 is our longtime community program, Free First Friday.
Two weeks ago, I wrote about t he use of the word "quality" in the arts and its many forms. 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. I don''t think these goals are universal by any means to the museum or arts field.
I'm reaching the end of my consulting days, with just one more day on the road before I dedicate myself to Santa Cruz and The Museum of Art & History. On Monday, April 25, I'll be participating in an online video chat with Andrew Taylor and James Undercofler to explore new business models for arts organizations.
We've gotten a little more organized at The Museum of Art & History , and we've now released opportunities for summer internships. These are unpaid part-time and full-time opportunities to help design public programs, develop new uses for the museum, perform visitor research, and pursue unusual projects.
As a researcher and activist for participation, I've sometimes downplayed the value of this charm because it seems like arsenal for professionals who claim participatory projects are frivolous. "Be And yes, they've served our organization in all kinds of tangible ways--introducing us to new interns, volunteers, and program ideas.
Well-planned events enable nonprofits, community groups, businesses and government agencies to showcase AAPI arts, food, performances, and more. The Art of Celebration: Showcasing AAPI Cultural Richness Incorporating cultural performances and art displays is a great way to bring the essence of AAPI heritage to life at your event.
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