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gThe above video is one of the many social networking strategies that The Genocide Intervention Network used to transform itself from a small student group to national non-profit. A participatory culture is also one in which members believe their contributions matter, and feel some degree of social connection to one another.
It is multi-disciplinary, incorporates diverse voices from our community, and provides interactive and participatory opportunities for visitor involvement. This post focuses on one aspect of the exhibition: its participatory and interactive elements. So many museum exhibitions relegate the participatory bits in at the end.
Over the past year, I've noticed a strange trend in the calls I receive about upcoming participatory museum projects: the majority of them are being planned for teen audiences. Why are teens over-represented in participatory projects? Why are teens over-represented in participatory projects?
This exhibition represents a few big shifts for us: We used a more participatory design process. Our previous big exhibition, All You Need is Love, was highly participatory for visitors but minimally participatory in the development process. Without further ado, here's what we did to make the exhibition participatory.
Last week, I gave a talk about participatory museum practice for a group of university students at UCSC. There is another, surprising group that is much less likely to participate in dialogue with strangers: teenagers. Many teens love to perform for each other. First, teens often have incredibly tight social spheres.
In the past, I''ve subscribed to the theory that an organization should target many different groups and types of people to serve a constellation of specific audiences across diverse affinities, needs, and interests. It''s still grouping. But ultimately, that''s still targeting. Why fight it?
A group in their late teens/early 20s were wandering through the museumwide exhibition on love. When I walked by the first time, the teens were collaging and Kyle and Stacey were talking. I don't know what formed the bridge between the artists and the teens in this circumstance. Kyle had brought his baby with him.
Or that we take a group photo together at the end of the day. 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. It was pretty freaking amazing.
School programs fall within this landscape, and our goal is not to see them as completely separate from the other work we do with youth—Kid Happy Hour, family festivals, teen program—but on a continuum. What kinds of programs should we consider providing for these groups? Most school tours are for intact groups—a single class or grade.
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? For this reason, I see history museums as best-suited for participatory projects that involve story-sharing and crowdsourced collecting (e.g.
Museums and other venues are offering special programs for teens, for hipsters, for people who want a more active or spiritual or participatory experience. If you have a friend or group of friends who like to "go out"--whether that's brunch, hiking, movies, or museums--you're more likely to form a habit that involves external venues.
You''re in for a treat, with upcoming posts on creativity, collections management, elitism, science play, permanent participatory galleries, partnering with underserved teens, magic vests, and more. I crave community, but I am not naturally outgoing in large group settings like conferences.
At the big one, I worked on a small project with teens to design science exhibits for community centers in their own neighborhoods. I knew how to be assertive and social in small settings like my museum but not in larger groups. In 2004, Anna was the Director of Exhibitions and Programs at the International Spy Museum.
There was a wonderful example at the Ontario Science Center in their Hot Zone area, which features several voting and commenting kiosks popular with teens. Unfortunately, most talk back walls don't support the grouping of visitor contributions or attempt to encourage conversational threads to develop.
Visitor Co-Created Museum Experiences This session was a dream for me, one that brought together instigators of three participatory exhibit projects: MN150 (Kate Roberts), Click! So far, most participatory museum design projects are heavily guided by the institution. MN150 will have formal summative evaulation, which is wonderful.
Teens advocating for all-gender bathrooms. LOCAL INSTITUTION : Your community is a definable group of people connected by place. That means offering clear, visible, appealing participatory experiences that enhance the destination experience. Printmakers leading workshops. Volunteers restoring a historic cemetery.
Librarian Aaron Schmidt tells the great story of a game night of Dance, Dance, Revolution at his library in which a teen asked him: “Hey Aaron, can I go upstairs to grab a magazine and book to read?” If you start with an event, you may grow the relationship from one-off to a deeper connection with the group. Invite them back.
We're always happy for more bodies in the door, but if supporting teens means alienating seniors, there's a problem. Pick a group of people to whom you would like to be relevant, and work with them to deliver programs that meet their needs. Tags: participatory museum inclusion comfort. Pick a specific community (or two).
In many museums, comment cards are currently the most "participatory" part of the visitor experience. The ideas can be tagged and grouped into categories, and can be browsed in time order, by most popular, or by category. It may be useful if you want to ask "What kind of teen programs should our museum offer?"
Let's say you spend a year working with a group of teens to co-create an exhibition, or you invite members and local artists to help redesign the lobby. In many cases, once the final project is launched, it's hard to detect the participatory touch. Not every participatory process has to scream "look at me!"
When I look back at some recent projects that I''m most excited about (like this teen program ), I realize that I had very little to do with their conception or execution. We have an incredible group of people working together at the MAH right now. Participatory work can be very labor-intensive. In the meantime, here are some.
Every other year, they convene TUPAC, a group of 35 outside advisors, including teens, college students, Temple University professors, artists, philanthropists, and community leaders. Temple Contemporary’s mission is to creatively re-imagine the social function of art through questions of local relevance and international significance.
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