Friday, December 24, 2010
Merry Christmas
Merry Christmas everyone from Germany. I don't think I will get over the novelty of snow for quite some time. Am taking a short break from the blogging scene over the festive season, pottering around Christmas Markets and drinking Gluwein. I look forward to blogging with you about great work being done in the realm of arts and inclusive programming in the new year.
Monday, December 13, 2010
Inclusion programmes at the Museum of London
Lucie Fitton, Inclusion Programme Manager at the Museum of London was kind enough to show me around the museum’s London Wall site and share some of her experiences in managing inclusion programmes for participants from a range of socially disenfranchised groups.
Participants
Lucie works with a range of people including long term unemployed, offenders, youth, those affected by mental health and asylum seekers
Tangible program outputs
Often the programs that Lucie is involved with will result in an exhibition or part of an exhibition that is then displayed in the gallery space.
For example several floor display cases have been curated by participants during various programs. Each of these programs involved specialist staff such as multimedia artists, conservators, curators and archaeologists. These staff deliver technical knowledge to the participants equipping them with the necessary skills to complete the designated project.
The involvement of specialist staff increases the value and credibility of the program. I think for the participants this must also give them a self-esteem boost and sense of validation being welcomed to participate in a high quality, well resourced program which is able to broaden their skills base.
According to the Museum of London - collections on line section of their website the Brixton Riots 1981 was the most significant outbreak of civil disorder in 20th century London.
At the time Brixton’s Afro-Caribbean community comprised roughly 25% of its population. Unemployment was particularly high especially for Black men, where rates were up to 50%. The area was known for its high crime, and in April 1981 the Metropolitan Police initiated ‘Operation Swamp’. Within days, a huge police presence on the streets had led to almost 1,000 people – mostly young Black men – being stopped and searched.
On 13 April 1981, Police tried to assist a young Black man who had been stabbed in the back. Rumours ran rife that the police were trying to arrest the injured man, rather than take him to hospital. Racial tensions escalated. The next day, the arrest of another man outside a minicab office sparked an outpouring of violence. Within hours, the streets had become a battle zone. People threw petrol bombs and set alight police cars.
By the time hostilities subsided, over 360 people had been injured, 28 premises burned and another 117 damaged and looted. Over 100 vehicles, including 56 police vehicles, were damaged during the disturbances. The police arrested 82 people.
In 2008 the Museum of London delivered a Brixton Riots community project. Participants of this project delved into the lives of people who experienced the Brixton Riots of April 1981. After an intensive training week including historical research and social reporting workshops, participants accompanied by photographer Frewine Solomon met with and interviewed Brixton residents who experienced the Riots of April 1981.
The resulting interviews uncovered some of the fascinating and intimate stories surrounding this significant piece of London’s social history. The participants wrote a blog about their experiences during the project and material they gathered during the program forms part of the permanent World City: 1950s-today exhibition.
Sustainability considerations
An important consideration when planning and facilitating inclusive programs is sustaining benefits for participants. We need to avoid the “flash in the pan” type scenario whereby circumstances for the participants after the program is completed revert back to the way they were.
Broadening the participants’ skill base through the recruitment of specialist staff is one way to achieve more sustainable positive outcomes.
Another strategy Museum of London is using at the moment is the establishment of a youth panel to work on projects associated with the London 2012 Cultural Olympiad, Stories of the World, project. This panel will be involved in subsequent inclusion programmes, ensuring the continuance of positive outcomes for its members i.e. further skill development and continual sense of validation and support.
Developing and maintaining effective partnerships with community groups
Processes associated with establishing and maintaining partnerships with community groups have become increasingly formalised at the museum. Standard templates and forms for negotiating and communicating with community groups and set proposal procedures for groups wanting to work with the museum have been created. These allow for more effective working relationships to be established. Relationships based on clear communication of outcomes and expectations. An example of such templates includes a partner agreement document which is used to outline goals and objectives of the relevant program and what is expected from each party.
Challenge
Reaching social excluded members of the community who aren’t associated with any particular community group.
Recruiting Participants
This is done mainly through the community organisation/s involved. Given Lucie and her team’s successful track record, the Museum of London has developed a high level of credibility in terms of providing quality inclusion and community collaboration. Therefore many community organisations approach the museum to design and implement projects. Networking is a big part of finding good community organisations to partner and work with.
How does inclusion and access become part of the core business of a museum or gallery rather than just an added extra?
A restructure of Museum staff, staff training, formalisation of a community collaboration and inclusion strategy and development of a community collaboration and inclusion committee are all ways the Museum of London have made social inclusion and community collaboration part of their core business.
With the museum’s current staff structure inclusion officers, community program managers, curators and designers work together as a team during exhibition and event development so that social inclusion and community collaboration are considered at the beginning and throughout exhibition and event conceptualisation.
The formalisation of a social community collaboration and inclusion strategy provides a clear direction for inclusive programs and avoids the delivery of adhoc programs that are difficult to measure in terms of success and validity.
Training in how to work successfully with members of emerging communities for staff from all museum departments is a useful tool in ensuring program participants have a holistic positive museum experience.
Helpful hints
- Try and start with a smaller program when working with a new group of participants and then embark on a larger project later.
- You don’t have to have a welfare background to run inclusive programs. Just good working relationships with community groups and welfare professionals.
- It is important for Museum professionals to take stock of their wealth of knowledge and access to collections and use this as a unique selling point.
Program contents ideas
- photography
- development of an art work that represents or interprets a collection or significant event featured in the museum or gallery.
- training participants to be reporters and asking them to capture oral histories of members of the community.
- participants developing short films and displaying these as part of a multimedia showcase in the gallery space.
- participants developing some sort of performance piece which can be captured on film or be performed as part of a public program.
Participants
Lucie works with a range of people including long term unemployed, offenders, youth, those affected by mental health and asylum seekers
Tangible program outputs
Often the programs that Lucie is involved with will result in an exhibition or part of an exhibition that is then displayed in the gallery space.
For example several floor display cases have been curated by participants during various programs. Each of these programs involved specialist staff such as multimedia artists, conservators, curators and archaeologists. These staff deliver technical knowledge to the participants equipping them with the necessary skills to complete the designated project.
The involvement of specialist staff increases the value and credibility of the program. I think for the participants this must also give them a self-esteem boost and sense of validation being welcomed to participate in a high quality, well resourced program which is able to broaden their skills base.
According to the Museum of London - collections on line section of their website the Brixton Riots 1981 was the most significant outbreak of civil disorder in 20th century London.
At the time Brixton’s Afro-Caribbean community comprised roughly 25% of its population. Unemployment was particularly high especially for Black men, where rates were up to 50%. The area was known for its high crime, and in April 1981 the Metropolitan Police initiated ‘Operation Swamp’. Within days, a huge police presence on the streets had led to almost 1,000 people – mostly young Black men – being stopped and searched.
On 13 April 1981, Police tried to assist a young Black man who had been stabbed in the back. Rumours ran rife that the police were trying to arrest the injured man, rather than take him to hospital. Racial tensions escalated. The next day, the arrest of another man outside a minicab office sparked an outpouring of violence. Within hours, the streets had become a battle zone. People threw petrol bombs and set alight police cars.
By the time hostilities subsided, over 360 people had been injured, 28 premises burned and another 117 damaged and looted. Over 100 vehicles, including 56 police vehicles, were damaged during the disturbances. The police arrested 82 people.
In 2008 the Museum of London delivered a Brixton Riots community project. Participants of this project delved into the lives of people who experienced the Brixton Riots of April 1981. After an intensive training week including historical research and social reporting workshops, participants accompanied by photographer Frewine Solomon met with and interviewed Brixton residents who experienced the Riots of April 1981.
The resulting interviews uncovered some of the fascinating and intimate stories surrounding this significant piece of London’s social history. The participants wrote a blog about their experiences during the project and material they gathered during the program forms part of the permanent World City: 1950s-today exhibition.
Sustainability considerations
An important consideration when planning and facilitating inclusive programs is sustaining benefits for participants. We need to avoid the “flash in the pan” type scenario whereby circumstances for the participants after the program is completed revert back to the way they were.
Broadening the participants’ skill base through the recruitment of specialist staff is one way to achieve more sustainable positive outcomes.
Another strategy Museum of London is using at the moment is the establishment of a youth panel to work on projects associated with the London 2012 Cultural Olympiad, Stories of the World, project. This panel will be involved in subsequent inclusion programmes, ensuring the continuance of positive outcomes for its members i.e. further skill development and continual sense of validation and support.
Developing and maintaining effective partnerships with community groups
Processes associated with establishing and maintaining partnerships with community groups have become increasingly formalised at the museum. Standard templates and forms for negotiating and communicating with community groups and set proposal procedures for groups wanting to work with the museum have been created. These allow for more effective working relationships to be established. Relationships based on clear communication of outcomes and expectations. An example of such templates includes a partner agreement document which is used to outline goals and objectives of the relevant program and what is expected from each party.
Challenge
Reaching social excluded members of the community who aren’t associated with any particular community group.
Recruiting Participants
This is done mainly through the community organisation/s involved. Given Lucie and her team’s successful track record, the Museum of London has developed a high level of credibility in terms of providing quality inclusion and community collaboration. Therefore many community organisations approach the museum to design and implement projects. Networking is a big part of finding good community organisations to partner and work with.
How does inclusion and access become part of the core business of a museum or gallery rather than just an added extra?
A restructure of Museum staff, staff training, formalisation of a community collaboration and inclusion strategy and development of a community collaboration and inclusion committee are all ways the Museum of London have made social inclusion and community collaboration part of their core business.
With the museum’s current staff structure inclusion officers, community program managers, curators and designers work together as a team during exhibition and event development so that social inclusion and community collaboration are considered at the beginning and throughout exhibition and event conceptualisation.
The formalisation of a social community collaboration and inclusion strategy provides a clear direction for inclusive programs and avoids the delivery of adhoc programs that are difficult to measure in terms of success and validity.
Training in how to work successfully with members of emerging communities for staff from all museum departments is a useful tool in ensuring program participants have a holistic positive museum experience.
Helpful hints
- Try and start with a smaller program when working with a new group of participants and then embark on a larger project later.
- You don’t have to have a welfare background to run inclusive programs. Just good working relationships with community groups and welfare professionals.
- It is important for Museum professionals to take stock of their wealth of knowledge and access to collections and use this as a unique selling point.
Program contents ideas
- photography
- development of an art work that represents or interprets a collection or significant event featured in the museum or gallery.
- training participants to be reporters and asking them to capture oral histories of members of the community.
- participants developing short films and displaying these as part of a multimedia showcase in the gallery space.
- participants developing some sort of performance piece which can be captured on film or be performed as part of a public program.
Sunday, December 12, 2010
Sixteendays of Action to Eliminate Violence Against Women
Sixteendays of Action ran from 25 November, International Day Against Violence Against Women, to 10 December 2010, International Human Rights Day, in order to symbolically link violence against women and human rights and to emphasize that such violence is a violation of human rights.
Being a strong advocate for arts and human rights related projects GoMA supported this intiative and hosted three events as part of the campaign. All events were free and opened to an adult audience.
Towards and engaged gallery - Glasgow Museums
Am currently reading - towards an engaged gallery, Contemporary art and human rights: GoMA's social justice programmes.
Check it out at these websites
https://shop.le.ac.uk/browse/extra_info.asp?compid=1&catid=11&modid=1&prodid=155&deptid=4
http://www.engage.org/publications/seebook.aspx?id=1539
Check it out at these websites
https://shop.le.ac.uk/browse/extra_info.asp?compid=1&catid=11&modid=1&prodid=155&deptid=4
http://www.engage.org/publications/seebook.aspx?id=1539
Monday, December 6, 2010
Museum of London - Brixton Riots community project
During my visit to Museum of London today, Lucie Fitton Inclusion Programme Manager who was kindly showing me around mentioned this fantastic inclusive program.
Participants of this community project delved into the lives of people who experienced the Brixton Riots of April 1981. After an intensive training week including historical research and social reporting workshop participants met and interviewed Brixton residents who experienced the Riots of April 1981.
See their blog and check out the web page for more info.
http://www.museumoflondon.org.uk/English/EventsExhibitions/Community/BrixtonRiots/Default.htm
http://www.mymuseumoflondon.org.uk/blogs/blog/brixton-riots-social-reporting-project-kicks-off/
Participants of this community project delved into the lives of people who experienced the Brixton Riots of April 1981. After an intensive training week including historical research and social reporting workshop participants met and interviewed Brixton residents who experienced the Riots of April 1981.
See their blog and check out the web page for more info.
http://www.museumoflondon.org.uk/English/EventsExhibitions/Community/BrixtonRiots/Default.htm
http://www.mymuseumoflondon.org.uk/blogs/blog/brixton-riots-social-reporting-project-kicks-off/
Stories of the World
A brilliant intiative in the UK that Lucie Fitton from the Museum of London mentioned to me. This project is an advocate for inclusive and accessible cultural spaces for people of all ages and from all backgrounds.
http://www.mla.gov.uk/what/programmes/setting_pace/stories%20of%20the%20world
"Stories of the World is part of the London 2012 Cultural Olympiad, and aims to showcase to a worldwide audience innovation and excellence in museums, libraries and archives. The project is led by the MLA in partnership with the London Organising Committee of the Olympic and Paralympic Games (LOCOG).
In the spirit of the London 2012 Games, Stories of the World will seek to welcome the world to Britain by using our rich collections to tell inspirational stories about the UK's relationships with the world. Young people are at the heart of the project, working in partnership with curators to uncover objects that tell stories that resonate with their interests"
http://www.mla.gov.uk/what/programmes/setting_pace/stories%20of%20the%20world
"Stories of the World is part of the London 2012 Cultural Olympiad, and aims to showcase to a worldwide audience innovation and excellence in museums, libraries and archives. The project is led by the MLA in partnership with the London Organising Committee of the Olympic and Paralympic Games (LOCOG).
In the spirit of the London 2012 Games, Stories of the World will seek to welcome the world to Britain by using our rich collections to tell inspirational stories about the UK's relationships with the world. Young people are at the heart of the project, working in partnership with curators to uncover objects that tell stories that resonate with their interests"
Working towards a United Kingdom – how UK Museums & Galleries are actively engaging emerging communities through inclusive programming
And so begins my quest to discover the keys of success in developing engaging and empowering inclusive programs based in museums and galleries. I am seeking expertise in designing and implementing, quality inclusive projects that provide participants with a strong sense of ownership and opportunities to develop valuable skills, securing sustainable benefits rather than a fleeting positive experience. What better place to start this exploration than the UK. Museums and galleries here have become world leaders in this field due to a strong focus on social inclusion by the last government.
Areas of investigation include...
- How to recruit program participants
- Developing and maintaining effective partnerships with community groups
- Developing and maintaining effective working relationships with specialist staff e.g. artists, curators, mental health professionals etc.
- Measures that can be taken to encourage social inclusion and access to become part of the core business of museums and galleries rather than an added extra or after thought.
- Strategies to ensure that programs produce sustainable benefits for participants.
- Program content ideas e.g. different art mediums, themes & objects that can be used as catalysts for self expression and storytelling. Different ways finished works can be exhibited.
- Skills and expertise necessary to provide quality inclusive programs. Do you need to have a welfare background? How to you navigate through the grey area between the welfare and cultural sector?
- Time duration of effective inclusive programs. Are short programs (1-2 weeks in length) worthwhile or should all programs run for at least a few months?
- Planning time involved in quality inclusive programs.
Wednesday, November 24, 2010
Art to Crow About
An exhibition of works from Kurrajong Waratah, Willans Hill School, The Leisure Company and Riverina Community College. Official opening Wednesday 1/12/10 5.30pm -7.00PM Opened by Leanne Croker, E3 art space, Wagga Wagga Art Gallery.
For more information go to http://bit.ly/hGbx3p
Monday, November 22, 2010
Key ideas from Arts & Health Conference 2010 - Melbourne
- successful arts based programs are the product of well managed partnerships between the program provider and welfare organisations, artists, educator etc. These partnerships require clear communication of expectations from both sides of the fence from the onset. It is important to learn each other’s language between different professions in order to build cohesion and mutual understanding e.g. between health practioners and artists or educators and artists. This creates complimentary relationships able to benefit others. Therefore we need to involve the artist in the planning & the health/education professional in the creative process.
- in order to build the artistic credibility of a project/program an artist specialising in the chosen medium (theatre, visual arts, dance, music) should be at the centre of planning and facilitating. Participants appreciate this. For example Milk Crate Theatre employ an artistic director and professional actors.
- Whilst the process is the main priority having some sort of end product e.g. exhibition to showcase, is an opportunity to validate the participants. This promotes self esteem and pride in their involvement and ultimately themselves. This exhibition or public showcase can then be used to lift the profile of the participants in the rest of the community and create awareness.
- Giving participants a sense of ownership over the program is paramount to success. It's about providing the opportunity but not telling participants how to complete the program/project.
- The importance of storytelling. Allowing participants to tell their story in a non-confrontational way. The arts are perfect for this, allowing self expression without probing. The challenge is finding an object/activity that is a catalyst for this storytelling to take place. A Mobile Home Photographic project facilitated by Melbourne Citymission Frontyard Youth Services Victoria used the humble mobile phone to be such a catalyst, allowing homeless youth to tell their story.
'if stories come to you care for them' How can we use the arts to care for and validate participant's stories?
- in order to build the artistic credibility of a project/program an artist specialising in the chosen medium (theatre, visual arts, dance, music) should be at the centre of planning and facilitating. Participants appreciate this. For example Milk Crate Theatre employ an artistic director and professional actors.
- Whilst the process is the main priority having some sort of end product e.g. exhibition to showcase, is an opportunity to validate the participants. This promotes self esteem and pride in their involvement and ultimately themselves. This exhibition or public showcase can then be used to lift the profile of the participants in the rest of the community and create awareness.
- Giving participants a sense of ownership over the program is paramount to success. It's about providing the opportunity but not telling participants how to complete the program/project.
- The importance of storytelling. Allowing participants to tell their story in a non-confrontational way. The arts are perfect for this, allowing self expression without probing. The challenge is finding an object/activity that is a catalyst for this storytelling to take place. A Mobile Home Photographic project facilitated by Melbourne Citymission Frontyard Youth Services Victoria used the humble mobile phone to be such a catalyst, allowing homeless youth to tell their story.
'if stories come to you care for them' How can we use the arts to care for and validate participant's stories?
2010 Arts and Health Conference - Melbourne
My head was super saturated with ideas throughout my time at this conference. Thank goodness for the coffee and lunch breaks, a good time to let the information soak in and make space for more inspiration.
I suppose what really resonated with me was the vast range of applications the arts provide in supporting health, education & well being.
We heard from an architect involved in designing a new children's hospital in Brisbane, a Comissioner from the Victorian Office of the Emergency Services involved in the Black Saturday Bushfires, theatre professionals, educators, museum and gallery staff, mental health workers, university professors.....
All of whom found a distinct advantage in incorporating the arts into programs and projects to support the well being, health and education of participants.
Notes from workshops, break out and plenary sessions to come.
This was very reaffirming for me, who is fairly new to this field and in the early stages of eagerly exploring the great potential of arts based programs for community development and social inclusion initatives.
I suppose what really resonated with me was the vast range of applications the arts provide in supporting health, education & well being.
We heard from an architect involved in designing a new children's hospital in Brisbane, a Comissioner from the Victorian Office of the Emergency Services involved in the Black Saturday Bushfires, theatre professionals, educators, museum and gallery staff, mental health workers, university professors.....
All of whom found a distinct advantage in incorporating the arts into programs and projects to support the well being, health and education of participants.
Notes from workshops, break out and plenary sessions to come.
This was very reaffirming for me, who is fairly new to this field and in the early stages of eagerly exploring the great potential of arts based programs for community development and social inclusion initatives.
Thursday, November 11, 2010
artofsocialinclusion tag on delicious account
I have started an artofsocialinclusion tag on my delicious account with some useful websites. Hope they are of some assistance.
http://www.delicious.com/salgiss/artofsocialinclusion
http://www.delicious.com/salgiss/artofsocialinclusion
Wednesday, October 27, 2010
Why embodied learning can help bridge the gap in schools and classrooms
I'm currently completing a Graduate Diploma in Primary Teaching through Murdoch University in Perth. Earlier this year I traveled to Perth to complete an on campus unit that looked at how to teach the arts and health and physical education. Here I became well acquainted with the notion of embodied learning - learning by doing.
During this unit we were asked to develop a presentation associated with this active form of learning to be pitched to an audience of our choice. Our group chose to focus on how embodied learning can assist disadvantaged students and target school teachers. Check out our powerpoint presentation on slideshare. Included are some great strategies, case studies and links
http://www.slideshare.net/salgiss/why-embodied-learning-can-help-bridge-the-gap-in-schools-and-classrooms
During this unit we were asked to develop a presentation associated with this active form of learning to be pitched to an audience of our choice. Our group chose to focus on how embodied learning can assist disadvantaged students and target school teachers. Check out our powerpoint presentation on slideshare. Included are some great strategies, case studies and links
http://www.slideshare.net/salgiss/why-embodied-learning-can-help-bridge-the-gap-in-schools-and-classrooms
The art of good health and well being conference - Melbourne 16-19 November
I am really excited to be registered for the Art of Good Health and Well Being Conference, Melbourne 2010 http://www.artsandhealth.org/
I'm especially looking forward to the following workshop
Creative Programming Across the Lifespan:
A Professional Development Workshop and Discussion Group for Museum and Gallery Educators, responsible for delivering Community and Access Programs for Children, Families and Older People, including programs specifically designed for people with dementia and their carers.
To be facilitated by Carrie McGee, Educator, Community and Access Programs, Museum of Modern Art (MoMA), New York and Adriane Boag, Youth and Community Programs, National Gallery of Australia (NGA), Canberra.
I'm especially looking forward to the following workshop
Creative Programming Across the Lifespan:
A Professional Development Workshop and Discussion Group for Museum and Gallery Educators, responsible for delivering Community and Access Programs for Children, Families and Older People, including programs specifically designed for people with dementia and their carers.
To be facilitated by Carrie McGee, Educator, Community and Access Programs, Museum of Modern Art (MoMA), New York and Adriane Boag, Youth and Community Programs, National Gallery of Australia (NGA), Canberra.
Monday, October 25, 2010
Childrens' museum theatre program - Museum of the Riverina
The Day We Made Rain - Embracing Diversity by Working Together from Museum Wagga on Vimeo.
I currently work as a Museum Education and Public Programs officer for the Museum of the Riverina, Wagga Wagga, NSW. Earlier this year we were involved in an arts based program for children that culminated in the development of a short film, 'The day we made rain'.
On Saturday 26 June in conjunction with the 2010 Refugee Week Celebrations, the Museum screened this film and it has since been included in the Border and Region Film Festival
This short film was a unique production created by a vibrant group of Wagga kids. The film's storyline focuses on a worldwide drought in which a diverse array of creatures are forced to leave their homes and loved ones in search of water. Also included was behind the scenes footage of some of the fun, laughs and games had during production.
The film was the result of a 6 week Museum theatre program developed by the Museum of the Riverina in partnership with the Multicultural Council of Wagga Wagga.
Visit this program’s blog at http://www.museumwagga.wordpress.com/ or watch the film below.
Heading to the uk
Come December I'll be bracing the chilly English winter and visiting Museums and Galleries involved in inclusive programming. A big thanks to Professor Richard Sandell from Leicester University who has been an immense help in tracking down UK Museum and Galleries doing great work in this field.
Museums and galleries on the list so far are...
- The Lightbox http://www.thelightbox.org.uk/
Allow me to introduce myself
My name is Sally Gissing and I'm a Museum Education and Public Programs Officer with a passion for fusing together creative elements such as theatre, visual arts, music, dance, social media and digital technology so to form engaging and meaningful community development programs that promote the inclusion of emerging and disenfranchised groups.
I'm especially interested in developing programs that directly benefit and connect with emerging and disadvantaged groups whilst producing an end product that tells the story of the participants. The end product maybe an exhibition physical or digital, documentary, puppet show, podcast, vodcast...the possibilities are endless. This can then be publicly displayed, creating awareness and encouraging acceptance.
As a museum educator I believe Museums and similar cultural facilities are perfect spaces to host such projects and finished works and am truly excited about the potential of these cultural hubs to become vehicles of social inclusion.
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