THE PLANNING AND MANAGEMENT OF MUSEUM CULTURAL DEMONSTRATIONS
A Thesis submitted to the faculty of A ‘ San Francisco State University In partial fulfillment of the requirements for the Degree
Master of Arts
In
Museum Studies
by
Lindi Lou Ingram
San Francisco, California
May 2018 Copyright by Lindi Lou Ingram 2018 CERTIFICATION OF APPROVAL
I certify that I have read The Planning and Management of Museum Cultural
Demonstrations by Lindi Lou Ingram, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree
Master of Art in Museum Studies at San Francisco State University.
idward Luby, Ph.D. Professor of Museum Studies
Christine Fogarty, MA Adjunct Faculty of Museum Studies THE PLANNING AND MANAGEMENT OF MUSEUM CULTURAL DEMONSTRATIONS
Lindi Lou Ingram San Francisco, California 2018
In this thesis, the development and management of cultural demonstrations in museums is examined, where cultural demonstrations are defined as programs that feature performances, traditional crafts, music, and related activities of specific cultural and ethnic groups. A literature review, which outlines the history of exhibiting cultures, provides an overview of community involvement in museums, and describes the basic structure of management and education units in museums, is first conducted, followed by three case studies of museums that present cultural demonstrations. A discussion, followed by a set of conclusions and recommendations, is then presented. It is concluded that for museums to remain relevant in contemporary society and to illustrate respect for the groups involved in cultural demonstrations, careful planning, an awareness of museum history, and specialized training programs and formal policy must be in place to ensure that cultural demonstrations are appropriate and educationally driven.
I certify that the Abstract is a correct representation of the content of this thesis.
Date ACKNOWLEDGEMENTS
Foremost, I would like to express my sincere gratitude to the faculty and staff in the San Francisco State University Museum Studies Program, who fostered my confidence and offered me support throughout my time in this program. Also, I am grateful for the patience and guidance of my thesis committee: Dr. Edward Luby and Christine Fogarty.
To Mom, Dad, and Abraham: Thank you for your unwavering encouragement, love, and confidence in my ability to complete this project.
Finally, I would like to offer my utmost appreciation to my colleagues and newly found friends who have supported, inspired, and strengthened me throughout the thesis writing process. I am looking forward to many more years of friendship. TABLE OF CONTENTS
List of Figures...... viii
List of Appendices...... ix
Chapter 1: Introduction...... 1
Chapter 2: History of Exhibiting Cultures...... 6
Early Exhibitionary Enterprises...... 7
Developments in Culture and Representation...... 11
Museums and Diverse Communities...... 13
Chapter 3: Museums and the Community...... 16
Navigating Community Participation...... 16
Museum-Community Partnerships...... 19
Chapter 4: Museum Education and Management Framework...... 27
Roles in Museum Administration...... 27
Management Methods and Strategies...... 31
Structure of Museum Education Units...... 35
Chapter 5: Methodology...... 40
Chapter 6: Informal Survey...... 50
Chapter 7: The Bowers Museum...... 60
History and Background...... 60
Interview Results...... 63
Analysis...... 70 Chapter 8: The Burke Museum...... 73
History and Background...... 73
Interview Results...... 77
Analysis...... 82
Chapter 9: Aquarium of the Pacific...... 85
History and Background...... 85
Interview Results >...... 87
Analysis...... 91
Chapter 10: Discussion...... 94
Chapter 11: Conclusion...... 106
Conclusions...... 106
Recommendations...... 111
Concluding Comments and Further Study...... 113
References...... 116
Appendices...... 121 LIST OF FIGURES
Figures Page
1. List of 50 Museums Surveyed...... 53 2. Informal Survey Results...... 57
viii LIST OF APPENDICES
Appendix Page
A. 2010 American Alliance of Museums Center for the Future Report...... 121 B. 2008 National Endowment for the Arts Report...... 127 C. Museum Websites Cited...... 130 D. Other Websites Cited...... 154
ix 1
Chapter 1
Introduction
The history of museums is deeply rooted in the politics of cultural representation and identity. Many museums today continue to draw upon the legacy of exhibiting cultures that was established in the nineteenth century, but as they seek to meet the needs of diverse communities through exhibits, programming, and collections care, they must be aware of their history and of how cultural groups have been represented in the past.
Perhaps this issue is most salient when museums seek to involve cultural and ethnic groups in the increasingly common type of programming that presents key components of their culture to museum audiences through performance, storytelling, traditional crafts, art, music, games and other important areas.
Due to continuing changes in the demographics of the United States in the areas of race, ethnicity, age, and socioeconomic status, resulting in a shift in the individuals who typically visit museums, museums today are also reassessing their role in contemporary society as they seek to remain relevant and engage diverse communities.
One study conducted by the American Alliance of Museums (2010) regarding demographic changes occurring in America and its impacts on museums highlights that populations are becoming more ethnically and socially diverse, yet these studies also demonstrate that minority groups are not attending these institutions. This is a major concern for cultural institutions because they have public trust and stewardship responsibilities that are not being fulfilled to the fullest extent. Museums need to remain aware of their obligations to serve the communities whose cultural heritage they preserve and steward. As a result, many museums have begun to shift their emphasis towards increased awareness of visitor experiences and community voices and have started developing techniques to meet the changing expectations and needs of their audiences. One important way this has been achieved is through the development of public museum programs featuring specific cultural or ethnic groups, which are often called cultural demonstrations. Generally, a cultural demonstration program is a close collaboration between the museum and a community partner to develop new programs that celebrate the partner’s culture and traditions.
While cultural demonstrations can be educational and entertaining, if they are not planned or executed well, they can also serve as a point of contention in the complex relationship museums have with cultural and ethnic communities, whose voices or viewpoints have not been represented in museum activities in the past. Equally as serious, these programs can also develop into “spectacles” that undermine a museum’s educational goals and fail to recognize the inappropriate and damaging ways in which cultural and ethnic groups were presented to museum audiences in the past.
Despite these potential issues, cultural demonstrations have increased in frequency over the last few years and have emerged as a potent tool to attract diverse audiences and to directly cater to the needs of community groups. So how do museums ensure that cultural demonstration programming is well-planned, culturally appropriate, effective, and that staff are well-trained? Since cultural demonstrations have only recently been integrated into the museum educational framework, much remains to be learned about this type of public program.
In this thesis, public programs offered by museums that feature the cultures and traditions of specific community groups, known as cultural demonstrations, will be examined. Some of the questions to be explored in this thesis include: How do museums work with community partners to plan and develop such programs? How do museums
“exhibit cultures” in ways that do not identify with the adverse history museums have when it comes to working with cultural and ethnic groups? How do museums ensure that cultural demonstrations are educational, informative, and culturally appropriate? What kind of partnerships are required with groups, how are these relationships developed, and how are cultural demonstrations evaluated today?
Museums are increasingly moving towards community involvement through collaborative partnerships in an effort to provide audiences with meaningful and appropriate cross-cultural experiences. While programming involving cultural demonstrations offers a pathway to providing such experiences, it is critical to do so in culturally appropriate ways, to ensure that cultural demonstrations are well-planned and managed, and to support the diverse communities involved. While the existence of these public programs demonstrates that museums are taking steps toward changing the narrative of exhibiting cultures as they continue to incorporate specific cultural or ethnic groups in the development of these programs, effective management and the existence of clear educational goals are also likely to be crucial to their success. Significantly, no standards or best practices exist at this time for developing or managing cultural demonstrations. Because cultural demonstrations are based on people, and not on collections, which have been the traditional focus of museums, it seems reasonable to suggest that efforts be placed into analyzing and assessing such programming to determine what factors make them successful for both partner groups and for museum audiences. As cultural demonstrations become a more popular program offering, museums must consider the impact the planning and management of these programs may have on visitors as well as the specific cultural or ethnic communities involved and should consider the possibility of developing policy based on professional standards.
To examine cultural demonstrations in this thesis, a review of relevant literature in the following three areas will be conducted: the history of exhibiting cultures; community involvement and partnerships in the development of new museum exhibitions and public programs; and museum management and the structure of museum education units. Next, the methods used to carry out this study will be outlined. Then, three case studies of museums that offer cultural demonstrations will be presented. Each case study will consist of a description of the history and background of the institution, focusing on its community involvement and public programming, followed by the results of an interview with a museum professional serving as a content expert and ending with a brief assessment of the museum’s efforts. Finally, a discussion chapter will be presented, followed by the presentation of a set of conclusions and recommendations for the field. In the next section, the literature review is presented. First, the history of exhibitionary practices will be discussed, and how museums are integrating new techniques to avoid reverting back to past exhibitionary practices. This section is critical for understanding the importance of cultural demonstrations in contemporary society and the impact they have on diverse audiences, and will be followed by a review of literature concerning how museums are working to develop meaningful relationships with diverse community groups.
Cultural demonstrations in museums can support enjoyment and build strong community relationships while simultaneously meeting important educational goals that are intrinsic to cultural institutions. Moreover, a deeper understanding of cultural demonstrations can supply insights into other types of museum programming that place education and community at the forefront of concerns. In the end, the goal of this thesis is to begin the process of outlining a roadmap for the field in terms of developing and managing cultural programs in ways that are ethical, culturally appropriate, community focused, and aware of emerging best practices. 6
Chapter 2
Part I
Literature Review
Museums have a history of exhibiting and exploiting cultures, but there has been exceptional progress made towards building relationships with diverse communities.
Anthropologists and museum professionals discuss the controversies of exhibiting cultures in the early museum, but this has a renewed meaning in the contemporary museum.
A literature review is presented chapters 2 through 4 to provide a broad outline of the development of contemporary cultural exhibitionary practices, referred to as cultural demonstrations. It will discuss the history of exhibiting cultures in museums, including a trend towards increased community involvement, relationships, and partnerships. In addition, it will provide an overview of how museum education units are structured and a basic guide to museum administration, including the policies that govern best practices of education and public programming. This section will introduce exhibiting cultures from a management and administrative point of view to provide a framework for the case studies provided in the following sections. History of Exhibiting Cultures
Early Exhibitionary Enterprises
This chapter discusses the unfavorable history of exhibiting cultures, which is essential to understanding the development and importance of cultural demonstrations in contemporary museums. Before the turn of the twentieth century, museums stood as symbols of power, progress, and wealth. Early exhibition practices during this time presented social and cultural hierarchies, assuring visitors of their superiority over
“primitive others” (Hinsley 1991, 345). These practices often asserted the global power of Western civilization, resulting in the assimilation and exoticization of cultural and ethnic groups. As the implications of these practices came to be appreciated, and broader changes in the educational and community-based roles of museums took place, museum goals shifted to support access to a broad range of people, and a commitment to education and cultural experiences took root.
Examples of early representational enterprises are seen in the exhibits at the first
World's Fairs. The development of the “museum,” as most know it today, is the result of these World’s Fairs, which collected and showcased groups and objects alike (Hinsley
1991). Groups of people were removed from their homelands for the purpose of exhibition and exploitation. As discussed by Curtis Hinsley, the display of human groups is a part of the history of museums with the purpose of providing entertainment for visitors, making a profit, and reinforcing national and cultural superiority (1991). 8
In particular, Hinsley (1991) notes that the trend of exhibiting live subjects became evident at the Paris Exposition of 1899. Here, curators exhibited twelve models of ethnographic villages from Africa. A curator of ethnology at this time, Otis Mason, described the exhibition as an educational display that attracted crowds of visitors “to watch exotic peoples in their daily routines” (Mason in Hinsley 1991, 346). This is representative of the attitudes of museum professionals towards diverse groups during the nineteenth century. While there was potential for an educational cultural experience, often the exhibitions were not governed as such.
Hinsley (1991) discusses the two strategies for displaying humans that were established by 1890: the Hagenbeck-type tour, defined as occasionally making claim to
“ethnographic authenticity and sobriety;” and the Barnum-type sideshow of “human freaks and oddities” (346). These strategies can be seen in preceding and subsequent exhibitions as a means to compare Western culture to that of many indigenous groups.
At the 1893 World's Columbian Exposition in Chicago, for example, Frederick Putnam, director and curator of the Peabody Museum at Harvard University proposed the following exhibition strategy:
The part of the ethnological exhibit, however, which will prove of the greatest popular interest and at the same time be regarded as an essential and appropriate display, will be the out-of-doors exhibit of the native peoples of America, in their own houses, dressed in their native costumes and surrounded by their own utensils, implements, weapons, and the results of their own handiwork... .and now is the last opportunity for the world to see them and to realize what their condition, their life, their customs, their arts were four centuries ago (Putnam in Hinsley 1991, 347). In company with investors who preferred to exhibit indigenous groups alongside one another as well as the modern machinery of the time, the resulting showcase was a stark contrast of “modern” and “primitive” living (Hinsley 1991, 348). An additional example is seen in the presentation of the “Eskimo” village at the World’s Columbian
Exposition where visitors were charged a fee to observe a group of Eskimos floating around the North Pond in Chicago, Illinois, which was enclosed with metal fences
(Hinsley 1991).
Both representational strategies encouraged the exoticization of indigenous people(s) and presented them as the “other.” These examples demonstrate there was not a standard strategy to exhibit live subjects, but what is most imperative is the rationale behind these exhibitionary enterprises. As Rydell explains, the justification for these exhibitions was to popularize theories of cultural superiority that were characteristic of the nineteenth and twentieth centuries (Rydell in Macdonald 2011). His works answer some crucial questions regarding the impact this type of representation had on the cultural and ethnic communities featured at World’s Fairs.
In his work World’s Fairs and Museums (Macdonald 2011), Rydell discusses how individuals responded to being exhibited at the fairs. According to him, while fair planners and visitors observed the groups as human spectacles, these individuals were in fact interested in educating people about their cultures. They were placed in an unknown environment, expected to perform for visitors, and subjected to racist stereotyping, yet saw their position as an opportunity to resist the very colonization practices they faced as participants of the World’s Fairs (Macdonald 2011). Rydell makes it clear that these 10 groups of people could have “maintained] their self-esteem and even resisted] oppressive conditions”; instead, they used the fairs in an attempt to promote respect and value in cultural experiences (Rydell in Macdonald 2011, 148).
Both authors describe the early exhibition of these groups as spectacles of cultural superiority, but many of the individuals involved in the World’s Fairs recognized the significance of these practices, including the cultural and ethnic groups on display. As
Hinsley (1991) outlines, the cultural authorities of the World’s Fairs included many of the same leaders seen in contemporary museums, who must navigate these boundaries between human spectacle and invaluable cultural experiences. As the work of Hinsley and Rydell highlight, exhibitionary enterprises, such as the World’s Fairs, have been spaces of contention for many years.
Both the 1893 World's Columbian Exposition and the 1899 Paris Exposition are examples of early exhibitionary enterprises that reflect the nineteenth-century interest in exhibiting culture (Hinsley 1991). They highlight the important historical context of cultural demonstrations, and the contemporary struggle to balance entertainment, education, and strong community relationships in museums. What is important is that museums in the twenty-first century acknowledge this past in order to develop programs and exhibitions that are ethical and that are developed and implemented in accordance with standards and best practices. Developments in Culture and Representation
In his work “Museums in the Age of Deconstruction,” anthropologist Michael M.
Ames examines the politics of representation and its impact on cultural institutions, such as museums. Ames began his career as a Professor of Anthropology at the University of
British Columbia in 1970. He became Director of the Museum of Anthropology at the
University in 1974 and remained there until 1997, and demonstrates his knowledge of the field (University of British Columbia Archives 2015).
To provide context for his argument, Ames (2012) sought to assess the impact of the recent discourse on “ethnicity” on cultural institutions, primarily with respect to interactions with underrepresented communities. He notes that one clear impact is that more underrepresented communities are demanding a place for their voices to be heard in these institutions, and he credits this change to the public concern with ethnicity (Ames, in Anderson 2012). He argues that because cultural institutions, such as museums, frequently manage sensitive issues of race, ethnicity, and politics, they are often places of contention amongst these communities (Ames, in Anderson 2012).
Ames makes two points regarding how the changes involving underrepresented communities have resulted in a shift in museum focus, to places that are more self-aware and community oriented. Ames’ first point is that questions have emerged about who has the right to interpret culture, creativity, and traditions. As repositories of cultural heritage, museums should remain aware of their effect on public understanding of diverse communities, as they are deeply rooted in the politics of representation. Indigenous groups view their work much differently than those individuals who study it through the museum lens (Ames in Anderson 2012); for example, should the work of such groups be classified as contemporary, as art or as an artifact, and should non-indigenous people interpret indigenous culture? If not, then how do museum staff navigate these issues?
The second point Ames makes concerns the methods through which cultural or ethnic groups are represented in a museum setting, and especially the issue of authenticity in museum exhibits and programs. Ames emphasizes a point made by the Director of the
Canadian Museum of Civilization, George MacDonald, that increasingly the
“authenticity” of an experience relies less on collections, as greater attention is placed on the use of simulations and performances (Ames in Anderson 2012). MacDonald suggests an authentic experience can be developed by reaching out to the group whose culture is being represented (Anderson 2012). His proposal illustrates a dramatic shift in the attitude and role of museums and their staff in contemporary society, which has arisen from pressures placed on museums by underrepresented communities to provide them some agency in exhibits and programs.
Ames emphasizes that museums have made important changes to overcome these challenges. For example, he notes how the Canadian Museum of Civilization (CMC) underwent a complete restructuring to address the involvement of underrepresented communities. The museum now integrates theatre and performances into their programming, consults with community groups and others on how they wish to be represented, increases access to information about their collections, and works towards creating an experience based on the “authenticity of the ‘real’ object” (Ames in Anderson 2012, 92). Although this outlines changes made by one museum, it highlights how museums have begun to reassess their role in communities and their duty to represent their communities in the most appropriate manner.
Museums and Diverse Communities
The work of Michael Ames demonstrates how museums are increasingly expected to meet the demands of the public. As he notes, this becomes challenging as museum visitors become more “ethnically and socially” diverse, and as changes in “cultural and ethnic pluralism and ideas about the equality of groups” take place (Ames in Anderson
2012, 100). At the same time, it is important to recognize that before the twenty-first century, attitudes towards accepting diversity were different and a self-awareness in cultural institutions did not exist.
The American Association of Museums published the 2010 Center for the Future of Museums report (CFM), which records the current trends in the United States population from 1980 to 2050; see Appendix A for information on the full report. Their purpose was to demonstrate the demographic changes occurring in the United States and its impact on museums. The report illustrated a dramatic growth in the minority populations; for example, during the years 1980 to 2008, the Hispanic population in the
United States increased from 6.4% to 15.1% and is predicted to increase to 30% by 2050.
In addition, a decrease in the White population from 83% to 74% was recorded (AAM
2010, 9). Through these trends, it was predicted that people who identify as Latino,
Black and African American, Asian and Pacific Islander, American Indian and Alaska 14
Native, Other, or as two or more races are to become the new majority population by the
year 2050 (AAM 2010, 9).
While the study exemplified there is an increase in these diverse populations, it
also highlighted that these groups are not attending these institutions. For years, the
traditional museum audience has been White individuals between the ages of 45 to 54,
but the numbers of these visitors at museums has also decreased from 32.9% to 23.3%
(AAM 2010, 12). There have been many attempts to explain the disparity in museum
participation presented by this study, including factors such as cultural barriers, education
and income, the influence of friends and family, and changing patterns of work and
leisure (AAM 2010), but these factors are just part of the issue.
The implications of this study on museums, mainly those located in the United
States, is that substantial change must take place to accommodate these diverse
communities. This study presents museums with a troubling realization that they may not
be reaching their full potential as educational and cultural institutions, and they should
consider who their new audiences are in this time of change. Museums must respond to these changes by developing relationships with community members, recognizing their
differences, and understanding what their needs are (AAM 2010).
Museums have already begun to accommodate diverse communities as they have become safe spaces for the voices of these communities to be heard. How, then, do museums integrate the exhibition of cultures into their framework in ways that support enjoyment, education, and support relationships with their communities? Like an 15 exhibition, a cultural demonstration has the potential to be a learning experience for a wide range of audiences, but unlike an exhibition, it involves the display of living person(s) acting, performing, or demonstrating a specific practice or tradition of their culture. In today’s museum, with its diverse communities, careful planning must take place to support engagement in programs that recognize the history of museums and the concerns of diverse community groups. The use of techniques learned in professional training to avoid reverting back to past exhibitionary strategies results in more effective museum programming that is accessible to a wide range of visitors.
The next section of this thesis addresses the shift in museum focus from past exhibitionary practices to community collaboration, such as through partnerships with cultural and ethnic groups. 16
Chapter 3
Part II
Literature Review
This chapter focuses on the visitor and shifts in museum-visitor relationships, explaining the trend towards community involvement in museums and assessing the current state of museums’ relationships with their respective communities.
Museums and the Community
Navigating Community Participation
Nina Simon’s book, The Participatory Museum, published in 2010, explores the current shift in museum focus to visitor participation. Her book offers guidance for museums to work with visitors and community members. She begins with an explanation as to why this change is necessary, including reports from the National Endowment for the Arts, and ending with case studies and techniques seen throughout the field. Simon offers suggestions to achieve the “participatory museum,” arguing for museums to reconnect with the public to demonstrate value and relevance in contemporary life
(2010b).
Nina Simon is the Executive Director of the Santa Cruz Museum of Art and
History (MAH), but is most known for her two books: The Participatory Museum (2010) and The Art of Relevance (2016). Her work on community involvement as well as innovative approaches is internationally recognized. Smithsonian Magazine named her a “museum visionary” and Simon received the American Alliance for Museums’ Nancy
Hanks Memorial Award in 2012 for her work (MAH 2018). She has worked as a consultant and exhibition designer, specializing in social technology, gaming, and participatory designs for a majority of her career. Today, she spends her time as an author, blogger, and public speaker, working with institutions to develop innovative educational programs and visitor-driven exhibitions, and has been named one of the “50 most powerful and influential people in nonprofit arts” (Simon 2010a).
According to the 2008 National Endowment for the Arts (NEA) report, museum audiences have decreased dramatically over the last twenty years, and those individuals who attend most often are white adult males (2009); see Appendix B for information on the results of this report. As a result, Nina Simon recommends museums reconsider their current methods and to change their ways in order to remain relevant in contemporary society (2010b). The decrease in museum attendance, she argues, could be due to a shift in visitor needs and expectations. Many visitors prefer to be actively involved, for example, rather than be passive viewers in cultural institutions like museums. As she explains, visitors “want to do more than just ‘attend’ cultural events and institutions”
(Simon 2010b).
But, how do museums reconnect with such dynamic audiences? Simon encourages the active engagement of audiences through educational, yet entertaining experiences. Community engagement is a trend seen more often in contemporary museums, requiring innovative approaches that may be challenging to achieve (Simon 18
2010b). She supports her argument for community involvement through three fundamental museum theories that have been published for the last century:
The idea of the audience-centered institution that is as relevant, useful, and accessible as a shopping mall or train station (with thanks to John Cotton Dana, Elaine Heumann Gurian, and Stephen Weil).
The idea that visitors construct their own meaning from cultural experiences (with thanks to George Hein, John Falk, and Lynn Dierking).
The idea that users ’ voices can inform and invigorate both project design and public-facing programs (with thanks to Kathy McLean, Wendy Pollock, and the design firm IDEO) (Simon 2010b).
Despite these insights, such strategies have yet to be fully integrated into museum educational frameworks. Her goal is to present the field with specific techniques, based in these theories, to achieve the “participatory museum.” The “participatory museum,” according to Simon, is “a place where visitors can create, share, and connect with each other around content” (2010b). This represents the previously mentioned shift in museum emphasis as stewards and educational institutions to meet the needs of their communities.
In order to become a participatory museum, Simon outlines five areas where most museums can improve:
1. Relevancy 2. Accepting constant change 3. Using an authoritative voice 4. Allow visitor expression and participation 5. Act as a safe space for discussion (2010b). 19
At present, there is not one standard way to address these public concerns, but museums should find the approach that best suits their institutional mission and goals.
She suggests museums begin by encouraging visitor input and responding to their needs.
These strategies build trusting relationships between communities and cultural institutions over time (Simon 2010b). Later in this chapter is a discussion on the examples of museums engaging in community participation, as shared by Nina Simon throughout her book. These examples demonstrate standards and best practices developed by leading organizations in the museum field that help navigate museums through these challenges.
Museum-Community Partnerships
Nina Simon encourages museums to explore models of participation that best support the mission and goals of the institution. This presents an opportunity for museums to deeply examine their mission statements. Many museum missions are rooted in accessibility, diversity, and/or inclusion. For this reason, museum-community partnerships are grounded in their core values (2010b). Throughout her book, Simon outlines various types of partnerships. This section emphasizes two specific types of museum-community partnerships: “collaborative” and “co-creative” (Simon 2010c).
Her chapter on Collaborating with Visitors describes collaborative projects as
“institutionally-driven partnerships in which staff members work with community partners to develop new programs, exhibitions, or offerings.” Furthermore, she lists four main reasons for engaging in collaborative projects: To consult with experts or community representatives to ensure the accuracy and authenticity of new exhibitions, programs, or publications.
To test and develop new programs in partnership with intended users to improve the likelihood of their success.
To provide educational opportunities for participants to design, create, and produce their own content or research.
To help visitors feel like partners and co-owners of the content and programs of the institution (Simon 2010c).
As Simon explains, the collaborative process stimulates the shift in how museum staff perceive visitors and members of the community. They become active partners of the institution, rather than passive viewers and consumers. Ultimately, these projects promote respect, inclusion, and relevance to the institution and the community (2010c).
Prolonged collaboration with groups may lead to a stronger form of museum- community partnership that Simon describes as a “co-creative relationship.” These can be distinguished from collaborative projects because a co-creative relationship begins with community and institutional need (2010d). Simon explains this as, “Rather than the institution declaring, ‘we want to do an exhibit on potato farmers, please come and help us make it happen,’ staff members ask, ‘potato farmers, do you have an idea for an exhibit you’d like to make with us?’ Or the potato farmers approach the museum on their own accord” (Simon 2010d).
The three main reasons for engaging in “co-creative” projects are:
To give voice and be responsive to the needs and interests of local community members.
To provide a place for community engagement and dialogue. To help participants develop skills that will support their own individual and community goals (Simon 2010d).
More agency is given to the participants in this type of partnership, resulting in a sense of co-ownership of the project by institutional and community partners. Co-creative partnerships allow museums to be more responsive to the needs and interests of the community they are working with because, as partners, they are forced to remain attentive to these needs (Simon 2010d).
The following section emphasizes museum projects in Simon’s book involving specific cultural or ethnic communities and their “collaborative” or “co-creative” strategies. The current state of museum-community relationships is examined through these partnerships, and they make a case for museums to actively engage diverse audiences in exhibitions and public programs (Simon 2010b). To do so, the strategies of three museums will be examined: the Vietnam Museum of Ethnology, the Oakland
Museum of California, and the Wing Luke Asian Museum.
1. The Vietnam Museum of Ethnology
The Vietnam Museum of Ethnology (VME) opened to the public in 1997 and is located in Hanoi, Vietnam. An average of 500,000 visitors each year visit the VME or attend their public programs. According to the website, their goal is to safeguard different ethnic groups in Vietnam, Southeast Asia, and all around the world (VME
2018).
In 2006, the museum developed an exhibition titled Subsidized Times (Thoi Bao
Cap) that explored post-war life in Hanoi under the strict rationing policy from 1975 to 22
1986, including resident voices and objects. To ensure authenticity, the museum staff at
VME consulted with Hanoi residents during the subsidized period. They collaborated in a video production of their them sharing their own stories. The goal of the exhibition was to connect younger generations to the challenges faced by their elders and to better understand what they faced during difficult times (Simon 2010c).
For successful collaboration to take place, VME staff members created a collaborative process. First, two groups of VME staff members and a videographer teamed up with participants who were chosen from previous programs or solicited through family and friends. Once they agreed to the overall project concept, they were interviewed by the staff and recorded by the videographer. Rather than asking a standard set of interview questions, the videographer suggested the staff engage with the participants, creating meaningful dialogue. The interviews were conducted in the participants own homes and all were compensated for working with VME. Next, the staff members assembled draft films that were reviewed and critiqued by the participants before it was placed in the gallery (Simon 2010c).
Subsidized Times had a profound impact on the audiences, community, and staff members. One participant stated, “This film is the true story and true people of that time.
I told the truth” (Simon 2010c). This project inspired the VME to continue integrating collaborative works into their museum framework (Simon 2010c). 2. The Oakland Museum of California
Founded in 1969, the Oakland Museum of California (OMCA) has become one of
the top-rated museums in the Bay Area. Their vast collections explore the art, history,
and natural sciences of California. OMCA was founded for the community and continues
to serve their needs and expectations to the best of their ability (2018a). When their
visitorship began to decline in the late 1990s, the museum in 2012 reevaluated their role
in the community and hoped to “reinvent the institution as a model institution based on
strong community engagement” (Simon 2010d).
The museum’s Days o f the Dead exhibition, which has been held annually since
1994, acted as an inspiration for institutional reevaluation and reinvention. It is a co-
creative project that not only involves diverse communities, but also demonstrates the
staffs overall vision for the institution’s reinvention. In order to develop the exhibition,
OMCA staff members partner with Bay Area artists, community members, and local
school to build shrines as offering to the dead. These shrines are put on display for public viewing in addition to a free public event featuring demonstrations, live music and dancing, and a ceremonial procession (Simon 2010d).
Days o f the Dead was established by the museum’s Latino Advisory Council to better connect with the local Latino population in Oakland, California. As one of the most important traditions in Mexican culture, the staff members at OMCA wanted to create a community celebration, highlighting their culture. Visitors were encouraged to share immigration stories, discuss, exhibit art, and add their own creative projects to the exhibition (OMCA 2018b). Also, the staff often used this opportunity to prototype new exhibitionary techniques in the galleries. As an example of a shared human experience,
Days o f the Dead became a popular public program, with high attendance from a wide
variety of audiences (Simon 2010d).
The success of the Days o f the Dead exhibition and program forced the staff
members to discuss how the institution would achieve its goals. Could the same co-
creative or collaborative techniques be integrated into the museum’s framework? The
staff members had to confront their “biases and fears” about allowing community
participation in the development of new exhibitions and programs because this was a
dramatic shift from traditional museum operations (Simon 201 Od). Subsequently, the
education department at OMCA encouraged the shift to working collaboratively with the
Bay Area community to better serve their needs (Simon 201 Od).
3. The Wing Luke Museum of the Asian Pacific American Experience
The Wing Luke Museum in Seattle, Washington is an affiliate of the Smithsonian
Institution that was established in 1967. It was named after the first Asian American to be elected to public office, Wing Luke. Bullied as a young boy for his differences, Luke hoped to combat discrimination through his career and advocacy of diverse communities.
The Museum’s goal is to connect audiences to the culture and traditions of Asian Pacific
Americans through their history, culture, and art (Wing Luke 2018).
In 2002, the museum developed a community-directed exhibition titled I f Tired
Hands Could Talk: Stories o f Asian Pacific American Garment Workers to highlight the experiences of individuals in the industry. The Director chose an innovative approach to 25 the exhibit, featuring oral histories and local issues, rather than the traditional curatorial content (Simon 201 Od). A handbook recording the exhibition development and implementation processes describes it as, “labor intensive” and “requires flexibility;” thus, the staff “willingly relinquish[ed] control” (Simon 2010d).
The idea for I f Tired Hands Could Talk began with an open exhibition proposal where visitors could propose ideas for new exhibitions. The staff reviewed proposals yearly and chose ideas in accordance with the institutional mission and relevant.
Alongside community advisors, the staff would choose the projects that would be developed into a full-scale exhibition. Although the project was facilitated by Wing Luke staff members, members of the community were recruited to contribute objects, stories, performances, and outreach programming. Furthermore, every decision made by museum staff was balanced with input from the community groups (Simon 2010d).
This co-creative process is how a majority of exhibitions are developed at the
Wing Luke Museum. For this reason, the museum has been described as “a people’s museum” (Simon 2010d). Their commitment to community relationships is unheard of in traditional museum models. To achieve success in innovative models such as this one, the Wing Luke has a clear institutional mission and vision as well as strong methods of evaluation (Simon 2010d).
Through these examples provided in The Participatory Museum, it is clear museums have made exceptional growth in community and visitor participation over the last decade. These projects demonstrate an increased awareness of community groups and changes in museum practice. One of the most dramatic changes seen in these examples presented by Nina Simon is the extent to which museums are accommodating these groups within the walls of the museum, collaborating in unprecedented ways.
Overall, while theories about the role of museums and other cultural institutions in contemporary society have begun to focus on engaging more diverse audiences, there is very little literature on how to develop and manage these types of public programs when they involve specific cultural and ethnic groups. Museums should use the work by Nina
Simon as a guide to begin the process of engaging with community groups.
The next section of the literature review provides an overview of museum administration and addresses the standards in the management of museum education units, in addition to an overview of the best practices in planning and maintaining exhibitions and public programs in museums. 27
Chapter Four
Part III
Literature Review
This chapter defines “administration” in a museum context and provides a basic guide to museum administration and management, and its role in the structure of museum education units. Procedures that govern standards and best practices in the development and management of education and public programs will also be introduced.
Museum Education and Management Framework
Roles in Museum Administration
Administrative tasks are not the responsibility of a museum’s executive team alone, rather they are the duty of all key players of the museum’s governance structure.
“Administration” here can be defined as a role of management in evaluating the fulfillment of the museum’s mission and goals (Lord and Lord 1997), and is crucial to the success of museums. Proper management strategies are important because they help determine the identity of the museum, inspire the staff with a sense of mission, impact public perception and rate of visitor attendance, and influence funding and membership
(Lord and Lord 1997).
Lord and Lord (1997) explain the structure of museum management and the three fundamental roles people perform in the management and operation of museums: the trustees, staff, and the volunteers. The function and structure of each of these three roles
are outlined below:
1. Trustees
The role of the Trustees, also known as the Board or Board of Trustees, is to
ensure the institution is working in accordance of their mission, goals, and values. As
keepers of the world’s cultural and natural heritages, a museum operates in public trust,
and the board should work prudently to meet this trust responsibility. To do so, they
assist in the implementation of the institutional purpose, meet audience needs, and
maintain community relations. Additional duties involve raising funds for museum
operations and allocating them where the need is greatest. It is important that they accept
money from appropriate organizations that reflect the same values as the museum, or they
may harm the reputation of their institution.
Overall, the role of the board is of guidance, and of monitoring and advocating for
their institution. The board appoints and delegates to the director of the museum to
establish guiding principles, called policy. Museum policy is defined by Lord and Lord
as, “instrumental to regulating both the fulfillment of present museum functions and the
achievement of a desired future condition at the requisite level of quality” (1997, 51). It is the duty of the director to formulate and present possible policy to the board, who then ensures they align with the institutional mission and goals. While there is not one standard for the formulation of museum policies, boards share a role in maintaining a high level of quality in the implementation of policies and plans in adherence to the museum’s mission (Lord and Lord 1997).
2. Museum Staff
The role of museum staff is to conduct the daily functions of the institution and implement institutional policy and procedures. Their position in the museum is generally outlined by an organizational chart, which can be described as “a road map that outlines routes and connections” (Genoways and Ireland 2017, 142). While the roles and responsibilities of museum staff largely depends on the size of the institution, Lord and
Lord organize staff responsibilities into three divisions: collections, defined as overseeing the “museum’s assets;” public programs, which is concerned with the museum’s activities; and third, “administration” of the museum (1997, 26).
The separation of staff members into three distinct divisions requires interdepartmental communication and collaboration. For instance, the development of a museum exhibition involves the skills and knowledge of curators, registrars, conservators, designers, and educators (Lord and Lord 1997). Lord and Lord highlight this matter of enabling staff to work across divisions to fulfill their duties in asking,
“Does management facilitate interdepartmental co-operation and teamwork to conduct museum functions and create programs such as exhibitions?” (1997, 26).
Aside from developing policy, it is the director’s duty to hire, lead, and evaluate staff in fulfilling the museum’s function. One area of concern for museums is to hire employees that reflect the institution’s community. Lord and Lord discuss how imperative it is for museums, as repositories of the world’s cultures, to include diverse members of those communities among their staff (1997). They also understand that this implies the need for “special training programs” to better equip museum staff with the necessary professional or technical skills (Lord and Lord 1997, 37). In addition, the board and director should agree on a personnel policy that guards against any potential problem areas. These are important in protecting the museum and staff by ensuring they operate appropriately and uniformly (Genoways and Ireland 2017).
3. Volunteers
Museums provide communities with many opportunities to volunteer. Volunteers have become a necessary part of the day-to-day operations of a museum. They generally hold unpaid positions in a museum, yet provide significant support for the museum.
Volunteers can play numerous role throughout a museum, including: docents, hosts, retail sales clerks, research assistants, library assistants, data entry clerks, and restoration technicians (Lord and Lord 1997). Because they play multiple roles within a museum without monetary compensation, it is standard that they are rewarded through
“individual development,” including training and learning opportunities; and “social recognition,” including attending institutional gatherings or receiving certificates and awards (Lord and Lord 1997, 45).
The hiring process for volunteer positions should be treated with the same level of care as recruitment of staff members. Examples of this include clarifying the job description and the required qualifications for the position (Lord and Lord 1997). Interviews of potential volunteers should be completed and compared alongside
references to determine if the individual is a good fit for the institution. Furthermore,
Lord and Lord discuss the importance of a “volunteer manual” in linking the museum's
mission to the volunteer policy as well as outlining how it pertains to the work volunteers
carry out (1997, 45).
Management Methods and Strategies
Effective museum management relies on a variety of methods and strategies, four
of which are outlined in this section. First, planning is one method of museum
management that provides guidance for museum operations towards accomplishment of
the institution’s mission and purpose. An institutional plan should meet the needs of
museum audiences and communities. The American Alliance of Museums (AAM)
encourage museums to develop institutional plans that reflect national standards and best
practices, which are discussed in this section (AAM 2012).
Lord and Lord (1997) discuss three forms of institutional planning: first, a
Corporate Plan, defined as a general plan to organize the museum’s activities such as the mission and the institutional goals and objectives. Second, a Strategic Plan, which is generally a five to ten-year plan focused on the objectives of each division to reach ensure the museum maintains adherence to the mission and goals. Finally, a Master Plan, defined as a long-term and more detailed plan that focuses on the museum’s resource requirements, including facilities, personnel, and funding. A strategic plan is the most common level of organizational planning, and is
important to the success of museums. John By son (2012) describes strategic planning as
“a deliberative, disciplined approach to producing fundamental decisions and actions that
shape and guide what an organization...is, what it does, and why” (Bryson in Genoways
and Ireland 2017, 42). As mentioned above, it is generally a multi-year plan developed
by the board and director. Together, they agree on detailed, measurable goals for each
museum division to reach in addition to a financial plan to achieve the established goals
(Lord and Lord 1997).
The planning process involves consideration of the changing environment in
which museums persist, such as the evolving needs of museum audiences. This can be
achieved through external consultation, “including interviews with cultural, political, and
business leaders or other members of the community” and internal consultation,
“including interviews and workshops with staff, volunteers, members and trustees” (Lord
and Lord 1997, 49). In addition, meeting with addition supporters of the institution, such
as donors, funders, and community leaders in identifying where the museum can improve
in meeting society’s needs and expectations. Performance indicators, such as statistics or
revenues, may be used to measure the museum’s progress in achieving these goals (Lord
and Lord 1997).
While institutional plans are used by museum management as an organizational tool to focus museum operations and activities, policy is a second method of museum management that establishes the standards of quality and public accountability, through which the museum operates. Policies should be developed in collaboration by the director and the board in connection to institutional goals (Lord and Lord 1997). There is
not one standard for the number of policies required, but the most common policies found
in museums are: a collection policy, “including acquisition, deaccessioning and loan
policies;” conservation policy; an education policy; an interpretation policy, “which may
include publications and media;” and a research policy, “which should also include
policy on intellectual property” (Lord and Lord 1997, 51).
Third, the procedures through which the museum performs its day-to-day
functions should be codified in a procedures manual; an example of one such procedure
is the manners through which a museum documents a new acquisition (Lord and Lord
1997). According to Lord and Lord, procedures are more specific than policy because
they relate to the accomplishment of museum functions and objectives, rather than the
goals of the museum (1997). They are more immediate than reaching the museum’s
goals, which is a process. Procedures should be developed and carried out by the
appropriate museum staff member of the division when guidance is needed for all the
activities carried out by that division. Furthermore, the established procedures should
align with relevant institutional policy, and should be reviewed by the director to ensure
they implement the policies. And as Lord and Lord note, as museum policy changes, so
should the museum’s procedures (1997).
Finally, the relationships a museum establishes with other institutions and
communities are necessary for the success of the museum. Museums hold objects that represent the history and culture of diverse groups; thus, museums should remain conscious of who they connect with in addition to their place within society (Lord and 34
Lord 1997). For example, the educational services provided by museums makes them great partners to school and universities as a place for informal learning experiences. It is the duty of the museum’s director and board to manage these relationships (Lord and
Lord 1997). Moreover, museum leaders should not shy away from collaboration with other museums or the community groups they serve, as they may result in more substantial exhibitions and programs.
These management methods and strategies are examples of how museums work towards the accomplishment of their mission, highlighting the importance of communication and clear leadership in museums. What is vital is that museums in the twenty-first century work towards professionalizing their administrative strategies in ways that are ethical and that are developed and implemented in accordance with standards best practices. 35
Structure o f Museum Education Units
The educational role of museums has evolved over the years as it has come to be
an essential function of museums today. The 1984 Museums for a New Century report by
the AAM recognized education as the primary purpose of museums and that it should be
given priority. Then in 1992, they urged museums to position education as their central
focus (Genoways and Ireland 2017). Still, museum professionals today, such as Nina
Simon, are insisting that museums educate their audiences through more engaging and
innovative approaches.
This type of educational activity in museums includes all activities that may
“enrich the visitor’s experience, enhance enjoyment and understanding, attract new
audiences and encourage return visits” (Lord and Lord 1997, 87). This section highlights
the role of the museum educator and the management of museum education units in
achieving successful exhibitions and programs.
The individual who takes on the role of the museum educator should be a
specialist in understanding the ways people learn and engaging them in a variety of ways.
The role of a museum educator is dynamic, and has a relatively new meaning today as museums shift their focus to community involvement (Johnson et al. 2009). The list of duties carried out by museum educators is a long one and largely depends on the size of the institution. It includes, but is not limited to leading museum tours, docent and volunteer training, developing school programs, special programs, and demonstrations and workshops (Genoways and Ireland 2017). Overall, their duties can best be described 36 as developing and implementing programs, exhibitions, and other activities to attract new audiences and encourage visitors to return to the museum.
Such activities provide new meaning to museum collections, giving them context, and making them more accessible to the public. This highlights the importance of a strong administrative structure and clear museum policies regarding education. It is the responsibility of the museum education or public program staff to aid in the formulation of a museum education policy that outlines the museum’s goals and the steps required to meet them, and the needs of the community, while reflecting the institutional mission
(Genoways and Ireland 2017). They are responsible for setting up the administrative structure, policy, and programs because they maintain close contact to the public through their work.
Due to the dynamic nature of the museum education division, a single staff member is not enough to carry out the management and administrative tasks, alongside the other educational and administrative tasks. For this reason, museums should consider partnerships with local schools, libraries, universities, communities, and other museums to accomplish their objectives (Lord and Lord 2017). Performances or demonstrations by traditional craftspeople and artists in the community or teacher training programs with local schools are just a couple examples of ways institutions can share resources.
To convey information regarding the museum’s collections in ways that support enjoyment, educational value, and strong community relationships, a wide range of methods must be used. Three important aspects of effective management of education units are outlined below.
First, the interpretation of the world’s collections, cultures, and traditions must be considered from an administrative perspective. Lord and Lord describe interpretation as a method of communication between the museum and its audiences that includes labels and text, orientation, and other publications and provisions of information (Lord and Lord
1997). They explain that the interpretation process begins with the curator, but should include all departments. This is important because nearly every department communicates with visitors in museums today as a result of visitor needs and expectations (Lord and Lord 1997).
It should also be noted that in some museums the education unit has been eliminated; instead, education training is integrated throughout the institution due to its central role in the success of museums (Johnson et al. 2009). Nonetheless, the staff should decide as a team how information should be communicated to visitors. For instance, using the “art for art’s sake” approach to interpretation results in little to no interpretation of an object (Lord and Lord 1997, 102). As was mentioned earlier, museums should formulate policy on its means of interpretation and communication to ensure accessibility and continuity of the information shared with the public, taking into consideration the expectations of the communities being represented.
Second are concerns regarding diversity, accessibility, and community outreach
(Genoways and Ireland 2017). Another way to look at these issues is to consider these questions: who is the museum currently serving? Who is not attending the museum’s
programs and activities? Museums operate in service to the public and are responsible for
presenting diverse perspectives to a wide audience. Barriers that could limit visitors’
understanding of the collections, like physical, language, and other types of barriers, can
be avoided through policy and staff training.
Moreover, the individuals involved in the development and management of the
museum’s activities should reflect the community it serves. Otherwise, it is challenging
to navigate the concerns regarding diversity and inclusion in the twenty-first century.
Changing demographics suggest that the individuals who identify as Latino, Black and
African American, Asian and Pacific Islander, American Indian and Alaska Native,
Other, or as two or more races are to become the new majority population by the year
2050 (AAM 2010, 9), but as Genoways and Ireland point out, diversity extends beyond
race, culture, and gender and sexual orientation (2017). They suggest the development of
a “diversity and inclusion policy” that is written by “a diverse team of staff members,
trustees, and stakeholders” (Genoways and Ireland 2017, 148).
Finally, museum educators should have various methods of evaluation to assess
the impact of their educational activities. Museums are pressured to show the outcomes
of their efforts in order to maintain funding (Genoways and Ireland 2017). There are three main types of evaluation methods, as outlined by Stacy Klingler and Conny Graft:
Front-end evaluation occurs before the program or exhibit is still being defined, allowing for changes, if needed. Formative evaluation or prototyping happens when an affordable, pilot version of the program is offered to test effectiveness. 39
Summative evaluation is scheduled for after the program or exhibit is produced to gather feedback, or lessons learned. (Genoways and Ireland 2017, 330)
Not only does evaluation aid in securing funds, it also provides the staff and visitors with opportunities to assess and provide feedback on an exhibition or program (Genoways and
Ireland 2017). Some specific evaluation methods may include surveys, reports, comment cards (Lord and Lord 1997), which can aid in the achievement of the institutional mission and goals.
The implementation of effective management methods and strategies that are in accordance with standards best practices can be seen in many museums today. Their role in the fulfillment of a museum’s mission and goals has become more evident as museums are continually changing to accommodate the needs and expectations of their audiences.
The use of proper management strategies results in more effective museum education activities that are accessible to a wide range of visitors. 40
Chapter 5
Methodology
In this thesis, the development and management of public museum programs featuring specific cultural or ethnic groups, called cultural demonstrations, are examined.
This research explores how such programs are developed in ways that support visitor enjoyment, educational value, and strong, diverse community relationships.
The major objective of this thesis is to recommend guidelines for the field in terms of developing and managing cultural or ethnic programs, despite any limitations, that is ethical and in accordance with best practices. The research methods used in this thesis include a literature review, an informal web survey, and in-depth case studies of museums that include interviews with museum professionals serving as content experts at a variety of museums that implement programs featuring specific cultural or ethnic groups, as outlined below.
Literature Review
A review of relevant literature, presented in chapters 2 through 4, was first conducted. The literature review provides historical context of exhibiting cultures in museums, including a trend towards increased community involvement, relationships, and partnerships. In addition, it provides an overview of how museum education units are structured and a basic guide to museum administration, including the policies that govern best practices of education and public programming. Chapter 2 provides an overview of the history of exhibiting cultures, beginning with early exhibitionary enterprises, such as World's Fairs. This chapter acknowledges past strategies of assimilation and exoticization, and sets up a definition for cultural demonstrations in a contemporary museum context. This chapter relies on the works of
Curtis M. Hinsley, Robert W. Rydell, and Michael M. Ames.
Chapter 3 explores how the history of exhibiting cultures in museums has led to the development of relationships with cultural and ethnic groups today. This chapter provides an overview of the trend towards increased community involvement, relationships, and partnerships with museums. The work of Nina Simon, which outlines more appropriate strategies to collaborate with community members and visitors, is an important example of these efforts. These demonstrate how museums have strengthened their roles as educators and stewards.
Chapter 4 discusses the basic structure of museum education and administration.
It provides an overview of how museum education units are structured and a basic guide to museum administration and management, including the policies that govern best practices of education and public programming. This section introduces exhibiting cultures from a management and administrative point of view, as well as other important ways of planning, maintaining, and managing such programs in order to provide a framework for programs involving specific cultural or ethnic groups, provided in the following sections. Informal Web Survey
An informal web survey was first conducted to determine the prevalence of programs featuring specific cultural or ethnic groups in museums. The websites of 193
California museums were visited in October through December 2017 to determine if evidence of cultural demonstrations existed. To be included in the survey, museums had to be accredited with the American Alliance of Museums (AAM) or on the pathway to accreditation through the Museum Assessment Program (MAP) offered by the AAM, which was determined through the AAM Accredited Museum website. It was assumed that museums that offered cultural demonstrations would list such events on their websites. The museum field offers a broad interpretation of what constitutes as a cultural demonstration; thus, a specific set of search terms were used to determine which museums offered this type of programming.
After it was determined that there was evidence of cultural demonstrations at a museum, the list of 193 California museums from the AAM Accredited Museum website was used to generate a smaller sample size to survey key areas on the museum websites, resulting in a comprehensive list of 50 museums. Four key areas on the websites of these museums were then examined, as outlined in Chapter 6. The results of the survey are also presented in Chapter 6. Overall, the informal web survey was conducted to broadly assess museum efforts to educate visitors about the cultures and traditions of diverse groups through cultural demonstration, and to assist in the selection of case studies. 43
Case Studies
To examine cultural demonstrations, case studies with interviews of content experts were conducted from a variety of accredited or member museums of the AAM, where these types of programs are evident, as presented in chapters 7 through 9. Case studies were designed to explore how specific museums develop and manage cultural demonstrations, to examine the educational goals of cultural demonstrations, and to determine how the case study museums include specific cultural or ethnic groups in such programs.
The data compiled in part by the informal survey and knowledge of programs across the field was used to identify institutions that host programs featuring specific cultural and ethnic groups. As a result, 12 museums that integrate this type of public programming into their educational framework were selected as possible case studies.
The list of 12 was then narrowed to a final three, based on the following criteria: museum type, level of community relationships and outreach, referenced community partner(s), the nature of marketing and educational opportunities, and the specific kind of cultural demonstrations. The above criteria were considered important because they delineated key components of effective cultural demonstrations, as observed in the literature review, and were considered important in developing and maintaining this type of public programming.
Because cultural demonstrations can be found in a variety of institution types, such as aquaria, zoos, and other museum types, it was decided to reflect this diversity in selecting case studies, and to select four museums from each type of institution to
develop the list of 12 potential case studies. The final three case studies were selected
based on the museum type and assessment of whether the cultural demonstrations were
offered as a learning experience; if the museum offered supplementary educational
materials; if the cultural or ethnic partner groups involved with the cultural demonstration
were referenced on the webpage; and if the listed programs engaged visitors with
integrated demonstrations, performances, ceremonies, or festivals of the specific groups
involved.
With the goal of selecting case studies that represented a range of how museums
develop and manage cultural demonstration, the final three case studies selected were: the
Bowers Museum in Santa Ana, California, a small to medium-sized art and culture
museum, which offers public programming in areas of the art of the Pacific, Africa, Asia,
and Native American and Pre-Columbian art and culture; the Burke Museum in Seattle,
Washington, a small natural history and culture museum, which offers public
programming recognizing the Native populations throughout the state of Washington;
and the Aquarium of the Pacific in Long Beach, California, a large-sized aquarium,
which offers programs celebrating how diverse cultures interact with the ocean. These three museums were selected as case studies because they met the aforementioned criteria and demonstrated a range of program types and community partners.
Each case study consisted of a description of the museum’s history, governance, and mission and how the latter is reflected in their public programming. Interviews with professional museum staff serving as content experts were also conducted to supply information about the museum’s approach to the development and management of cultural demonstrations, followed by an analysis of this information.
The department or staff members responsible for the development or management of public programming involving specific cultural and ethnic groups were identified on the museum website, contacted via email, and interviewed as a content expert in early
2018. The first content expert interviewed was Emily Mahon, the Senior Director of
Education from the Bowers Museum, who was interviewed in person at the museum on
Thursday, January 4th, 2018.
The second case study interview was conducted with Charlotte Basch, the Native
American Education Specialist from the Burke Museum, who was interviewed over the phone on Friday, January 5th, 2018.
The third case study interview was conducted with Emily Yam, the Science
Interpretation Supervisor at the Aquarium of the Pacific. She was interviewed in person at the Aquarium on Friday, January 26th, 2018. The goals of the interviews were to:
1. Identify the institution’s formal or informal policy on cultural demonstrations,
focusing on the challenges and concerns related to the development and
management of this type of public programming;
2. To analyze the current strategies used to develop museum programs involving
specific ethnic or cultural groups and how museums manage them;
3. Provide insight into the success of programs involving specific cultural and ethnic
groups and how these programs have affected the institution’s relationship with
community groups.
Interview Questions
Interview questions were divided into three key areas: program planning and
development, program implementation, and program evaluation. A total of thirteen
questions were written for the content expert interviews. These same questions were
asked of all the content experts to allow for comparisons across case studies. This also
maintained consistency and organization in conducting the interviews.
Program Planning and Development
Program development included questions one through six. These were designed to examine the development and management of the programs offered by focusing on the
institutional motivation behind offering programs involving specific cultural and ethnic groups and identifying the strategies used to develop this type of program. These
questions were designed to assess the institution’s approach to community outreach; how 47 they identify the communities served and involved community leaders; the type of research done, formally or informally; the source of funding received to support the programs; and whether or not they allocated or sought funding for the programs.
Questions one through six are outlined below:
1. How did your museum determine a need for these types of programs, involving
specific ethnic or cultural groups?
2. How did your division identify the partner group(s)?
3. Was this program designed to address the needs of the community? If yes, how?
4. To what extent did you follow an existing framework or model for the
development of cultural demonstrations?
5. What additional resources were used to develop this program?
6. How are these types of programs funded or supported?
Program Implementation
Questions seven through nine were asked to allow the content experts to explain how cultural demonstrations operated within their institution, describing in detail key practices in their implementation and how these reflect the institution's mission. These questions were designed to assess the institutional commitment to offering these programs and the reasons for maintaining them. 48
Questions seven through nine are outlined below:
7. How are program facilitators trained? What does their training entail?
8. How does your program connect with your division’s goals? The goals of your
museum?
9. What were some of the major issues the museum faced in regard to the
development and management of programs involving specific ethnic or cultural
groups?
Program Evaluation and Future Implications
Finally, the remaining questions, ten through thirteen, were asked to assess how
the institution evaluated the programs (for example, formal or informal evaluation
methods), how museums measured whether a program was successful, and to identify the
institution’s relationship with community partners. These questions were designed to
examine how museums assessed the impact of these programs on visitors and community members.
Questions ten through thirteen are as outlined below:
10. Does the institution collect and analyze statistical or demographic information
about program participants? If so, how is this information used?
11. How does your division measure impact or success of cultural demonstrations?
12. How have community groups responded to being involved in museum
programming through cultural demonstrations? 13. Does the museum have any plans to expand, contract, or modify this program? To
repeat this program?
In the next chapter, the informal web survey will be presented. This will be followed by three consecutive chapters discussing each case study museum in depth. A discussion chapter will then follow. Finally, conclusions and recommendations regarding the development and management of cultural demonstrations in museums will be presented. 50
Chapter 6
Informal Web Survey
To better understand the context of museum programs designed to educate the public about different cultures and traditions, especially those developed in partnership with specific cultural and ethnic communities, an informal web survey of such programs was conducted. The criteria and steps taken in developing and implementing the informal survey are outlined below.
First, the Accredited Museums webpage of the American Alliance of Museums
(AAM 2018) was reviewed to create a list of museums that are either accredited or on the pathway to accreditation through the Museum Assessment Program (MAP). Museums that are either accredited or were on the pathway to accreditation were selected because it suggests that these museums are concerned with professional standards and best practices.
The resulting list contained 4,212 institutions. Then, all museums from this list not located in California were eliminated. From this list, 359 museums remained. Of these 359 museums, 124 were participants of the MAP, and 69 were accredited with the
AAM. This resulted in a total list of 193 museums in California that were either accredited or on the pathway to accreditation. The websites of each of the 193 museums were then reviewed. Because a broad range of programs can be classified as a cultural demonstration, museum event calendars and search bars were searched using search terms such as “demonstration,” “performance,” “ceremony,” and “festival,” to identify whether evidence existed that the museum offered public programming involving specific
cultural or ethnic groups, and if so, how often they were offered. It was assumed that
museums that offered such programming would list such events on their websites. The
informal survey was helpful in providing an overview of the likely popularity and
frequency of museum programs featuring specific cultural or ethnic groups, and supplied
important context for selecting appropriate case studies.
Emphasis was placed on museums in the state of California due to its rich cultural
and ethnic diversity. A report by the United States Census Bureau stated 38.9% of the
population in California identify as Hispanic or Latino, 14.8% Asian, 6.5% Black or
African American, 1.7% American Indian and Alaska Native, 0.5% Native Hawaiian and
Other Pacific Islander, and 3.8% identify with two or more races (Quickfacts 2016).
These statistics are estimates of the state’s demographics using data from individuals who
reported such information.
Furthermore, cultural demonstrations are evident in all kinds of museums, so it
was decided to retain a wide variety of museum types in the list of museums to be
surveyed, including aquaria, zoos, and other museums included in the AAM list. This
would supply a view of the current number of programs featuring specific cultural or
ethnic groups in the museum community and would supply insight as to how they are
developed and managed.
A brief review of the webpages of the 193 museums indicated that cultural demonstrations were more common than initially expected, and it would be time consuming to inspect all 193 webpages to characterize cultural demonstrations at each.
As a result, it was decided to survey a smaller sample of websites, and a comprehensive
list of 50 museums were randomly selected from the two lists of museums, those that are
accredited and on the pathway to accreditation through the MAP, from the AAM
Accredited Museums website.
The website of each of the 50 museums was then surveyed in four specific areas
to identify whether these museums offered public programming involving specific
cultural or ethnic groups: First, did evidence of cultural demonstrations exist? If so, the
following questions could be explored. Second, where were cultural demonstrations
listed on the museum website? Third, were cultural demonstrations held in the past year?
And fourth, did the museum provide policies on educational programming? The
accreditation status of each museum was also recorded, in addition to the museum’s
URL. As mentioned above, relevant search terms used included “demonstration,”
“performance,” “ceremony,” and “festival.” The list of 50 museums surveyed is
presented in Figure 1 below. 53
Figure 1: List of 50 Museums Surveyed
Museum Accreditation Evidence of Listing of CDs CD in the Last Education URL *CDs Year Policy
Asian Art Yes Yes Yes Yes Yes asianart.org/ Museum
Bakersfield Yes Yes Yes Yes Could not bmoa.org/ Museum of locate Art
Bowers Yes Yes Yes, located Yes Could not bowers.org/ Museum under education locate
Crocker Art Yes Yes No No Could not crockerart.org/ Museum locate
de Young Yes Yes Yes, located Yes Could not deyoung.famsf. under education locate org/
Legion of Yes No No No Could not legionofhonor.f Honor locate amsf.org/
USC Fisher Yes No No No Could not fisher.usc.edu/ Museum of locate Art
Autry Yes Yes Yes Yes Could not theautry.org/ Museum locate
Fresno Art Yes No No No Could not fresnoartmuseu Museum locate m.org /
Getty Villa Yes No No No Could not getty.edu/visit/v locate ilia
Haggin Yes Yes Yes Yes Could not hagginmuseum. Museum locate org/
Japanese Yes Yes Yes Yes Yes janm.org/ American National Museum
Long Beach Yes No No No Could not lbma.org/ Museum of locate Art
Mingei Yes No No No Could not mingei.org/ International locate Museum
Monterey Yes No No No Could not montereyart.org Museum of locate / Art
Museum of Yes No No No Could not moca.org/ Contemporary locate Art 54
Figure 1: List of 50 Museums Surveyed
Museum Accreditation Evidence of Listing of CDs CD in the Last Education URL *CDs Year Policy
Natural Yes Yes Yes, located Yes Could not nhm.org/site/ History under education locate Museum of Los Angeles County
Oakland Yes Yes Yes Yes Could not museumca.org/ Museum of locate California
Palm Springs Yes Yes Yes Yes Could not psmuseum.org/ Art Museum locate
Pacific Grove Yes No No No Could not pgmuseum.org/ Museum of locate Natural History
USC Pacific Yes Yes Yes Yes Could not china.usc.edu/u Asia Museum locate sc-pacific-asia- museum
Page Museum Yes No No No Could not tarpits.org/muse at the La Brea locate um Tar Pits
Phoebe Yes No No No Could not hearstmuseum.b Apperson locate erkeley.edu/ Hearst Museum of Anthropology
Riverside Under Yes Yes Yes Could not riversideca.gov/ Metropolitan Review locate museum/ Museum
San Diego Yes Yes Yes Yes Could not museumofman. Museum of locate org/ Man
San Diego Zoo Yes Yes No No Could not sandiegozoo.org locate /
Santa Barbara Yes Yes Yes Yes Could not sbma.net/ Museum of locate Art
Santa Barbara Yes Yes Yes Yes Could not sbnature.org/ Museum of locate Natural History
San Jose Yes Yes Yes Yes Could not sjmusart.org/ Museum of locate Art
San Diego Yes No No No Could not mcasd.org/ Museum of locate 55
Figure 1: List of 50 Museums Surveyed
Museum Accreditation Evidence of Listing of CDs CD in the Last Education URL *CDs Year Policy
Art
BAMPFA Yes Yes Yes Yes Could not bampfa.org/ locate
Robert and Yes No No No Yes raffma.csusb.ed Frances u/ Fullerton Museum of Art
Museum of Yes Yes Yes Yes Could not molaa.org/ Latin locate American Art
Descanso Yes Yes Yes Yes Could not descansogarden Gardens locate s.org/
Santa Barbara Yes No No No Could not sbnature.org/ Museum of locate Natural History Sea Center
Southwest Yes Yes Yes Yes Could not theautry.org/ Museum of the locate American Indian
The Getty Yes No No No Could not getty.edu/visit/c Center locate enter/
African MAP No No No Could not taamb.org/ American locate Museum of Beginnings
The Mexican MAP Yes Yes Yes Could not mexicanmuseu Museum locate rn.org/
Hayward Area MAP No No No Could not haywardareahist Historical locate ory.org/hahs- Society museum-of- history-culture/
Petterson MAP No No No Could not pilgrimplace.or Museum of locate g/petterson mu Inter-Cultural seum.php Art
Riverside Art MAP Yes No Yes Could not riversideartmus Museum locate eum.org/
San MAP No No No Could not sbcounty.gov/m Bernardino locate useum/ County Museum 56
Figure 1: List of 50 Museums Surveyed
Museum Accreditation Evidence of Listing of CDs CD in the Last Education URL *CDs Year Policy
California MAP Yes Yes Yes Could not cimcc.org/ Indian locate Museum and Cultural Center
National MAP Yes No No Could not njahs.org/ Japanese locate American Historical Society
Museum of the MAP Yes Yes Yes Could not moadsf.org/ African locate Diaspora
Japanese MAP Yes Yes Yes Could not niwa.org/ Friendship locate Garden, San Diego
LA Plaza de MAP Yes Yes No Could not lapca.org/ Cultura y locate Artes
Sierra College MAP No No No Could not sierracollege.ed Natural locate u/ History Museum
Long Beach MAP Yes Yes Yes Could not aquariumofpaci Aquarium locate fic.org/
* Note: CD - Abbreviation used for “Cultural Demonstration(s)” 57
To be considered a cultural demonstration, a program that featured specific cultural or ethnic groups in partnership with the museum needed to be present. Such programs engage visitors with integrated performances, ceremonies, or festivals of specific groups to encourage appreciation and understanding of the world’s cultures and traditions, and include programs that presented cultural or artistic traditions of community groups. Cultural demonstrations are distinct from other forms of public programming because they have a specialized focus on the culture and traditions of a specific group in the community to promote learning and participation in the activities and traditions associated with that cultural or ethnic group.
Figure 2: Informal Survey Results
Listing of CDs on Events page Listing of CDs on C /> 3 40 - Education page >» *o
Cft E 3 O
no 3E
Evidence of Listing of CDs CD in the Last Education CDs Year Policy
Key Areas of Survey 58
The results of the informal survey are outlined in Figure 2. First, 30 museums
(60%) showed evidence of cultural demonstrations, while 20 (40%) did not. Second, 26
museums (52%) offered at least one cultural demonstration within the last year, while 24
(48%) did not. Third, 23 museums (46%) listed cultural demonstrations on the general
events page, while 3 (6%) museums listed the programs under an education tab. Finally,
3 museums (6%) provided policies on educational programming on their webpages.
The four areas surveyed above were selected because they define characteristics
of an effective cultural demonstration and its impact on museum visitors as well as the
specific cultural or ethnic groups involved. Museums not only had to list cultural
demonstrations on the website to be considered for the study, but the most current
strategies were also examined to ensure relevancy of this study to the field; thus,
museums that offered a cultural demonstration within the last year were examined. In
addition, the number of programs held in the last year was examined to reflect the
popularity and frequency of cultural demonstrations, and how museums marketed
cultural demonstrations to audiences was assessed. Finally, evidence of policy on the
website was examined because it is considered an important tool in guiding the
development of this type of programming.
These four areas help indicate the prevalence of programs involving specific
cultural or ethnic groups and type of strategies involved in the implementation of cultural demonstrations. This is important because any misstep in the development or 59 management of a public program featuring the cultures and traditions of any group poses great risk to the reputation of museums.
Overall, the informal web survey illustrated that museums are making efforts to educate visitors about the cultures and traditions of diverse groups through cultural demonstrations. While the trend to host community groups in museum public programming seems to be increasing, it suggests that the museum field has placed greater emphasis on community relationships and involvement, which is an integral characteristic of the mission and values of these institutions. 60
Chapter Seven
The Bowers Museum
History and Background
As a nonprofit, tax-exempt 501(c)(3) organization, the Bowers Museum receives funds from donors, grants, corporations, and foundations. It is governed by a thirty-two- member Board of Governors (Bowers 2018a). The President of the Bowers Museum,
Peter C. Keller, has held his position since 1991, and in a message to the public on their webpage, highlights the institution’s permanent collection as well as their special exhibitions and programs (Bowers 2018b).
Located in Santa Ana, California, the Bowers Museum is Orange County’s largest art museum. It houses collections centered on art of the Pacific, Africa, Asia, and Native
American and Pre-Columbian Art, which are split between the Museum’s permanent collections and traveling exhibitions. Also among its collections are objects important to the history of Santa Ana and Orange County. The Bowers Museum’s mission statement is stated on their website as, “The Bowers Museum enriches lives through the world's finest arts and cultures” (Bowers 2018c).
The Bowers Museum opened its doors in 1936 thanks to the bequest from Charles and Ada Bowers that included the plot of land that their home once occupied and
$100,000 to build the museum. Originally known as the Charles W. Bowers Memorial
Museum, it was devoted to sharing the history of Orange County with its visitors (Bowers
2018d). With such a large, diverse collection of art and anthropological objects from the 61
Americas, Asia, Africa, and Oceania, the Museum appeared to lose its identity and
struggled to find their role within the Orange County community (Curtis 1990).
In response to community input, the Museum closed its doors for self-evaluation
in 1986, as they hoped to better serve their audiences. A $12 million renovation and
expansion took place over the course of a six-year closure (Curtis 1990), and the mission
and vision of the Museum changed drastically as the governing board rediscovered an
institutional identity in contemporary society. The Bowers reopened in 1992 as a cultural
center, and by 1994, it had expanded its children’s programming with the opening of the
Kidseum, located just blocks away from the main museum building. Its goal remains to
teach children about the art and archaeology of the world’s cultures. Since then, the main
building has expanded by an additional 30,000 square feet with the opening of the
Dorothy and Donald Kennedy Wing in February, 2007 (Bowers 2018c).
Today, the Bowers Museum is considered a world-renowned cultural institution,
and has been voted “The Best Museum in Orange County” for sixteen consecutive years
(Bowers 2018c). This was achieved through the adoption of a new institutional mission
and vision to “Celebrate world cultures through their arts” (Bowers 2018c). Programs
designed for children and families, such as the Family Drumming Circle, demonstrate the
Museum’s commitment to creating educational and meaningful experiences for families.
Junior Archeologists programs promote hands-on learning experiences, a current museum trend (Bowers 2018e). Most extraordinary is the development of their Traveling
Exhibitions. Since its development, the First Americans: Tribal Art from North America exhibit in China, has traveled around the world, reaching thousands of people (Bowers 62
2018f). These exhibitions typically highlight specific cultures and traditions through the use of objects and artwork from the Bower’s collection, further demonstrating their commitment to education.
The Museum also offers programs involving diverse community groups. These offerings are specifically designed to celebrate specific cultural and ethnic groups while providing visitors with educational and enjoyable experiences. According to the website, these programs include “art displays, sales, shows, and performances with affiliated groups in partnership with the Bowers Museum” (Bowers 2018e). The calendar of such events published on the Museum website includes past events such as Pacific Islands
Weekend, Bonsai the Living Art, and A Little Taste o f Spain, but also programs celebrating the general Santa Ana community, such as Life and Culture in the Golden
City (Bowers 2018e). Two of these programs are described in more detail below:
Pacific Islands Weekend was a Special Event offered at the Bowers Museum in 2016. Museum staff welcomed members of the Asmat tribe from Papua New Guinea to share their living history and provide live wood carving demonstrations for the public.
The Bonsai the Living Art is an Annual Event offered at the Bowers Museum as a celebration of Japanese culture. Museum staff welcomed members of Orange County’s Kofu Bonsai Kai Organization to demonstrate the ancient traditions of creating and caring for bonsai trees. The demonstration is often followed by a talk and a tour of the annual bonsai tree exhibitions, led by a member of Kofu Bonsai Kai (Bowers 2018e) 63
Interview Results
Developing Cultural Demonstrations
The Bowers Museum is dedicated to providing visitors of all ages unique learning experiences about the art and cultures of the world. With 150,000 visitors each year, the
Bowers works to bridge exhibitions and programs across demographics to meet their diverse needs and expectations. The Senior Director of Education’s role is to oversee the development and implementation of these programs (Mahon 2018). This includes managing the marketing and promotional activities to promote the Museum to the community as an invaluable experience. In addition, this position oversees the grant writing and reporting processes and communicates with the Museum’s board and community leaders (Mahon 2018).
In an attempt to reach a wider audience, the Bowers has integrated cultural demonstrations into their education framework (Mahon 2018). These programs are designed to attract individuals of all backgrounds and ages to the Museum, and highlight specific cultural and ethnic groups. The Museum’s vast collections support entry points for visitors into cultures around the world, and focus on celebrating the world’s cultures through their art and artifacts. In recent years, the institutional approach to developing programs featuring specific cultural and ethnic groups has shifted to more community involvement and entertaining educational experiences (Mahon 2018). The decision to integrate cultural demonstrations into Museum programming was
determined through visitor surveys and studying the demographics of their visitors
(Mahon 2018). As the demographics of their audience changed, the Museum reevaluated
why visitors attended the Museum, and assessed the techniques it used to attract visitors
to the museum. For example, the population in Santa Ana is now approximately 85%
Latino; thus, a majority of the public programs are developed to meet the needs of this
community, rather than focus on traditional museum audiences, which consists mainly of
white, upper middle-class individuals. At the same time, many of the cultural
demonstrations held at the Bowers Museum were developed based on professional
assessments by staff members who concluded that audiences could be better served
(Mahon 2018).
The Director of Community Programs at the Bowers Museum acts as the main
contact between the institution and community leaders when planning programs such as
cultural demonstrations (Mahon 2018). The Director of Community Programs also
maintains a network of community groups, proposes program ideas to the Museum, and
develops opportunities for community groups to be involved with the Museum.
Communication with community leaders varies based on their preferences. Due to the
uniqueness of each community, there is no model or standardized process to follow in the
development of cultural demonstrations. The only standard is the desire to create a relationship to meet the needs of community members, in addition to meeting the
Museum’s overall needs (Mahon 2018). Museum staff work as a team to conduct the research necessary to develop
programs that feature the traditions and beliefs of specific cultural and ethnic groups
(Mahon 2018). Program coordinators and education staff are generally in charge of the
research undertaken to develop cultural demonstrations, and special projects related to
these efforts may be created for volunteers and interns to participate in. Such programs
are usually not based on the knowledge of education and community staff members
because they are based on information associated with the Museum’s collection,
lessening extensive research. Staff capacity is a determining factor in developing most of
the institution’s programming (Mahon 2018).
Most cultural demonstration programs at the Bowers Museum are grant funded or
subsidized through special interest groups and/or partnerships (Mahon 2018). While the
Museum has a basic budget for museum programs and is funded by endowments,
programs must be financially sustainable to be successful. Less often, a local affiliate
council, a group of individuals with similar passions and goals, provide funding for
specific cultural demonstrations. In addition, the Bowers occasionally receives funding
from local universities (Mahon 2018).
Recently, the Bowers Museum acquired a grant from The James Irvine
Foundation through the New California Arts Fund (NCAF) for expanding their programming to more effectively engage the Asian and Latino communities (Mahon
2018). According to The James Irvine Foundation (2018), the Bowers is working to expand “five key capacities” to better serve these audiences: 66
1. Leadership - to be more inclusive of the community it serves.
2. Language - adding multilingual components and culturally appropriate communication strategies to make the museum and its programming more welcoming and accessible.
3. International Museum Partnerships - to build partnerships with museums in China, Mexico, Central America, and South America.
4. Consistent Connections - to consistently connect with Asian and Latino audiences through engagement programming and regularly scheduled exhibitions that are meaningful to these audiences. The Bowers is also expanding its understanding of what makes programs and exhibitions relevant to these audiences and how it can improve its programming to better engage them.
5. Financial - expanding its capacity to fund engagement programming. (Bowers 2018g)
Funding such as that supplied by The James Irvine Foundation shapes the kinds of
cultural demonstrations that are offered by the Museum, as well as supporting the
development of closer ties between the Bowers Museum and the surrounding
communities that the Museum had not been reaching (Mahon 2018).
Program Implementation and Management
With the target audience, proper funding, and program research in place, the
education department staff begin the program implementation process. What
distinguishes cultural demonstrations from other public programs is the level of
authenticity required for there to be strong educational opportunities for all those
involved. For this reason, it is crucial that the entire museum staff and board members
are involved with, or at least aware of, what supports the implementation of a successful program (Mahon 2018). 67
To promote a comfortable and enjoyable environment, the staff at the Bowers
Museum are required to undergo Cultural Sensitivity training where relevant, and are
made aware of possible hindrances or barriers preventing visitors from learning, such as
language barriers (Mahon 2018). Moreover, the Bowers Museum has 150 docents who
complete a similar, but less extensive, sensitivity training program. In the past two years,
oversight of the docent program has been strengthened, and docents now facilitate
cultural demonstrations using a clear framework in which major points are highlighted,
but without the use of a script. The decision was made not to provide docents with a
script in order to encourage a natural flow. This gives the docents the freedom to express
their passion for the topic under discussion, and creates a more enjoyable environment for
the audiences and communities involved in the program (Mahon 2018).
A common challenge faced in the implementation of programs involving specific
cultural or ethnic groups is balancing scholarly and community voices (Mahon 2018).
Since such programs remain open to diverse panelists, performers, and speakers, there is
a strong need to mediate different viewpoints that can arise. While the Bowers Museum
works to balance such viewpoints in its programs, it is nearly impossible to do so, given
the inherent nature of the subject matter (Mahon 2018). Moreover, by design, in an
attempt to be open and accessible to everyone, the Museum welcomes different points of view, to nurture constructive discussion and learning.
On the staff level, final decisions about the content of programs that present cultural traditions and values are made by the Senior Director of Education, in
consultation with the board and the staff involved. Ultimately, however, the Board can 68
make the final determination about which cultural demonstrations are offered (Mahon
2018).
A major concern of staff in the Education Department is the interpretation of
cultural traditions and values, and the need to recognize that there is a fine line between
appropriation and celebration (Mahon 2018). Acting as a tool to attract audiences, the
overall context for cultural demonstration programming also includes a consideration of
its revenue-based component, planning for the long-term relationship, and mediating the
tension between employment and education. Nevertheless, the challenges of developing
and implementing such innovative programming is a strong motivational tool for staff
(Mahon 2018).
Community Relationships and Partnerships
Relationships between the Museum and community groups are maintained by the
Director of Community Programs, who is in contact with each one through various forms
of communication (Mahon 2018). Most often, email is the most conducive form of
contact, but the staff at the Bowers Museum cater to the preferences of each group. If
questions about programs arise, the staff consults community leaders for guidance, and
in-person consultations can be held when necessary. A formal guide to follow when
collaborating with community groups has not yet been developed (Mahon 2018).
Relationships with community groups involved in cultural demonstrations may be initiated due to the type of funding the Museum receives (Mahon 2018). For instance, the Pacific Symphony and the Bowers Museum were awarded grants from The James 69
Irvine Foundation to engage Orange County’s Asian communities. The two institutions
partnered to co-develop a series of interactive public programs at the Bowers Museum,
operating around cultural themes suggested by the community (Orange County’s Pacific
Symphony 2016-17). Staff members may also reach out to groups they have determined
that they are not accessing, offering a partnership or simply asking what they can do to
better serve them. Recently, the Bowers Museum partnered with the Summer Palace
Museum in Beijing, China to develop an exhibit on Empress Dowager Cixi, to reach the
Chinese community in Orange County (Bowers 2018h).
Not every cultural demonstration is designed to meet the needs of a specific
community. Programs that offer an equal level of accessibility and engagement across
demographics may be offered, for example. A cultural demonstration could also act as an
exposure element for those communities not familiar with a certain culture or ethnicity.
This involves careful planning by the staff in collaboration with groups to ensure the
demonstration accurately represents them, but remains accessible across visitor
demographics (Mahon 2018).
Cultural demonstration programs are evaluated in part by the revenue they
generate and the level of ticket sales (Mahon 2018). As result, offering programs that are
relevant to groups who attend them most, such upper middle-class individuals, is also a
consideration. While the leadership of any cultural institution today relies heavily on
funding, it is important for museums to consider relationships with community groups, so that programs are offered for the range of demographic groups in the area. At the Bowers
Museum, making the Museum more accessible to the community is a key component of staff work involved in developing and implementing cultural demonstrations (Mahon
2018).
Overall, the shift to more community involvement at the Bowers Museum, as highlighted by programming such as cultural demonstrations, has proven to be mutually beneficial to the community and to the museum (Mahon 2018). The general response from community leaders about participating in cultural demonstrations has been positive, and community leaders appreciate participating in museum programs and are excited when the staff reaches out to them personally. Indeed, many groups hold repeat programs with the Bowers, making changes as necessary, sometimes in areas such as the food being offered (Mahon 2018). The current administrative structure at the Bowers makes the process of changing programs efficient and ensures that high quality programming is produced.
Analysis
The Bowers Museum offers thoughtful, well-planned, and community focused cultural demonstration programming, but like many museums, faces challenges in staying relevant to all of its communities. In the section below, three areas of the Museum’s efforts will be discussed: planning and development, participatory audience engagement, and maintaining ties to community groups.
First, the Museum’s efforts in planning and developing cultural demonstration programming are strong and reflect best practices. For example, the board, staff, and volunteers share responsibilities throughout the entire planning process, working 71
collaboratively across units to develop effective programs (Lord and Lord 1997). As
Genoways and Ireland (2017) highlight, the Bowers Museum position education as their
central focus and inspiration for their programming, and it supports the achievement of
the Museum’s institutional mission and goals. These practices in the planning and
development of cultural demonstrations result in more substantial learning experiences
for participants and visitors.
Second, the Museum demonstrates an understanding of the value of participatory
activities, such as actively engaging visitors with meaningful experiences, desire for
public input, and a responsiveness to the participants and visitors changing needs. As
Nina Simon (2010) emphasizes, the participatory activities include creating a space for
visitors to share stories and connect with the content, and maintains the Museum’s
relevance in contemporary society. At the Bowers Museum, the staff cater their
programs to meet a wide range of visitor needs, develop cultural based programs with
input from the community, and are willing to make changes when necessary, based on
input from visitors and participants.
Third, the Museum’s efforts in maintaining its ties to community groups
demonstrate an understanding of their role in society today. As Ames (2012) discussed,
museums have reassessed their role in communities as repositories of the world’s cultural heritage, and represent the respective communities appropriately. The Bowers Museum achieves this through the Director o f Community Programs position within the education department, who remains in contact with community leaders, and consults with them for guidance and suggestions, as needed. 72
The success of cultural demonstration programming at the Bowers Museum is due to the ability of the staff to work together to overcome obstacles, respond to audience needs, and to maintain a clear vision for the Museum. They continually promote education and enjoyment, while maintaining strong ties to the community.
The next chapter of this thesis explores the development and management of similar cultural based programming at the Burke Museum in Seattle, Washington and how they create meaningful experiences for their own Native population. 73
Chapter Eight
The Burke Museum
History and Background
The Burke Museum is a natural history and cultural museum located in Seattle,
Washington. It is one of the oldest museums in the state of Washington, and originates
from a high school naturalists club founded in 1879, called the “Young Naturalists’
Society,” which consisted a group of teenagers with a shared passion for collecting
objects that represented the world around them. The group held weekly meetings,
lectures, and outdoor excursions, through which they amassed their collections (Burke
2018a). By 1885, the Young Naturalists’ Society raised funds to build a small building to
house their acquired objects. This was the start of the Burke Museum as most people
know it today, whose collection has grown to an extraordinary 16 million objects (Burke
2018a).
Once located on the University of Washington’s campus in downtown Seattle, the
Burke Museum, originally known as the “Hall of Young Naturalists,” became an
academic space as professors and researchers became more involved with the collections, and collectors began to donate objects to the University for research purposes. This included the Museum’s namesake, Thomas Burke (1849-1925), who was a highly respected judge and businessman in Seattle, Washington. Many of the objects in the
Burke Museum’s collection came from the Pacific Northwest, including regional plants, animals, and Northwest Native art (Burke 2018a). In the first seventy years that followed the founding of the Hall of Young
Naturalists, the Museum’s collections did not have a permanent space, and were relocated amongst various locations. From 1895 to 1910, for example, they were often displayed throughout the University’s Administration and Science Halls, before the collections were divided and moved into two remaining buildings from the Alaska-Yukon-Pacific
Exposition of 1909 (Burke 2018a). Then, in 1953, the collections were moved to the
Washington State Building until the University’s faculty advocated for a new building to be constructed on the campus to house the collections. The Washington State Building was closed before a new building could be completed, and the collections were put into a temporary storage place for protection, until the Museum's current building was completed in 1962, providing a permanent home for the collections (Burke 2018a).
Today the Museum maintains its roots in academic research, while reaching wider audiences through hands-on activities and cultural programs, as described in their mission, which is published on their website as “The Burke Museum cares for and shares natural and cultural collections so all people can learn, be inspired, generate knowledge, feel joy, and heal” (Burke 2018b). Currently, a new museum building is under construction, called the “New Burke Museum,” and it is expected to open in 2019 (Burke
2018c).
The Museum maintains a statement on Equity and Inclusion that reflects their mission and goals for the “New Burke Museum.” This statement is outlined below:
The Burke Museum is a public resource committed to building an inclusive environment that welcomes and values all people. We foster a culture of 75
equity, collaboration, accessibility and responsible interpretation. We also recognize the educational and institutional benefits of diversity and value the unique backgrounds of everyone who uses the museum. In an effort to further our values, we will continue to develop inclusive programming to remain relevant and serve our communities with integrity (Burke 2018b).
The public programs offered by the Burke are designed for families, students, and involve the Native communities in the state of Washington. Programs such as the
Northwest Coast Carving Demonstration and BurkeMobile demonstrate the Museum’s commitment to providing diverse audiences with inspirational and educational opportunities. These offerings are designed for all ages and backgrounds, and feature the natural and cultural heritage of diverse community groups throughout the state of
Washington (Burke 2018e). Additional information on these two programs are described in further detail below.
Northwest Coast Carving Demonstration is hosted in the Testing, Testing 1-2- 3: Work in Progress Exhibit Gallery, where visitors can observe artists’ recreations of traditional indigenous practices of the Northwest Coast (Burke 2018f). For example, on February 17, 2018, artist Sven Haakanson was invited to produce new work inspired by the indigenous carving traditions of the Northwest Coast. The gallery is open to public viewing, allowing visitors to interact with the carvers to learn more about the group and their cultural heritage. Through these demonstrations, visitors learn how these art forms are relevant to artists in contemporary society. This program then offers visitors an experience to help them connect with the carvings in the Museum’s ethnology collection (Burke 2018f).
BurkeMobile is a traveling program that allows the Museum to share their collections with audiences across the state of Washington, focusing on those who may not be able to visit the museum. This program is tailored for classrooms, schools, and libraries and align with the state’s school curricula. Educators from the Burke travel with objects from the museum’s collections and members from community groups to teach students about “the state’s natural and cultural heritage through hands-on activities” (Burke 2018d). 76
The BurkeMobile program appears to be easy to customize based on the intended
audience to create more meaningful and engaging learning experiences for the
participants. Published on the Burke Museum’s website are three program formats for
school educators to choose from:
Early Learners: Our early learner programs are designed for children in preschool and kindergarten, ages 3 and up. Taught by Burke educators, these lessons include hands-on activities and interactions with real museum objects.
Classroom Programs: Classroom programs are designed to allow focused exploration of a specific topic. Taught by Burke educators, these lessons include hands-on activities and interactions with real museum objects.
Mini Museum: Let us transform your gym or library into a miniature museum! Mini Museum programs offer an opportunity to get up close and personal with specimens, objects and artifacts that represent different areas of the Burke’s collections. Interpreted by our Burke educators, these interactive exhibits encourage object-based, hands-on learning on a variety of topics (Burke 2018d).
Furthermore, there are various program themes to choose from for each format type,
including: I Spy Science, Storytellers, and The Age o f Dinosaurs themes for Early
Learners. Of particular interest is the Storytellers program because it provides young
students with opportunities to learn about the traditions of Native American cultures of the Pacific Northwest (Burke 2018d).
The BurkeMobile webpage notes that the goal of the Storytellers program is to teach young students the importance of stories through the storytelling traditions of the
Pacific Northwest. Students listen to a story, then they can interact with the objects, and create their own story based on their interests, with more activities to follow the lesson
(Burke 2018d). Moreover, the Burke Museum encourages teachers to reach out to local 77
Native groups for more resources, providing school educators with a document pairing school districts with the nearest federally recognized Native Tribes (Burke 2018d).
Interview Results
Developing Cultural Demonstrations
The Burke Museum is widely known for its relationships with the Native communities throughout the state of Washington. The Museum began as a research institution, specializing in the art and artifacts of the Northwest Coast, and as stewards of these objects, the Museum staff re-evaluated the institution’s relationships with Native communities to better meet their needs and expectations. This shift in the Museum’s focus to more community involvement is highlighted in its practices and activities over the last few years as part of the “New Burke Museum” campaign (Basch 2018).
A decision was made to integrate a new position into the Museum’s organizational structure, designated as the Native American Education Specialist. The
Native American Education Specialist’s role is to re-examine the current program offerings at the Burke Museum to reconnect with contemporary society (Basch 2018).
This includes an inventory and evaluation of existing programs, the modification and development of new programs, and the development and maintenance of relationships with Washington State’s Native groups and other relevant partners.
The Burke Museum’s collections support entry points for visitors into the diverse cultures in the state of Washington, and highlight the cultural wealth of their communities. For this reason, integrating cultural demonstrations into their educational framework has become a priority for the Museum. Primarily, the Native American
Education Specialist is the main contact with communities, and communication varies based on the group’s preferences. As a member of the Native community herself, the current Native American Education Specialist at the Burke Museum utilizes her networks, as well as other resources, to determine which communities could be better served, based on professional assessments (Basch 2018).
As a university museum, curators, faculty, and student workers are generally in charge of the research undertaken to develop cultural demonstrations. Nevertheless, interdepartmental collaboration and relationships are important to conduct the research necessary to develop cultural demonstration programming, through the sharing of knowledge and skills to lessen extensive research. The staff at the Burke Museum, for instance, encourage staff field trips to local tribal museums or small, community museums to survey the various cultural demonstration programming strategies being used throughout the museum field (Basch 2018). Moreover, the staff works closely with members of the community to develop and implement effective cultural demonstrations
(Basch 2018).
Most cultural demonstration programs at the Burke Museum are funded by the state of Washington and private donors. Funding such as that supplied by donor and community partnerships shapes the types of cultural demonstrations that are offered by the Museum. Recently, the Museum received a new budget from the state as part of the
Capital Campaign for the “New Burke Museum” (Basch 2018). In support of these efforts, the Burke Museum has a basic budget for museum programs that supports the 79
development of closer ties between the Burke Museum and the surrounding communities
that the Museum had not been reaching in the past (Basch 2018).
Program Implementation and Management
The Burke Museum is currently restructuring their education units as part of the
“New Burke Museum” campaign, including a review of the Museum’s lesson plans and
program guides which are used by program facilitators. Generally, the entire museum
staff and board members are involved with the implementation of a successful cultural
demonstration. Staff receive an “onboarding packet,” which includes the Museum’s
mission, a statement on decolonization, and the Museum’s Equity and Inclusion
statement (Basch 2018). The goal of this training is to ensure museum staff are aware of
culturally appropriate vocabulary and to highlight the value of cultural demonstration
programming.
In addition, the staff are provided additional resources such as readings about
cultural education protocols and best practices in museum education to answer any
questions regarding cultural demonstrations (Basch 2018). Facilitators are given the
freedom to express their passion for the topic, and this creates a more enjoyable experience for the audiences and communities involved in the program. The staff at the
Burke Museum are dedicated to serving Washington’s diverse community groups; thus, the education department serves as a resource to achieve the Museum’s goals to share
Washington’s diverse cultures with the world, and to create and maintain relationships with their communities. Overall, many of the cultural demonstration programs at the
Burke Museum meet their education goals to break cultural barriers (Basch 2018).
A common challenge faced in the implementation of programs involving specific
cultural or ethnic groups is remaining relevant amongst dynamic audiences. Staff
capacity is an important determining factor in developing most of the institution’s
programming. As a university museum, the Burke Museum has faced high staff turnover
in past years. Even so, the “New Burke Museum” initiative is a strong motivational tool,
and will strengthen the Museum’s educational framework and connections with visitors
(Basch 2018).
A major concern of the staff in the Education department is the balancing of
educational content and exposure to the Museum’s collections. Another component of
the “New Burke Museum” campaign is to revise the institution’s programs and their
connection to the Museum’s collections to better serve their audiences (Basch 2018).
The staff are willing and able to make the changes necessary to overcome these
challenges to develop impactful programming at the Burke Museum.
Community Relationships and Partnerships
Relationships between the Museum and community groups are maintained by the
Native American Education Specialist, who remains in contact with each one through
various forms of communication. Most often, email and phone calls are the most
conducive form of contact, but the staff at the Burke Museum cater to the preferences of
each group. A formal guide to follow when collaborating with community groups has not yet been developed. If questions about programs arise, the staff consults with community leaders for guidance, and community leaders can request in-person consultations when necessary. Community representatives are also invited to attend meetings at the Museum when relevant (Basch 2018).
Relationships with community groups involved in cultural demonstrations may be initiated due to the nature of the Museum’s collections or through the type of funding the
Museum receives. For instance, the Burke Museum maintains many donor and community partnerships, and offer programs that support relationships with the
Museum’s stakeholders. Staff and board members may also reach out to groups they have determined that they are not accessing, offering a partnership or asking how the
Museum can support them (Basch 2018).
Most cultural demonstrations are designed to meet the needs of a specific community. Even so, programs offered by the Burke Museum may offer an equal level of enjoyment and accessibility across audience demographics, for example. A cultural demonstration could also act as an educational experience for those communities not familiar with a specific culture or ethnicity in the state of Washington. This type of programming may also act as a resource for specific groups, and provide a safe, welcoming space for individuals to gather for discussions (Basch 2018).
Cultural demonstration programming is evaluated in part by participant surveys and the number of event attendees. Each museum department maintains a database to record this information for grant proposals, exhibitions, and programs, and this 82
information has influenced the plans for the New Burke Museum, which is planned to
open in 2019 (Basch 2018).
Overall, the shift to more community involvement at the Burke Museum through
cultural demonstration programming has proven to be mutually beneficial to the
community and museum. General responses from community members about
involvement in cultural demonstrations have been positive, and community leaders
continue to partner with the Museum to develop these programs, making modifications as
necessary (Basch 2018). The current efforts in restructuring the administrative
framework at the Burke Museum highlights the Museum’s ability to maintain efficient,
high quality programs.
Analysis
The Burke Museum offers cultural demonstrations that are both engaging and
community focused, but like many museums, also faces some challenges in serving
broader and more diversified audiences. In the section below, three areas of the
Museum’s efforts will be discussed: planning and development, maintaining community relationships and partnerships, and maintaining relevance in contemporary life.
First, the Museum’s efforts in planning and developing cultural demonstrations engage with best practices by maintaining a strong administrative structure and reachable goals regarding their educational programming. As Lord and Lord highlight, the board, staff, and volunteers share responsibilities throughout the entire planning process and are informed of the Museum’s missions and values, and are well-equipped with the skills necessary to succeed in this type of program offering (1997). Moreover, the Burke
Museum positions education about Washington’s Native communities as their central
focus and inspiration for their public programs, consistent with one approach noted by
Genoways and Ireland (2017). The benefits and outcomes of this training are reflected in
the participants’ positive feedback on the Museum’s programs, and result in more
substantial learning experiences for participants and visitors.
Second, the Museum’s efforts in developing and maintaining its ties to
community groups demonstrate an understanding of their role in society today, as
discussed by Ames (2012). The updated administrative structure at the Burke Museum to
include a Native American Education Specialist reflects an understanding of their
evolving role in the community as repositories of the state’s cultural heritage, and
represents a desire to collaborate with community groups.
Even more, the programs offered by the Burke Museum demonstrate a desire to
build relationships with communities that extend past legal requirements issued by the
state of Washington in the 1989 Centennial Accord, which mandates the education of
Washington’s Native Tribes. For instance, the Museum recognizes both federally and
non-federally recognized tribes in their exhibitions and public programming, and is
currently working to develop relationships that are not simply object-based, but are
strong and community-based.
Third, the efforts with the “New Burke Museum” campaign demonstrates an understanding of the value of meaningful and engaging activities to maintain their 84 relevance in contemporary society. Nina Simon (2010) emphasizes that museums should offer programs that are participatory and promote inclusion. At the Burke Museum, the staff cater their programs to meet a wide range of audience needs, develop cultural based programs with input from the community, and are willing to make changes when necessary that are based on input from visitors and participants. The New Burke Museum reflects the Museum’s ability to be flexible and adapt to its audiences needs and expectations, as Simon (2010) outlines.
The success of cultural demonstration programming at the Burke Museum is due to a clear vision and set of goals for the museum and the ability of the staff to work together to overcome obstacles, making changes and taking risks when necessary. The
Museum promotes education about the cultural heritage of Washington State through engaging programs, while maintaining strong ties to its Native community.
The next chapter of this thesis explores the planning and management of similar cultural based programming at the Aquarium of the Pacific in Long Beach, California and how engaging cultural experiences that connect diverse audiences to the Pacific Ocean have been developed. 85
Chapter Nine
Aquarium of the Pacific
History and Background
The Aquarium of the Pacific was founded in June 1998, as a nonprofit, tax- exempt 501(c)(3) organization, and is governed by a twenty-six-member Board of
Directors and a three-member Board of Executive Officers. Their live collections consist of approximately 11,000 animals, displayed in more than 50 exhibitions throughout the space (Aquarium 2018a).
Located in Long Beach, California, the Aquarium of the Pacific is considered one of the most popular cultural institutions in the Los Angeles region (Aquarium 2018b), attracting over 1.7 million visitors each year (Aquarium 2018a). The Aquarium offers educational tools to instill in their audiences a greater understanding of the world’s ocean and the surrounding environment. Aside from its collections, it offers audiences various art exhibitions, performances, and cultural festivals. Through such activities, the
Aquarium of the Pacific achieves its mission statement, which is stated on their website as, “to instill a sense of wonder, respect, and stewardship for the Pacific Ocean, its inhabitants, and ecosystems” (Aquarium 2018a).
In addition to the Aquarium's public programming and exhibitions, the Aquarium participates in ocean conservation efforts such as sustainable seafood, watershed education, and ocean literacy. And through these efforts, the Aquarium of the Pacific 86
“brings together scientists, educators, community leaders, and policymakers to develop
solutions to complex environmental issues” (Aquarium 2018a). The combination of
programs, exhibitions, and conservation projects highlights the Aquarium’s commitment
to the community, and their efforts to redefine the “aquarium” in contemporary society,
creating a space for diverse audiences to connect and discuss with one another (Aquarium
2018a).
Programs designed for children and families, such as the Festival of Human
Abilities, further demonstrate the aquariums dedication to creating educational and
meaningful experiences for their visitors. Junior Biologist programs promote hands-on
learning experiences through interactions with live sea creatures, and create close
connections with marine life and the issues they face (Aquarium 2018c). Most
extraordinary are the programs and events involving diverse community groups, such as
the Pacific Islander Festival and African-American Festival. These offerings are
specifically designed to celebrate diverse communities while promoting enjoyable and
educational experiences. Three of these programs are described in more detail below.
1. Festival o f Human Abilities is an annual event offered at the Aquarium to celebrate the “creative spirit of people with disabilities.” Aquarium staff welcome the public to participate in wheelchair dances, art demonstrations, and performances in sign language. The event highlights the talents and abilities of diverse individuals (Aquarium 2018d).
2. Pacific Islander Festival is an annual event offered at the Aquarium of the Pacific as a celebration of cultures with close ties to the Pacific Ocean. Aquarium staff welcome members of these island nations to demonstrate the ancient traditions of music, dance, and art. Also, audiences may participate in the traditional crafts of the Hawaiian, Samoan, Tahitian, Maori, and other cultures (Aquarium 2018e). 87
3. African-American Festival is an annual, weekend-long event featuring live entertainment and art activities for visitors to participate in. In celebration of West African culture and tradition, the Aquarium welcomes storytellers, dancers, and art and music performers to share their living history and provide live cultural demonstrations for the public. In addition, through this event, the staff are helping to raise funds for the End Malaria Now campaign (Aquarium 2018f).
Interview Results
Developing Cultural Demonstrations
The Aquarium of the Pacific is dedicated to providing visitors of all ages and backgrounds engaging learning experiences about the Pacific Ocean, its human inhabitants, and also the living creatures that inhabit it. The Aquarium offers public programs that celebrate diverse cultures and create connections between their exhibitions, programs, and their diverse audiences to meet their needs and expectations. It is the
Marketing Events Manager's role to oversee the development and implementation of these cultural demonstration programs (Yam 2018). This includes managing the marketing and promotional activities to promote the Aquarium’s events to the public as a meaningful experience.
As a means to reach the many diverse visitors coming through their doors each year, cultural demonstrations have become an important part of the Aquarium of the
Pacific’s public programming. These types of programs take a broader approach to the idea of “culture” than many people may think of it today by involving individuals of all abilities, races, and ethnicities (Yam 2018). The Aquarium’s collections include living species from the Pacific Ocean, the largest and most diverse body of water on the planet, providing entry points for visitors into cultures across the vast ocean. The Aquarium of the Pacific is also popular for its programs featuring specific cultural and ethnic groups
(Yam 2018).
The decision to integrate specific cultural demonstrations into the Aquarium’s public programming was determined through visitor surveys, relationships or partnerships with communities and organizations, and studying the demographics of their visitors (Yam 2018). In addition, many ideas for cultural demonstrations are proposed by the Aquarium’s volunteers and staff, and then integrated into the educational framework based on professional assessments made by staff members to better serve specific communities. The programs offered by the Aquarium are designed to celebrate and highlight how diverse cultures interact with the ocean (Yam 2018). This broad approach to cultural demonstrations allows the Aquarium to address the needs of their diverse communities and achieve the institution’s overall mission and goals.
Aquarium staff work as a team to conduct the research necessary to develop programs that feature the traditions and beliefs of specific cultural and ethnic groups.
The Marketing Department and Education staff are generally in charge of the operations, research, and facilitation of cultural demonstrations, and third-parties may be invited to participate in the programs. For example, external groups may include Hawaiian Hula
Dancers or African Drummers, but this varies based on the specific cultural demonstration. Other special projects or roles related to these efforts may be created for volunteers to participate in. Staff capacity is a determining factor in the development and evaluation most of the institution’s public programming (Yam 2018). Most of the funding for cultural demonstration programs and events at the
Aquarium of the Pacific are budgeted from the Aquarium’s overall institutional budget,
which is approved by the board. The Aquarium does not currently receive grants to fund
cultural based programming. While the Aquarium has a basic budget for public
programs, programs must be financially sustainable to be successful. Also, members are
a great source of support and provide significant contributions to the Aquarium’s
exhibitions and programs (Yam 2018).
Program Implementation and Management
Once the target audience has been identified, the Marketing Events Manager
oversees the program implementation process. The staff and facilitators involved in the
implementation process are encouraged to be creative in their approaches, but it is
important that the entire Aquarium staff involved are open and aware of the components
of a successful cultural demonstration (Yam 2018).
The staff at the Aquarium of the Pacific are required to undergo Cultural
Sensitivity training, when relevant. This training is meant to ensure staff are aware of the possible barriers, whether physical or other, preventing visitors from learning or participating in these events (Yam 2018). Also, the staff are taught the appropriate vocabulary to use when communicating with program participants and attendees (Yam
2018). This is especially important training for programs such as the Aquarium’s Autism
Families Night, when the building is only open to families with adults or children with autism (Yam 2018). 90
Moreover, the education staff and volunteers at the Aquarium facilitate cultural demonstrations using a clear framework in which key talking points are highlighted, but without the use of a script or program guide. The decision was made not to include program scripts to encourage facilitators to engage in conversation and feel comfortable sharing their stories with visitors (Yam 2018). This creates a more authentic and enjoyable environment for the participating communities and audiences, and builds relationships with communities.
A common challenge faced by the Aquarium of the Pacific, and like many other museums, in offering this type of programming, involving diverse cultural or ethnic groups, is the capacity of the staff to undertake the development and evaluation processes in the time allotted (Yam 2018). Nonetheless, the staff overcome these challenges, using them as motivational tools to continually produce innovative and engaging cultural demonstrations that meet the needs of their diverse audiences.
Community Relationships and Partnerships
Relationships and partnerships between the Aquarium and community groups are maintained by the Aquarium’s Marketing Department, which remains in contact with community leaders through various forms of communication. Email and phone calls are generally the most conducive forms of contact between the Aquarium and members of the community. If questions regarding the programs arise, the staff are willing to consult with community leaders for guidance. 91
There is not currently a formal evaluation method developed to evaluate the
Aquarium’s cultural demonstrations. They are evaluated in part by the revenue that the
Aquarium generates from ticket sales and in part by the number of event attendees (Yam
2018). Overall, the cultural demonstration programming at the Aquarium of the Pacific has proven to be equally as beneficial to the community and to the communities involved.
The general response from community leaders has been positive, and they appreciate the recognition through cultural demonstration programming (Yam 2018). Many community groups hold repeat programs with the Aquarium, offering various annual cultural demonstration programs, making modifications as necessary.
The Aquarium of the Pacific as a museum is still considered to be in its youth, as it was established in the last twenty years (Yam 2018). The ability of the staff to be flexible and creative make the process of planning cultural based programs efficient, and ensures the end product is a meaningful, educational experience for their audiences and community members.
Analysis
The Aquarium of the Pacific offers community-focused events that bring together a wide range of audiences, despite commonly faced challenges with existing resources.
In the section below, three areas of the Aquarium’s efforts in the planning and management of cultural demonstrations will be discussed: event marketing and planning, recognition of their community partners, and participatory audience engagement. 92
First, the Aquarium's efforts in marketing and planning of cultural events are
effective and reflect best practices outlined by Lord and Lord (1997). Event marketing
requires a wide variety of disciplines, forcing the staff to work together to accomplish
their goals. The staff work across departments to ensure the cultural demonstrations are
being properly promoted and attract a wide range of audiences. Event marketing also
requires a clear list of goals and objectives that should be understood across all teams
involved in the planning process. These reflect the overall institutional mission and
carried through the Aquarium’s program planning and development processes.
Second, the Aquarium demonstrates an understanding of the importance of
recognizing the efforts of their community partners involved in the development of
cultural demonstrations. Whether through various awards or publishing their names on
the event webpage and event fliers, the Aquarium of the Pacific recognizes, celebrates,
and raises awareness of the impact the community has on the Aquarium and its
surrounding communities. These actions support Michael Ames’ examination of current
museum strategies that recognize the history of museums and the concerns of community
groups (Ames in Anderson 2012). At the Aquarium of the Pacific, the staff respond to the needs of their communities by developing relationships with community members.
Moreover, the staff are provided with the necessary knowledge and skills to
develop and implement a successful cultural demonstration. The Aquarium offers thorough training, so the staff and volunteers act accordingly when facilitating programs
involving specific cultural and ethnic groups, which is achieved through the Cultural
Sensitivity training. Their efforts align with standards and best practices outlined by the work of Lord and Lord (1997). This demonstrates an understanding of the need for specialized training programs for the success of programs that involve individuals from specific cultural and ethnic groups.
Third, the Aquarium maximizes their efforts in developing innovative activities that actively engage visitors with meaningful experiences, where they learn and have an enjoyable experience. As Nina Simon (2010) discussed, such participatory activities are important because they create connections between the visitors and museum’s collections, and maintains the museum’s relevance in contemporary life. The staff at the
Aquarium of the Pacific cater their programs to the diverse needs of their audiences and respond to their feedback to address any concerns.
The success of cultural demonstrations at the Aquarium of the Pacific is due to the ability of the staff and volunteers to work across departments, to maximize their resources, and develop community-focused programs. They continually promote educational experiences that are both enjoyable and celebrate the multitudes of diverse cultures they interact with every day. 94
Chapter 10
Discussion
In reviewing the three case studies discussed in chapters seven through nine of this thesis, four key components of successful cultural demonstration programming can be identified. To varying extents, the Bowers Museum, the Burke Museum, and the
Aquarium of the Pacific each integrate the following components into their cultural demonstrations: first, strong community relationships and partnerships; second, participatory activities; third, situating education as the central focus of program design; and fourth, a clear, institutional mission with an established set of goals. These components promote the development of relationships with museum communities and provide meaningful experiences for visitors within these institutions.
Each of these four components are discussed in terms of how they are reflected in part by the case study museums and by the topics discussed in the literature review.
Overall, these components highlight best practices outlined in the literature, though each also demonstrates certain challenges that museums face in developing programs involving specific cultural and ethnic groups. These components are outlined below.
Maintaining Strong Community Relationships and Partnerships
First, each museum discussed in the case study chapters worked closely with community leaders to strengthen their cultural demonstration programming and to build connections with diverse audiences and program participants. Both the case studies and 95
the literature reviewed in this thesis suggest that strong community partnerships with a
wide range of stakeholders and other diverse groups are important to the interpretation
and management of cultural demonstration programming.
Chapters 2 and 3 of the literature review discussed the importance of identifying
and building ties to community groups for museums to be successful in achieving their
full potential as educational and cultural demonstrations. The Bowers Museum in Santa
Ana, for example, partnered with China’s Summer Palace Museum during the
development of the Empress Dowager Cixi exhibition, marking the eleventh partnership
between China and the Bowers Museum (Bowers 2018h). This represents a strong,
ongoing partnership that has led to both new and repeat visitors to the Museum. In
addition, when partners are actively involved in the program planning process, it results
in a higher level of cultural education. These results are consistent with those anticipated
by Nina Simon in her work, which states that these strategies build trusting relationships
with audiences over time (2010). Through partnerships, communities have the agency to
choose how they desire to be represented to the public, and can deepen public
understanding of their culture and traditions through personal knowledge and
experiences.
As Michael Ames discussed in his work, museums have faced pressures from underrepresented communities to provide them with some agency in their exhibitions and programs (2012). To build on his discussion, it is important that museums approach partnering with communities as a positive development, as museums explore their role in society. The case studies highlight that community partnerships, when positive and 96
maintained properly, have proven to be beneficial to both the museum and its partners,
and that such partnerships can present specific cultural or ethnic groups in ways that build
relationships between the respective community, the museum, and the visitors.
Specialized training opportunities were also a common component of the
partnerships developed in the case study museums. The establishment of strong and
diverse relationships with communities were maintained when museum staff were trained
on equity, diversity and inclusion, and how to better serve their communities, as was
discussed by Genoways and Ireland (2017). The importance of training in managing and
maintaining ties to a specific community was demonstrated by the use of specialized
training programs to reduce cultural barriers between the museum and program
participants, which encouraged respect for diverse cultures, and equipped museum staff
with the knowledge and skills necessary to effectively facilitate a cultural demonstration program.
The cultural demonstration programs discussed in the case studies are reflective of an increased awareness of visitor experiences and museum trends toward increased community involvement as part of the planning and management of public programming.
Through their efforts in developing educational and community-focused programs, the three museums discussed in this thesis built on key principles discussed in the literature review regarding what museums can contribute to society through programs such as cultural demonstrations. This can be achieved through strong, diverse partnerships and relationships with community organizations, businesses, and specific cultural and ethnic groups. 97
Significantly, the need for museums to develop partnerships is especially important to the planning and management of programs involving specific cultural and ethnic groups. This is due in part to the complexities of specific cultures and traditions and the inherent nature of these programs, as they are based on people, rather than collections. As Ames (2012) emphasizes, it is important to build strong connections to give communities agency and to keep museums relevant to society, and museums can use partnerships as a resource to gain a better understanding of the evolving needs and expectations of their communities. Moreover, as Simon (2010) notes, partner-based programs can meet the unique needs of audiences that many museums may not be serving through traditional exhibitions. Overall, museums need to identify and form partnerships to gain a better understanding of how to better serve their audiences and to involve them in the process to be successful.
In sum, positive, strong, and diverse relationships and community partnerships prove to be beneficial to the museum as well as the organization or community involved.
These partnerships can be sustained through staff training, institutional growth and openness, and accountability between both partners. Relationships with the community are a demonstration of museum trust and stewardship, resulting in the development of meaningful cultural demonstrations in museums.
Offering Participatory Activities in Museums
Second, the case study museums discussed in this thesis provide meaningful opportunities for visitors and community groups to participate in cultural demonstrations 98 by using a variety of engagement strategies. These strategies allow participants to be actively engaged in the program material and are consistent with the approaches discussed by Nina Simon in the literature review.
In the development of cultural demonstrations, the case studies highlight how many museums have undergone a rebranding, and now identify as participatory, community-focused institutions. The efforts made by the case study museums are consistent with Simon’s argument that museums should be working towards being participatory, community-focused institutions to stay relevant in contemporary society, and they are reflective of the need to accept and to adapt to constant change.
In addition, both formal and informal learning activities were integrated into the program structure of cultural demonstrations, allowing museum staff and volunteers the freedom to include additional engagement points in the facilitation of cultural demonstrations, when appropriate, including opportunities to share stories and discuss with one another. Simple changes such as including activities that actively engage program participants enhance visitors’ experiences and creates new connections with audiences.
At the same time, the cultural demonstrations examined in the case study museums were designed to be engaging to a wide audience, consisting of active performances and workshops in addition to more formal educational opportunities. This focus is evident in the integration of various activities in museum programming such as art making, music performances, demonstrations, dancing, lectures, and tours. This blend 99
of educational and entertaining opportunities aligns with Simon’s argument that museums
should work to become “participatory,” while also maintaining their educational role in
society (2010). The active engagement of program participants through cultural
demonstrations that are both enjoyable and educational is reflective of the shift in
museum emphasis from stewards of collections and as educational institutions to meeting
the needs and expectations of communities as “participatory museums,” a phrase coined
by Simon (2010). Cultural demonstrations provide a comfortable environment for
individuals to connect as active participants in a program that goes beyond simply
observing an object.
Cultural demonstrations offer participatory activities for program participants to
feel actively engaged in the material while they gain valuable knowledge and meaningful
experiences. As Simon (2010) notes, museums must change their perception of visitors
as passive viewers and give communities opportunities to share their voices in such
programs. Offering participatory activities for visitors in cultural demonstrations that
actively engage them, rather than treating visitors as passive viewers, is an important
aspect of Simon’s work, which argues that these strategies ensure that museums remain
relevant today and in the future.
In sum, to support meaningful learning experiences with diverse cultures and traditions, is crucial for cultural demonstration programs to provide participants with
multiple entry points for engagement. The inclusion of art making demonstrations, performances, and other opportunities for participation not only provides entry points for visitors to both learn and enjoy, but also allows audiences to connect with each other and the museum differently each time they attend a program or event featuring specific cultural or ethnic groups.
The Importance o f Education-Centered Public Programming
Third, the educational role of museums was a common trend discussed throughout the literature reviewed in this thesis, and as emphasized by the AAM (1984), was identified as the primary purpose for museums. Education is a key component of cultural demonstration programming, while also providing opportunities for new experiences.
The three museums examined in the case study chapters position education as the central focus of their cultural demonstration programs. Even so, these institutions demonstrated two distinct approaches to the development of cultural demonstrations: first is the education and public programming approach; second is the marketing approach.
The education and public programming approach to the planning and management of cultural demonstrations relies on the expertise of the education and/or public programming departments within a museum, or it can be a collaboration between the two departments in larger institutions. This approach is consistent with the literature discussed earlier in this thesis that identifies education as an inherent role of museums as stewards and repositories of the world’s cultural heritage. The education staff should be experts in their field, possessing an understanding of the ways people learn and the strategies that should be used to actively engage them in public programs (Johnson et al.
2009). The case studies demonstrated that museum education staff are responsible for developing the museum’s educational goals, procedures, and maintaining strong ties 101
within the community because their duties place them in close contact with the public.
For this reason, museum education and public programming offers high-quality cultural
education and meaningful experiences for a wide audience.
The marketing approach to the planning and management of cultural
demonstrations relies on the collaboration between the education and marketing
departments within a museum, indicating a departure from the literature reviewed in this
thesis. Nonetheless, reflecting broader trends in the literature, the marketing approach
assists in the museum’s educational role in society. The case studies demonstrated that
marketing is an important aspect of public programming because it provides a roadmap
for museum operations, identifies visitor needs, and works to understand how to serve
audiences and why they visit the museum. A successful museum marketing department
understands their institution’s audiences and communities, and caters programs to meet
their needs and expectations. It is through marketing that museums build their audiences
and revenue, which are vital to the success of an institution. When merged with an
educational mission, when staff are trained with high standards, and when strong
relationships with the community are established, the outcome of the marketing approach
can support a meaningful, educational program.
Significantly, education should remain the central focus and inspiration for the planning and management of cultural demonstrations in museums. The two approaches discussed above are reflective of the current strategies in the museum field and how museums are taking steps toward changing the narrative of exhibiting cultures, as was 102
discussed by Hinsely (1991), through the integration of innovative program development
and management techniques.
The need for museums to integrate innovative strategies to develop cultural
programs that are engaging and effective in educating people about the cultures and
traditions of specific cultural and ethnic groups is especially important to their success in
contemporary society. This is in part due to the dynamic needs of museum audiences,
changing attitudes in diversity, shifting demographics, and a newly found self-awareness
in museums. There are currently no formal standards for the planning and maintenance
of cultural demonstrations in museums, and as a result, museums today are experimenting
and taking risks to remain relevant in society.
Overall, when education is integrated into a museum’s institutional mission and
program design, it supplies guidance for a museum’s program offerings, and also results
in more effective and engaging cultural demonstrations. It is crucial to the success of a museum that it offers programs that attract diverse audiences, allowing both the museum and program participants to grow and be inspired through educational experiences.
Establishing a Clearly Defined Mission Statement and Set o f Goals
Fourth, in the development of museum programs on the culture and traditions of specific cultural and ethnic groups, the case studies highlight how museums must have a clearly written mission and a set of goals reflective of the institutional mission; notably, this is consistent with literature discussed earlier regarding museum education and management. 103
A clear and concise mission is important to the success of cultural demonstration
programming in museums. Each museum discussed in the case study chapter, for
example, noted that the institutional mission and values were integral to the development
of public programs involving specific cultural and ethnic groups. Their mission
statements all made mention of education, the community, and enriching or meaningful
experiences, demonstrating how they determined cultural demonstrations fit into their
museum’s public programming framework. As the literature on museum education units
discussed, the mission statement should be the first resource to be consulted in the
planning of a program such as cultural demonstrations, and it is a fundamental
component of program goals and outcomes, as was discussed by Genoways and Ireland
(2017).
Since it is crucial for museums to support efforts that meet their trust and
stewardship responsibilities, it is in the best interest of museums to evaluate their
missions to ensure they support relationships with the community and offer meaningful
experiences for visitors, because this is the expectation of contemporary museum
audiences. All three institutions examined in this thesis identified the importance of the
community and education in their mission statements. Furthermore, a clearly written mission statement guides a museum’s efforts so that they can be certain these types of programs support their respective communities. An attainable set of goals aligned with the mission ensures that cultural demonstrations are mission-appropriate and serve the audiences to the best of the museum’s abilities. Moreover, mission statements set the standard of quality at which the museum
operates, influences its policy and procedures, and determine staff training requirements,
as Lord and Lord note (1997). The aforementioned case study museums understand the
need for special training programs when involving diverse community members in
program planning and management. As previously mentioned, the case studies achieved
high-quality cultural demonstrations through Cultural Sensitivity training programs, lists
of culturally appropriate terms, or lesson plans that ensure staff are well-equipped to
facilitate the program. Thus, operating under a clear mission statement also protects the
reputation of museum and staff since they are held to a higher standard of operation.
Overall, a mission statement is crucial to the operations of a museum because it
establishes the level of quality that a museum can achieve in providing meaningful public
programs such as cultural demonstrations. The case studies examined in this thesis
illustrated that a clearly defined mission and set of goals guide a museum’s understanding
of their role in society and how cultural demonstrations relate to their efforts towards
fulfilling these goals.
Summary
The three case study museums, like many museums today, are increasingly
focused on strategies to attract a wide range of audiences, placing emphasis on visitor education and community involvement. These museums are working to ensure that all their programmatic efforts align with their institutional mission and values, and that they integrate innovative approaches to public programming. Specifically, the case study 105 museums highlight the benefits of creating meaningful experiences for visitors that are thoughtful and steer away from the old exhibitionary practices through offering public programs such as cultural demonstrations.
The next chapter will outline several conclusions about the state of planning and managing public programs involving specific cultural or ethnic groups, and will provide recommendations for how museums can approach the development and oversight of such programs. 106
Chapter 11
Conclusions and Recommendations
In this chapter, three conclusions concerning the planning and management of
cultural demonstrations in museums will be presented. First, museums today can balance
experiences that are both enjoyable and educational in cultural demonstration
programming; second, policy and procedures are critical in supporting successful cultural
demonstrations; and third, museums must provide staff and board training to develop
community-based cultural demonstration programming. These conclusions will be
followed by four recommendations, concluding comments, and areas for future research.
Conclusions
1. Museums today are balancing enjoyable and educational experiences for their visitors through cultural demonstrations.
Museums provide the ideal setting for the public to engage in cross-cultural experiences, as they have a long tradition of public service and informal learning environments. They provide spaces for individuals to feel comfortable participating in discussions or sharing their own experiences and participating in cultural activities that go beyond admiring the aesthetics of an object. As visitors today want to be more actively engaged in educational activities, cultural demonstrations have become the ideal tool to attract audiences to museums, who then provide them with significant cross- 107
cultural experiences. Visitors leave such programs with new, meaningful knowledge and
experiences.
The increased frequency of cultural festivals, performances, and demonstrations
seen in this thesis highlight that some museums are using cultural demonstration
programs as a means to meet the needs of expectations of their communities. These
activities, when developed and implemented in collaboration with community groups,
offer program participants direct interaction with people from diverse cultures. For
example, museums work with members of specific communities to immerse visitors
within the specific culture being celebrated through interactive, hands-on experiences
such as art making and dancing. Through such activities, visitors have multiple entry
points for visitor engagement that vary from more relaxing to more stimulating activities.
Museums are able to offer cultural demonstrations due to their close ties to
diverse audiences through their collections. And in fact, this type of programming seems
to be expected by museum audiences, as seen in studies conducted by the American
Alliance of Museums (2010) and the National Endowment for the Arts (2008). These
studies also demonstrated that cultural activities are viewed as a source of leisure and
entertainment, but that they are still inherently educational experiences.
Overall, museums provide an informal environment, access to diverse collections
and cultures, educational materials, and well-trained staff to facilitate positive connections and experiences between a wide range of audiences. Many museums have
integrated innovative programming strategies that fulfill the desire for engaging cross- 108
cultural experiences that support stewardship, and that are both enjoyable and
educational. Nonetheless, cultural demonstrations should only be offered if they best suit
the museum’s institutional mission and goals.
2. Museum education and public programming policy is critical in supporting
successful cultural demonstration programming.
Museum policy regarding education and public programming strategies should
clearly delineate the standard of quality through which the museum operates, and how the
museum can achieve it through offering programs such as cultural demonstrations. These
formalized documents are critical management tools for museum education staff to
overcome the constant challenges of planning and managing cultural demonstrations.
Moreover, because cultural demonstrations directly impact the communities in which the
museum serves, museums should consider maintaining a written guide and set standards
for the planning and management of such programs. Museums therefore benefit greatly
when the expectations of community groups are met, and when program planning efforts are equitable and support the informed and appropriate representation of specific cultures and traditions.
Many museums are facing challenges with determining the best strategies for consulting with and involving community leaders as well as challenges in identifying the most conducive performance indicators to determine whether or not the program objectives have been reached. As mentioned throughout this thesis, cultural demonstrations are unique in that they are not necessarily based on museum collections, 109 but rather, on the cultures that the objects represent. These types of programs are
enjoyable to a wide range of audiences, but they require specific knowledge and guidance to develop and maintain. While it is important for visitors to learn and have cross-
cultural experiences, the potential to strain relationships with community groups is
significantly increased in offering cultural demonstration programming.
To ensure positive experiences for both visitors and specific cultural and ethnic
groups involved in the development of cultural demonstrations, and to make these
programs as meaningful as possible, museums should use formal policy to identify the
unique needs of their communities involved in this type of programming and create a
framework to guide staffs planning and management perspective, procedures, and
evaluation techniques. Museum management and the staff closely involved in the
planning and management of cultural demonstrations should facilitate efforts to establish
education and public programming policies and related procedures because it can help
guide educational programming in institutions to produce more effective programs that
support museum-community relationships.
Conclusion 3: Specialized training programs are crucial to the success of cultural demonstrations in museums.
Specialized training programs for museum staff and governing bodies are
important tools for management and staff to address the constant issues presented in
offering cultural demonstrations. These programs are increasingly challenging as they require the ongoing ability to balance politics, scholarly and community voices, and
authenticity. The training programs offered by the museums in this thesis demonstrate 110 exceptional progress made by museums in moving away from past exhibitionary practices towards building relationships with diverse communities.
Museums have focused their efforts on navigating historical issues regarding their role in the interpretation and exhibition of cultural and ethnic groups as well as on achieving best practices through specialized training programs. Specifically, each case study museum that was examined in this thesis offered their staff the necessary resources and provided them with skills to plan, manage, and facilitate a successful cultural demonstration. These resources included a history of exhibiting and exploiting cultures, culturally appropriate language, and a basic educational plan to follow when planning or facilitating a cultural demonstration. Such training programs are required at all levels of museum administration to help eliminate barriers that could potentially hinder visitors’ understanding or ability to enjoy the information presented in the program.
Finally, because museums are repositories of the world’s natural and cultural heritage, they face pressures in representing diverse cultures and traditions appropriately and authentically. To direct the appropriate management and oversight of cultural demonstrations, specialized training programs should be required for board members, staff, and volunteers. A strong training program will set expectations and inform their behavior long before the program implementation process to help minimize risk to the museum’s reputation or relationships with the community.
Below, four recommendations for museums that currently offer or are looking to the future to offer cultural demonstration programming are presented. R ecommendations
1. Integrate Formal Education Perspectives
First, as this thesis highlights, museums have made tremendous efforts in planning and managing programs that feature the cultures and traditions of diverse groups. As emphasized earlier, the objective of cultural demonstration programming should be educationally focused as well as focused on building relationships with the community. Education staff members are best equipped to foster closer collaboration and meaningful experiences with the community because they work closely with visitors.
The examination of museums conducted in this thesis suggests that museums benefit from integrating a formal educational perspective into their cultural demonstration planning and development stages. Without involvement from the education staff, cultural demonstrations could stray from the educational goals and may not identify well with the specific communities involved in the program. Direct involvement of the education department in the development of cultural demonstrations also supports why museums place education at the center of their activities, which can benefit the museum and program offerings, as it is in accordance with museum standards and best practices.
2. Support the Institutional Mission
Second, some museums have taken risks in offering innovative public programs featuring specific cultural and ethnic groups that put the education and the community in the center. Even so, museums should think strategically about the type of programming they offer and how it supports the overall institutional mission and its values. This can be 112 achieved by remaining prudent in the types of programs offered by the museum to maximize their resources to develop programs that better meet the mission and goals of the museum.
As this thesis has highlighted, museums can be tremendously successful in offering cultural demonstrations to meet the needs of a wide range of audiences, but it is important that this type of programming is governed by the mission statement, and that it is consistent with the museum’s vision for education and public programming.
3. Continued Training Opportunities
Third, museum governing authorities, staff, and volunteers should all be provided with opportunities for continued growth and education, as their audiences also grow and change over time. These changes may require further training, even after the initial training process that may have occurred directly following the hiring process. Such changes may include updates on culturally appropriate terms, legal requirements, or important information regarding the communities they are or are not reaching.
It is important that museums provide additional resources for all levels of the institution, including off-site opportunities such as conferences or workshops and consultations with community leaders. As communities become more involved in the day-to-day operations of museums, staff training has become vital to their performance, and staff must remain up-to-date on the latest information and strategies regarding working with diverse groups of people. Also, continued training benefits the effectiveness of the public programs offered by the museum. 113
4. Methods of Evaluation
And finally, many museums are facing challenges with determining the best strategies for identifying the most conducive performance indicators to evaluate programs such as cultural demonstrations. Evaluations are crucial in determining if cultural demonstrations are effective and meet their intended objectives. It is important that museums are able to undertake evaluations of its exhibitions as well as public programs.
Moreover, these evaluations should be performed periodically to ensure the programs meet their objectives.
Such performance indicators should be conducted before and after the program or exhibition has been viewed by the public for the most effective results. Lastly, evaluations should be both formal and informal, or quantitative and qualitative, including a range of methods such as ticket sales, museum attendance, visitor surveys, visitor comments, and focus groups. Such strategies guide a museum’s program and exhibit offerings in the future by identifying their strengths and weaknesses, allowing them to modify programs such as cultural demonstrations when necessary.
Concluding Comments
While museums have become increasingly aware of their role within contemporary society and are beginning to directly involve communities in the development of public programs, such as cultural demonstrations, it is important to understand the impact the planning and management of cultural demonstration programs may have on visitors as well as the community groups involved in these programs. 114
Museums are transforming to become more community-driven institutions and
places for personal advancement through meaningful experiences. The case studies
established that cultural demonstrations are mutually beneficial to the museum, the
cultural and ethnic groups involved, and to the museum’s visitors. Even so, as diverse
communities become more involved in the operations of museums, it is important to have
established guidelines available when complications arise. Cultural demonstrations have
the potential to better the reputation of museums, but it is only when these guidelines are
in place that museums can truly implement and manage programs that meet community
needs and expectations.
While this thesis highlights the efforts museums have currently made towards
community involvement through cultural demonstration programming, there are always
opportunities to deepen understanding and to develop better strategies to approach this
type of programming. Every community group is unique, and as meeting their
expectations becomes more challenging, museums could benefit from additional research
and methods of evaluation. Additional research can take place in several different areas
such as resource availability, funding opportunities, performance indicators, and the
impact this type of programming has on the communities involved as well as program
participants.
In closing, while cultural demonstrations are seen more frequently in a variety of
institution types, such as aquaria, zoos, and other museum types, no set standards for how they should be planned or managed exist at this time. This could be detrimental to the reputation of museums as stewards of cultural heritage when relationships with the communities involved in these programs are strained. If museums are to remain relevant, serve their communities, and remain financially stable, museums should highlight cultural demonstrations as an innovative approach by integrating them fully into their educational framework. For these reasons, museums should establish the proper policy and training programs that meet the unique needs of their communities, while supporting enjoyment, educational value, and the strong partnerships and relationships with community groups that cultural demonstrations can so clearly offer. 116
References
American Alliance of Museums (AAM). 2018. “Accredited Museums.” Accessed October 2017. http://www.aam-us.org/resources/assessment- programs/accreditation/accredited-museums. American Alliance of Museums (AAM). 2012. Alliance Reference Guide. Developing and Institutional Plan. Accessed February 2018. American Association of Museums (AAM). 2010. “Center for the Future of Museums.” Demographic Transformation and the Future o f Museums. Accessed February 2018. American Association of Museums (AAM). 2018. “Center for the Future of Museums.” Accessed January 2018. http://www.aam-us.org/resources/center-for-the-future- of-museums. American Alliance of Museums (AAM). 2018. “Mission and Institutional Planning.” Accessed February 2018. http://www.aam-us.org/resources/ethics-standards-and- best-practices/mission-and-planning American Alliance of Museums (AAM). 2018. “Museum Assessment Program.” Accessed December 2017. http://www.aam-us.org/resources/assessment- programs/MAP. American Association of Museums (AAM). 1984. “Museums for a New Century.” Accessed January 2018. Ames, Michael M. 2012. "Museums in the Age of Deconstruction." In Reinventing the Museum: The Evolving Conversation on the Paradigm Shift, edited by Gail Anderson. Edition 2. AltaMira Press, 2012, 86-103. Aquarium of the Pacific. 2018a. “About the Aquarium.” Accessed February 2018. http://www.aquariumofpacific.org/about Aquarium of the Pacific. 2018b. “Education Fund Report.” Accessed February 2018. http://www.aquariumofpacific.org/about/education_fund_report/ Aquarium of the Pacific. 2018c. “Aquarium Event.” Accessed February 2018. http://www.aquariumofpacific.org/events/info/junior_biologist_marine_mammals 117
Aquarium of the Pacific. 2018d. “15th Annual Festival of Human Abilities.” Aquarium Events Archive. Accessed February 2018. http://www.aquariumofpacific.org/events/archive/festival_of_human_abilities Aquarium of the Pacific. 2018e. “15th Annual Pacific Islander Festival.” Accessed February 2018. http://www.aquariumofpacific.org/events/info/pacific_islander_festival Aquarium of the Pacific. 2018f. “16th Annual African-American Festival.” Aquarium Events Archive. Accessed February 2018. http://www.aquariumofpacific.org/events/info/african_american_festival/ Basch, Charlotte. Interviewed by Lindi Ingram. January 05, 2018. Burke Museum, Seattle, WA. Bowers Museum. 2018a. “Board of Governors.” Bowers Museum Information. Accessed February 2018. https://www.bowers.org/index.php/information/board-of- governors Bowers Museum. 2018b. “President’s Message.” Bowers Museum Information. Accessed February 2018. https://www.bowers.org/index.php/information/president-s- message Bowers Museum. 2018c. “Mission & History.” Bowers Museum Information. Accessed January 2018. https://www.bowers.org/index.php/information/mission-history Bowers Museum. 2018d. “Bowers Audio.” Introduction to the Bowers Museum. Accessed February 2018. https://www.bowers.org/index.php/visit/tours/audio- tours/B/4-bowers-audio/2-highlights-of-the-bowers-collection-english/2- introduction-to-bowers-museum Bowers Museum. 2018e. “Programs.” Accessed February 2018. https://www.bowers.org/index.php/education-programs Bowers Museum. 2018f. “First Americans: Tribal Art from North America.” Exhibitions. Accessed February 2018. https://www.bowers.org/index.php/exhibitions/upcoming-exhibitions/483-first- americans-tribal-art-from-north-america 118
Bowers Museum. 2018g. The James Irvine Foundation. “Arts Engagement.” Accessed February 2018. https://www.irvine.org/arts/who-we-fund/bowers-museum Bowers Museum. 2018h. “Empress Dowager Cixi: Selections from the Summer Palace.” Exhibitions. Accessed February 2018. https://www.bowers.org/index.php/exhibitions/current-exhibitions/486-empress- dowager-cixi-selections-from-the-summer-palace Burke Museum. 2018a. “History.” Accessed February 2018. http://www.burkemuseum.org/about/history Burke Museum. 2018b. “About.” Accessed February 2018. http: //'www. burkemuseum. or g/about Burke Museum. 2018c. “The New Burke.” Accessed February 2018. http: //www. burkemuseum. org/ne wburke/pr oj ect Burke Museum. 2018d. “BurkeMobile.” Programs. Accessed February 2018. http://www.burkemuseum.org/programs/burkemobile Burke Museum. 2018e. “Burke Programs.” Accessed February 2018. http://www.burkemuseum.org/programs Burke Museum. 2018f. “Northwest Coast Carving Demonstration.” Calendar. Accessed February 2018. http://www.burkemuseum.org/calendar/northwest-coast-carving- demonstration-1 Curtis, Cathy. 1990. "Bowers Museum Grapples With Its Identity: President of the Santa Ana Institution's Board Professes No Hurry in Seeking a Director to Replace the Resigned Paul Piazza." Los Angeles Times. February 04, 1990. Accessed February 2018. Genoways, Hugh H., and Lynne M. Ireland. 2017. Museum Administration 2.0. Edited by Cinnamon Catlin-Legutko. Rowman & Littlefield, 2017. Hinsley, Curtis M. 1991. "The World as Marketplace: Commodification of the Exotic at the World’s Columbian Exposition, Chicago, 1893." In Exhibiting Cultures: The Poetics and Politics o f Museum Display, edited by Ivan Karp and Steven D. Lavine. Smithsonian Institution, 1991, 344-372. 119
Johnson, Anna, Kimberly A. Huber, Nancy Cutler, Melissa Bingmann, and Tim Grove. 2009. The Museum Educators Manual: Educators Share Successful Techniques. Lanham: AltaMira Press, 2009. Lord, Gail Dexter., and Barry Lord. 1997. The Manual o f Museum Management. Altamira Press, 1997. Mahon, Emily. Interviewed by Lindi Ingram. January 04, 2018. Bowers Museum, Santa Ana, CA. National Endowment for the Arts. 2009. "2008 Survey of Public Participation in the Arts." News release, November 2009. Oakland Museum of California. 2018a. “About OMCA | Oakland Museum of California.” Accessed February 2018. http://museumca.org/about-omca. Oakland Museum of California. 2018b. “Days of the Dead Community Celebration Press Photo Gallery.” Accessed February 2018. http://museumca.org/gallery/days-dead- community-celebration#slide-0-field_phot_gallery-3252. Orange County's Pacific Symphony. 2016-17. "Press Release posted by Jean Oelrich." Accessed March 2018. https://www.pacificsymphony.org/about_us/press_room/press_releases/2016- 17/NCAF-Phase-2 Rydell, Robert W. 2011. "World Fairs and Museums." In A Companion to Museum Studies, edited by Sharon Macdonald. Chichester, West Sussex, U.K: Wiley- Blackwell, 2011, 135-151. Santa Cruz Museum of Art and History (MAH). 2018. "The Museum of Art & History at the McPherson Center." Staff and Board Information - Santa Cruz Museum of Art & History. Accessed January/February 2018. https ://santacruzmah. org / about/contact-us/#N ina Simon, Nina. 2010. The Participatory Museum. California: Museum 2.0, 2010. Simon, Nina. 2010a. “About the Author.” In The Participatory Museum. California: Museum 2.0, 2010. Simon, Nina. 2010b. “Preface.” In The Participatory Museum. California: Museum 2.0, 2010. 120
Simon, Nina. 2010c. “Collaborating with Visitors.” In The Participatory Museum. California: Museum 2.0, 2010, 231-262. Simon, Nina. 201 Od. “Co-Creating with Visitors.” In The Participatory Museum. California: Museum 2.0, 2010, 263-280. "University of British Columbia Archives." Michael Ames Fonds. 2015. Accessed February 2018. United States Census Bureau QuickFacts. 2016. "U.S. Census Bureau QuickFacts: California." Accessed January 2018. https://www.census.gov/quickfacts/CA. Vietnam Museum of Ethnology. 2018. "Museum & Community." Accessed February 2018. http://www.vme.org.vn/museum-and-community/. Wing Luke Museum of the Asian Pacific American Experience. 2018. “About Us.” Accessed February 2018. http://www.wingluke.org/about. Yam, Emily. Interviewed by Lindi Ingram. January 26, 2018. Aquarium of the Pacific, Long Beach, CA. 121
Appendix A: Center for the Future of Museums report by the American Alliance of Museums (formerly the American Association of Museums), 2010
A.l American Alliance of Museums (AAM), 2018. “Center for the Future of Museums”
A.2 American Association of Museums (AAM), 2010a. Demographic Transformation and the Future o f Museums, (excerpt)
A.3 American Association of Museums (AAM), 2010b. Demographic Transformation and the Future o f Museums, (excerpt)
A.4 American Association of Museums (AAM), 2010c. Demographic Transformation and the Future o f Museums, (excerpt)
A. 5 American Association of Museums (AAM), 2010d. Demographic Transformation and the Future o f Museums, (excerpt) 122
A.l American Alliance of Museums (AAM), 2018. “Center for the Future of Museums’"
American Alliance of Museums About Us Events Resources Membership About Museums Advocacy
Home > Center for the Future of Museums
Projects and Reports
Center for the Future of Museums CFM Council
For 10 years, the Alliance’s Center for the Future of Museums (CFM ) has been helping museums explore today's challenges and shape a better tomorrow. Dispatches from the Future of Museums • We get museums to take a longer view— several decades instead of the usual one to five years covered by an institutional plan Subscribe today for this weekly . We deliver specific, credible information about trends that will affect museums digest of trends, tools and and the communities they serve technology, and examples of • We teach the basics of strategic foresight— how to question the assumptions that museum innovation in action. underlie our daily decisions, imagine different futures, and integrate this information into a museum’s planning process. • We encourage museums to be creative and take risks, because through Follow CFM innovation we discover the strategies and tactics that work in the future.
Help create a better future for museums. Support CFM today. * @futureofmuseums
/futureofmuseums Museum 2040 © /futureofmuseums The November/December issue of Museum magazine has been published just a little bit n early— 23 years ahead of schedule, to be exact. Download a copy of Museum 2040 to explore a future in which museums have thrived in the face of many challenges. y o u © /futureofmuseums
TrendsWatch
Keep up with the forces shaping the future of museums.
From the CFM Blog
Engaging the System: Museums Working in the Incarceration System
Futurist Friday: urban delivery drones
Tweetchat alert! Building on Museum 2040
Made Any Great Mistakes Lately?
Futurist Friday: Sea-Level Report Cards
Leading Forward: engaging with complex and controversial topics
Community Curating: A Macro to Micro View
Postcards from the future
Guess, Grind or Ask the Al
A Role for Museums in the Urban Renaissance: Reviving Skills of Craftsmanship
W \ American Alliance of Museums Like us Contact Us Copyright Statement 2451 Crystal Drive, Suite 1005, Arlington VA 22202 Follow us Donate Privacy Policy W 202-289-1818 Join us Advertise Terms of Use
I . , , * I A.2 American Association of Museums (AAM), 2010a. Demographic Transformation and the Future of Museums, (excerpt)
the landscape of major forces we think will 1900s * 1970s shape the future of museums and their communities: economic, cultural, demographic 10-t3% minority population tttftttttt and technological. That report went viral as 25 years ago museum staff members used it to structure their 20% minority population ffttttttt institutional planning, start conversations with board members and engage their communities. Now I am pleased to introduce this new report, 34% minority populaton "Demographic Transformation and the Future of Museum s”— the first of what we hope will be 25 years ahead subsequent papers exploring that landscape in Ab% minority populaton j j MMM finer detail.
Core museum visitors today M&S 2034 covered many trends. We chose to
9% minority population delve first into the changing ethnic and racial composition of the U.S. because of the universal S o u r c e : Peacn Adveors analyse of census data and survey data reaction of readers to this striking graphic (see To forecast the future is to explore new territory. left). The U.S. population is shifting rapidly and We start with certainty (where we are now) but within four decades, the group that has historically each step forward takes us farther from our constituted the core audience for museums— projected path We think we know where we are non-Hispanic whites— will be a minority of the going, but what might make us change course? population. This analysis paints a troubling picture What unexpected barriers or obstacles don't of the ’probable future"— a future in which, if appear on the map? Will a seismic event shift trends continue in the current grooves, museum the entire landscape? The Center for the Future audiences are radically less diverse than the of Museums' charge is to help museums protect American public, and museums serve an ever where their current courses may lead, think about shrinking fragment of society where they actually want to go and anticipate the forces that may throw them off track. I think the vision of the m useum field, our ’’preferred future." is one in which our users In 2008, the American Association of Museums reflect our communities. It is a future in which launched CFM with the inaugural forecasting the scientific, historic, artistic and cultural report "Museums & Society 2034: Trends resources that museums care for benefit all and Potential Futures.” M&S 2034 charts segments of society. To make this happen, we 124
A.3 American Association of Museums (AAM), 2010b. Demographic Transformation and the Future o f Museums, (excerpt)
By race Figure 2 depicts recent trends and future White 223.965,009 74.3% projections for the racial and ethnic composition Black or African American 37,131.771 12.3% of the U.S. population between 1980 and 2050. Asian and Pacific Islander 13,610,333 4.5% based on data and estimates from the U.S. American Indian and Alaska Native 2,419,895 0.8% Census Bureau. Some other race 17.538.990 5.8% The most notable U.S. demographic trend over Two or more races 6,571,705 2.2% the last three decades has been the growth of Byethnidty the Hispanic population, with an increase from 255^05.545 84.9% Not Hispanic or Latino: 6.4 percent to 15.1 percent between 1980 and White 198,420.355 65.9% 2008. The racial composition of the U.S. also Black or African American 36.397,922 12.1% became more diverse in this period, with the Asian and Pacific Islander 13.413,600 4.5% share of the white population decreasing from American Indian and Alaska Native 2.041,269 0.7% 83 percent to 74 percent and the proportion of Some other race 737,938 0.2% African Americans. Asian and Pacific Islanders, Two or more races 4.794,461 L6% and those choosing some other race or multiple Hispanic or Latino: 45.432,158 15,1% races growing as a proportion of the American population. (See Appendix B for a more detailed White 25,544.654 8.5% snapshot of the American population in Black or African American 733.849 0.2% 2008, the most recent year for which data are Asian and Pacific Islander 196.733 . % 01 available.) American Indian and Alaska Native 378.626 0.1% Some other race 16,801.052 5.6% By 2050. the Hispanic/Latino populations will Two or more races 1,777,244 0.6% have doubled again to comprise 30 percent of
Source: American Community Survey 2008. All percentages based on total U.S. population the U.S. population, with the percentage of Asian Pacific Americans increasing more slowly and opportunities for museum research and practice the percentage of African Americans holding in the future. steady at 12-13 percent. Sometime between 2040 and 2050, depending on which projection The Changing Face of America model is employed, the current U.S. minority groups— African Americans. Latinos (of any race). Starting with the 2000 Census, the U.S. Census Asian Americans and Pacific Islanders. Native Bureau recognized the diversrty of the American Americans and others, including those who population by distinguishing ' ethnicity" (referring identify as multiracial— will collectively become specifically to people of Hispanic origin, who the new majority in the United States. The can be of any race) from “race” (categorizing proportion of non-Hispanic whites will fall below the largest groups as whites, blacks or African 50 percent for the first time since the country Americans. Asians and Pacific Islanders, and was founded. The shift to a “majority minority" A.4 American Association of Museums (AAM), 2010c. Demographic Transformation and the Future of Museums, (excerpt)
Figure 3a. Demographic distribution of visitors to art museums/galleries in 2008 the ballet. Any relief, however, would be short lived as readers turned to the detailed analysis. % of visitors % of U.S. to art museums population The document shows a persistent connection between race, ethnicity and cultural participation By race/ethnicity and a slow but steady decline in attendance at Hispanic 8.6% 13.5% traditional “high culture" activities. Non-Hispanic White 78.9% 68.7% African American 5.9% 11.4% In general, art museum and gallery attendance Other 6.6% 6.4% held steady over the 25 years of NEA data— though it is troubling to note that the percentage Figure 3b Percentage* of U.S. adult population visiting art museums/galleries of adults age 45-54 (traditionally the core
1992 2002 2008 audience of museum-goers) dropped from 32.9 percent to 23.3 percent between 2002 and 2008.9 All 2 6 J% 26.5% 22.7% Age-related patterns of museum attendance are By race/ethnicity only one piece of the SPPA puzzle, however Even Hispanic 17.5% 16.1% 14.5% more striking are the racial and ethnic disparities Non-Hispanic White 28.6% 29.5% 26.0% in cultural participation. Non-Hispanic white African American 19.3% 14.8% 12.0% Americans were over-represented among adult art Other 28.4% 32.7% 23.4% museum visitors in 2008 (78.9 percent of visitors, while just 68.7 percent of the U.S. population) ’ Based on data tram the Current Population Survey iMhch vanes sightly from the American Community Survey data cited elsenrtiere in this report Source: NEA, 2008 Survey of Public Particfjatcn in the Arts while Hispanics and African Americans were significantly underrepresented (Figure 3a). Who Participates in the Arts? Indeed, members of minority racial and ethnic Who Goes to Museums? groups were less likely to participate in the arts across the full range of activities measured in When results from the NEA’s 2008 Survey of the survey.10 Between 1992 and 2008. the gap Public Participation in the Arts (SPPA) were between the percentage of white and non-white published in June 2009. there was a collective Americans who visit art museums also grew gasp from arts funders, cultural practitioners steadily (Figure 3b). and the arts-going public at the downward turn in attendance among the NEA’s "benchmark The NEA s Survey of Public Participation in the Arts arts"* since the previous survey in 2002 and at is the only periodic national survey that we have on the precipitous decline over time since the first arts attendance and participation, and the trend survey in 1982 Staff at art museums and galleries data it provides are especially important as one (the only museum type consistently included in indicator of the continuing audience for benchmark the SPPA) may have breathed more easily after arts organizations. But the SPPA asks primarily that first gasp, since their attendance figures about art museum and gallery attendance, rather A.5 American Association of Museums (AAM), 2010d. Demographic Transformation and the Future of Museums, (excerpt)
socially valued resources that may not even have a programs? price-tag. Money buys more than material goods: it confers social position, status and power in the These are not merely academic questions—they world. But why higher education continues to be suggest the need for museum staff to understand the strongest predictor of museum attendance the demographic patterns of their changing is less clear— if only because there are so many communities in highly nuanced ways. (Some intervening forces at work between the formal resources are presented in Appendix A.) A process of getting an education and the leisure number of museums have found themselves at choice of attending a museum. It is a subject of the forefront of developing relationships with local such complexity that it deserves to be addressed communities that are already highly diverse in in a separate report. their racial and ethnic composition. The following two cases are examples of museum programs that Majority Minority— What Will It Mean have responded to significant differences within for Museums? their local ethnic communities as well as different experiences across community groups. Museums seeking to attract and keep a more diverse group of users will need to consider carefully what 'diversity" means for their audiences (race and ethnicity according to currently defined categories— or something else?), how their audiences and community are changing (for example, which minority groups continue to be under-represented?), and what ’ diversity" is likely to mean in the future (will there be new multiracial, multiethnic group identities, with different experiences and expectations?).
The term "majonty minority’* brings together disparate groups of people in the United States who now constitute a minority of the population, who frequently share an outsider status, but are already in the process of becoming a collective majority. But do these groups actually form a coherent whole? Will they find common ground in experiences, perceptions, motivations and tastes that museums can use to develop strategies for community engagement? Or will Latinos. African Americans. Asian Pacific Americans. Native Americans and others continue to be separate groups with more differences than 127
Appendix B: 2008 Survey of Public Participation in the Arts by the National Endowment for the Arts, Press Release, 2009
B.l National Endowment for the Arts, 2009a. "2008 Survey of Public Participation in the Arts." (excerpt)
B.2 National Endowment for the Arts, 2009b. "2008 Survey of Public Participation in the Arts." (excerpt) B.l National Endowment for the Arts, 2009a. "2008 Survey of Public Participation in Arts." (excerpt)
econom y/ u mum rib: isoz, laaz, luui, arm iuuo • For much of the 2008 survey period, average gas prices were $3.00 or more per gallon. By contrast, Parctnt of adult* attending/ Millions visiting/reading of adults the average per-gallon price of gasoline was only Si.51 in 2002, the prior year of the survey.* 1982 | 1992 2002 | 2008 | 2008 | ■ Participation rates for low-cost, low-travel arts Performing arts
opportunities, including literary reading and Music
the researching of art over the Internet, were Jaw - 9.6 % 10.6 % 10.8 % 7.8 % 17.6 relatively high in 2008. That year, 41 percent of Classical music* 13.0 12.5 11.6 9.3 20.9 adults watched, listened, or explored the arts Opera* 3.0 U 3.2 2.1 4.8 through some form of media. Literary reading Latin music NA NA NA 4.9 10.9 rose from 2002 to 2008 to reach 50 percent of Performing arts adults.0 NANANA 20.8 46.7 festivals Changes in attendance patterns by age group. Long | Plays
term trends suggest fundamental shifts in the Musical plays* 18.6 % 17.4 % 17.1 % 16.7 9k 37.6
relationship between age and arts attendance.111 Non-musical plays* 11.9 13.5 12.3 9.4 21.2 ■ Performing arts attenders are increasingly older 1 Dance th an the average U.S. adult. Ballet* 4.2 % 4.7 % 3.9 % 2.9 % 6.6 ■ Jazz concert-goers are no longer the youngest Othefdance NA 7.1 6.3 5.2 11.7
group of arts participants. Since 1982, young Visual art*
adult (18-24 years old) attendance rates for jazz Art exhibitions and classical music have declined the most, Art museums/ 22.1 % 26.7 % 26.5 % 22.7 % 51.1 relative to other art forms. galleries*
■ From 2002 to 2008, 45-54-year-olds — historically Art/craft fairs 39.0 40.7 33.4 24.5 55.1 a large component of arts audiences — showed and festivals the steepest declines in attendance for arts events | Parks and historic sites including classical music concerts, ballet and Parks/monuments/ historic buildings/ 37.0 % 34.5 % 31.6 % 24.9 °h 56.0 theater performances, and art museum visits. neighborhoods Sharp drops in attendance among the most educated | Literature adults. Arts activity still rises with education level,11 Plays/poetry/ 56.9 % 54.0 % 46.7 % 50.2 % t12.8 but even the most educated groups of Americans novels/short stocies were participating less in 2008 than in 2002 1 Benchmark arts activities
and 1982.1u Benchmark 39.0 % 41.0 % 39.4 % 34.6 % 77.8 arts activities ■ College-educated adults (including those with graduate or professional degrees) curbed their Note; * Denotes "benchmark1 art activity. attendance in nearly all art forms. NA" indicates -Not Asked ' Questions concerning "Latin music" anil performing arts festivals’ were asked for the first time m 2QD8. Questions • Ballet attendance for adults with a college degree concerning "other dance" were asked for the first time in 1992. 'Other dance' refers to dance other than dal let including modem folk declined at the sharpest rate — down by nearly and tap one-half since 1982. SOW* '583 1997 ?0Q? **1 J008 Surveys ot PuoHr * th* Am 129
B.2 National Endowment for the Arts, 2009b. "2008 Survey of Public Participation in the Arts." (excerpt)
benchmark activity: 2008 proportion of adults go to a benchmark activity in 2008, the average number of attendances per attender U.S. population Any benchmark activity fell from 6.1 in 2002 to 5.2 in 2008. As explained Demographic Rate of in this chapter, decreases in attendances appear to Millions Percent distribution attendance affect nearly every art form in the SPPA/’ of attenders | All adults 224.8 34.6 % As these declines were substantial and broke with | Gender long-term trends, this chapter explores factors Male 108.6 48.3 % 45.0 % 32.3 % behind the drop in attendance between 2002 and Female 116.3 51.7 55.0 36.8 2008. Total 224.8 10G.0 % 100.Q % | Race and ethnicity Demographic shifts in attendance. Understanding who Hispanic 30.4 13.5 % 8.2 % 21.0 % goes to the arts is a first step in exploring changes in White* 154.5 68.7 78.9 39.7 attendance in 2008. The SPPA includes information African American* 25.6 11.4 7.0 2V5 such as gender, age. education, income, race/ Other* 14.3 6.4 5.9 31.9 ethnicity, and the geographical region of attendees. Total 224.8 100.0 % 100.0 % For example, the third column in Figure 3-2 shows 1 A § * that 55 percent of the people who attend at least one 18-24 28.9 12.8 % 12.1 % 32.7 % benchmark activity are women. Almost 50 percent 25 -34 39.9 17.7 18.5 36.0 of adults going to at least one benchmark activity 35-44 41.fi 18.6 20.0 37.2 have household incomes of S75.000 or more. In 45-54 43.9 19-5 20.4 36.1 2008, this income group comprised only one-third 55-64 33.3 14.8 15.8 36.9 of U.S. adults. 65-74 19.9 8 . 8 8.5 33.4 75 and aver 17.1 7.6 4.7 21.3 The fourth column of Figure 3-2 shows the Total 224.8 1 0 0 . 0 % 100.0 % percentage of people in that demographic group j Education who attended at least one benchmark activity in Grade school 11.2 5.0 % 0.9 % 6.5 % 2008. For example, 32 percent of m en and 37 percent Some high school 22.1 9.8 4.1 14.5 High school of women attended a benchmark activity in 2008, 68.3 30.4 16.7 19.0 graduate Among people in the highest income category, 68 Some college 61.4 27.3 30.1 38.1 percent w en t to at least one benchmark activity. College graduate 41.3 18-3 30.4 57.2 Attendance of benchmark activities by educational Graduate school 20.5 9.1 17.8 67.3 attainment. A striking finding from the 2008 SPPA Total 224.8 100.0 % 100.0 % as well as from prior years is how closely attendance | Income correlates with years of formal education — people L e s s than $1QK 11.6 5 . 8 % 2.6 % 16.1 % $10K to $20K 1 9 . 3 9.6 4.5 16.8 with higher levels of education are more likely to $2OK to $30K 23.4 11.7 6.3 19.3 attend the types of arts examined in the SPPA than $30K to $40K 22.6 11.3 8 5 270 people with less education. In 2008, 67 percent $4QK to $50K IB.8 9.3 B 3 31.8 of people with graduate degrees attended at least $5DK to $75K 40.7 20.3 2 0 5 36.2 one benchmark activity, compared with only $75K to $100K 27 2 13.5 17.5 46.2 38 percent of people with some college education S100K to S150K 21.4 1 0 . 7 16.4 S5.0 and 19 percent of people with only a high school $150K and over 16.0 8 0 152 6 8 . 1 diploma. Figure 3-3 illustrates the percentage of wn o inn n w. m n n ai. 130
Appendix C: Alphabetical Listing of Cited Museum Websites
C.l Aquarium of the Pacific, 2018a. “About the Aquarium.”
C.2 Aquarium of the Pacific, 2018b. “Education Fund Report.”
C.3 Aquarium of the Pacific, 2018c. “Aquarium Event.”
C.4 Aquarium of the Pacific, 2018d. “15th Annual Festival of Human Abilities.”
C.5 Aquarium of the Pacific, 2018e. “15th Annual Pacific Islander Festival.”
C.6 Aquarium of the Pacific, 2018f. “16th Annual African-American Festival.”
C.7 Bowers Museum, 2018a. “Board of Governors.”
C.8 Bowers Museum, 2018b. “President’s Message.”
C.9 Bowers Museum, 2018c. “Mission & History.”
C.10 Bowers Museum, 2018d. “Bowers Audio.”
C .ll Bowers Museum, 2018e. “Programs.”
C .l2 Bowers Museum, 2018f. “First Americans: Tribal Art from North America.”
C .l3 Bowers Museum, 2018h. “Empress Dowager Cixi: Selections from the Summer Palace.”
C .l4 Burke Museum, 2018a. “History.”
C .l5 Burke Museum, 2018b. “About.”
C .l6 Burke Museum, 2018c. “The New Burke.”
C .l7 Burke Museum, 2018d. “BurkeMobile.”
C .l8 Burke Museum, 2018e. “Burke Programs.”
C .l9 Burke Museum, 2018f. “Northwest Coast Carving Demonstration.”
C.20 Oakland Museum of California, 2018a. “About OMCA.”
C.21 Oakland Museum of California, 2018b “Days of the Dead Community Celebration.”
C.22 Vietnam Museum of Ethnology, 2018. "Museum & Community."
C.23 Wing Luke Museum of the Asian Pacific American Experience, 2018. “About Us.” 131
C.l Aquarium of the Pacific, 2018a. “About the Aquarium.”
MEMBERSHIP BUY TICKETS NOW!
VISIT EXHIBITS NEWS GIVE CONSERVATION
Home > About > About the Aquarium
About the Aquarium
Southern California's Largest Aquarium Board of Directors and The Aquarium of the Pacific's mission is to instill a sense of wonder, respect, and Senior Staff stewardship for the Pacific Ocean, its inhabitants, and ecosystems. Contact Us Share Your Story Our vision is to create an aquarium dedicated to conserving and building Natural Capital (Nature and Nature’s services) by butlding Social Capital (the interactions Annual Report between and among peoples) Budget Audited Financial The Aquarium of the Pacific is the fourth most-attended aquarium in the nation. It Report displays over 11,000 animals in more than 50 exhibrts that represent the diversity of Aquarium the Pacific Ocean Each year more than 1.7 million people visit the Aquarium. Education Fund Beyond its world-class animal exhibits, the Aquarium offers educational programs for Report people of all ages from hands-on activities to lectures by leading scientists. Through 990 Tax Form these programs and a variety of multimedia experiences, the Aquarium provides Prrvacy Policy opportunities to delve deeper into ocean science and learn more about our planet. The Aquarium of the Pacific has redefined the modern aquarium. It is a community Sponsor and Advertising gathering place where diverse cultures and the arts are celebrated and a place Opportunities where important topics facing our planet and our ocean are explored by scientists, Robin Fliggs policymakers and stakeholders in the search for sustainable solutions
The Aquarium features a N O AA Science on a Sphere, which exhibits imagery and LEARN MORE TODAY real-time ocean and weather data on a six-foot diameter globe. It also presents daily White's Tre e shows covering topics such as sea level rise and marine ecosystems. Throughout Frog the year, the Aquarium features art exhibits, performing arts shows, and cultural Utona cw'uiea festivals as a way to engage new audiences and make science accessible.
The Aquarium of the Pacific was the first among museums, zoos, and aquariums in the nation to register its greenhouse gases and is a leader in green practices, including its LEED platinum Watershed classroom. In 2009 the Aquarium was awarded the Super Nova Star Award by the Alliance to Save Energy for being the nation’s most energy-efficient business with revenues under $50 million.
In addition to our public programs and exhibits, the Aquarium is involved in numerous conservation efforts, including sustainable seafood, watershed education, ocean literacy, and more Our team of scientific divers collects critical data used by a variety of ocean research institutes and reporting agencies And through our Aquatic Forums, the Aquarium brings together scientists, educators, community leaders and policymakers to develop solutions to complex environmental issues.
Founded in June 1998, the Aquarium ot the Pacific is a 501 (c)3 non-profit organization 132
C.2 Aquarium of the Pacific, 2018b. “Education Fund Report.’
EN ESPAftOL CONTACT US MEMBERSHIP BUY TICKETS NOW! ^AQUARIUM OF THE PACIFIC
VISIT EXHIBITS NEWS EVENTS EDUCATE LECTURES GIVE CONSERVATION
Home > About > Education Fund Report
Education Fund Report
As the second-most-attended cultural institution in the Los Angeles region and the Board of fourth-most-attended aquarium in the United States, the Aquarium continues play a Directors and vital role in science education and conservation efforts around the world. Senior Stall Contact Us Of the 1.5 million people who visited in 2008, more than 206,000 experienced some kind of additional educational programming beyond simply tounng the Aquarium. Share Your Story Whether it was a ciass attended by a student, an informational lecture by an adult, or Annual Report a teacher who was trained and provided with educational tools to share with their Budget classroom, all of these experiences contributed to the greater understanding of the Audited Financial world ocean and the environment around us, and make the Aquarium a valuable Report resource and partner to the greater educational community. Including our offsite LEARN MORE TODAY Aquarium programs, over 243,000 students, educators and community members were served Education Fund by the Aquarium's education department in 2008 The following report is an overview Splashback Report of the educational expenences from which these attendees benefited Poison Oart Frog 990 Tax Form Aquanum of the Pacific 2011 Education Fund Report Privacy Polcy Sponsor and Advertising Opportunities Aquarium Wi-Fi
.
PLAN YOUR VISIT EDUCATION GET INVOLVED SPECIAL EVENTS GENERAL INFO Directions & Parking Online Learning Center Membership Plan Your Event About Us Prices & Hours Blogs Volunteering Corporate E vents Press Presentations & Tours Teacher Resources College Internships Social Events Shooting on Location Group Sates School Programs Employment Premier Catering Privacy Policy Children & Family Program® Donations Weddings Sponsors and Advertising Adult Programs Fundraising Events Picnics Forum Reports Birthday Parties Conservation Contact Us Past Lecture Videos
o s Translate
Connect with us on: ooooooo
C2018 Aquarium of the Pacific, a 501 (c}3 organization 1100 Aquarium Way, Lang Beach, CA 90602 (562) 5904100 133
C.3 Aquarium of the Pacific, 2018c. “Aquarium Event.’
EN ESPAftOl CONTACT US MEMBERSHIP BUY TICKETS NOW! ^ A Q U A R IU M OF THE PACIFIC
VISIT EXHIBITS NEWS EVENTS EDUCATE LECTURES GIVE CONSERVATION
Home > Events > Junior Biologist: Marine Mammals
AQUARIUM EVENT Hjunior Biologist Marine Mammals
Leam the characteristics Share >0 Ttowrt
All Event of mammals and find out Categories what makes marine 20th Anniversary mammals so special. Celebration Adults Do you know a budding marine biologist? The Junior Biologist series of programs at the Arts Aquanum will encourage a love of science in Camps your seven- to twelve-year-old child. Classes Each 2-hour class includes theme related Conservation activities, guided gallery tour, interaction with Education our animal care staff behind-the-scenes, and a Exhibits keepsake journal. Festivals Marine Mammals: Rim Series From layers of blubber to filter feeding baleen Food & Drink we will explore the amazing adaptations Fundraiser marine mammals use to survive in the ocean. Guest Speaker During this 2-hour program your seven- to Holiday twelve-year-oid child will: EVENT INFORMATION SATURDAY, MAY 26, 2018 9:30 AM-11 30 AM Ho me schools • Touch animals in our private classroom SATURDAY, A U G 11, 2018 9 30 AM-11 30 AM Late Nights touch pools SATURDAY, NOV 24, 2018 9 30 AM-11 30 AM Live Web Stream • Review the characteristics of mammals $29 00 per child • Feed sea otters behind-the-scenes with $25.00 tor members our animal care staff Aquarium admission not included
Ocean • Take a guided tour of the Northern Pacific Exploration gallery and observe the sea otters Purchase your tickets for Junior Biologist here, Please select the correct date from the calendar to Pacific Circle • Record observations in a keepsake book the correct program Members, please call to purchase your discounted Scouts journal tickets. Special Hours Please call to RSVP Other activities may include: Special Nonce 7-12 years old Teachers • Test the insulating properties of blubber against other materials Urban Ocean (562) 590-3100. Pre-registration and pre-payment • Play a game illustrating the migration required on all experiences unless noted. Cancellations made 72 hours before the program EDUCATION patterns of whales will receive a full refund. Cancellations made less PROGRAMS • Discern between whales of the same than 72 hours before a program will still be species by looking for subtle differences in charged the full program price. their fin shape, just like researchers in the field would C.4 Aquarium of the Pacific, 2018d. “15th Annual Festival of Human Abilities.”
^ A Q U A R IU M OF THE PACIFIC
VISIT EXHIBITS NEWS E V E N T S EDUCATE LECTURES GIVE CONSERVATION
Home > Events > Archived Event: Festival of Human Abilities
i Archive: Festival of Human Abilities
EVENT Share tf TW*«t CATEGORIES This event has passed and is archived.
All Event Categories Celebrate the Creative 20th Anniversary Spirit of People with Celebration Adults Disabilities Arts Join the Aquarium of the Pacific Camps for its fifteenth annual Festival of Human Abilities, a celebration Conservation highlighting the creative talents Education and abilities of people with Exhibits disabilities. Festivals This event will feature wheelchair dance, live music, sign language choirs, art Film Series demonstrations, and accessible SCUBA diving Food & Drink demonstrations Participate in free classes led Fundraiser by people who have disabilities. Sign language Quest Speaker interpreters will be present at all major shows, and an audio tour and a visitor guide in Braille Holiday are available for those who are blind. Homeschoots Late Nights Festival Schedule I Woh Q»n>am 135
C.5 Aquarium of the Pacific, 2018e. “15th Annual Pacific Islander Festival.”
^ A Q U A R IU M OF THE PACIFIC
VISIT EXHIBITS NEWS EVENTS EDUCATE LECTURES GIVE CONSERVATION
Home > Everts > Pacific Islander Festival
i Pacific Islander Festival
EVENT lit Like 5 3K I Share * T CATEGORIES Discover the rich and diverse cultures of the All Event Pacific Islands. Experience traditional island Categories music, dance, and cultural crafts. Enjoy hula, Tahitian drumming, and Hawaiian games See 20th Anniversary artisans demonstrate their traditional art of Celebration weaving. Hawaiian, Samoan, Tahitian, Fijian, Adults Tongan, Chamoru, Kiribati, Marshallese, and Arts Maori cultures will be featured. A tropical Camps getaway awaits... Classes Conservation Education Exhibits Festivals Ftim Series Food & Drink Fundraiser Quest Speaker Hobday Ho me schools SATURDAY, JU N 2, 2018 9:00 A M -5 00 PM SUNDAY, JUN 3, 2018 9:00 A M -5 00 PM Late Nights Live Web Stream Included with general admission to guests Free to 136
C.6 Aquarium of the Pacific, 2018f. “16th Annual African-American Festival.’
^ A Q U A R IU M OF THE PACIFIC
VISIT EXHIBITS NEWS EVENTS EDUCATE LECTURES GIVE CONSERVATION
Home > Events > Archived Event: Afncan-Amencan Festival
I Archive: African-American Festival
This ©vent has and Is archived. □ S S I AH Event Categories Join the Aquarium of the 20th Anniversary Pacific as it hosts its Celebration
Adults sixteenth annual African- Arts American Festival, Camps celebrating the rich diversity of African- Conservation American and African Education cultures. Exhibits Festivals The weekend will feature live entertainment and arts and Film Series crafts. Festival performers Food & Drink include Mardi Gras second line Fundraiser dancers, hip hop and break Guest Speaker dancers, Jazz musicians, Holiday interactive drum circles, West Homeschoois African dancers, and Late Nights storytellers.
Live Web Stream . . a 137
C.7 Bowers Museum, 2018a. “Board of Governors.’
B O W F. R S \1 USEU M
JOIN TICKETS SHOP D M GALA PUN YOUR EVENTS
i
Homo >nfbmnatton Board O' Govomors
BOARD OF GOVERNORS
Chair Emeritus
Stophon Chaodlo'
Chairwoman
Anne Shih
Board Of Governors
Jants Agopor D Dane Anderson Mark Blackburn
Atan Bums James Carona John Cha
Rcnard Cramer Ginny Davos Johr Evans
Qa^y Gemston J»m Y C Hsu ' Mot Yon Chang Huang
SL Huang •Catherine Cone Keck Norma Kershaw'
Johr, M _oe WiUiam H Lyon * Elizabeth Maxson
Brrtt Moyer Domm>c Ng" Robert Ronus
Edwarc P Roski ‘ Baraa Sarakoy M Linda Sutherland
Lynda Thomas Sharon Thompson Da'oara Tsai *
Vary T u ' Canolc Van Houto* rranco
Valarie Wanler WiUiam Wu ’ Charles Znang
' >tonorary
President
PetCK C KcUor PhD 138
C.8 Bowers Museum, 2018b. “President’s Message.”
BOWERS VISIT v I EXHBmONS v v I COLLECTIONS v I SUPPORT v I INFORMATION v M l! S E U M
Home information President s Message
PRESIDENT'S MESSAGE
often think that it would be fun to ta«e all of tho covers of our Passport f’ewslottcrs and put them together as a couage of sons that would, all at once. t»ace the h story ana accomplishments of the Bowors Museum as seen through ou- dynamic exnioitiors program Wc would see a w>oe range of subjects that cover many of the great museums of the wend including the full gamut of great collections from the Terra Cotta Warriors and the Skx ftoad of China, to the fantastic pro Columbian gold or Bogota and the intnguing Mummies of the British Museum Mission & History President s Message However, the cover o' this Passport •'cwstette' is different it represents our very own collection of Native American art and artifacts Oddly enough this Board Of Governors collection was the first exhtoit of North American tribal art ever seen « Contact Us Colombia, and subsequently seen in three provincial museums in Chtna I know that many of our Docents arw Board Member are very excited to sec Opportunities what wo ve been fading aU. those years Terms And Conditions
Please be sure to attond our membership preview event for First Passport Americans Tnbal Art from North Amer'ca on April 6th m order to get a Press Room ^rsthand view of a long overlooked oortion of the Bowers permanent collection t think you might find that the collection may be sightly wcoxc* in its older objects, although that is more than compensated for in the late 19th and 20tn ccntury matoriai mat w rtots strong M s to thci' more ancien: nor tage anc traditions
Keep an eye out fbr some very important new found treasures m the collection, including an carty Hopt katsina ooU. a rare Seri feathered kilt, and one of the oldest Navajo First Phase Chiefs blankets known to still exist in a museum collection today I joo* forward to seeing you at the members' opening of First Americans Tribal Art from North Amenca or April 6th PetarC Keller. PhD April 2018 > 139
C.9 Bowers Museum, 2018c. “Mission & History.”
B O W E R S EDUCATION v I COLLECTIONS v M U S E U M
Home information Mission & History
MISSION & HISTORY
Celebrate worlc cultures through thei' arts
The Bowes Museum enriches lives through the wortc s f'nest arts and cultures Mission 4 History
President s Message
8o»rt Of Governors
Contact Us
Terms And Condrtions
Mo TU Ws Th Fr Sa Su
History
"oundec m 1936 by the City c’ Santa Ana through a oequest from Charles anc Ada Qowe's tne Sowers Museum s one of California s finest and Orange County's largest museums in 1986 the museum closed ia doors for a oerod of self study m response to community needs and input, it reopened nxgg2 as a no* cultural centcr. and expanded children's programming m 1994 with the open>ng c* tne Kidseum The museum also recently celebrated the grand opening o' the 30 000- square foot Dorothy and Donate Kennedy Wing m f efcruary 200/ To achieve ts mission, the Bowers offers oxniotions. lectures art classes travel programs cnKdron s art educator O'ograms and other special community programs
Accomplishments
"he Bowers n Orange County' by the reaoors of ’“he Orange County Segisto- for 16 consecutive yoars • ”rhe Bowers s accredited by the Amencan Alliance o' Museums an honor only 5X of museums roceve . m the past 16 yoars the museixn has produced more tnan so speoa. exhibitions many o' which traveled nationally or internationally oubusneo more than 24 exhibition catalogues, and increasec ts facility size from /.000 square feet to its current size of 93.000- square feet 140
C.10 Bowers Museum, 2018d. “Bowers Audio.”
B O W E R S VISIT v I EXHBTDOMS v M PROGRAMS v I EDUCATION MUSEUM
JOIN TICKETS SHOP DINE GALA PUN YOUR EVENTS
Homo Vssit Tours Audio Tours 3 Bcwo'S Audio Highlights of TN j Bowers CoUcctior (English) introduction to Bowers Museum
BOWERS AUDIO
Introduction to Bowers Museum Highlights of The Bowers Collection (English)
JL Download
Picture
Narration
NARRATOR: Welcome to the Dowers Museum 'ooay you re going to see and near about -our wonderful coilocton o ' objects f'om around the wor.d But the story of the Museum begins right here, in Santa Ana. with Charies and Ada Bowers
in the late nineteenth century. Charles Bowers moved from the M owest to California and made his fortune gnowng citrus and dovdooing land Ho and his wife Aca. lived n tho The Museum opened to the public in 1936 Over time, wo expanded our original mission and the collection now includes art and artifacts from Orange County as well as Oceanic. Pro Colombian. Native American. African and Chinese art VOu 1 sec a little of everything o* today s tour You’ll be joinec by Matthew Robb, curator of me art of the Americas at San rrancisco s do Young Museum John Stem. Executive Director of the Irvine Museum, and tribal art 141 C .ll Bowers Museum, 2018e. “Programs.” B O W I R S M U S E U M JOIN TICKETS SHOP DMC GALA PUN YOU* EVENTS Home °TOfiran's PROGRAMS After Hours Programming Famity Programs ® Events tt) After hours programming orovidos tnsrtors the unique opportunity to experience the museum in the evening white enhanced with a variety Search Search by eve« title— Select a category - Select a category - Select a venue - Select a venue - Books at Bowers: Touring Through the Pages 8 Events (z> New for Memoers oniy A boot cUjo experience* ‘Books at Bowers Touring Through the Pages' a a Bowers Docent Guild sponsored book Special Events 142 C.12 Bowers Museum, 2018f. “First Americans: Tribal Art from North America.” B O W E R S VTSTT v I EXHBmOMS v I PROGRAMS v M USEU M JOIN TICKETS SHOP DINE QUA PUN YOUR EVENTS Homo Exhibitions Upcoming Exhibitors Exhibitions Current Exhibitions first Americans Tnbal Art *rom North Amo^ca FIRST AMERICANS: TRIBALART FROM NORTH AMERICA April 7,201ft-August 19,2011 PURCHASE TICKETS After a Long journey around t*e wc'tc. the Bowers Museum s special oxh bition featuring selections from our own Nafeve American collection will bo on view in Santa Ana rirst Americans inctudos artwork representative of the native people frorr the Arctic North the Northwest Coast Cali^oma. the Southwest and the Great Plains The exhioition first traveled to Bogota Colombia's vfusoo del O o m 201: and then was shown m three museums in China from 2014 to 20lb Several of our collection s most important works will be on display m the exhibition including what may be tne earnest example of a transitional Nava;0 First Phase Ch-tf s blanket an early Hopt kats*na 00H and f*om the Sonora region of Mexico, a rare Seri feathered kilt mage credit Headdress, c 1900 -akota The Great °lains Golden eagx- feathers, wool cloth cotton cloth and glass beads. 575 * 50.8 x 59.7 cm r 8 2 2 6 l Gift of Mr jerry Stoll Related Upcoming Events Navajo Textiles with Philip Caraway S *rt«:l:»W 2:5CPM 143 C.13 Bowers Museum, 2018h. “Empress Dowager Cixi: Selections from the Summer Palace.” B O W E R S visrr v II EXHBfDONS v II PROGRAMS v M U S E U M JOIN TICKETS SHOP DINE GALA PUN YOUR EVENTS Home Exhibitions Current Exhibitions Exhibtsons Past Exhibitions Empress Dowagor O k Selections from the Summer Palace EMPRESS DOWAGER CIXI: SELECTIONS FROM THE SUMMER PALACE November 12.2017- March 11.2018 Empress Dowagor Cixi (1835 1908: stands ir the center of modem Chinese history W h tc most commonly understood as a politician. this formidable matnarch was also ntrooucoo to Western audience or reader as a connoisseur patron and even croato*' of art m the early twentieth century, a phenomenon that interestingly foU unnoticed in modom scholarship This exhibition s the first of its kind in the United States to explore the empress dowager s roles beyond politics »t has been organized through a groundbreaking partnership with the Summer Palace Museum in Oeijing upon viewing this exhibition, it wiU. become clear that Cixi not only lec politics, but also art of China at the C'oss'oods of tradition and innovation ’'h e exhibition reconstructs the matriarch's everyday life in the Summer Palace presenting her multi faceted rotes of politician matriarch and connoisseur o* various arts through four different sections and over 100 objects that have never before boon seen in the United Statos 144 C.14 Burke Museum, 2018a. “History.” ABOUT HISTORY TH I NEW BURKE LEADERSHIP STAFF EMPLOYMENT From teenage startup to world-class museum, the Burke’s story spans 130 years and continues into the future. Earliest Beginnings In December 1879 a group of teenagers watching Seattle transform before their eyes began to gather specimens and objects to document the world around them. They called themselves the Young Naturalists' Society, and soon they began meeting weekly, organizing expeditions and holding lectures In 1885. the Society raised enough money for a small building to house their collection, and a museum was born. Located on the University of Washington’s original campus in downtown Seattle, the Hall of the Young Naturalists, as it was called, was the hub of natural history in the Pacific Northwest. Over the years, the museum and the University became more and more entwined, as early professors become involved with the Young Naturalists* Society and early members became University professors. Today, the Ybung Naturalists’ Society lives again. In 2013. five graduate students from the University of Washington's Biology Department re-formed the society and its activities You can follow this new iteration on the blog of the Young Naturalists’ Society of the Pacific Northwest, BECOMING THE WASHINGTON STATE MUSEUM On March 6. 1899. the state legislature designated the museum as the Washington State Museum: "a depository for the preservation and exhibition of documents and objects possessing an historical value, of materials Illustrating the fauna, flora, anthropology, mineral wealth and natural resources of the state, and for all documents and objects whose preservation will be of value to the student of history and the natural sciences' (Act of March 6 1899 ch 30. 1 1. 1899 Wash Sess Laws 40 (PDF) C.15 Burke Museum, 2018b. “About.” A B O U T HISTORY THE NEW BURKE LEADERSHIP STAFF EMPLOYMENT A place to connect with the life before you The Burke Museum of Natural History and Culture was founded in 1885. It ts tne oldest public museum in Washington state and was designated the State Museum in 1899 its administration resides with the University of Washington College of Arts ft Sciences The Burke recognizes that the museum sits on the ancestral land of the Native peoples of Washington state The Burke holds deep respect for Indigenous knowledge, and is dedicated to collaborating with diverse Native populations, sharing collections and learning together The Burke is a research and collections-based museum that serves many audiences and communities, including Washington state residents, tourists and visitors to Seattle, educators and students, Indigenous and Pacific communities, and researchers, scholars, and enthusiasts The 16 million objects (and counting!) in the Burke collections are used in many ways, including: • For education: More than 35.000 Washington Pre-K-12 students visit the Burke every year, and 70,000 additional students are reached through programs that travel throughout the state • (*or research: The Burke is an active research museum The collections are a respected and relied-upon resource for researchers here and around the globe From lost boat-making techniques to the health of Puget Sound, our latest research newsletter (TOP) shows just some of the ways researchers use our collections As • library of: • Cultural heritage: The cultural objects that we care for teach us about the past but also inspire new works of art from contemporary artists and play an integral part in living culture By bringing people and objects together, new stones are revealed. • Biodiversity: By collecting and preserving specimens, we can learn more about how the natural world has changed and better predict its future There is much to team, and these specimens will help answer questions that have yet to be asked. M ission The Burke Museum cares for and shares natural and cultural collections so an people can learn, be inspireo, generate knowledge, feel joy, and heal. Vision The Burke Museum inspires people to value their connection with ail life— and act accordingly. 146 C.16 Burke Museum, 2018c. “The New Burke.” The New Burke will turn the idea of a museum inside-out. Opening 2019 In a dramatic departure from the typical natural history museum model— where exhibits are on one side of the wall and collections and research are on the other— exhibit galleries will be side-by- side with visible collections and labs and hands-on learning spaces. By bringing Burke collections and research out from behind the scenes and inviting you to bring your perspective— your passions— forward, the New Burke will be a place of active questions rather than final answers. 147 C.17 Burke Museum, 2018d. “BurkeMobile.” BURKEMOBILE LOGISTICS REQUEST Burke educators share real museum objects with classrooms and communities across the state BurkeMobile te a traveling program that brings Burke educators and real museum objects to classrooms and schools across Washington state Students investigate our state's natural and Cultural heritage through hands-on activities that augment classroom curriculum, stimulate curiosity, model new ways to learn, and create "wow" moments your students will never forget BurkeMobile programs arc a great fit for your classroom, entire school or library! Learn more on our BurkeMobile Logistics page We offer three BurkeMobile programming formats: • Early Learners: Our early learner programs are designed for children in preschool and kindergarten, ages 3 and up Taught by Burke educators, these lessons include hands-on activities and interactions with real museum objects • Classroom Programs: Classroom programs are designed to allow focused exploration of a specific topic. Taught by Burke educators, these lessons include hands-on activities and interactions with real museum objects • Mini Museum: Let us transform your gyrr. or library into a miniature museum) Mini Museum programs offer an opportunity to get up close and persona) with specimens, objects and artifacts that represent different areas of the Burke's collections Interpreted by our Burke educators, these interactive exhibits encourage object-based, hands-on learning on a variety of topics MINI MUSEUM A Taste of the Burke This travelling set of exhibits includes both culture and natural history materials such as rocks and minerals, fossils, mammal skulls. Coast Salish art and artifacts, and so much more! This program is a great overview of what your state museum of natural history and culture has to Suggested Grades: K-8 Form at: Mini Museum Cost: $650 $1,600 (based on location & number of programs). Artifacts Uncovered What can a shard of pottery or an ancient trash heap tell us about people who lived long ago? Become an archaeologist as you analyze real artifacts from the Burke’s archaeology lab Learn about stratigraphy, relative dating, and context as you work In a team to solve an ARTIFACTS UNCOVERED archaeological mysteryl Grades: 6-8 148 C.18 Burke Museum, 2018e. “Burke Programs.” •B u rk e High-quality, hands-on science and cultural learning programs across Washington state Whet he' digging in to dinosaur fosaiis at the miiHum or learning about Northwest Coast art from traveling museum educator*. Burke programs can Help your students, children and communities connect to natural history and culture in meaningful ways Please r*o«e The Burke Museum is building a new museum that wil open in fall 2019 Construction on the New Burke project begins in •arty May 2016 and will impact parking Bua parking will be available In the roundabout In front of the Burke's main entrance. For more information about parking, pease visit our Directions ♦ Parking page Looking for upcoming events? Find them on our Calendar page Stay connected Sign up for the education e news for information about special offers, resources, new programs and upcoming educator workshops Questions? Contact the Burke Education team at burkedtfuw.edu or 206.S43.SS91 At the Museum School + Group Programs Cam ps Our interactive programs are facilitated by Burke educators One-of-a-kind fun with d uos, rocks, minerals and more! Uncover us>ng standards-based curriculum, and include pre and post fossils, examine artifacts, and take a behmd the-scenes peek at v-s4 materials for teachers the museum! Camos are held each year during winter, spring and summer breaks for children entering grades K -8 cfeAH* LfcARN t*e>m 149 C.19 Burke Museum, 2018f. “Northwest Coast Carving Demonstration.” Horn* > C«l«nd*r > Narth«r*st CoMt Carving Dtmom Northwest Coast Carving Demonstration Saturday, February 17, 2018 10 AM - 4 PM INCLUDED WITH MUSEUM ADMISSION: FREE FOR MEMBERS, W/UW ID, AND CHILDREN 4 & UNDER TESTING, TESTING 1-2-3: WORK IN PROGRESS EXHIBIT GALLERY Drop by our Testing, Testing 1-2-3: Work in Progress exhibit on Saturday, February 17, to see carvers, including Sven Haakanson, the Burke’s curator of North American anthropology, produce new work inspired by carving practices of indigenous peoples of the Northwest We'll have the doors open in the ethnology workroom so you can view the carving process, interact with carvers, and learn more about how they connect with the traditional knowledge held in carvings in the Burke's ethnology collection. 150 C.20 Oakland Museum of California, 2018a. “About OMCA.” Buy Tickets VISIT ON VIEW EVENTS EDUCATION COMMUNfTY JOIN* GIVE ABOUT SHOP Share This Page □ □ B O B Get Connected Sign up fm am newsletter GESS9 QE53 0E9I G3EZ9 OSS QB2S Million + History Annual Report Our Mission The mission of the Oakland Museum of California is to inspire all Californians to create a more vibrant future for themselves and their communities. History When the Oakland Museum of California (OMCA) first opened its doors more than forty years ago, it brought together three historically independent disciplines—art, history, and natural sciences—under one roof. This progressive multidisciplinary approach was to celebrate the many facets of California. Our cotlections-comprising more than X.9 million objects including seminal art works, historicai artifacts, ethnographic objects, natural specimens, and photographs—and our programs explore and reveal the factors that shape California character and identity, from its extraordinary natural landscapes, to successive waves of migration, to its unique culture of creativity and innovation. OMCA has reopened its galleries after a transformation that touches almost every aspect of the 300,000 square-foot Museum and builds on the founders' original multidisciplinary and civic-minded intent by improving integration of OMCA's collections and programs, strengthening its role as a public forum, and creating new opportunities for visitor participation. The collections are animated by innovative interpretive tools and interactive features; and new gathering spaces and program areas engage visitors and encourage them to share their own perspectives. Questions, and stories. OMCA nurtures its deep ties to the community by offering many educational and outreach programs. We welcome schools, scholars, local audiences, and all visitors to participate in our events and activities and to discover their place in California's past, present, and future. The museum of us. Oakland Museum of California □ □ □ □ □ □ The Oakland Museum of California (OMCA) is one of the top-rated Bay Area museums to exptore California art, history, and natural sciences. Recognized as one of the best things so do w#h kids in Oakland or the entire San Francisco Bay Area with kids, we're realty for everyone from serious museum buffs to international visitors. Our collections rank us as one of the top science, history, and art museums in the East Bay, as well as the greater San Francisco Bay Area. We're at 1000 Oak Street, Oakland, California, convenient to BART. C Oakland Museum of California. All Rights Reserved. [ privacy policy [ contact 151 C.21 Oakland Museum of California, 2018b “Days of the Dead Community Celebration.” OAK SIM VISIT ON VIEW EVENTS EDUCATION COMMUNITY JC o ^ A 1 f V/A Press Photo Gallery Days of the Dead Community Celebration The Oakland Museum of California is known for its annual Days of the Dead Community Celebrations, where the celebration of the mesoamerican tradition of Dias de fos Muertos comes alive in a colorful display of music, dance, art, family activities, and more. The celebration on Sunday, October 25,2015 promises to be the most vibrant one yet, with annual favorites such as the artisanal mercado, community-created altars, hands-on art-making and food demonstrations, calavera face painting, and live performances of alt kinds returning to the beautiful Museum gardens. The accompanying exhibition, titled Rituals * Remembrance, will also be on view in the Great Hall, celebrating the theme of memorial across cultures and exploring how Latin American, Filipino, Hawaiian, Japanese, Chinese and other communities view death, memory, and healing. 152 C.22 Vietnam Museum of Ethnology, 2018. "Museum & Community." ~~W0NQMr 30| (XI 2011 | ■ O D MUSEUM & COMMUNITY *arch m VIETNAM Home Museum fc Community lal< -I MUSEUM OF ETHNOLOGY THE VIETNAM MUSEUM OF ETHNOLOGY MUSEUM & COMMUNITY Communities for a long time have played an important role in collecting work of the Vietnam Museum of Ethnology. Moreover, USEFUL INFORMATION they have involved in the preparation process of the Museum’s exhibitions for the purpose of introducing about and preserving cultural heritage. This collaboration has made the Museum's activities lively and closer to people's lives. PERMANENT EXHIBITIONS Communities have also effectively participated in performances of traditional handicrafts, folk arts, water puppetry, and folk games etc. Traditional architectures in the open-air exhibition were reconstructed by local artisans and through the years have EDUCATIONAL ACTIVITIES been repaired by community members themselves. By working together with Museum staff, communities are more proud of RESEARCH their culture and raise the awareness of protecting cultural heritage. In short the vibrancy and attractiveness of the Museum is due to the enormous contribution of communities. It is the highlights in the VME's activities in presenting cultural heritage EBEMS CONFERENCE - ISARS 2017 values to visitors. VISION The mission of the Vietnam Museum of Ethnology is to implement various tasks including scientific research, collecting, object inventory, storage, exhibition, performance, and educational activities in order to contribute to the safeguarding of cultural diversity of different ethnic groups in Vietnam, in Southeast Asia and around the world. NUMBERS VIETNAM 12-11- The first day the VME opened to the public MUSEUM OF 1997 ETHNOLOGY S00.000 The annually total number of visitors 15.000 - The total number of visitors in each annual events such as the New Year's Holiday program, the International MUSEUM & COMMUNITY 20.000 Children's Day program, the Mid-Autumn Festival 43,799m2 The total area of the VME USEFUL INFORMATION 20,000m2 The area of the open-air exhibition (Architectural Garden) at the VME PERMANENT EXHIBITIONS 2,000m2 The area of the permanent exhbition Vietnam's Ethnic Peoples 30,000 The quantity of object units at the VME EDUCATIONAL ACTIVITIES 130,000 The number of photos and videos that are kept in storage and used by the VME The number of object units about cultures of ethnic peoples in Vietnam that are displayed in the permanent RESEARCH 1,646 exhibition inside the Bronze Drum building EBEMS CONFERENCE - ISARS 2017 The number of special traditional architectures of some ethnic groups in Vietnam that are reconstructed in the 10 Architectural Garden of the VME Ooer frorr 8:30 to 17:30 everyday except Mondays and New Year's Holiday r a s s Nguyen V in Huyen Road. Cau GiJiy PERSONNEL AND PARTNERS District. H i Not 153 C.23 Wing Luke Museum of the Asian Pacific American Experience, 2018. “About Us.” Sign In/Join Donate f ^ {JJ flgj Wing Luke Museum of the Search The Wing WING A lie n Pec rite American Experience EXPLORE JOIN + GIVE w m u i u m ABOUT US Educator Resources Our Mission Research Luke Family Association We connect everyone to the dynamic history, cultures, and art of Asian Pacific Americans through vivid storytelling and inspiring experiences to advance racial and social equity. About Us • Building and Architecture Our Namesake - Wing Luke • In the News • Media Inquiries A Chinese American boy dreaded going to school. He was tired of being bullied for being different, • Newsletter for being Aslan One day. he decided he couldn't put up with it anymore. He had to stand up to them, to fight back somehow So he decided to try his pen - and he drew funny comic strips. • Board and Staff Before long, his classmates wanted to read them, and he became popular, eventually elected class • Jobs president at Roosevelt High School In Seattle • Contact Us Community Process This boy was Wing Luke. Son of a laundryman and grocer and an immigrant from China. Wing Luke went on to become one of nine high school students to consult for a White House conference on youth issues, earn a Bronze Star Medal for his Army service during WWII, receive a law degree from the University of Washington, and be appointed Assistant Attorney General for Washington State In 1962. Wing Luke made history, elected as the first person of color on the Seattle City Council and the first Asian American elected to public office in the Pacific Northwest. His unique combination of politics, compassion and advocacy of diverse communities made him a powerful force for equal housing, urban revival and historic preservation of Pike Place Market. Pioneer Square and the Seattle Waterfront. Wing was a trailblazer of his time In 1965. his promising career was tragically cut short when a small plane he was riding crashed in the Cascade Mountains He died at the age of forty. Despite the short tenure of his career. W ing inspired many. In his memory, the community created the Wing Luke Memorial Foundation and eventually built a pan-Asian museum based on his vision. The first version of the Museum opened its doors on May 17.1967 in a humble storefront at 414 8th Ave South in the Chinatown-International District Several decades later, the Wing Luke. 1962. Museum continues to be an important place where the Asian Pacific American community looks to for engagement, inspiration and leadership - a legacy that Wing Luke left to Seattle A Museum Like No Other As a National Park Service Affiliated Area and the first Smithsonian affiliate In the Pacific Northwest, the Wing Luke Museum of the Asian Pacific American Experience offers an authentic perspective on a unique version of the American story. Nationally recognized for our work in creating dynamic, community-driven exhibitions and programs, we put our community at the heart of each exhibition we create. The stories you see and hear within our walls are their authentic experiences and perspectives. From the struggles of early Asian pioneers to accomplished works by national Asian Pacific American artists, their contributions give us a look at what it means to be uniquely American. Appendix D: Alphabetical Listing of Other Cited Websites D.l American Alliance of Museums (AAM), 2018. “Accredited Museums.” D.2 American Alliance of Museums (AAM), 2018. “Mission and Institutional Planning.” D.3 American Alliance of Museums (AAM), 2018. “Museum Assessment Program.” D.4 Bowers Museum, 2018g. The James Irvine Foundation. “Arts Engagement.” D.5 Orange County's Pacific Symphony, 2016-17. "Press Release by Jean Oelrich." D.6 Santa Cruz Museum of Art and History (MAH), 2018. "The Museum of Art & History at the McPherson Center Staff Bios." D.7 United States Census Bureau QuickFacts, 2016. "U.S. Census Bureau QuickFacts: California." 155 D.l American Alliance of Museums (AAM), 2018. “Accredited Museums.’ Login Connect Donat* Events Resources Membership Museums Committed to Excellence The following institutions are part of the Continuum of Excellence. They have committed to operating according to national standards and best practices in a variety of ways Use this search tool to find museums that have: • Taken the Pledge of Excellence • Participated in MAP (since 2002) • Completed Core Documents Verification • Achieved Accreditation Search by museum name or designation. All museums on this list have taken the Pledge of Excellence. Want to add your museum to this list? Learn how. H Accredited Museum B Core Documents Venfied Museum B MAP Museum Accredited Museum-on probation O Search by state Q Accredited Museums Core Documents Venfied Q MAP Accredited Museum-on Probation ( California There are 11 institution(s) that match your search California Haggin Museum ■ ■ ■ Stockton. CA Pacific Grove Museum of Natural History ■ ■ ■ Pacific Grove, CA Phoebe Apperson Hears* Museum of Anthropology I Berkeley, CA Riverside Metropolitan Museum ■ ■ ■ Riverside, CA San Diego Museum of Man ■ ■ ■ San Diego, CA San Mateo County Historical Association ■ ■ ■ Redwood City, CA San Joaquin County Histoncal Society and Museum Lodi, CA San Bernardino County Museum ■ ■ ■ Redlands, CA Santa Barbara Botanic Garden ■ ■ ■ Santa Barbara, CA Museum of Latin Amencan Art ■ ■ ■ Long Beach, CA La Canada Flintridge, Descanso Gardens ■ ■ ■ CA « 1 » . American Alliance of Museums H Like us Contact Us Copyright Statement h } 2451 Crystal Drive. Suite 1005. Arlington VA 22202 Follow us Donate Privacy Policy 202-289-1818 c? Join us Advertise Terms of Use 156 D.2 American Alliance of Museums (AAM), 2018. “Mission and Institutional Planning.” American i Alliance of Museums About Museums w Ethics, Standards, Mission and Planning Standards and Professional A mission defines the museum's unique identity and purpose, and provides a distinct focus for the institution. Practices It articulates the museum's understanding of its role and responsibility to the public and its collections, and reflects the environment in which it exists. Activities of the museum should support, directly or indirectly, the IN THIS SECTION mission. Ethics Strategic planning produces a mutually agreed upon vision of where the museum is going and what it wants to achieve It ensures this vision meets the needs of its audiences and community and that the museum Core Standards for Museums * identifies how it will obtain the resources to fulfill this vision Planning allows the museum to make sound Public Trust and Accountability decisions in response to changes in its operating environment Museums use planning to set goals and establish strategies by which it will achieve them; ensure that the | Mission and Planning museum acquires, develops, and allocates its resources (human, financial, and physical) in a way that Leadership and Organizational Structure advances its mission and sustains its financial viability; gather appropriate information to guide its actions, including input from stakeholders and data from benchmarking; and establish measures by which the Collections Stewardship museum will assess its achievements Education and Interpretation Financial Stability Core Standards: Mission and Planning Facilities and Risk Management • The museum has a clear understanding of its mission, and communicates why it exists and who benefits as a result of its efforts Core Documents * • All aspects of the museum’s operations are integrated and focused on meeting its mission. • The museum's governing authority and staff think and act strategically to acquire, develop, and allocate resources to advance the mission of the museum. • The museum engages in ongoing and reflective institutional planning that includes involvement of its audiences and community. • The museum establishes measures of success and uses them to evaluate and adjust its activities. Related Core Documents • Mission Statement • Strategic Institutional Plan Professional Practices: Institutional Mission All museums are expected to have a formally stated and approved mission that articulates what the museum does, for whom, and why— its reason for existence A museum's mission is the primary benchmark against which to evaluate the museum's performance. A core question underlying any assessment of compliance with standards is: How well does the museum achieve its stated mission and goals? This emphasis acknowledges an effective and replicable practice Museums that use clearly delineated mission statements to guide their activities and decisions are more likely to function effectively. Professional Practices: Institutional Planning Museums should engage in current, comprehensive, timely and formal planning for their future. Planning is current when it is up-to-date, and reflective of an ongoing process; comprehensive when it covers all relevant aspects of museum operations (e.g., not just a facility master plan); timely when it is geared to significant events in the museum's lifecycle (e.g., changes in size, scope, purpose, governance); formal when the process and outcome are documented in writing and approved by vote of the governing authority. The process should be inclusive of all stakeholders (staff, governing authority, audiences and community); ongoing; reflective; and documented As evidence of its institutional planning, museums should have documentation of the planning process (e.g., committee lists, meeting minutes, planning schedules! and a current, comprehensive, timely, and formal institutional plan that includes both strategic and operational elements. Each museum s written institutional plan should include a multiyear and an operational plan, a combination of the two, or the functional equivalent Each museum's planning documents will look different However, the plan(s) should be • Be captured in written documents and approved by the governing authority • Be based on the mission • Be tied to other relevant planning documents (e.g., financial plans, development plans, interpretive plans, collections plans) • Set priorities, helping the museum make choices and allocate available resources • Identify how the institution will secure the human and financial resources needed to implement the plan by bringing resources and goals into alignment • Be living documents, continually used and updated by the staff and governing authority • Establish measurable goals and methods by which the museum will evaluate success • Include action steps, establish timelines, and assign responsibility for implementation. 157 D.3 American Alliance of Museums (AAM), 2018. “Museum Assessment Program, 55 n Login Q , Alliance of at,f J I Museums Topics Advance Your Career ▼ Events » About Museums ' Accreditation & Museum Assessment Program (MAP) Excellence Programs Since its inception in 1981, the Museum Assessment Program (MAP) has helped more than 5,000 small and mid IN THIS SECTION sized museums of all types strengthen operations, plan for the future, and meet standards. Pledge of Excellence Through a one-year process of self-assessment, institutional activities, and consultative peer review, your museum emerges with: Museum Assessment Program (MAP) • Greater alignment of activities, mission, and resources Core Documents Verification • Analysis of its strengths, weaknesses, and opportunities Accreditation • Prioritized roadmap for improving operations and meeting standards • Practices benchmarked to standards Peer Review • Enhanced credibility with potential funders and donors • Improved communications between staff, board, and other constituents • Expert advice, recommendations, and resources • Increased capacity for strategic planning Assessment Types MAP offers three different assessments to choose from: • Organizational • Collections Stewardship • Community Engagement Find out which one is right for your museum. Find out the date for the next application deadline. MAP is supported through a cooperative agreement between the Institute of Museum and Library Services and the American Alliance of Museums. The American Alliance of Museums' Copyright Statement mission is to champion museums and nurture excellence in partnership with our ODD members and allies. © 2018 American Alliance of Museums 158 D.4 Bowers Museum, 2018g. The James Irvine Foundation. “Arts Engagement.” Through the New California Arts Fund (NCAF), the Bowers is transforming its business model and expanding its capacity to effectively engage Asian and Latino adults as they become increasingly relevant to its community. The Bowers envisions an engagement plan that is multifaceted and links museum leadership, language and communication, international partnerships, community partnerships, consistent relevant engagement programming, and increasing financial support with the museum's desire to grow and change. The Bowers will evolve so that it can continue to be an art leader in Southern California. It envisions an engagement program that removes barriers to participation and creates meaningful experiences for a larger, more diverse audience, It also envisions an engagement program that is financially sustainable, one that generates both earned and contributed revenue. The Bowers is working to expand five key capacities as it evolves to better serve and engage its community. 1. leadership Capacity - The museum is expanding its leadership capacity to be more inclusive of the community it serves. 2 Language Capacity The Bowers is adding multilingual components and culturally appropriate communication strategies to make the museum and its programming more welcoming and accessible. 3 International Museum Partnerships The Bowers is working to build partnerships with museums in China. Mexico. Central America, and South America to proviOe additional meaningful exhibitions and experiences for Asian and Latino audience members 4. Consistent Connections - The museum is working to consistently connect with Asian and Latino audiences through engagement programming and regularly scheduled exhibitions that are meaningful to these audiences. The Bowers is also expanding its understanding of what makes programs and exhibitions relevant to these audiences and how it can improve its programming to better engage them. 5. Financial Capacity The Bowers is expanding its capacity to fund engagement programming Who They Are Engaging The Bowers is expanding engagement programming and five key capacities so that It can be more relevant and meaningful to audiences that include Asian and Latino adults from all Income levels 159 D.5 Orange County's Pacific Symphony, 2016-17. "Press Release by Jean Oelrich." Pacific Symphony CAW. ST CUUt | HU9K CJUfCTOH Press Release MEDIA CONTACT: Jean Oelrich Director of Marketing & Communications (714) 876-2380 [email protected] Pacific Symphony Awarded Second Grant from The James Irvine Foundation to Continue Engagement with and Service to Orange County's Chinese American Communities ORANGE COUNTY, CALIF. — JANUARY 03, 2017 For the second time. The James Irvine Foundation has awarded Pacific Symphony a $12 million grant in support of efforts to deepen, strengthen and enhance its commitment to Orange County's Chinese American communities through arts engagement. Three years ago, the Symphony was one of only three organizations statewide to receive the maximum award (also $12 million) from the Irvine Foundation. Both grants awarded to the Symphony are part of the Irvine Foundation's New California Arts Fund (NCAF), targeted to support arts nonprofits to advance sustainable organizational transformation that leads to expanded arts engagement The new grant, as with the first, is payable over 36 months. It's a great honor to be named a recipient of a new major commitment from The James Irvine Foundation to engage our diverse communities of Southern California * says Symphony President John Forsyte. *The James Irvine Foundation has pioneered philanthropy and strategies to support community engagement, and our long-standing relationship has enabled original programs that meld authentic relationship building, participatory arts practices and capacity building initiatives." Among the largest grants the Symphony has received from a foundation, the NCAF grant, phase two, provides an opportunity for the Symphony to fulfill and expand its initial goals to engage and serve these communities. This significant investment allows the Symphony to continue its efforts to develop experimental and traditional programs in participatory arts engagement and deepen partnerships with organizations within Orange County's Chinese American communities. The grant assists in helping to produce engagement programming that is more responsive, adaptable and flexible to the new communities and partnerships it seeks to nurture and develop. 160 D.6 Santa Cruz Museum of Art and History (MAH), 2018. "The Museum of Art & History at the McPherson Center Staff Bios." MAH Staff Bios Executive Director / Nina Simon Nina Simon is an internationally-recognized expert on active community participation in cultural institutions and has been named a “museum visionary" by Smithsonian Magazine for her innovative approach to design. Nina received the American Alliance for Museums' Nancy Hanks Memorial Award in 2012 and was named one of the 50 most “powerful and influential people in nonprofit arts” by the Western States Arts Federation in 2012 and 2013. Nina is the author of The Participatory Museum (2010) and the popular Museum 2.0 blog. Nina holds a B.S. from Worcester Polytechnic Institute in electrical engineering and mathematics. She loves waking up in the redwoods every day. Director of Operations / Lis DuBois Lis DuBois is a huge fan of community-based arts organizations. Lis received a Masters degree in Arts Administration from Boston University and a B.A. in Art History from Scripps College. She came to the MAH following several years at the New England Foundation for the Arts and the San Jose Institute of Contemporary Art. Lis loves living in Santa Cruz, and is happiest when open-water swimming in the Monterey Bay. Events Manager / Diana Kapsner Diana Kapsner lives life somewhere in the intersection of art and science fiction. She graduated with a BA in History of Art & Visual Culture from UCSC and went on to work as a Research Assistant at Museum and Curatorial Studies (MACS) there. She has also been a Gallery Assistant at JB Hall Gallery and a Sales Assistant and Facility Rental Coordinator at the Seymour Marine Discovery Center. A longtime Santa Cruz resident, she thinks Santa Cruz is like the TARDIS: it looks small, but is bigger on the inside. Community Catalyst / Elise Granata Elise Granata thrives off the sweet sweet nectar of people-power. She is the Community Manager at the Santa Cruz Museum of Art & History and founder of the participatory, timebased social experience POWER HOUR. She graduated with a BA in Arts Management from SUNY Purchase College and comes to the MAH after work in music, 161 D.7 United States Census Bureau QuickFacts, 2016. "U.S. Census Bureau QuickFacts: California." QuickFacts California QuickFacts provides statistics for all states and counties, and for cities and towns with a population of 5.000 or m on o 0 9 ^ CLEAR MAP CHART Table iRace and Hispanic Origin Q. California I JL PEOPLE I Race and Hispanic Origin O White alone, percent (a) A 72.7% O Black or Afncan American alone percent (a) A 6 5% 0 American Indian and Alaska Native alone, percent (a) A 17% O Asian alone, percent ; a) A 14 8% <1 Native Hawaiian and Other Pacific Islander alone, percent (a) A 0.5% O Two or More Races, percent A 3 8% O Hispanic or Latino, percent (b) A 38 9% O White alone not Hispanic or Latino, percent A 37.7% Value Notes 1. Includes data not distributed by county. A Estimates are not comparable to other geographic levels due to methodology differences that may exist between different data sources. Some estimates presented here come from sample data, and thus have sampling errors that may render some apparent differences between geographies statistically indistinguishable. Cl