S

Minds in Motion Vol. 1 0, No. 1 Autumn 2000

THE QUARTERLY JOURNAL FOR DEDICATED EDUCATOR'

Targeting Pragfi

Teaching to Specific Audiences

Making a 4,050-Ton Ship "Child-Friendly" When Targeting, Take Aiml Art Around the Corner Linguistically Diverse Audiences Targeting One's Fellow Docents a Creative Solutions to "Standards of Learning" Adult Touring Strategies minds in motion

When Targeting Programs,

can you expect impaired, visit organizations that willing to make alterations. MOWto hit a target if work with that segment of the Remember that this is not the only you don't aim? community, contact experts, and time evaluation and revision will

The simple answer is enlist the aid of people with visual be necessary. It is simply the first.

that you can't. The same is true when impairments who will serve on an developing and implementing advisory panel. Allow these people Scheduling the Targeted Program

educational programs. You must do and resources to help you understand Regardless of whether it is a staff more than assume you know a the audience beyond your level of member or volunteer who schedules targeted audience. "Targeting by assumption. Be a good questioner tours, the strategic importance of

assumption" is no different than and a good listener. Learn such that person cannot be overstated. guessing. And, while your willingness things as how people with visual The tour scheduler should do more

to guess may serve as an indicator impairments gather information best, than simply match time slots and

of good intentions, it is no way to what obstacles they find when using docents with group requests. He or Cover Photo: create excellence in programming. facilities like your own, and what she should have a conversation with Susan Miner, (Remember the famous road that's might make visits easier and the "client" and solicit information director of paved with good intentions?) more productive. about the desires and capabilities education Working to assess your audience If developing programs for of the group. at the Wichita- is the best way to target a program, school groups, speak with curricular Beyond dates, times, and Sedgwick County and a necessary route for determining supervisors, other administrators and numbers of people arriving, the Historical Museum programmatic validity. Assessing principals, teachers, and members of scheduler should query whoever in Wichita, KS, helps define both the needs and parent organizations. Find out what calls about a host of other concerns. demonstrates desires of the intended audience. students in the grades targeted are Most should revolve around visitors' an early, And, assessment can reveal if the responsible for learning and how your expectations and needs. In addition, manual version targeted program actually achieves institutional collection might serve as the conversation that results should ofthe carpet its objectives. a resource or complement. Find out help to avoid misunderstandings by vacuum cleaner. how a visit to your institution will addressing any misconceptions the

Developing a Targeted Program fit into the school year and how the "client" may have about the program

The first step when targeting information derived will be used or its delivery.

programs is to learn as much as you once the students return to class. For instance, among the ques-

can about the intended audience. Enrichment is good, but relevance tions a tour scheduler might ask are:

You can't tailor programs to fit a is essential. This is especially true Which institutional program is specific population without sizing during these days of increasingly being requested, and why was that

up that audience. This requires finite resources and external pressures one chosen?

discerning what motivates the to devote more time to performance Is this trip connected to other

audience to come to your institution, on standardized tests. activities or areas of study? determining what their learning needs During the development stage What has the group been told

are, ascertaining what level of ability of programming — when a program about the purpose and/or content

and exposure they have, and being has been outlined and its goals and of their visit? told what the audience hopes to do objectives defined, but before the Are there special requests to

with the experience after they depart. methodology and details are finalized accommodate? Take the time necessary to — return to the people and resources Do any members of the group have

ask, explore, and gather information. you consulted. Ask them to review particular physical needs that wiU

Speak with representatives of that your concept and ideas for its require attention or assistance? population and others who already execution, hxtyouon target? If the group consists of students work successfully with that audience. Did you understand and properly or other people requiring supervision,

For instance, if you are developing process the information and advice have the requisite number of chaper- programs for people who are visually you received? Be malleable and ones or attendants been secured?

2 The Docent Educator Autumn 2000 Take Aim!

Conducting the Targeted Program idea and improves the potential for the program developer if the program

Just as every individual differs information retention. is achieving its goals and objectives. from others, every group has its The program developer's willingness own distinguishing characteristics. Following Up on a Targeted Program to listen, refine, and even rework Even though one visiting group Several opportunities present if necessary, should go a long way can be put into the same category themselves for assessing a targeted toward ensuring that other co- as another, the two will not behave program after it has been imple- operative projects will be undertaken identically. It is not appropriate mented. At the conclusion of in the fiiture. for instance to presume that aU conducting targeted programs, tourists are the same, or that every docents should be asked about the eighth grade group will react program's workability and appropri- similarly to others. Groups have ateness. Their appraisal should speak their own dynamic. to issues of teaching, modes of Alan Gartenhaus

Because every group is delivery, and logistical concerns. Publishing Editor different, docents should use part Evaluations by the tour recipi- of their introductory time to assess ents will reveal what was learned each particular group they greet. and how much was retained. These

"Welcome to our facility. Have you evaluations should also teU reviewers been here before? What did you see such things as the audience's level of the other times? What were you enjoyment and whether the program hoping to see today?" was considered worthwhile. While you may have only a few Feedback from supervisors moments to engage in such conversa- or group leaders (such as teachers, tion, consider this time well spent. principals or administrators) wLU tell

First, it makes an audience feel at ease to get acquainted with their docent.

Second, conversation sets the stage for interactive teaching rather than passive listening. Third, this abbrevi- ated conversation can avoid some important misunderstandings. THE QUARTERLY JOURNAL FOR DEDICATED EDUCATORS

If, for example, people were expecting The Docent Educator is a quarterly publication dedicated Publisher/Editor to see giraffes and these animals are to improving the performance, status, and satisfaction of Alan Gartenhaus not on display, the group should be volunteer and staff educators teaching within museums, told. If the participants were historic sites, gardens, parks, zoos, libraries, and classrooms. Associate Editor expecting to see giraffes but they The publication is available by subscription to individuals, Jackie Littleton are not ordinarily on this tour as well as to groups and institutions. program, the docent must make a minds in motion The Docent Educator welcomes unsolicited articles, rapid-fire decision. Can a visit to The Docent Educator announcements, comments, general correspondence, and the giraffe exhibit be accomplished Post Office Box 2080 advertising inquiries. The views expressed or implied in this logisticaUy, and can the lesson be Kamuela,HI 96743-2080 USA publication do not necessarily represent the ofl&cial position adapted without losing its integrity? phone: (808) 885-7728 of the publisher, and efforts are made to present a variety of After this fax: (808) 885-8315 quick assessment, viewpoints for the reader's consideration. tell visitors the theme or subject of e-mail: [email protected] the tour. This lets them know how No part of this publication may be reproduced, or used to connect their experiences to a big in any manner, without the written consent of the publisher. ISSN 1084-0443 All rights are reserved.

The Docent Educator Autumn 2000 Creative Solutions to

Docents and museum China which have had an impact The director of education educators constantly on world history, with emphasis on organized a meeting of education strive to meet the written language, laws, calendars, staff and certain docents involved

specific needs of and architectural monuments such with the training for ancient civiliza-

the many groups we tour. This is as the the Great by Pyramids and Wall tion tours to discuss the problem especially true when designing tours of China." Is it any wonder that and develop a tour that would be Anna to reinforce particular areas of school second grade teachers were in a state appropriate for second grade students. Gibson curriculum. A well-planned museum of panic when the SOL were issued? The two of us, one a museum Holloway visit can be a valuable extension of The impact of the SOL on educator and staff member and the the classroom experience and can the Chrysler Museum of Art was other a docent and former teacher offer enrichment opportunities that reflected in the increased requests with a background in early childhood

Betsy complement the academic curriculum. for certain specific tours. Previously, education, were included in this Browne At the Chrysler Museum of Art, we had offered a tour of our Ancient meeting. We looked at the many we have developed several tours that Civilizations collection for sixth facets of the situation and examined

target specific grade-level curriculum graders. Suddenly we began to both the possibilities and the

requirements, using areas of our receive requests for tours focusing limitations we faced in designing a collection as a visual enhancement on Ancient Egypt and China at the tour for young children focusing on

to textbook information. second grade level. This immediately Ancient Egypt and China. In 1995, the State of Virginia presented the staff and docents with Among our obvious limitations

issued a series of curriculum guide- a number of challenges. Because our were the narrow scope of the

lines known as the Standards of Egyptian and Chinese galleries are museum's collection and the

Learning (SOL). These standards relatively small, and attention spans of "intimate" size of our galleries.

oudined educational objectives for second graders are relatively limited, It was not realistic to squeeze a

each grade level, from kindergarten we had to rethink how we would large group of children into two through twelfth grade, in four introduce children of that age to small spaces while trying to

academic subject areas - English, these collections. At first, we tried hold their attention for an hour. math, science, and history and doing highlights tours with a special Also, since young children learn best social sciences. The goal of the SOL emphasis on Egypt and China. by doing, hands-on activities should was to estabhsh baseline academic In other words, we toured large be an essential part of the educational standards throughout the Virginia groups of second grade children process for children of this age. public school system. through the museum, allotting a We are not a touching museum, The immediate effect when certain amount of time to the and visitors cannot handle the

the SOL were first released was Egyptian and Chinese galleries, antique porcelain pieces in the panic in the classrooms. Though the but not spending the entire hour in Chinese gallery no matter how much state made the SOL a classroom two cramped spaces. At the end they might learn in the process!

priority, all too often teachers were of a year, however, the feedback Eventually, we developed an

expected to meet these goals from teachers was less than glowing. Egypt-China tour for second

without sufficient texts and resources. They wanted tours that focused graders that alternates gallery This was especially true for the exclusively on Ancient Egypt experiences with hands-on activities.

history and social sciences area of the and China, reinforcing what was Consistent with these children's curriculum in the early elementary taught in the classroom about limited attention spans, we divide school grades. these two ancient, but disparate, tours into four fifteen-minute The standards for introducing civilizations. Also, teachers needed segments. When a group of children

history and social sciences at the to justify their field trips to their (usually two classes of second graders,

second grade level were particularly principals. The more focused the or approximately sixty children) arrive problematic for teachers. The SOL tour was on the SOL, the more at the museum, they are divided into

state that "the student will study the likely the principal would be to four groups of approximately fifteen

contributions of Ancient Egypt and approve it. children each, with a docent assigned

4 The Docent Educator Autumn 2000 standards of Learning

to each group. The four stops during the tour include the

Egyptian gallery, the Chinese gallery, a workshop activity that focuses on Egypt, and a hands-on activity in a gallery setting that focuses on the Chinese influence upon porcelain. Much of the collection in the

Chinese gallery is comprised of Chinese porcelains. But, we also have two very large galleries of English porcelain that are seldom

used. Making a static display of porcelain exciting to second graders

can be a daunting prospect, however. Since we had several inexpensive pieces of imitation export Chinese

porcelain left over from a previous exhibition, we decided to use them

to allow children a tactile opportu-

: nity. Children get to feel and closely observe the different glazes and motifs originally developed by the In a program targeted to the State of Virginia's Standards ofLearning, docent Carol Craig guides second grade

Chinese in ancient times and later students through the Chinese gallery at the Chrysler Museum ofArt. adapted by Europeans. Docents begin this portion of the

: program by reminding students of all before it was fired, but that the The children also react with

I the contributions that the Chinese other colors had to be applied later. delight when they enter the work-

people have made throughout history. Once they learn how the designs were shop for their hieroglyph activity. This leads to a discussion of porcelain applied, they explore the galleries to While in the workshop, the children

; and the European attempts to find examples of Chinese designs learn about Egyptian writing and

discover how the Chinese made it. that were copied by the English. papyrus by inscribing their names j Students are intrigued at So what was once a quiet, in Egyptian hieroglyphs on strips

'• the thought of a "secret recipe" for little-used gallery has suddenly of papyrus, which they can take i porcelain. Through conversation become an exciting, dynamic place! home and use as bookmarks.

and inquiry, the students realize The only problem we have found While papyrus is not exactly a j that they already know several of the with this portion of the program household item, we were easily able j

ingredients used in that secret recipe, is that new security officers and to locate a source on the internet. j j such as clay, water, heat, etc. This is concerned members of the public The papyrus comes in sheets that

an empowering experience for have been known to react with can be cut into strips. After being I

I second graders! horror when they see children handed a strip, the children are Allowing them to touch repro- touching what they perceive to able to make comparisons between } ductions - to feel the smoothness pieces. i of be collection We are quick papyrus and the paper they use in the blue and white ware compared to assure them that these are school everyday. they discuss i Then with the rough surface of reproductions, and once this fact the writing implements and

a rose medallion piece - led the is estabhshed, all who have observed substances used to ink in Continued on j make students to the conclusion that blue the program are delighted by the ancient times, and they readily next page. could be painted onto the piece reactions of the children. agree that the black markers we

5 The Docent Educator Autumn 2000 Continued from previous page.

supply for this activity produce the same results much more

efficiently.

The children are introduced to hieroglyphs by means of a large display on a

bulletin board. The letters of the Roman alphabet are posted,

each with its corresponding Egyptian hieroglyph under- neath. The children are Hands-on activities, such as writing with hieroglyphs, are instructed to write their names considered an essentialpart ofthe Chrysler Museum's second grade program. on one side of the papyrus strip

the way they do in school.

(We tell them that this will help their teachers, in case they have trouble

reading hieroglyphs!) The children tour later on. One clever decent came Anna Gibson Holloway is the are then told to turn the papyrus over up with the idea of having children manager ofschool tourprogramsfor and practice writing their names in who have difficulty with this project the Chrysler Museum ofArt and hieroglyphs on the other side by only write their initials in hieroglyphs. Historic Houses in Norfolk, VA,

matching the letters in their names The reaction to this approach of where she develops interactivefamily

to the hieroglyph characters. alternating hands-on activities with and schoolprograms. Ms. Holloway

This activity is quite popular, and gallery experiences for second graders graduatedfrom The University of some docents engage the children has been enthusiastic. Teachers and North Carolina at Greensboro with a in a bit of play-acting, asking them children alike find the tour enjoyable, baccalaureate degree in English to pretend that they have gone back and the children leave the museum Literature and Medieval Civilization.

in time 3,000 years to ancient Egypt with a physical reminder of their visit She received her master's degree in where they are attending the (the papyrus bookmark). In the past Tudor/Stuart Historyfrom the Pharaoh's school for young scribes. year almost 4,800 second graders College of William and Mary. When targeting programming participated in this tour, and the for second graders, educators and teacher evaluations have been Betsy Browne has been a docent at docents alike need to remember extremely positive. the Chrysler Museum ofArtfor to key tours and activities to the Certainly we cannot produce fourteen years. She received bachelor's developmental level of this age group. the pyramids or the Great Wall of and master's degrees in Early

During the second grade year, China to illustrate the architectural Childhood Educationfrom the children are developing and changing achievements of Ancient Egypt University ofMaryland in College Park, rapidly. A child at the beginning of and China. We can, however, MD. For a number ofyears she taught

the school year is quite different from introduce these youngsters to some young childrenfrom preschool through that same child at the end of the year. of the cultural artifacts in our the thirdgrade. Ms. Browne'sfirst We found that the hieroglyph writing collection and give them hands-on docent experience was at the National

activity is more difficult for children experiences that will teach them Museum in Bangkok, Thailand. who come for tours earlier in the about the contributions each of Ms. Brown co-authored an articlefor

school year than it is for those who these ancient societies made to The Docent Educator previously,

world civilization. which was titled, "3 Docents, 70 Years of Volunteer Experience"

(Vol 9, No. 3).

6 The Docent Educator Autumn 2000 Publish

Your For Your Consideration Teaching

The Georgia Trust for Historic may not have the time or resources Ideas

Preservation house museums have to take a field trip, the McDaniel- developed school programming Tichenor House brings Georgia and designed to spark young children's Trust Heritage Education programs interest in history. At Hay House, to the classrooms. One of the Techniques! for instance, youngsters learn about planned programs is a "trunk show," the basic house structure from a colorful plastic trunk that may be familiar fairy tales and games. filled with a variety of items such as Older children are involved in an period costumes, photographs and elaborate program that illustrates artifacts relating to state, local, or Submit an article family life and social customs of a house history, depending on the particular period by inviting students class curriculum. forpossiblepublication. to see the house as it would have been The Georgia Trust's house prepared for an elegant social event. museums have become popular Develop a text High school students are invited destinations for adventurous teachers to "behind-the-scenes" tours with and students looking for an "active" addressing the theme insight into the design, structure, approach to teaching and learning. of an upcoming issue. and systems of the home. By creating programming that The McDaniel-Tichenor House appropriately targets school needs in Monroe also hosts school tours, and curricula, visits to these sites offer but a major part of their educational tangible illustrations of history and Touring Walk-ins program involves making on-site help students see the past as more and the General Public visits to schools. Since some schools than just words on a textbook's page. Spring 2001 Submission deadline

December 1, 2000 3 \!S5!feDas 022^ Entertainment and Education Sharing successful techniques, thoughts, and ideas. Summer 2001

Submission deadline

^^fc uring the past year, we adapted our Decent Council bylaws to relate March 1, 2001

to current practices, initiated new docent categories including

Docent Emeritus (as we recendy celebrated the Museum's tenth anniversary),

and for the first time asked docents to sign an annual agreement. Effective Trainingfor Docents

AU of these changes were made following consultations with The Docent Educator, Autumn 2001 Submission deadline a resource that explores many aspects of the docent experience.

June 1, 2001 While we had to adapt ideas to fit, the suggestions and ideas flowed

as soon as we read of the experiences and solutions other docent groups shared.

Thanks for creating the magazine. Enclosed are the fees for 14 group subscriptions. To receive writer's guidehnes send us

a self-addressed, stamped envelope. Kit Kowalke, Vice Chair, Docent Council The Contemporary Museum AU articles are editedforpublication. Honolulu, Hawaii

The Docent Educator Autumn 2000 Hitting ttie Bulis Eye

Adult Touring Strategies

MM he great man is he coordinated by the Museum of with three different "triggers" who does not lose the Rockies in Bozeman, Montana, for thinking about the object. his child's heart." revealed that adult learners are For instance, a "trigger" card might by T (Mencius 327- more self-directed than children, ask the viewer to select one from 289^B.C.) When children tour bring a rich resource of backgrounds the following activities: Michael three your museum, how do you speak to and experiences to learning situations, think of five words to use to J. their hearts and minds? Do you have internal incentives for learning, best describe this object Nelson ask questions? Provide activities? and want to apply what they are make an association between Promote exploration? Invite discus- learning immediately. (Dr. Bonnie this object and something in your

sion? Do you use the same touring Sachatello-Sawyer and Dr. Robert own life

strategies when teaching adults? FeUenz, Principal Investigators, A compare this object to other objects Most of us subscribe to the notion A National Study ofAdult Museum on display in this area. that children have a more enjoyable Programs, U.S. Department of Educa- After distributing the cards,

and educational museum experience tion Field Initiated Studies Program) give the group some silent time for

if they actively participate in a tour. So, contrary to many of our thinking. Then, ask those who wish

Yet we hesitate when it comes to assumptions, adults are looking for to participate in the first activity to applying the same techniques with opportunities to make their ovm share their thoughts. Next, move on

adult audiences. Why do we think decisions, share what they think to the second activity, and then, the

that interactive and personalized and feel, and actively learn and grow. third. In addition to gaining their

tours are beneficial for younger Therefore, it seems appropriate that direct participation, you will have

visitors but not appropriate for during adult tours, docents try to engaged everyone in all three

adults? What holds us back? provide opportunities for choice, activities. Perhaps one of the larger engagement, questioning, reflection,

stumbling blocks is our pre-conceived interaction, and wonder. Engagement idea of what adults do and don't want. In his book The Everyday Work We assume that adults won't want to Choice ofArt, Eric Booth points out that a be actively involved, and would rather Do adults have a chance to work of art (or a history or science

linger in the background, passively make choices during your tours? object) "has two concurrent lives: taking in information. We may also Inviting adults to choose empowers one as an actual real thing and believe that interactive tours for them, helps them direct their learning another in the set of connections

adults would be the same as children's experiences, gives them a personal we make when we engage with it." tours, only talking in a "more adult investment in the lesson, and makes Getting your visitors to engage with tone of voice." them more mindful of what they objects, therefore, implies having

While it is true that the same will be doing. them connect with them in personal general touring strategies work for What are some practical ways and meaningfial ways that go beyond

all ages, there are ways to modify to provide adults with choice? objective lectures. approaches to make them suitable You could, quite simply, ask each The desire to touch, to try new and appropriate for adults. When person to select an object in a gallery things, and to be entertained doesn't designing tours for adult audiences, that engages their interest, and base disappear when one becomes an adult. we need to reconsider what adults the discussion on those choices. Look for creative ways to invite your

really want and what a successflilly Or, if time does not permit selecting adult audiences to participate. In an engaging tour for adults might look multiple objects, ask participants to art museum you might have a group

and sound Hke. look at the same object, but let them pass around a piece of canvas covered What do adults actually choose the way in which they will in oU paint, let them handle a

want from a museum experience? investigate it. This can be accom- copper engraving plate, or have A study of adult museum programs, plished by giving each person a card them try their hand at making a

B The Docent Educator Autumn 2000 . contrary to many ofour assumptions,

simple design on a scratchboard. adults are lookingfor opportunities In a science museum you could set up a hands-on activity or experiment. to make their own decisions, And, in a history museum you could play music from an earlier period, share what they think andfeel, or share news stories from the time represented by the object or place " and actively learn grow. you are exploring. and Do not stand between the

object and the visitor. Stand to the side or behind the group so that

your audience's focus is on the object Interaction Wonder

and not you. Everything you do Interaction can be achieved To experience wonder is to to directly involve adults with the effortlessly just by asking visitors be amazed, to marvel, to be in awe. objects they are encountering will such questions as "Does anyone see Though the adult world might seem

flirther their engagement. it differently?" or "Does anybody fairly serious on a day-to-day basis, remember having one of these?" many look for opportunities to go Questioning Allowing your audience to make beyond what they already know, If you've tried posing questions choices, to engage, and to consider and to stretch and grow. during adult tours, you may have questions promotes interaction. Museums, zoos, gardens, and encountered the long silence that And, interaction makes learning parks are great places for visitors to often follows as you wait for an experiences more memorable and expand their horizons. Think of answer. I encourage you not to fear more enjoyable. ways you might awaken their curiosity the sUence. Eventually, someone in or amazement. Share with them the group will be brave enough to Reflection what excites you while you allow speak up, especially if you ask The "flip side" of interaction them to make their own discoveries. questions that do not require prior is reflection. Do you give visitors knowledge or expertise to answer, time to think? This is particularly such as "What do you have in your important because people learn home that this object might remind and participate in different ways. A you of?" Some will be quick to respond;

Encourage adults to ask their others will need time to formulate Michael Nelson has a master's degree own questions. Have each person in answers or opinions. If you allow in art history and has been a museum a group select a different object and time for reflection, you will find that educatorfor over ten years. Currently, list all the questions they can generate many more of your adult visitors are she resides in Austin, Texas, and is about that one piece. Then, discuss likely to participate in discussions. working as a education consultant the questions listed and provide Encourage visitors to slow down, to museums, specializing in docent some answers. reflect, and take time to gather their training. Ms. Nelson contributed

Give adults permission to ask thoughts. Before saying anything an article previously to The Docent questions. Let them know that all about an object, tell the group that Educator. // was entitled ''Wtl^mg questions are welcome and none are you are going to give them a few Visitors Ask Better Questions" too simple. Also, try posing some minutes of sUence just to look at (Vol 9, No. 2). rhetorical questions, such as "Have it and think about it. Providing just you looked at plants like this and a few moments for reflection will wondered why they evolved this way?" go a long way toward enriching the

People will be responding, silently, tour experience for adults. in their minds.

9 The Docent Educator Autumn 2000 A Neighborhood Partnership Art Around the Corner

n the early 1990's, field trip Asian-American children. Two of respect, responsibiUty, tolerance, funds for the District of these partner schools have no and self-control. Suggestions from Columbia Public Schools art teachers. teachers led to the integration of a by decreased dramatically. Students in Art Around the time at the end of each tour for That meant that students in the Corner come to the Gallery seven student journal writing. The writing Susan District of Columbia PubUc Schools times during the school year for assignments ask questions related Witmer were missing out on the bountiful small-group, docent-led, inquiry- to tour objectives and require students resources available to enhance based tours. Fifth graders are taught to make connections between what their education. the building blocks of art through they see on the tour and their own

In response, the department tours focused on art elements, tools lives. This activity supports language

of teacher and school programs of and techniques in painting, and arts standards while providing the National Gallery of Art created portraits and personalities in sculp- assessment tools for teachers, docents,

a program to invest art into the lives ture. The sixth-grade curriculum, and program staff

of D.C. students and to support called "The World Around Me," Involving docents in the

school curriculum objectives. Art builds on what was learned the evolution oiArt Around the Corner

Around the Corner^ a multiple-visit previous year and challenges the sixth has been essential, as the docents are program, was developed and targeted graders increased abstract reasoning the frontline workers who regularly

for fifth and sixth graders. The two- skills. Tour themes include origin facilitate students' experiences in

year curriculum combines tours with myths, architecture, heroes and the museum. Before the start of the

related in-gallery writing assignments, heroines, and the environment. program each fall, staff and docents studio projects, and classroom Art Around the Corner culminates meet in workshops to discuss new

extension activities. The goals of in Family Day during which each tours and related handouts and visual

the program support the visual arts, student gives a presentation about a aids. Docents are involved in the

language arts, social studies, math- work of art to his or her family and development of pilot tours, meeting ematics, and science curriculum friends. This event helps to coalesce in the planning stages to offer

standards. And, the initiative works the visual, verbal, and critical thinking suggestions on works of art and to foster student appreciation for skiUs students develop throughout objectives and afterwards to evaluate

art and an interest in museums. the year. them. After all tours, docents provide

Grants monies secured by the The Art Around the Corner written feedback on the selection of Gallery pay for bus transportation, museum-school collaborative requires objects, in-gallery writing assign-

honoraria for teachers whose students a continual dialogue between program ments and activities, and goals and

participate in the program, suppUes, staff, teachers, and docents to achieve objectives. Docent and teacher and program evaluation. the common goal of connecting tours comments are taken very seriously In 1993, the Gallery approached to school content standards. Spring and are used to improve tours and

twelve neighborhood schools about curriculum workshops provide an lesson plans for the following year. participating m Art Around the Corner. opportunity for teachers to discuss Teachers and docents meet each

The first three schools to respond content and suggest themes for pilot fall before the start of the program

became pilot schools and continue tours. For instance, in response to for in-service training at the Gallery.

to be part of this program. At the teacher requests for a tour Unked to Teachers receive lesson plans that

outset of the relationship, the Gallery science and geography curricula, include extension activities and web

made a clear commitment to provide program staff (with input from site information for use back at an ongoing, multi-year partnership teachers and docents) developed an school. The meeting gives teachers

with these schools. The schools, art and ecology tour. Educators also and docents an opportunity to plan

which expand to a fourth this fall, recommended connecting Gallery for the upcoming year and to tailor

are facilities that educate primarily lessons to the school district Values lessons to meet particular classroom African-American, Hispanic, and Code of Virtues, which includes objectives. Each teacher participating

70 The Docent Educator Autumn 2000 m Art Around the Corner is assigned While Art Around the Corner members and guardians to participate two or three docents who always work specifically targets a fifth and sixth in student learning. Families are with the same small group of eight or grade audience, a broader community special guests at Family Day, the nine students. Regular contact with connection is an important outgrowth culminating event ofArt Around teachers and a core group of students of the program. Gallery staff strives the Corner each March. For families help docents adjust to accommodate to involve families of students in the who may have difficulty attending differences in student learning styles. program, encouraging family the weekday Family Day event, the Gallery offers a special weekend

program in the fall, for which bus

transportation is provided. The fall weekend programs may include tours,

art activities, or film screenings that are appropriate for children. These events provide caregivers and siblings who do not ordinarily come to the Gallery an opportunity to become

familiar with its collections and program offerings. Several teachers have mentioned that family programs particularly help immigrant parents

learn about the Gallery as a local cultural resource.

Did this targeted program

achieve its aims? The impact of this program on fostering student interest has been evaluated by an indepen- dent, non-profit learning research organization. Results of their studies

indicate xkvH Art Around the Corner students demonstrated excitement, enthusiasm, and comfort that were not evident in a control group. An evaluation of the long-term impact oiArt Around the Corner on

students' abilities to interpret and discuss works of art one to three years after completing the program also elicited positive findings. A compari- son of written and oral responses from Art Around the Corner graduates and a control group revealed a vast distinction between the two groups'

abilities to interpret works of art.

Even three years after completing

the "^tQ^mm., Art Around the Corner Joy, -wonder, and an increased interest in school are among the many benefits ofa multiple-visitprogram developed by the National Gallery ofArt, in Washington, graduates were more likely to support D. C, and targeted atfifth and sixth graders attending neighboring public their observations of a work using Continued on elementary schools. photo: Susan Witmer detailed evidence. The control group, next page.

11 The Docent Educator Autumn IQQQi Continued from on the other hand, previous page. offered vague responses that were often personal

in nature with

little reference

to visual cues. Results from these studies demonstrated that Art Around the Corner students have an enhanced

ability to respond and discuss works

of art and have more positive attitudes towards

art museums. Equally significant were anecdotal com- ments by school educators on the Evaluations indicate that, even three years completing the program, the Corner positive effects after Art Around graduates were more likely to support their observations ofa work using detailed evidence. ofArt Around the photo: Susan Witmer Corner on learning and self-esteem.

One teacher said,

"Every child relates or learns in a following week. This allows them to

different way. Through art, some relate to the vocabulary, to retain it."

children really thrive. It's another Begun as a pilot program

aspect where children can express targeting its elementary-school Susan Witmer is coordinator themselves." A principal noted neighbors, ^r/^ro««^/ the Corner ofthe multiple-visit program

that there was less absenteeism on is now an endowed initiative of Art Around the Corner at the Art Around the Cor««'r visitation days. the National Gallery of Art. National Gallery ofArt. Her e-mail

He saw the program as a motivator Independent evaluation as well as address is: [email protected].

and felt that it offered children teacher and administration feedback Art Around the Corner is made

incentives to attend school. tell us that the program fiUs a need possible by grantsfrom Target Stores,

Another principal articulated in a time of district-wide cutbacks the Park Foundation, Inc., and

best the benefits of the curriculum- in field trips and art instruction. Janice H. Levin. based program. 'Art Around the Because tours are curriculum-based,

Corner reinforces class work; student learning in the Gallery

the foUow-up is immediate. It's not supports the district's educational

abstract; it's meaningflil. You can agenda. This initiative continues teach vocabulary in class and then to be successful because of ongoing [students] get to actually see and use collaboration with teachers

the vocabulary in the art museum the and docents.

12 The Decent Educator Autumn 2000 Helping Bilingual Students Access Your Collection

Linguistically Diverse Audiences

t one jjoint in ingly being asked to provide tours obvious in the name — bilingual.

the movie "Life is and educational programming for Students continue to speak their

Beautifiil," I began LEP students. first language while learning English.

to believe I could For many years, non-English Instruction in both language and

speak Italian. I became unaware speaking students were expected content is given in two languages.

that I was reading subtitles. In fact, to enter the mainstream through At the simplest level, bilingual the action on the screen was so an approach called submersion. instruction employs translators, visually expressive, my dependence This "time-honored" technique people who speak the students' on the spoken and written text was simply meant throwing non-English language but who may or may not

negligible. This experience is often speaking students into classes be professional teachers. In the

on my mind as I develop programs conducted in English and allowing classroom, they listen to the teacher and train docents for audiences that them to sink or swim on their own. and translate her words for the LEP

include, more and more frequently, This, of course, is not a program students. When such students visit visitors with limited English and was, in fact, declared illegal by a museum, their translator usually proficiency (LEP). the Supreme Court in 1974 in accompanies them and translates

Americans have had a love/hate Lau V. Nichols. Nevertheless, it is, the docent's words. Too often, relationship with bilingual education by default, the approach used by LEP students whose only support ever since English became the many museums and similar venues comes from translators learn to "tune language of commerce and of the that have not actively addressed the out" the teacher (or decent) and wait new government. All other languages challenge of LEP visitors. for the translation. became "second class." New immi- School systems today generally Transitional bilingual classes are grants often wanted their chUdren approach education for LEP widely used in the U.S. Teachers who to learn English and suppressed their students with variations of two are fluent in both languages work to own language and culture in order distinct philosophies, ESL or transition their students from their to speed the process of assimilation. bilingual education. native language to English as quickly The current pendulum swing In English as a Second Language as possible, usually within two to recognizes the value of bilingualism (ESL) classes, non-English speakers three years. Developmental or in a diverse society and a shrinking are taught English much as any maintenance bilingual programs

world. Additionally, the sheer foreign language is taught. Students are currendy emphasized in many number of non-English speakers in these classes require additional U.S. schools. In these programs,

in American schools has increased help in content areas. Sheltered sometimes called "late exit," students

dramatically and demands a response. English is an approach used by stay in the program until they become The National Clearinghouse for a number of school systems. literate in both their native language

BUingual Education (http:// Content area classes are taught by as well as English.

www.ncbe.gwu.edu) reports a current ESL teachers who segregate LEP Making the museum accessible is K-12 enrollment in the United States students from the English speaking the goal of any program, and museums of 46,139,064 students, an increase students, but use English as the approach the challenge of making of 13.6% over the last decade. language for content instruction. their institution accessible to LEP During the decade, however, they When ESL students visit a museum, visitors in a variety of ways. Some

report a school enrollment (K-12) it is usually as part of a "content"class offer label copy in multiple languages,

of 4,146,997 LEP students, an where they often suffer the same fate or the provide printed gallery guides

increase of 104.3%. In many as the submersion students — little in several languages. A few offer tours

communities, whether their bilingual or no support for the visit. in languages other then English. visitors number in the thousands Bilingual education approaches or merely a handfiil, educators in the challenges of the LEP population zoos, museums, historic houses, and in a significantly different way than Continued on

other such institutions are increas- ESL. The difference, of course, is next page.

13 The Docent Educator Autumn 2000 Continued from previous page.

When conducting activitiesfor students with limited English proficiency, ask the teacher to help you

pair students whose English is minimal with those students who have a better grasp ofthe language. Allow timefor discussion within and among the paired groups before askingfor whole group responses.

While these efforts are laudable, English. Programs such as these, English or in a combination of both

they do not address the issue of visits however, are not yet available in languages (if the museum offers trom children in ESL or bilingual most museums. In cases where that option).

school programs. In this case, part of the number of LEP visitors is small, Prior to the visit, the scheduling the mission of the museum becomes bilingual docents scarce, or the teacher should be provided with

helping these students learn or number of "second" languages information and activities that can refme their understanding and use very diverse, museums must find be accompUshed within the classroom of English. other solutions. to help prepare the children for

Many larger museums, or As with any good tour, their visit. While this is a good museums with a significant non- communication with the scheduling idea with any group of students,

English speaking constituency, teacher is an important first step. it is essential for helping LEP

offer educational programming that When a teacher calls to arrange a students understand the content

combines elements of both ESL class visit, the scheduler should of a proposed tour.

and bilingual education. Some are ascertain if the class is ESL, Other suggestions are useful

blessed with bilingual docents who bilingual, or if LEP students are in making a visit meaningful for

have received the museum's content mainstreamed among a group of all students. training, but who also can speak to native English-speaking children. A Greet the children in both

and understand LEP visitors in both With ESL and bilingual classes, it languages with a welcoming word

English and their primary language. will be helpful to know if translators appropriate to the age and culture.

A few museums work with ESL will accompany the children, if any Pronounce the children's names

teachers to devise programs with of the children are still monolingual correctly, even if you must ask more

controlled vocabulary and appropriate in their native language, and whether than once how to pronounce them. hands-on experiences to enrich the or not the classroom teacher prefers Don't Anglicize their names or give

difficult experience of learning the visit to be conducted all in them "other" names.

74 The Docent Educator Autumn 2000 Be open to connections between misunderstood. Be aware of gesture Finally, strive to create a tour that your collection and their native "no-no's" in their home culture. employs a "third" language, the one culture. Often they will point these Work to remove or diminish your that enables me to "understand"

out to you if you have made it clear regional accent, and avoid speaking Italian in "Life is Beautiflil," appreci- that you welcome their participation too fast and using idioms and figures ate "La Traviata" without supertitles,

in the tour. of speech in your presentation. and laugh at the antics of the early

Allow plenty of "think" time In activities, ask the teacher to silent movie comedians. Keep the

after asking a question. Remember, help you pair students whose English exposition of your tour to a minimum.

the children may need extra time is minimal with those students who In a variety of ways, create a tour that

in understanding your English have a better grasp of the language. illustrates, demonstrates, and lets

(different, perhaps, to that of their Allow time for discussion within and children participate in the theme.

teacher), considering their answer, among the paired groups before "Show, not tell" is important with all

forming their mental answer in asking for whole group responses. visitors. It's the key to providing

English, and getting courage When identifying artifacts or access for LEP visitors. enough to speak. specimens by name, ask children for Keep your language simple and the corresponding term in their A use visuals and supporting cues. primary language. Stress that the

Use lots of gestures, but be careful name of the object isn't as important Jackie Littleton

to avoid those gestures that might be as other things we can learn about it. Associate Editor

Most Common Language Groups for LEP Students

The U.S. Department of Education reported the following most common language groups represented in U.S. schools during the 1991-92 school year.

Spanish 72.9% of all LEP students Arabic 0.9

Vietnamese 3.9 Portugese 0.7

Hmong 1.8 Japanese 0.6

Cantonese 1.7 Armenian 0.5

Cambodian 1.6 Chinese 0.5

Korean 1.6 (unspecified c

Laotian 1.3

Navajo 1.3 Mandarin 0.5

Tagalog 1.1 Farsi 0.4

Russian 0.9 Hindi 0.3

Creole 0.9 Polish 0.3

15 The Decent Educator Autumn 2000 Targeting One's Fellow Docents

target knowledgeable, national symposium. They were Food is a Southern vehicle Totalkative docents as an eager and hungry for an educational for hospitality and encouraging audience is an educational experience and the opportunity conversation. Our official opening challenge. How do you to meet other docents with was a dinner at the museum.

teach the teacher? It you have given similar concerns. Danielle Rice, Senior Curator

a tour for a group of educators, A symposium is an organic of Educ ation at the Philadelphia by you know that they can be a tough experience that molds to fit the Museum of Art, was the keynote audience. After attending the specific concerns of the docents speaker. She discussed such issues Susan National Docent Symposium, and local environment of the as how one can tell if a tour has been S. the docents in North Carolina host institution. A state or successflil and the impact docents Perry decided to organize a statewide regional symposium has a different can have on how visitors think, docent symposium and take on audience than the national model. notice, and learn.

the challenge. Most attendees at the national To teach docents effectively, The North Carolina Museum symposium historically are from learning needs to be experiential

of History in Raleigh hosted the larger, predominately art-oriented and interactive. Participants selected

first state symposium in 1997, museums. As a larger institution in from a menu of topics and workshop modeled after the National Docent North Carolina, the Mint docents offerings, each utilizing a different

Symposium. The Mint Museum were surprised that many museums delivery style. For instance, in the of Art in Charlotte organized the in our region did not have organized workshop Terms ofEngagement: second biennial North Carolina docent programs. Over half of the Interactive Gallery Teachingfor Adults, Docent Symposium, which was held museums represented were history Carolyn Woods, educator for

March 26-27, 2000. The purpose museums. Many sent a staff person university audiences at the Ackland of the symposium was education of who coordinated docents and Art Museum, modeled interactive and interaction with attending interpreted the collection along with teaching strategies for engaging

docents in order that they might other responsibilities. There were adult audiences in thoughtfiil

better interpret at their individual 130 participants from thirty different conversations about art. In the

institutions. Docents from history, institutions with individual concerns. workshop Using Multiple Intelligences,

science, art, and natural history docents became active participants institutions attended informative Symposium Topics playing a "Latin American Cultural workshops and enjoyed times At the beginning of a new Exchange" game or pretending

of fellowship. millennium, it was fitting that our to be an archaeologist in a

To transpose a national model symposium theme was "Honor the computer program. to the regional level requires an Past and Welcome the Future." Educators from the Schiele understanding of the needs and This theme also defined the radical Museum of Natural History and interests of local docents. Guided by changes and urban transformation Planetarium and Carolina Raptor the evaluations of the previous state of Charlotte. The Mint Museum Center brought a falcon and an

symposium, the Mint docents of Art doubled in size this past year alligator, which caught the attention

compiled a list of possible topics with the opening of a new facility at and curiosity of every docent.

for workshops and then mailed a a separate location, the Mint Museum And, the workshop Museums to Go: survey to North Carolina museums. of Craft + Design. The symposium Creating a Wider Audience challenged The regional survey resulted in offered optional bus tours of down- docents to move beyond the walls suggestions for speakers and topics. town Charlotte, Museum of the of their institutions with their The majority of the North Carolina New South, Discovery Place, collections and expertise.

museums are small historic sites Historic Rosedale Plantation, that do not have the resources the Mint Museum of Art, and the Empowering Docents to send docents or staff to the Mint Museum of Craft + Design. The Mint docents accomplished

The Docent Educator Autumn 2000 their goal of a state symposium with research and hard work. The staff of the Mint Museum of Art supports the

docents' role in enhancing their own education. Mint docents

are considered members of the education division

staff and empow- ered to assume leadership and responsibility in

their educational programs. They form study groups, Docents throughout the State North Carolina came together to hold their second regional docent symposium, an event research commit- from of thatprovidedprofessional development, camaraderie, and entertainment. Guest speakers, break-out sessions and workshops, tees and a mentor and tours ofarea institutions werejust some ofthe activities provided during the event attended by 130 individualsfrom program, as well as 30 different institutions. photo: Kelli L. K. Haines attend conferences. Marty Clark, the N.C. Docent Symposium chair and southeast Mint docents and staff The sympo- regional director of the National sium committee had successfully Docent Symposium, organized a accomplished their goal to "promote committee of eight docents to plan continued education of and

the symposium. Logistics also interaction with docents." A final Susan S. Perry has been the docent required a clear relationship between evaluation gave an opportunity to coordinator at the Mint Museum of

museum staff and volunteers. attendees to suggest new topics and Art in Charlotte, N.C. for the past

The staff served as advisors and to make recommendations for the eight years. Ms. Perry received a B.A. troubleshooters, but the symposium next biennial docent symposium. in art and EngUsh from Agnes Scott chair assumed the leadership role The baton for the N.C. Docent College, a M.F.A. in drawing and of coordinating the symposium Symposium has now been passed painting from California State committee. to the docents at the Tryon Palace University, Long Beach, CA, and an Empowering the docents to Historic Sites and Gardens in M.A. in EngUsh from University of

organize a symposium resulted in New Bern, who will adapt the North Carolina at Charlotte. She

a successful educational experience symposium to their own unique serves as the Southeast Regional

for docents and staff across our state strengths and environment. Director of AAMV. and a source of great pride for

17 The Docent Educator Autumn 2000 Making a 4, OS0-Ton Ship Xiiild-Friendly"

ne thing that can be Looking out of my office For safety purposes, the tour said of any U.S. Navy window day after day at the Barry, had to begin with what the Navy

ship is that it has a I began to wonder about its current calls a "safety briefing." Instead of

"wow" factor. existence in the Anacostia River, lecturing the students and telling NoOhooks are needed. The ship's and what role it might play in them what they couldn't do, I decided size will immediately impress kids. educating people about the Navy. to use the inquiry method. I asked

And, its function — it does have The Navy Museum's audience is the children to help me remember by guns doesn't it? — makes excitement very diverse, and includes all ages, how we should behave while visiting a sure bet. But, what can be said interests, and nationalities. However, the Barry. The rules for touring a Kristin about a decommissioned U.S. Navy I was especially concerned about the ship are a bit different from a L. ship that would make a child school-aged children, as I saw group museum, so we would also discuss Gallas understand sonar? How can a after group being rushed through the the "ship's anatomy" by using inquiry. seven-year-old make sense of the ship in a daze of technical naval lingo. For example, I'd ask "Does anyone

Cold War? These are the types I kept asking myself what know what word the Navy uses for

of questions I posed to myself at messages and information were these a 'door'?" I would point to a "hatch."

the beginning of my internship at children actually coming away with. Then, I'd ask the children what makes The Navy Museum in the Did they understand the big "so a hatch different from a regular door, Washington Navy Yard in the what" about this ship? After touring and what dangers hatches might

District of Columbia. the Barry several times, I decided pose to visitors.

The display ship Barry that the ship needed a tour targeted The tour continues with inquiry

(DD-933) sits alone in the Anacostia specifically to children. With the components throughout. My favorite

River as a reUc of the Cold War. agreement of my internship supervi- part was toward the end. It took

After distinguished combat in Beirut, sor, who was the head of education place on the forecastle, or fo'csle

Cuba, and Vietnam, the Barry was and pubUc programs at The Navy (bow), of the ship. This is the most

decommissioned in 1984, and sent to Museum, I went about the task dangerous part of the ship due to

the Washington Navy Yard to live out of trying to make the ship's tour the anchors and running mice.

the rest of her days as a "display ship." "child-friendly." Mice, you may ask! Sailors termed The United States Navy has many The Navy Museum does not the anchor chains "running mice"

display ships anchored across the operate formal tours on the Barry. as the links appear to scamper across

country. There are many types of Sailors assigned to the Yard directly the deck as the anchor is lowered

people who visit them, including from basic training conducted tours into the water. The running mice,

curious tourists, naval history buffs, of the ship. These sailors have no and other "animals" of the fo'csle

and former and current U.S. formal training in tour guiding, (the elephant's feet, wild cat,

Navy personnel. despite the fact that The Navy turtle backs, etc.) offered a great

As a museum educator, I was Museum's education officer has opportunity to engage children's

taught that objects can speak, but I'm offered many times to include the imaginations. Guides tell their

here to tell you that the Combat sailors in their docent training. audiences that every ship has animals

Information Center of a Navy ship Rapid turn over of personnel made that live on the bow. Then, they

does not say aU that much if you scheduUng training sessions inconve- point to a piece of equipment and

don't know what you are looking at. nient. The sailors are given a manual ask visitors to use their imaginations

My mission was to take children to read, and could tell you how every (as the sailors once did when they

from beyond their initial responses, last electrical system on the ship created these names) and share

"Wow, this is cool" and "This ship operated. But, many do not know with the group what animal they

is huge," to a deeper appreciation how to communicate information think it looks like. Even adults

of what life was like as a sailor on to children. (To their credit, the U.S. in the audience get involved, and

a destroyer, and how important the Naval personnel who were in charge humor abounds.

Barry was to the U.S. Navy's involve- of the ship's tours were very helpflil To provide follow-up on the ment in the Cold War. through the tour writing process.) tour, and to reinforce the information

18 The Docent Educator Autumn 2000 The tour ended up being an hour long, which was a half-hour longer than the regular

ship tour. I explained that to

provide a quality experience

for children, they needed time

to look, cognitively interpret, ask questions, and share thoughts.

On a 424-foot ship, which is a foreign environment to many

visitors, people should not be rushed or they would lose the value of the experience. The children's tour of the Barry was a big step for me, and had impact upon the interpretation learned, I created a children's and anyone who wanted to take the of a piece of U.S. Naval history. And, activity booklet titled "Honorary "children's tour." The evaluation what was most gratifying, it helped to Crew Member Log Book." period was valuable and played a make a 4,050-ton ship come alive.

It contains activities and word significant role in refining the tour. games for children and families to Among my earliest test do during or after their visit. groups were 15 fourth graders,

I took advantage of every three chaperones, a teacher, and a opportunity to test the tour. I began family of three. The teacher com- by giving the tour to a sailor tour- mented to me that this was the third Kristin Gallas is currently the education guide. This was to ensure that all year in a row that she had brought ojficer at The Montana Historical my facts were correct and that I her class to the Barry and that this Society in Helena, MT. Herpreviously was not delivering any misleading tour was the most interesting. contributed article, "A Guided Research information. Once that was accom- She particularly liked the interactive Program Asks the Right Questions" plished, I began to seek out school components, allowing the kids to ask, appeared in the Winter 1999-2000 groups, families with young children. as well as answer, lots of questions. issue of The Docent Educator.

THE QUARTERLY JOURNAL FOR DEDICATED EDUCATORS

* One Year (4 Quarterly Issues) — $30.00 E Name Address

u City/State/Zlp/Country.

Institution/Affiliation

New Subscriber G Renewal G Vol 1 0, No 1

* For subscribers outside the U.S. — Mail with your check to; Additional postage surcharge required: The Docent Educator Canada, Mexico, or the Caribbean add $5.00 P.O. Box 2080 — Elsewhere -add $10.00 Kamuela, HI 96743-2080 Total payment must be received in U.S. dollars.

The Docent Educator Autumn 2000 minds in motion worlfstiops Participatory worl

Interactive Teaching - a general introduction to inquiry learning and participatory teaching techniques. Alan Gartenhaus, instructor

Questioning Strategies - an examination of open-ended questioning, language use, and ways to respond to visitors. Alan Gartenhaus, instructor

Creative Ttiinl

Get Real! Using Objects to Teach Across the Curriculum - a co-operative in-service event for your area's classroom teachers. Jackie Littleton, leader

Little Ones - successful touring techniques and teaching methods for pr^ and primary-school visitors. Jackie Littleton, instructor

For further information e-mail, call, or write The Docent Educator.

Previous Issues of The Docent Educator are Available!

To receive a list ofall the articles and authors contained within each issue, simply send a self-addressed stamped envelope to:

The Docent Educator P.O. Box 2080 Kamuela, HI 96743-2080

Or, e-mailyour request to: [email protected]

Next issue. Tour Conclusions and Follow-Ups minds in motion First-Class Mail The Docent Educator U.S. Postage Post Office Box 2080 PAID Kamuela, HI 96743-2080 Kamuela, HI Permit No. 117

Printed on recycled paper. Are you moving? Don't forget to send us your change of address.

Digitization of The Docent Educator was generously sponsored by museum educators from around the globe through their support of Museum-Ed’s 2014 Kickstarter campaign:

Full Series Supporters: J. Marshall Adams Isabella Stewart Gardner Museum Marianna Adams Johns Hopkins University Museum Studies Christina Alderman Carole Krucoff Anonymous Judith Landau Autry National Center Education Department Jean Linsner Bayou Bend Docent Organization Beth Maloney Birmingham Museum of Art Laura Mann Mary Ann Bloom Melinda Mayer Brooklyn Museum Museum Education Roundtable Berclee Cameron Museum of Contemporary Art Chicago Carnegie Museum of Art Museum of Contemporary Art Cleveland Jennifer Chowning Museum Partners Consulting, LLC Susan Chun Diana Musslewhite Edith Copenhaver Elisabeth Nevins, seed/ed consulting The Corning Museum of Glass, Rakow Research Ayumu Ota Library Lauren Patton Karen L. Daly Sandbox Studios Herminia Din Roger Sayre Robin Dowden Susie Severson Julia Forbes SFMOMA Research Library Robin Gabriel Arthur Smith Courtney Gerber Ellen Soares, Peabody Essex Museum Golden History Museums, Golden, CO The Softalk Apple Project and Kimberly Hanson FactMiners.org Developers Community Phyllis Hecht Marcos Stafne Anne Henderson Nicole Stutzman Forbes Victoria Hughes University of Michigan Library Kathleen F. G. Hutton Katherine Yount Indianapolis Museum of Art Docents

Volume Ten Supporters: Volume Ten, No. 1 Supporter: Alice Novak David J. Trowbridge Poudre Wilderness Volunteers