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This Article Is Open Access THIS ARTICLE IS OPEN ACCESS Not for resale, distribution or commercial use This article appeared in a journal published by the Museums Association of the Caribbean (MAC). The attached copy is provided to the author and members of MAC for non-commercial research and education use, including for instruction at the authors institution and sharing with colleagues. At the author’s request, this article may be distributed through institutional repositories. Ariese-Vandemeulebroucke, C.E. 2018. Engaging youth audiences in Caribbean museums. Caribbean Museums, Volume 2-3, 6-23. ©Museums Association of the Caribbean. Engaging Youth Audiences in Caribbean Museums CSILLA E. ARIESE-VANDEMEULEBROUCKE Leiden University, Faculty of Archaeology, Einsteinweg 2, 2333 CC Leiden. The Netherlands c.e.ariese@arch.leidenuniv.nl ____________________________________________________________________________ ABSTRACT. Community engagement has become a central and essential aspect of the museum process. As part of this shift in focus, museums are broadening their scope and aim to be inclusive to a multitude of communities. One of the audience groups that museums are specifically seeking to engage are youth audiences. This paper discusses youth engagement by presenting examples from museums in the Caribbean. It attempts to increase the diversity of the museological debate by extending the discussion to practices from the Caribbean region. The paper begins by contextualizing the discussion: the history of the purpose of museums as educational institutions is linked to the contemporary transformation to museums as social agents. Youth engagement is placed partially within educational theories, although the important role of museums as facilitators for social inclusion and cultural performances is also stressed. Theoretical concepts are used to present a number of ways in which youth audiences can be defined, for instance by learning style or visiting group. The core of the paper is a collection of Caribbean examples of youth engagement processes or projects grouped by different approaches and desired outcomes. It concludes with a plan of action for youth engagement in museums. Keywords: Caribbean, community engagement, education, museums, youth audiences ______________________________________________________________________________ 1. INTRODUCTION currently connected communities, but should As part of the development of the New continually expand its scope of engagement Museology, and in a climate of public to different and new communities (Black accountability to prove their societal value, 2015: 134). Such a museum can be multi- museums have been seeking ways to vocal by including the voices of these become more closely connected to the communities and speaking to their needs and communities they serve (Vergo 1991; Davis interests (Ibid.: 146). One of the 2008; Sandell 2012: 563). Thus, community communities or audience groups that engagement has become a central and museums are more specifically seeking to essential aspect of museum processes and engage is youth audiences. These youth products (Crooke 2015: 481). Part of the aim communities are the focus of this paper. to be more engaged with the public is to 1 expand the museum’s audience and, also for The paper presents a series of recent youth ethical and democratic reasons, to be engagement practices as they were applied inclusive to a greater diversity and multitude in museums and heritage sites in the of communities. Thus, ideally, the museum Caribbean. In doing so, it aims to add should not only be more closely linked to its greater diversity to the current museological 6 Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences debate about community engagement and research was part of a large international and youth audiences by presenting Caribbean interdisciplinary project and was based at examples and also to inspire museum staff Leiden University, the Netherlands. In the who are seeking new or different ways to course of the project, the author undertook engage with youth audiences. Community multiple fieldwork excursions to the engagement projects are happening globally, Caribbean (2013-2016) and visited 1953 despite the (over-) representation of case museums and heritage sites. The aim of this studies from museums and heritage sites in regional survey was to be able to understand Europe and North America, particularly in the diversity of museums and heritage sites the English literature. The examples of throughout the region and to categorize and community museums in the community assess the multitude of community museum network (PNMC) in Mexico, for engagement practices that are used to instance, are primarily visible in Spanish connect to various communities. This literature2 (e.g. Burón Díaz 2012; De Carli regional survey showed that there is an 2004). Certainly, further efforts are incredible diversity of community warranted beyond this paper to diversify the engagement practices in Caribbean regional representation in museum studies museums. These practices occur in all literature. phases of the museum process: from the foundation and organization of the The beginning of this paper provides a institution itself, to the creation of theoretical and historical background to exhibitions and other museum products, as youth engagement in museums. The core of well as the experience of the museum visit. the paper consists of numerous examples From this large inventory of community from museums throughout the Caribbean engagement practice, a few were selected region which showcase diverse youth that were specifically targeted at youth engagement practices, focusing on different audiences and investigated for this paper. youth audience and with diverse proposed outcomes. These examples are divided by the focal point or the aim of the engagement practice, e.g. to target an audience with a 3. HISTORICAL & THEORETICAL specific level of literateness or to link CONTEXT visitation to a specific curriculum. In the To understand the current developments in end, a plan of action is provided to guide youth engagement, it is useful to take a museum staff wishing to engage with youth historical approach to the museum communities. institution. Contemporary museums are still strongly framed by the nineteenth-century idea of the modern museum as an educational establishment (Hein 2011: 341; 2. METHODOLOGY Smith 2015: 461). Tony Bennett, in The youth engagement practices and discussing the historical purpose of participatory examples presented in this museums, notes that it was “to show and tell paper were collected during fieldwork by the so that people might look and learn” (1995: author in the course of her PhD research. 98). His analysis goes further, by stating that The focus of this PhD was community museums were primarily instruments “of engagement and grassroots heritage civic education” (Ibid.: 102), meaning that initiatives in museums in the Caribbean they were for teaching behaviour as much (Ariese-Vandemeulebroucke in press). The as, or perhaps even more than, for teaching 7 Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences content knowledge. This historic purpose of Although a significant proportion of museums as tools of civic education was not museological literature concerning youth necessarily aimed at young visitors, but engagement has been focused on educational more often described in terms of class- aspects, Laurajane Smith brings up an differences. Thus, the lower classes were to important point of criticism. She states that be ‘civilized’ during their museum visit by learning and education “may not be as observing and being observed by higher important or as all-encompassing an classes. explanation of the visitor experience as In the current museum literature related to much of the heritage and museums literature museum education and pedagogy, the tends to assume [...] A museum visit may be connection is frequently made to youth understood analytically as a cultural audiences or younger visitors. Youth performance in which people either communities have become the focal point of consciously or unconsciously seek to have such educational or pedagogic investigations their views, sense of self, and social or of museums. Perhaps because young cultural belonging reinforced” (Smith 2015: audiences visit museums in a school group 459). Her research has shown that although setting with their teachers, which adult visitors frequently state that education is audiences rarely do, youth engagement and their motivation for visiting, learning cannot education are a frequent association and be identified as often as the actual outcome point of investigation. of the visit. For youth engagement practices, the message here is clear that educational Most contemporary museum education outcomes alone may not be sufficient. In products, programmes, and activities follow fact, the work of museums as social agents, constructivist theories and models (Hooper- working towards social inclusion and social Greenhill 1999; Hein 2011: 347). These regeneration, may be particularly crucial for theories take as a basic point of departure certain youth communities (Sandell 2012; that while museums may wish to teach Silverman 2010). Beyond these outcomes, visitors specific things, meaning-making Carol Scott’s (2009; 2015) research has been occurs with the visitor and is affected by the instrumental for charting the many types of visitors’ background, context of visiting, value museums may have for individuals,
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