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This article appeared in a journal published by the Association of the (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 [email protected]

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ABSTRACT. Community engagement has become a central and essential aspect of the 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

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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

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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 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

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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, interaction with the exhibitions, and other communities, and society. elements. Therefore, “learning in and from museums is not just about what the museum In summary, youth engagement practices, wishes to teach the visitor. It is as much while they have been dominated by about what meaning the visitor chooses to educational agendas and models, can be make of the museum experience” (Falk et al. more diverse in aims and outcomes. For this, 2011: 325). Constructivism leads museums it is helpful to also consult literature and to understand that they cannot fully control examples of practices related to participation their educational impact but that they can and community engagement in general (e.g. guide meaning-making. With the rise of the Simon 2010; Crooke 2011). These examples use of interactive media in museums, as well can provide concrete community as the incorporation of gamification and engagement outcomes that are not game theories, playful learning is being exclusively educational, but also target skill encouraged more frequently and is development, recreation, cultural belonging, changing the concept of the museum or social inclusion. institution (Harrasser 2015: 371).

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Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences

4. DEFINING YOUTH AUDIENCES of a few characteristics according to which youth communities are frequently identified. To define youth audiences, it is beneficial to begin with a definition of the term ‘community’ as youth audiences can of course be considered communities 4.1 Age characterized by age. There is wide-ranging Although youth communities are already literature on the term, which lacks a precise essentially defined by age, they can also be definition and carries a myriad of different subdivided into age-categories. These connotations between different academic categories can be quite broad, for instance disciplines, political policies, or public ‘teens’ or ‘school-aged children.’ They can opinion. Elizabeth Crooke, who has written also be smaller, related for example to a extensively about the subject from a specific school grade or particular age range. museological perspective, has summarized a Youth communities may be divided by age definition by saying that “community is for a number of reasons. Primarily, linking often identified according to characteristics youth engagement to a specific curriculum or attachments such as ethnicity, faith, benefits from such a division, as it is abilities, language spoken, or particular expected that each school year children will interests” (2015: 482). People who share a have learned specific things. Theoretically, characteristic or interest can consider the learning paradigm is gradually moving themselves to be, or be considered by others away from defining school children by grade to be, a community. Communities can be when it comes to capacity – noting that both real, in the sense that they have real children’s “date of manufacture” does not power and a physical dimension, as well as make the most sense for such categorization ‘imagined’, in the sense that communities of capacity (Robinson 2010). However, in exist in a conceptual or symbolic state many educational settings, ‘grade’ is still the (Crooke 2015: 482; Anderson 2006: 6). most common category and is often Although communities often carry a positive associated with a perceived level of connotation of belonging, they are as much educational development. This is also true about exclusion of others as they are about for museums and their youth engagement inclusion. For instance, a national practices. However, wider age-categories community includes persons of that nation might more accurately reflect a range of while excluding all others. Finally, it is emotional or intellectual capacity. It is also important to remember that communities are understood that such wider categories might fluid (changing), heterogeneous, and that be more readily linked to specific interests, individual community members are not personal problems, or developmental stages. necessarily representative of the community For instance, when youth engagement as a whole. In deciding to focus a museum focuses on ‘teens,’ it is often because this engagement project on a youth community, community is associated with specific these characteristics and potential challenges struggles or issues that can be addressed of the concept should be kept in mind. It is through participatory practices or skill helpful to be as specific as possible about development. Ultimately, defining youth which youth community the museum wishes communities by age may be helpful in to engage, in order to more closely be able identifying presumed capacity or levels of to create project outcomes that are suitable. knowledge, as well as specific interests or The following sections provide explanations issues. However, it must be pointed out that

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Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences such presumptions do not always reflect which clearly takes Gardner’s theory as its reality. starting point. This model defines learners by their preferred method for learning: 4.2 Learning type Visual, Aural, Reading and Kinaesthetic. Another approach is to identify youth Fleming’s VARK model and Gardner’s communities by their learning type. There theory of multiple intelligences are easily are multiple models for learning types that linked by reasoning that aural learners may are used by (museum) educators, but many have strong musical intelligence or vice of them take inspiration from Howard versa. As another example, a youth Gardner’s theory of multiple intelligences, community of kinaesthetic learners would first published in 1983. His theory identified more likely benefit from a hands-on activity eight types of intelligences, such as than a reading exercise. However, it must be ‘musical,’ ‘interpersonal,’ or ‘visual-spatial’ noted that the multitude of models for (Gardner 2011). Gardner noted that all defining learning types reflects the people have intelligence, but that these individuality of the connotations that go intelligences are not equally divided for all with it, which can make it difficult to define people – e.g. while some are ‘nature smart,’ people by learning type. Nonetheless, it can others are ‘people smart.’ Recognizing be a useful strategy to develop engagement people’s primary or preferred intelligence is practices that apply a specific learning style a first step to mapping their capacity for or learning method that is most effective for learning and is often also related to interests a specific youth audience. (since people commonly prefer activities that they are good at). For instance, if the 4.3 Skills, interests, or identities museum identifies a community of youths The previous two categories according to with strong interpersonal intelligence, it may which youth communities may be defined, be more effective and enjoyable to facilitate age and learning style, are strongly social interaction rather than solitary connected to educational goals. However, it engagement. is also possible to define youth communities Earlier, in 1972, Bernice McCarthy by their particular skills, interests, or presented her model of the four major identities. This may be most apt for learning styles, placing learners on a four- community engagement outcomes that are quadrant model (1990: 32). The x-axis not educational per se, but perhaps more reflects a range of processing and goes from about facilitating social inclusion or cultural doing to watching, while the y-axis shows a performance in a broader sense. scale of perception from sensing to thinking. Defining youth communities by skill can be Each quadrant represents a different learner, quite straightforward: a community is for instance an analytic learner combines identified either on the basis of a skill they watching with thinking. On the other side of have or on a skill they do not (yet) have. For the spectrum is the dynamic learner who instance, a museum may seek to engage a uses a combination of doing and sensing. youth community who are skilled artists or McCarthy’s model is known as the 4MAT musicians for a particular engagement System and also provides examples of which project that relies heavily on the use of those learning method should be used for which skills. On the other hand, the museum may type of learner. seek to engage with a youth community who Neil Fleming developed a model, usually are perhaps not skilled at a particular referred to as the VARK model (1995: 1–2),

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Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences activity, in order to develop that skill the museum may develop engagement through an engagement process. projects that specifically focus on improving Taking interests or identities as criteria for literacy and thus support the social inclusion identifying youth communities can be more of these youths. Or, perhaps a youth complicated. It may be quite simple to community is socially excluded on the define a community based on certain grounds that their interests are considered interests: for instance, a youth community of niche, in this case a museum may create sports-enthusiasts. In these cases, the more awareness and acceptance of this community engagement project may take interest by involving it in an engagement place around this topic to ensure relevance project. Of course, relevance is a major for the youth community in question. strategy for social inclusion: by making the However, communities of identity may be museum relevant for a visitor, by means of more difficult to define, self-define, or targeting skills, interests, or identities, identify. One way is to focus on visitors can feel institutionally and socially motivations, namely motivations for included. This can be particularly powerful museum visiting. By investigating visitors of when social inclusion takes place on the all ages, John Falk and his colleagues were basis of identities – helping youth able to identify five clusters of “identity- communities, who may otherwise feel like related motivations” (Falk 2006: 156). These minorities, be included. As such, museums visitors are: the explorer, the facilitator, the can work towards alleviating some of the professional/hobbyist, the experience seeker, symptoms of social exclusion, such as and the spiritual pilgrim. The explorer, for poverty or poor health (Sandell 2012: 568). instance, is a visitor who is curious and primarily concerned with her or his own 4.4 Visiting group discoveries (Ibid.). A facilitator, on the other As a final example, youth communities may hand, is typically someone who is visiting to be defined by the social setting in which satisfy the needs of someone else (Ibid.: they are visiting the museum: in other 157). Of course, it must be remembered that words, their visiting group. This is part of these motivation-based categories were the Contextual Model of Learning, as identified based on visitors of all ages and developed by Falk & Dierking (2000), do not all apply equally well to youth which states that visitors learn differently communities. For example, youth based on the context of their visit. This communities are not often facilitators as context has personal dimensions (such as they do not usually visit museums to satisfy previous knowledge or interests), physical the needs of others. It is even more difficult dimensions (e.g. the museum space and its to apply these categories to youth exhibitions), as well as a socio-cultural communities who are non-visitors of dimension. On a macro-level, this latter museums. dimension is influenced by a visitor’s Defining youth communities by skills, cultural background and upbringing. On the interests, or motivational-identities may be micro-level, the social context of learning helpful for community engagement projects influences visitor experiences through the that wish to focus on social inclusion. To social interactions of the visitor within their provide a few examples, if a youth visiting group or with other individuals such community feels socially excluded because as guides or staff encountered at the museum they do not have a skill that is deemed (Falk et al. 2011: 327). necessary for them – for instance, literacy –

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Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences

For youth communities, a visiting group 2007: 117). The reasoning for this is often might consist of peers, friends, or family or centred around a combination of three take place in a school group setting. Of arguments, which will be clarified here. course, solitary youth visitors may also be First of all, the argument based on the identified as a community the museum may clichéd saying ‘children are the future.’ In wish to engage with. The dynamics of the this argument, youth communities are seen visiting group may greatly influence the as the future of humankind and are, possibilities for engagement projects or the therefore, instilled with particular power and needs of the youth community. For instance, importance for cultural and natural in a school group setting teachers may act as sustainability. Following this logic, facilitators, which may enhance engagement museums are the keepers of the past and based on a curricular education. Engagement therefore uniquely equipped to shape present with youth communities of peers or friends generations to be prepared for the future. In can make it easier to engage with difficult this line of thinking, youth engagement is topics that young visitors may not be willing primarily of importance from a historical- to discuss in family groups. In all of these education perspective, although it is often social settings, collective knowledge and also applied to science centres and natural skills may increase the learning capacity of history museums. For educational purposes, the group as a whole, which can be youth audiences are targeted with the expanded through collaborative learning collective knowledge gathered from the (Falk & Dierking 2000: 138). generations that have existed before them. Regardless of which characteristic a Culturally, engaging youth communities is museum decides to use to define a youth seen as a way to create a new generation of community for engagement, it is important cultural defenders and practitioners. From an to carefully consider this decision. Namely, audience development perspective (for the the selection and definition of a youth self-preservation of museums), youth community will greatly impact the exposure to museums is shown to engagement process, whether in delineating significantly impact the individual the scope of the project, the needs of the development of a ‘museum visiting culture’ participants, or the possible outcomes. Thus, and influences the extent to which a person it is the first step to consider in developing will visit museums as an adult (Black 2015: youth engagement practices (see 7 Plan of 136). Action; Figure 1). Secondly, it is regularly argued that youth audiences are particularly difficult to engage 5. THE IMPORTANCE OF ENGAGING in a museum setting. These arguments are YOUTH AUDIENCES specifically frequent for youth communities Community engagement processes, as defined as ‘teens’ or ‘young adults.’ It is a mentioned earlier, are becoming a more and common notion for educators or museum more essential aspect of the contemporary, curators to assume that youth audiences inclusive museum. From the theoretical have limited attention spans making it perspective of the New Museology, it is difficult to keep their attention over longer necessary for museums to be multi-vocal periods of time (for a counter point, see and thus to be reflective of a diverse society. Modest 2013: 101). Furthermore, in Youth audiences or communities are often participatory projects, youth communities seen as one of the key target groups to are not always trusted to be sufficiently engage in the museum process (Appleton responsible and this makes it difficult for

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Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences museum staff to share (some of) their power 6.1 Children’s Museums and authority. However, it is precisely A Children’s Museum or a Children’s because youth communities are seen as such Gallery is specifically aimed at youth a ‘difficult’ group to engage with, that some audiences as visitors and allows the museum museums have focused deliberately on youth to dedicate itself entirely to this community engagement. From their perspective, it is and to developing suitable activities and particularly crucial to expend additional or programmes. Unlike a temporary youth exceptional effort to engage this group in the exhibition or programme, a Children’s museum process, as they would otherwise be Museum is a long-term project and a the first to be left out. These museums significant investment of time and other become inclusive by choosing to involve a resources to ensure a high potential impact group that is otherwise easily disregarded. on many young visitors over a long period Finally, youth communities can be of time. Although some Children’s considered a high risk group for social Museums can be visited only by children exclusion. Youth communities may have an and adults are not allowed to enter,4 most increased risk of being socially excluded, Children’s Museums rely on the presence of due to the fact that particularly adolescence adults as potential facilitators. This is the is a stage of life that is characterized by case at Museo Infantil Trampolin in Santo rapid change, disruption of social ties, and Domingo, Dominican Republic. feelings of isolation. During adolescence, an The museum is designed in a way to be individual’s social ties may weaken, flexible to match the demands of multiple particularly in a familial structure but often types of youth audiences and varying also among peers. Youth communities may visitation goals. This is achieved in large thus be considered particularly at risk of part through the flexible roles of the social exclusion processes and, therefore, museum guides, who are all trained could benefit extraordinarily from museum educators. Additional flexibility is found in engagement aimed at social inclusion. Youth the exhibition spaces that contain layered audiences may also be highly information and are grouped thematically: impressionable, for instance under peer the human body, the planet earth, prehistory, pressure, making it all the more important to etc. The museum is thus capable of changing involve them in the social debate, for itself in a chameleon-like manner to suit instance about racism, discrimination, and different visitor groups. To illustrate, a intolerance (for a case study, see Wood secondary school teacher may wish to 2013). expand on the biology curriculum by taking their class to learn more about the human 6. YOUTH ENGAGEMENT body. The educators in the museum will EXAMPLES dedicate the entire visit to this topic and this This following section will present a number one exhibition hall, going into detail on of youth engagement projects, processes, or various aspects of the human body and practices that have been undertaken or are facilitating activities and assignments. currently taking place in museums If families enter the museum with young throughout the Caribbean region. The children, the guides will take them through examples are grouped based on the type of each exhibition hall but there will be no desired outcome or by the specific approach assignments per se. Instead the guides will applied. engage the children in a dialogue, providing information, asking them questions, and

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Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences encouraging them to take part in activities. outcomes of outreach activities that are so The children may rely on their parents to different in scope and scale, will also be facilitate certain activities or help them dissimilar. However, the collective aim is answer some questions. Although they will that these activities take place outside the also learn about the human body, this will museum walls, renegotiating the museum’s not be the singular focus of their visit. position of power and facilitating Unlike in most cases when families visit engagement on a more equal basis. museums, the impact of the visit is not Approaching youth communities through dependent on the parents being facilitators. outreach activities may not only be able to Instead, the guides as expert facilitators are lead to engagement with non-visitors, but able to adjust to the needs of the visitors and also to lead to engagement that is more can tailor the visit precisely, while having all participatory and potentially less the necessary content and pedagogic intimidating. knowledge. For instance, the author visited this museum together with a family: 6.3 Co-curation pregnant mother, father, and son. In the hall The co-creation of exhibitions involves the about the human body, the guide made sure participation of youth audiences in the to discuss pregnancy and babies, a topic the process of museum-making. According to son was clearly curious about and which was Richard Sandell, the cultural dimension of of personal relevance to him. social inclusivity entails the promotion of “participation in the process of cultural 6.2 Outreach production” (2012: 568). On the one hand, A museum may wish to engage in outreach co-curation shifts the power-balance activities to be able to engage with youth between the museum staff and the communities who might otherwise not want participating youth communities, thus giving to or not be able to visit the museum. these youths curatorial responsibility. On the Engaging with so-called non-visitors is a other hand, this type of engagement way in which museums can expand their stimulates creativity and teamwork while it current audiences, but is also often seen as a also encourages action and negotiation. Co- social inclusion strategy. Through outreach curation may be a method to involve activities, it is possible to make new multiple types of learners in the museum audiences feel that the museum can be of process, because it provides a diverse relevance to their lives. Outreach activities selection of tasks. Participants who have may be long-term projects, such as the high verbal-linguistic intelligence may wish development and mobilization of a travelling to write museum texts, while visual-spatial exhibition. They may be regularly recurring intelligence can be heightened through projects, such as the Museo Arqueológico creative design activities. The museum can Regional Altos de Chavón in La Romana, design the co-curation process with these Dominican Republic, which has developed possibilities in mind, considering carefully an educational ‘museum box’ (valija which tasks can be shared with or completed didáctica5) that can be loaned to schools. by the youth participants and what the Outreach activities may also be incidental outcomes of engagement with these tasks activities, such as a curator being invited to might be. bring objects and their stories to a day care. Co-curation projects publicly award Such activities are happening throughout the participation through the presence of the Caribbean region. Naturally, the proposed resulting exhibition. Such exhibitions are

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Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences often sporadic projects as they rely on a other hand, curriculum-based activities are considerable investment of time and more flexible to adjust to new curricular resources to develop. Co-curation can also demands, although they do require be facilitated through long-term projects facilitation by museum staff or an educator such as regular internships at the museum or and are less suitable for independent use. the creation of a young curators’ Museums may also choose to adjust their programme. For an example of the latter, the halls, exhibitions, or content to match Barbados Museum & Historical Society runs curricula. For instance, the exhibition halls a Junior Curators programme6 to encourage may be designed to match curricular themes young people to consider a career in the or the content may be presented in a way museum field. Participatory Action Research that is in line with the curriculum design. (PAR) may be a suitable approach for Curriculum-based engagement has many museums to engage more politically, obvious educational benefits. For instance, critically, and self-reflexively in co-curation different styles of learners may respond projects with youth communities. This better to the curricular content through approach relies on its participants to actively visual or kinaesthetic learning than what is generate knowledge to inform action and traditionally possible in a classroom setting. challenges the notion of knowledge being Museums are also well equipped to show the the prerogative of so-called experts. PAR is relevance of certain school subjects, which particularly suited to shift the power balance may otherwise seem abstract when presented between these ‘experts’ and community in class. As an example, the University of members and to transform practice through the West Indies Geology Museum in action (Tzibazi 2013: 157). Kingston, Jamaica, has created displays which pair everyday objects with the 6.4 Curriculum geological materials they are made from. One of the most common ways in which When youth audiences visit in school group museums engage with youth communities is settings, they are able to learn what common by connecting their content to a school objects, such as their phones or shoes, are curriculum. For instance, this may be made from and why it is important to think achieved by pairing text books with museum about geological sustainability and the activity booklets or by developing environment. An example of a curriculum- educational materials specifically geared to based activity can be found in the Musée support the curriculum taught in schools. A Départemental Edgar Clerc in Le Moule, curriculum-based engagement project will Guadeloupe. This is an archaeological need to carefully consider the educational museum that focuses on the prehistory of the outcomes and the target audiences to island and the region. When school classes develop suitable materials or activities. The visit, they not only discover the museum by choice to develop educational materials has using an activity booklet, but also engage in the benefit that once they have been printed a creative hands-on activity. Working in they can be used independently – e.g. they clay, the students are asked to make a do not necessarily require the presence of modern object, but to decorate it with a pre- museum staff to facilitate their use. They Columbian, Amerindian design. They are take significant effort to develop and are, thus asked to consider what they have therefore, unfortunately often not easily learned about the Amerindians, through their changed when the curriculum changes or curriculum and in the museum, and to when new research comes to light. On the

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Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences transform a modern object into a traditional youth communities who are not (yet) style. literately strong or for youth communities Although such engagement practices are who prefer visual, aural, or kinaesthetic ultimately aimed at youth audiences, they methods of learning. Such exhibitions must happen in continuous collaboration improve the accessibility of the museum, with teachers. Teachers should be involved which is another method of promoting social in the development of the engagement inclusivity (Sandell 2012: 568). project, to ensure that the project will be in Traditionally, science centres, art museums, line with the enacted curriculum (Porter & and national history museums rely less on Smithson 2001: 2). During the museum visit the use of text in their exhibitions. For or the engagement project, teachers can be instance, the Museo Nacional de Historia included as facilitators and participants. Natural in Santo Domingo, Dominican Afterwards, teachers can provide valuable Republic, combines tactile objects insight in evaluating the engagement project (taxidermy animals that can be touched) or by continuing the engagement process in with visual elements (photographs, school. Teachers may be able to indicate drawings, and maps) and minimal text how a curriculum-based engagement project (infographics rather than full text). However, can be adjusted also based on the limitations any type of museum can take literacy into the museum may have. For instance, the San account and shift the balance of an Nicolas Community Museum in San Nicolas, exhibition. Other possibilities are replacing Aruba, only had a small museum space extensive panel texts with comic-style texts when visited in early 2014. Teachers or text-bubbles. The use of audio-visual adjusted their curriculum-based activity to techniques, which is increasingly the physical limitations of the museum space incorporated in museums around the world, by sending a few students as delegates to can also improve the accessibility of visit the museum and learn as much as they exhibitions. could and take photographs. These students were then requested to prepare presentations 6.6 Relevance of their visit for the rest of their class and Demonstrating the relevance of museums or thus to share the knowledge gained from their exhibitions and programmes is their visit. fundamental to engagement with any community, especially those who are 6.5 Literacy considered non-visitors. This is true also for Many museum exhibitions tend to rely youth communities, whether they are non- heavily on printed text to convey content visitors or frequent visitors. Relevance can and information, which is not always be demonstrated in two principle ways: suitable for youth audiences who may not through content or the method of delivery. (yet) be fully literate. As such, literacy may The relevance of a museum and its content become an issue when museums wish to can be shown by developing narratives and engage with these youth communities. activities that relate an exhibition to the Although academia and the modern daily lives of the youth community. For educational system heavily rely on and instance, the Barbados Museum & reward reading-writing-learners, museums Historical Society in Bridgetown, Barbados, are well situated to cater to multiple styles of has a children’s gallery which discusses learners. Thus, exhibitions that do not rely history by demonstrating continuity in the on printed text can be used to engage with present (e.g. what toys they played with in

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Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences the past or how they cooked dinner). 6.7 Social interaction Another possibility is to engage youth It has already been mentioned how museums audiences by catching their attention about a can encourage social interaction between topic they are inherently fascinated by. The visitors or even between visitors and non- Bank of Jamaica Money Museum in visitors. For youth communities with strong Kingston, Jamaica, has an ultraviolet light interpersonal intelligence, social interaction set up in one of their galleries where visitors may be the most effective method of can test for themselves if their money is engagement. Museums can facilitate or counterfeit or real. Youth audiences are inspire interaction within a youth particularly drawn to this activity, as they community, for instance by developing are all familiar with money (it has relevance group activities or encouraging conversation to them in many ways) and yet unfamiliar and dialogue. Many educational activity with how it looks under UV-light. booklets tend to stimulate such interaction Specifically on the topic of relevance, it is by containing assignments that need to be crucial to determine and define the youth solved in groups. Such group activities in community to engage with beforehand – this booklets were observed in several museums, will allow the museum to identify what is of for instance the Musée Départemental particular relevant for this audience. d’Archéologie et de Préhistoire in Fort-de- Regarding the method of delivery of their France, Martinique. However, social content, museums can also improve their interaction can of course also be included relevance to youth communities. To appease into a museum tour or group visit. Although different styles of learners, the museum can aware that a silent atmosphere does not create tours or activities that are more generally induce social interaction, some interactive and do not rely on a classroom- teachers still need to make an effort to lecture method of delivery. This is also more become comfortable with letting their in line with the ways in which today’s students talk in museums. children are engaging with the world Social interaction can also be encouraged through interactive media, video games, the between members of a youth community internet, television, and so on. Youth and other facilitators or mediators such as communities are strongly influenced by and teachers or parents. This can be achieved familiar with the formats of such even through simple techniques that require entertainment media. This point was participants of different physical heights to illustrated during the Museums Association successfully complete an activity. At the of the Caribbean Annual General Meeting Yoda Guy Movie Exhibit in Philipsburg, St. on ‘Museums’ Sustainability through Youth Maarten, intergenerational social interaction Engagement’ (Saint Lucia, 2015). is supported, as fully experiencing the Secondary school students who had been various exhibits depends on specific invited to attend the conference, were asked knowledge of or nostalgia for movies from how they wished to be engaged by museums different decades. As mentioned earlier, the when they are guided through exhibitions. importance of social interaction for museum After much lamenting about ‘boring’ tours engagement can be located in the socio- and too much silent listening, one of the cultural context of learning. Of course, students concluded: “just leave me on a different learning styles will also respond cliff-hanger!” differently to engagement through social interaction. If museums wish to develop youth engagement through social

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Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences interaction, it is fundamental to consider the 6.9 Social media composition of the imagined visiting group. Using contemporary media to engage with Then the museum can scaffold social youth audiences ties in to the earlier point of interaction among peers or between youth connecting through relevant methods of visitors and mediators. delivery. Social media in particular have rapidly gained importance when it comes to 6.8 Action how information is shared and how people The possibility for youth communities to interact with each other socially. Adults, but engage with the museum space and museum perhaps youth communities even more so, objects through action is often seen as are ever more drawn into social media as a instrumental to non-classroom learning. primary method of content delivery and Significant research has been undertaken on reception. Social media are a fitting way in the use and impact of hands-on activities and which “museums can engage technology- interactive displays in museums (e.g. saturated young people with social and Witcomb 2011). When an educational scientific history” (Russo et al. 2007: 20). impact is desired from hands-on activities, Although certain technological George Hein stressed that they must also be developments may be difficult for museums ‘minds-on’ (1998: 2). However, much of to keep up with, or too resource heavy, this research is imbalanced towards science social media are relatively easy and centres and children’s museums. Certainly, inexpensive to adopt. It is helpful that social engaging with youth communities through media are so strongly entrenched in daily action will benefit kinaesthetic learners life that social media platforms or methods primarily, but there is also much to be said are often intuitively understood by youth for the impact of multi-sensory and playful audiences without needing explanation. learning on all types of learners. Although Creating apps instead of educational interactive displays and hands-on activities booklets, using visitors’ smart phones in summon associations of monitors and museum tours, or incorporating online screens in museum exhibits, there are also photograph sharing into physical museum other ways in which engagement through activities are all ways in which museums can action can be supported. For instance, the use social media to engage with youth Ecomusée CreoleArt in Sainte Rose, communities. It should be pointed out here Guadeloupe preserves the agricultural that museum staff do not need to reinvent tradition of the jardin créole by engaging the wheel and develop apps, virtual tours, or youth audiences in agricultural activities in games themselves. Although there are many the museum’s garden. At the Centre Spatial excellent companies that provide such Guyanais in Kourou, French Guiana, youth services for museums, this can also be an audiences can engage in numerous activities, opportunity to engage with youth including the construction of spacecraft in communities in a co-creation project and LEGO. Engagement through action not only invite them to develop a social media benefits non-verbal learning styles, but also project. From a Participatory Action encourages playful learning and allows Research approach, acknowledging the youth audiences to engage energetically with expertise of youth audiences in the field of the museum. social media would be the first step to shifting the power balance. Museums may need to begin by reconsidering their

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Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences photography policies to allow visitors to In the case of a top-down engagement take photos in the galleries. project, it is of primary importance to define the proposed youth community that will be 7. PLAN OF ACTION at the heart of the project. Once defined, this Although there are multitudes of ways in community should be engaged in the process which diverse youth communities may be as soon as possible. While it can be helpful engaged in the museum process, it is still to consult theoretical literature or find possible to develop a basic plan of action exemplary practices, it is then necessary to that may be consulted. It should be pointed decide what the focal point for engagement out here, that this plan of action is based on will be (or the desired outcome of the a top-down approach by which a museum project) and which approach will be most decides to reach out and engage with youth suitable to achieving that type of communities. Certainly, museums should engagement and outcome. Throughout the also be encouraged to support bottom-up or entire process – during the development, the grassroots initiatives that originate with implementation, and after completion – it is youth communities. For instance, the vital to regularly evaluate the project and Kalinago Barana Autê in Crayfish River, incorporate mechanisms for feedback and Dominica, was approached by a group of adjustment. Lee Davidson has written a young Kalinago who wished to establish a comprehensive overview of evaluation dance group. The museum has supported the methods that are used in the field of visitor Kalinago Dancers in developing schedules studies (2015). In order to assess the impact for performances and in creating organized of an engagement project or process, tours. Where possible, museums should be Personal Meaning Mapping is a very useful open to such initiatives by young approach (Falk et al. 2011: 333). communities and support collaboration.

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Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences

Figure 1: Basic Plan of Action for Youth Engagement in Museums, developed by the author.

8. CONCLUSION Museums throughout the Caribbean are As elsewhere in the world, museums incredibly diverse in terms of size, throughout the Caribbean are involving collections, content, resources, and their youth audiences in community engagement system of ownership. The challenges and projects and processes. A wide diversity of opportunities of each museum, not to youth engagement practices is the result of mention their missions, will determine this dedication to engagement which has its which engagement practices they wish to roots in the theoretical frame of the New adopt and how they adapt these practices to Museology. Engagement with youth their specific setting. Due to this variety, it is audiences begins with the challenging tasks impossible to point out a single of defining the target audience, for example recommended youth engagement approach by age, learning type, skills, interests, or practice. Nonetheless, categories of these identities, or visiting group. Selecting a practices can be explored along with target group is aided by clearly identifying Caribbean examples. The paper discussed the underlying rationale for the decision to children’s museums, which present unique engage with youth audiences. Once this opportunities to dedicate every aspect of the rationale has been outlined and the target museum to youth audiences. On the other audience selected, it becomes possible to hand, in order to reach non-visitors, outreach decide on an approach. activities can be especially beneficial. Co- curation tends to require long-term

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Csilla E. Ariese-Vandemeulebroucke Engaging youth audiences commitment and is less frequently applied, fieldwork conducted in the Caribbean (2013- whereas engagement based on the 2016) by the author for her PhD research at curriculum is significantly more common. Leiden University. The PhD project ‘The When seeking to engage youth audience, Social Museum in the Caribbean: museum may particularly strive to target the Grassroots heritage initiatives and appropriate level of literacy, as well as community engagement’ was part of the demonstrate relevance in terms of content ERC-Synergy NEXUS1492 subproject on and its mode of delivery. Finally, heritage management, directed by prof. dr. engagement with these audiences C.L. Hofman and previously by the late particularly benefits from including prof. dr. W.J.H. Willems. NEXUS1492 is opportunities for social interaction, action, funded by the European Research Council and possibilities to link to social media. under the European Union’s Seventh More research is certainly needed in order to Framework Programme (FP7/2007-2013) / assess the impact of engagement with youth ERC grant agreement n°319209. The audiences. Nonetheless, the paper presents a research visits to Jamaica and Grenada Caribbean dimension to youth engagement (2014) were sponsored by Leiden University in museums and aims to provide inspiration Fund/Van Walsem. Many thanks to and a basic plan of action for museums in colleagues Dr. Mariana Françozo and Eldris the region and elsewhere wishing to embark Con Aguilar for their comments on a first on similar projects. draft of this paper and for the extensive feedback of two anonymous reviewers. Acknowledgements. The research results presented in this paper are based on

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