Pub Date : 2022-07-03DOI: 10.1080/10598650.2022.2092704
Keely Maddock
ABSTRACT Cultural institutions strive to integrate Diversity, Equity, Inclusion, and Accessibility (DEIA) practices. Trauma-informed approaches to education are one way to support DEIA initiatives. This article demonstrates how to move from awareness of trauma-informed approaches into active practice. It explores how one museum developed programming to educate children aged 5–12 years and the general public while remaining an ally to the local refugee community.
{"title":"Diversity, Equity, Inclusion, and Accessibility in Museums: A Trauma-Informed Approach to Programming Around Canada's Response to the Global Refugee Crisis","authors":"Keely Maddock","doi":"10.1080/10598650.2022.2092704","DOIUrl":"https://doi.org/10.1080/10598650.2022.2092704","url":null,"abstract":"ABSTRACT Cultural institutions strive to integrate Diversity, Equity, Inclusion, and Accessibility (DEIA) practices. Trauma-informed approaches to education are one way to support DEIA initiatives. This article demonstrates how to move from awareness of trauma-informed approaches into active practice. It explores how one museum developed programming to educate children aged 5–12 years and the general public while remaining an ally to the local refugee community.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"310 - 318"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49144365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10598650.2022.2062152
Auni Gelles, B. Maloney, E. Marchetta, Anne C Rosenthal
ABSTRACT This article outlines a collaboration between staff from the Baltimore City Public School district Food and Nutrition Services and the Baltimore Museum of Industry. The Food for Thought project honors the frontline food service workers who nourished Baltimore students throughout the pandemic and inspires action to address food insecurity. A temporary exhibition at the museum is complemented by a permanent installation at the school district headquarters. This project was more than its end product. This partnership required active listening, remaining open to new models of thinking, and evolving expectations. Its structure demanded that we all respect varied expertise within and outside our institutions. While not perfect, this partnership aimed to move beyond collaboration to co-creation by offering multiple opportunities for participants to make decisions. The effort to support community well-being starts with engaging with partners in true collaboration based on mutual respect, shared goals, and building off each other’s strengths.
{"title":"Food for Thought: Spotlighting Baltimore's Frontline Food Service Workers","authors":"Auni Gelles, B. Maloney, E. Marchetta, Anne C Rosenthal","doi":"10.1080/10598650.2022.2062152","DOIUrl":"https://doi.org/10.1080/10598650.2022.2062152","url":null,"abstract":"ABSTRACT This article outlines a collaboration between staff from the Baltimore City Public School district Food and Nutrition Services and the Baltimore Museum of Industry. The Food for Thought project honors the frontline food service workers who nourished Baltimore students throughout the pandemic and inspires action to address food insecurity. A temporary exhibition at the museum is complemented by a permanent installation at the school district headquarters. This project was more than its end product. This partnership required active listening, remaining open to new models of thinking, and evolving expectations. Its structure demanded that we all respect varied expertise within and outside our institutions. While not perfect, this partnership aimed to move beyond collaboration to co-creation by offering multiple opportunities for participants to make decisions. The effort to support community well-being starts with engaging with partners in true collaboration based on mutual respect, shared goals, and building off each other’s strengths.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"343 - 352"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44517137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10598650.2022.2076777
Camilla Marini, D. Agostino, Loretta Simoni
ABSTRACT Value co-creation unfolds as a system of interactions in which the user and service provider play an active role in collaboratively creating values that go beyond economical and financial worth. Value co-creation is a growing trend in museums; however, little is known about how it can enhance educational activities, especially concerning digital technologies. This study analyzes the role of digital technology in the value co-creation process by addressing the following research questions: (1) how can museums, and schools implement actions to enhance co-creation activities? and (2) how does digital technology contribute to the generation of a value co-creation approach, engaging a young target audience in history education? The research adopts a single case study methodology, which is based on WORld Wars Toward Heritage for Youth (WORTHY), an educational European project that involves cultural and educational institutions from Germany, Poland, Croatia, England, and Italy. WORTHY creates a virtual collaborative museum through a digital platform. The paper’s findings make clear that digital technologies play a role in value co-creation through two main experiences: learning and sharing. In the learning experience, digital co-creation is grounded in artifacts and contents, while during the sharing experience, digital technologies play a role relatively to people and content.
{"title":"Co-Creating History: The Case of WORTHY as a Virtual Collaborative Museum","authors":"Camilla Marini, D. Agostino, Loretta Simoni","doi":"10.1080/10598650.2022.2076777","DOIUrl":"https://doi.org/10.1080/10598650.2022.2076777","url":null,"abstract":"ABSTRACT Value co-creation unfolds as a system of interactions in which the user and service provider play an active role in collaboratively creating values that go beyond economical and financial worth. Value co-creation is a growing trend in museums; however, little is known about how it can enhance educational activities, especially concerning digital technologies. This study analyzes the role of digital technology in the value co-creation process by addressing the following research questions: (1) how can museums, and schools implement actions to enhance co-creation activities? and (2) how does digital technology contribute to the generation of a value co-creation approach, engaging a young target audience in history education? The research adopts a single case study methodology, which is based on WORld Wars Toward Heritage for Youth (WORTHY), an educational European project that involves cultural and educational institutions from Germany, Poland, Croatia, England, and Italy. WORTHY creates a virtual collaborative museum through a digital platform. The paper’s findings make clear that digital technologies play a role in value co-creation through two main experiences: learning and sharing. In the learning experience, digital co-creation is grounded in artifacts and contents, while during the sharing experience, digital technologies play a role relatively to people and content.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"385 - 394"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45406711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10598650.2022.2084279
E. M. Campbell, Elizabeth Schragen
ABSTRACT The COVID-19 pandemic drastically changed the way many schools and museums operate. Using a case study of a collection of digital resources for kids and families, the authors share their recipe for successful collaborations both in and outside of their museum. With a practitioner focus, the authors highlight the importance of not forgetting the lessons of pandemic successes in organizations during the return to in-person work.
{"title":"At-Home Anthropology: A Recipe for Collaboration","authors":"E. M. Campbell, Elizabeth Schragen","doi":"10.1080/10598650.2022.2084279","DOIUrl":"https://doi.org/10.1080/10598650.2022.2084279","url":null,"abstract":"ABSTRACT The COVID-19 pandemic drastically changed the way many schools and museums operate. Using a case study of a collection of digital resources for kids and families, the authors share their recipe for successful collaborations both in and outside of their museum. With a practitioner focus, the authors highlight the importance of not forgetting the lessons of pandemic successes in organizations during the return to in-person work.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"374 - 384"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46573153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10598650.2022.2070111
Christina M Marinelli, Caryn Davis, Isis Rivas
ABSTRACT In 2020, the Brooklyn Museum Education Department, like many departments in museums across the globe, engaged in a reevaluation of its programs and priorities in light of the COVID-19 pandemic. As we reassessed what responsive programming could and should look like for our audiences, the Adult Learning Division within Education decided to prioritize further developing our adult literacy initiatives, including programs and partnerships for English for Speakers of Other Languages (ESOL) students and teachers. One such partnership resulted in a template for incorporating art-making in language learning and for centering the voices of adult language learners within the context of a public pop-up talk at the Museum. This article shares some of the lessons the museum educator, ESOL teacher, and ESOL students learned through the collaboration, as well as reflections from the public at the culminating event as revealed through survey work.
{"title":"Centering Adult ESOL Students in the Museum Through Art and Art-Making","authors":"Christina M Marinelli, Caryn Davis, Isis Rivas","doi":"10.1080/10598650.2022.2070111","DOIUrl":"https://doi.org/10.1080/10598650.2022.2070111","url":null,"abstract":"ABSTRACT In 2020, the Brooklyn Museum Education Department, like many departments in museums across the globe, engaged in a reevaluation of its programs and priorities in light of the COVID-19 pandemic. As we reassessed what responsive programming could and should look like for our audiences, the Adult Learning Division within Education decided to prioritize further developing our adult literacy initiatives, including programs and partnerships for English for Speakers of Other Languages (ESOL) students and teachers. One such partnership resulted in a template for incorporating art-making in language learning and for centering the voices of adult language learners within the context of a public pop-up talk at the Museum. This article shares some of the lessons the museum educator, ESOL teacher, and ESOL students learned through the collaboration, as well as reflections from the public at the culminating event as revealed through survey work.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"331 - 342"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43714194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10598650.2022.2105505
Nathaniel Prottas
understanding the museum as a static, monolithic institution at the centre of power, is read as an unstable institution attempting to come to grips with the e ff ects of the colonial encounter, an attempt which has both positive and negative a ff ects [ sic ] on those involved.
{"title":"Museums as Collaboration Zones","authors":"Nathaniel Prottas","doi":"10.1080/10598650.2022.2105505","DOIUrl":"https://doi.org/10.1080/10598650.2022.2105505","url":null,"abstract":"understanding the museum as a static, monolithic institution at the centre of power, is read as an unstable institution attempting to come to grips with the e ff ects of the colonial encounter, an attempt which has both positive and negative a ff ects [ sic ] on those involved.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"297 - 300"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44640172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10598650.2022.2070695
M. Madeja, Bayard Miller
ABSTRACT When going through an internal reorganization, how do you kick-start new collaborations in a healthy manner? Revolutionary City: A Portal to the Nation’s Founding digital project provided the newly reorganized American Philosophical Society’s (APS) Library and Museum the means to do just that. Leveraging the resources of a grant, two departments in the organization (Education Programs and the Center for Digital Scholarship) were able to learn from each other in a collaborative effort. The combination of internal reorganization, external resources and accountability, and collaboration allowed for easy change management, a strong product, and a reflex for future projects.
{"title":"Developing a Collaborative Reflex","authors":"M. Madeja, Bayard Miller","doi":"10.1080/10598650.2022.2070695","DOIUrl":"https://doi.org/10.1080/10598650.2022.2070695","url":null,"abstract":"ABSTRACT When going through an internal reorganization, how do you kick-start new collaborations in a healthy manner? Revolutionary City: A Portal to the Nation’s Founding digital project provided the newly reorganized American Philosophical Society’s (APS) Library and Museum the means to do just that. Leveraging the resources of a grant, two departments in the organization (Education Programs and the Center for Digital Scholarship) were able to learn from each other in a collaborative effort. The combination of internal reorganization, external resources and accountability, and collaboration allowed for easy change management, a strong product, and a reflex for future projects.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"366 - 373"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44661776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10598650.2022.2069217
Emily R. Zinn
ABSTRACT Pack It Up! was a fully interactive history exhibit for all ages, targeting primarily families with elementary-school-aged children. It invited visitors to work collaboratively through open-ended object inquiry and primary source analysis. Collaborative exhibit design between the education and collections departments led to an exhibit that answered these questions: 1. How can an object-based exhibit be made fully hands-on? 2. How can an exhibit support young visitors to develop empathy for people from the past?3. How can an all-ages exhibit address elementary school social studies standards?Even as highly interactive exhibits become ubiquitous, in the museum field we often see artifacts and interactives as mutually exclusive. Pack It Up! made local history accessible to a unique range of audiences and learning styles without facilitation by fusing museum education and collections pedagogies. The collaboration between the collections department and the education department led to creative solutions to exhibit challenges we saw an opportunity to address. The exhibit offered a new way to use objects to teach the processes of historical inquiry to audiences of all ages.
{"title":"Please Touch the Artifacts: Education and Collections Departments Co-Design an Exhibit for Family Audiences to Practice Primary Source Inquiry","authors":"Emily R. Zinn","doi":"10.1080/10598650.2022.2069217","DOIUrl":"https://doi.org/10.1080/10598650.2022.2069217","url":null,"abstract":"ABSTRACT Pack It Up! was a fully interactive history exhibit for all ages, targeting primarily families with elementary-school-aged children. It invited visitors to work collaboratively through open-ended object inquiry and primary source analysis. Collaborative exhibit design between the education and collections departments led to an exhibit that answered these questions: 1. How can an object-based exhibit be made fully hands-on? 2. How can an exhibit support young visitors to develop empathy for people from the past?3. How can an all-ages exhibit address elementary school social studies standards?Even as highly interactive exhibits become ubiquitous, in the museum field we often see artifacts and interactives as mutually exclusive. Pack It Up! made local history accessible to a unique range of audiences and learning styles without facilitation by fusing museum education and collections pedagogies. The collaboration between the collections department and the education department led to creative solutions to exhibit challenges we saw an opportunity to address. The exhibit offered a new way to use objects to teach the processes of historical inquiry to audiences of all ages.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"353 - 365"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49642910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10598650.2022.2080966
A. Ferrer-Yulfo
ABSTRACT This paper examines how museum education is transformed through intangible cultural heritage (ICH) as defined by UNESCO. It demonstrates how museums can support the intergenerational transmission of ICH and its long-term sustainability by recognizing and valorizing ICH practices, the role of the bearer communities in safeguarding processes, and the importance of collaboration. Such is the approach taken by ICH museums, where communities take the leading role in museum education. The Museo del Baile Flamenco (Flamenco Dance Museum) and the Museu do Fado (Fado Museum) are two examples of how education within this type of museum can not only raise awareness about ICH but also promote the teaching and learning of these expressions both within and outside bearer communities. Each of these museums was studied from 2017 to 2019 as part of a research project seeking to understand how ICH museums approached the musealization and safeguarding of intangible cultural expressions while taking into consideration the vital role of communities and working collaboratively with these stakeholders.
摘要本文探讨了博物馆教育如何通过联合国教科文组织定义的非物质文化遗产（ICH）进行转变。它展示了博物馆如何通过承认和重视非物质文化遗产实践、承载社区在保护过程中的作用以及合作的重要性来支持非物质文化遗址的代际传播及其长期可持续性。这就是非物质文化遗产博物馆所采取的方法，社区在博物馆教育中发挥着主导作用。弗拉门戈舞蹈博物馆（Museo del Baile Flamenco）和法多博物馆（Museu do Fado Museum。作为研究项目的一部分，2017年至2019年对每一家博物馆进行了研究，旨在了解非物质文化遗产博物馆如何在考虑社区的重要作用并与这些利益相关者合作的同时，实现非物质文化表现形式的博物馆化和保护。
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Pub Date : 2022-04-03DOI: 10.1080/10598650.2022.2082726
Michelle Moon
For many years, museum education practice has been guided by the watchword inclusion – an ideal for public service and professional practice rooted in more than a century of work to expand museum audiences. Most museum educators would likely say that they embrace the intention to be inclusive practitioners, a commitment fostered by the likes of the Inclusive Museum Research Network (founded 2008), The Incluseum (founded 2012), MASS Action (launched 2016), and many other professional associations, grassroots groups, institutional initiatives, and individual leaders. But throughout this phase of our profession’s development, there’s been an odd parallax – our work toward inclusion has often remained separate from, or has completely overlooked, disability as a dimension of identity. Instead, the tendency has been to view inclusion for people with disabilities as a need for “access,” a concept that leads us into a focus on physical affordances, legal compliance, or accommodation, rather than a fundamental mindset of allyship with people with disabilities as active (or potential) museum users, learners, and workers. This dichotomy is rooted in part in the progression through which disability consciousness initially permeated museums. As the authors relate, when disability awareness first began to arise in museum institutions, it was through a rights-based framework – a response to the demands and standards of new legislation in the Rehabilitation Act of 1973 and the Americans with Disabilities Act of 1990 (ADA). These entry points brought with them a legalistic focus on the built or designed environment, demands for workplace and public accommodation, and actionable standards for statutory compliance. These origins laid a path in which disability access escaped wider affirmation as an element of inclusive practice, instead reducing them to a checklist of accommodations to follow, or as Eisenhauer Richardson calls it here in “Museum Education for Disability Justice and Liberatory Access,” an “etiquette course” in appropriate language and pedagogy. This mechanistic and legalistic approach has sometimes led to a certain anxiety amongst museum practitioners, reflected in commonly heard questions: What should we be doing to make our museum accessible? What are we required to do? Have we done enough? Is it possible to do everything? In many cases, our field’s guiding resources and professional literature have not yet supported a shift away from the deficit-based framing that positions disability as a problem to be solved. The manual of practice Museum Administration 2.0, for example, houses its primary discussion of disability in the chapter titled “Legal Issues.” The American Alliance of Museums’ page on Accessibility takes a “fix-it” approach as well, listing how-to articles about accommodation technologies and program formats. Individual museums often make one or two major moves
多年来，博物馆教育实践一直以包容为口号，这是一个植根于一个多世纪以来扩大博物馆受众的公共服务和专业实践的理想。大多数博物馆教育工作者可能会说，他们接受成为包容性实践者的意图，这是由包容性博物馆研究网络(成立于2008年)、包容性博物馆(成立于2012年)、大众行动(成立于2016年)以及许多其他专业协会、基层团体、机构倡议和个人领导人所培养的承诺。但在我们职业发展的这一阶段，有一个奇怪的视差——我们的包容性工作经常与残疾作为身份的一个维度分开，或者完全忽视了残疾。相反，人们倾向于将残疾人的包容性视为对“访问”的需求，这一概念将我们的注意力集中在物理便利、法律合规或住宿上，而不是将残疾人视为积极(或潜在)博物馆用户、学习者和工作者的基本心态。这种二分法部分植根于残疾意识最初渗透到博物馆的过程中。正如作者所述，当残疾意识第一次在博物馆机构中兴起时，它是通过一个基于权利的框架——这是对1973年《康复法》和1990年《美国残疾人法》(ADA)中新立法的要求和标准的回应。这些切入点带来了对建造或设计环境的法律关注，对工作场所和公共设施的需求，以及法律合规的可操作标准。这些起源奠定了一条道路，在这条道路上，残疾人通道作为包容性实践的一个元素，没有得到更广泛的肯定，而是将其简化为一份需要遵循的便利清单，或者像艾森豪尔·理查森(Eisenhauer Richardson)在《残疾人正义与自由通道博物馆教育》(Museum Education for disability Justice and Liberatory access)中所说的那样，是一门使用适当语言和教学方法的“礼仪课程”。这种机械和法律主义的方法有时会导致博物馆从业者的某种焦虑，反映在经常听到的问题上:我们应该做些什么来让我们的博物馆更容易进入?我们需要做什么?我们做得够不够?有可能做所有的事情吗?在许多情况下，我们的领域的指导资源和专业文献还没有支持从基于缺陷的框架转变，将残疾定位为一个需要解决的问题。例如，实践博物馆管理手册2.0在题为“法律问题”的章节中对残疾进行了主要讨论。美国博物馆联盟(American Alliance of Museums)的无障碍网页也采取了“修复”的方法，列出了有关住宿技术和项目格式的指导文章。个别博物馆通常会采取一到两次重大举措
{"title":"Disability and the Inclusive Intention","authors":"Michelle Moon","doi":"10.1080/10598650.2022.2082726","DOIUrl":"https://doi.org/10.1080/10598650.2022.2082726","url":null,"abstract":"For many years, museum education practice has been guided by the watchword inclusion – an ideal for public service and professional practice rooted in more than a century of work to expand museum audiences. Most museum educators would likely say that they embrace the intention to be inclusive practitioners, a commitment fostered by the likes of the Inclusive Museum Research Network (founded 2008), The Incluseum (founded 2012), MASS Action (launched 2016), and many other professional associations, grassroots groups, institutional initiatives, and individual leaders. But throughout this phase of our profession’s development, there’s been an odd parallax – our work toward inclusion has often remained separate from, or has completely overlooked, disability as a dimension of identity. Instead, the tendency has been to view inclusion for people with disabilities as a need for “access,” a concept that leads us into a focus on physical affordances, legal compliance, or accommodation, rather than a fundamental mindset of allyship with people with disabilities as active (or potential) museum users, learners, and workers. This dichotomy is rooted in part in the progression through which disability consciousness initially permeated museums. As the authors relate, when disability awareness first began to arise in museum institutions, it was through a rights-based framework – a response to the demands and standards of new legislation in the Rehabilitation Act of 1973 and the Americans with Disabilities Act of 1990 (ADA). These entry points brought with them a legalistic focus on the built or designed environment, demands for workplace and public accommodation, and actionable standards for statutory compliance. These origins laid a path in which disability access escaped wider affirmation as an element of inclusive practice, instead reducing them to a checklist of accommodations to follow, or as Eisenhauer Richardson calls it here in “Museum Education for Disability Justice and Liberatory Access,” an “etiquette course” in appropriate language and pedagogy. This mechanistic and legalistic approach has sometimes led to a certain anxiety amongst museum practitioners, reflected in commonly heard questions: What should we be doing to make our museum accessible? What are we required to do? Have we done enough? Is it possible to do everything? In many cases, our field’s guiding resources and professional literature have not yet supported a shift away from the deficit-based framing that positions disability as a problem to be solved. The manual of practice Museum Administration 2.0, for example, houses its primary discussion of disability in the chapter titled “Legal Issues.” The American Alliance of Museums’ page on Accessibility takes a “fix-it” approach as well, listing how-to articles about accommodation technologies and program formats. Individual museums often make one or two major moves","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"125 - 129"},"PeriodicalIF":0.6,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46684720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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