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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?
Last week, I gave a talk about participatory museum practice for a group of university students at UCSC. Teenagers are often the target for participatory endeavors, and they definitely have high interest in creative expression, personalizing museum experiences, and using interactive or technological tools as part of their visit.
Single-speaker lectures languish while lightning talks featuring teen photographers, phD anthropologists, and professional dancers are packed. "Family Art Workshops" suffer from anemic participation whereas multi-generational festivals are overrun with families.
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.
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. How can we develop programming that encourages students to make connections with kids of other ages or from other parts of our County?
Museums aren't the only venues facing this question: news outlets, corporate brands, and educators are also grappling with the question of trust in the participatory age. I'm reading a book of essays about how to teach written by teens. It's amazing how much emphasis the students put on reciprocity: you respect me, I'll respect you.
the Exploratorium is a place high school/junior high students go on field trips and make snarky videos at their teachers' behest (source: YouTube ). I watched many entertaining shorts featuring students explaining exhibits to the beat of popular and illegally uploaded music. If I'm an engaged spectator in the groundswell--using Yelp!
The people were of all ages--moms with babies strapped to their fronts, six year-olds using skillsaws, pre-teens building robots, teenagers doing homework. Over 30% of our staff statewide are either former Workshop students or parent volunteers. comfort creative placemaking cultural competency design interview participatory museum'
We're always happy for more bodies in the door, but if supporting teens means alienating seniors, there's a problem. The student community? Tags: participatory museum inclusion comfort. Connecting with communities means making conscious decisions that invite in particular people. Pick a specific community (or two).
Every other year, they convene TUPAC, a group of 35 outside advisors, including teens, college students, Temple University professors, artists, philanthropists, and community leaders. Some students folding clothes. They live their mission, working in questions and projects rather than exhibitions and programs. Empty pegboards.
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