Pub Date : 2022-10-02DOI: 10.1080/10598650.2022.2147351
Ana Baeza Ruiz
ABSTRACT Within the prevalent logic of the neoliberal university, teaching and learning are subject to academic audits, performance indicators and quality assurance measures. These impact on the relationships between educators and students, placing an emphasis on self- over collective interests, aspirational mobility, and a culture of ‘speed’ and productivity that leaves little time for reflection. The effects of this are perhaps even more acutely felt in former polytechnic (post-92) universities, where the focus lies on employability, the creative industries, and vocational training. In this context, what does it entail to bring care into the learning environments? This paper considers the activist potential of embodied pedagogies to generate ways of knowing that confront discourses of neoliberal education. Drawing on object-based pedagogic practice with students in face-to-face sessions at the Museum of Domestic Design and Architecture (Middlesex University), the paper considers how such encounters might generate radical practices of care. How might the museum formulate arguments which challenge institutional expectations to perform in the knowledge-based economy? To what extent might these spaces open possibilities for an alternative “commons” beyond neoliberal logics?
在新自由主义大学的普遍逻辑中，教学和学习受到学术审计、绩效指标和质量保证措施的约束。这些影响了教育者和学生之间的关系，强调自我而不是集体利益，有抱负的流动性，以及一种“速度”和生产力的文化，几乎没有时间进行反思。这种影响在前理工学院(92后)大学中可能更为明显，这些大学的重点在于就业能力、创意产业和职业培训。在这种情况下，在学习环境中引入关怀需要做些什么?本文考虑了体现教学法的积极潜力，以产生与新自由主义教育话语相对抗的认识方式。在米德尔塞克斯大学(Middlesex University)的国内设计与建筑博物馆(Museum of Domestic Design and Architecture)，通过与学生面对面交流的基于对象的教学实践，本文考虑了这种接触如何产生激进的护理实践。在知识经济时代，博物馆如何提出挑战机构期望的论据?这些空间在多大程度上为新自由主义逻辑之外的另一种“公地”提供了可能性?
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Pub Date : 2022-10-02DOI: 10.1080/10598650.2022.2140554
C. Dixon
ABSTRACT This article examines forms of activism in which artistic expression features as a means of raising awareness and catalyzing progressive change on matters of equality, diversity, inclusion and social justice. Focusing in particular on anti-racist and decolonial activism within the context of art museums, experimental project spaces and collections of ethnography, selected works from the oeuvres of contemporary African diaspora artists and curators are foregrounded to highlight various ways that creative interventions conceptualized by people of color are positively impacting on museum education and institutional change – in the UK, as well as throughout Europe and the West more broadly. The analysis takes into consideration the transformational impacts that artists’/artist-curators’ installation projects, research residencies, and exhibitions can provoke amongst museum staff, visiting audiences and wider publics. Three case studies of art-political activism from the portfolios of contemporary visual artist-curators Nathalie Anguezomo Mba Bikoro, Yinka Shonibare CBE and Zak Ové serve to exemplify how creative approaches to anti-racist and decolonial activism complement and augment more customary museum education program offerings, policy-related interventions, and protest-based action within the arts and heritage sectors.
摘要本文探讨了激进主义的形式，其中艺术表达是提高人们对平等、多样性、包容性和社会正义问题的认识和促进进步的一种手段。特别注重在美术馆、实验项目空间和民族志收藏的背景下开展反种族主义和非殖民化活动，从当代非洲散居艺术家和策展人的作品中挑选的作品是前瞻性的，以突出有色人种概念化的创造性干预对博物馆教育和制度变革产生积极影响的各种方式——在英国，以及整个欧洲和西方。该分析考虑了艺术家/艺术家策展人的装置项目、研究驻地和展览可能在博物馆工作人员、参观观众和广大公众中引发的变革影响。当代视觉艺术家策展人Nathalie Anguezomo Mba Bikoro、Yinka Shonibare CBE和Zak Ové的三个艺术政治激进主义案例研究，举例说明了反种族主义和非殖民化激进主义的创造性方法如何补充和加强更传统的博物馆教育计划、政策相关干预，以及艺术和遗产部门内基于抗议的行动。
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Pub Date : 2022-10-02DOI: 10.1080/10598650.2022.2151086
Michelle Moon
When Erica Robenalt, David Farrell-Banks, and Katie Markham – the guest editors of this issue – approached the Journal of Museum Education (JME) with a collection of articles on “Activist Pedagogies,” it promised to be a natural fit. The Museum Education Roundtable (MER) has long published work on the intersections of museum education and social change. In fact, its nearly 50-year publication history is a record of increasing “museum activism,” as the guest editors define it: “the practice undertaken by museums to influence and alter future practice, engaging with social needs.” The founding of MER in 1973 was one reflection of widespread activism then taking root within the growing community of museum educators, as they began to build professional networks, establish principles, and address shared challenges. With each passing decade since, it is easy to discern in the pages of the JME a deepening concern with social conditions and social change. In 1984, Mary Ellen Munley, writing on her participation in the American Association of Museum’s two-year commission study “Museums for a New Century,” noted in these pages that one of the report’s core principles was “the notion of the museum in service to society” as “a guiding force for the near future.” The conclusions of this US-based commission were similar to those reached earlier by ICOM-CECA in its 1977 colloquium “Museums and Social Life,” during which then-secretary Luis Monreal asserted that “museums are institutions that are part of their society and not marginal... the museum must serve society.” Each decade since has brought an increased intensity of focus on inclusion, representation and access in museum education, efforts which our guest editors might term “museum activism.” After the publication of “Excellence and Equity” in 1992, a chorus of voices in this journal and elsewhere argued for the importance, even the requirement, of museum educators’ engagement in issues of civic life and social justice. Growing in strength into the “oughties” and the 2010s, this “turn to activism” brought with it JME issues that focused on topics of justice and social import: “Building Diversity in the Museum” (2009); “Engaging Visitors to Create Positive Futures” (2013); “Shared Authority: The Key to Museum Education as Social Change” (2013); “Identifying and Transforming Racism in Museum Education” (2017); “Museums as Allies: Mobilizing to Address Migration” (2019); “Museums and Public Climate Action” (2020); “Queering the Museum” (2020); and “Disability Justice in Museum Education: Re-Framing Accessibility as Anti-Ableism” (2022), among others. These and other reflections of practice in the JME are one strand of evidence that museum education and activism have been closely aligned for some time. Even so, the guest editors note that museums are a place where “innovation from activists. in particular, has sometimes been suppressed.” Certainly, it doesn’t take too much memorysearching to surface instance
当这期杂志的客座编辑Erica Robenalt, David Farrell-Banks和Katie Markham带着一组关于“激进主义教育学”的文章来到《博物馆教育杂志》(JME)时，它承诺是一个自然的选择。博物馆教育圆桌会议(MER)长期以来一直发表关于博物馆教育与社会变革交叉点的工作。事实上，它近50年的出版历史记录了越来越多的“博物馆行动主义”，正如客座编辑所定义的那样:“博物馆采取的影响和改变未来实践的做法，参与社会需求。”1973年成立的MER反映了广泛的行动主义，当时在不断壮大的博物馆教育工作者群体中扎根，因为他们开始建立专业网络，建立原则，并解决共同的挑战。从那以后的每一个十年，我们都很容易从《经济学人》的文章中看出，人们对社会状况和社会变革的关注在不断加深。1984年，玛丽·艾伦·芒利(Mary Ellen Munley)在参与美国博物馆协会(American Association of Museum)为期两年的委托研究《新世纪的博物馆》(Museums for a New Century)时写道，该报告的核心原则之一是“博物馆为社会服务的概念”，是“不久的将来的指导力量”。这个总部位于美国的委员会的结论与ICOM-CECA早前在1977年的“博物馆与社会生活”研讨会上得出的结论相似，当时的秘书路易斯·蒙雷亚(Luis Monreal)在会上断言:“博物馆是社会的一部分，而不是边缘……博物馆必须为社会服务。”自那以后的每一个十年，人们都越来越关注博物馆教育中的包容性、代表性和可及性，我们的特邀编辑将这些努力称为“博物馆行动主义”。1992年《卓越与公平》发表后，在本刊和其他地方，人们齐声呼吁博物馆教育工作者参与公民生活和社会正义问题的重要性，甚至是必要性。在“20世纪60年代”和2010年代，这种“转向行动主义”的力量不断增强，随之而来的是JME关注正义和社会重要性的议题:“在博物馆中建立多样性”(2009年);“吸引游客创造积极的未来”(2013);“共享权威:作为社会变革的博物馆教育的关键”(2013);“博物馆教育中的种族主义识别与转化”(2017);“博物馆作为盟友:动员起来解决移民问题”(2019);“博物馆与公共气候行动”(2020);“酷儿博物馆”(2020);以及“博物馆教育中的残疾正义:将无障碍重新定义为反残疾主义”(2022年)等。这些和其他关于JME实践的反映是博物馆教育和行动主义在一段时间内紧密结合的证据之一。即便如此，客座编辑指出，博物馆是一个“来自活动人士的创新”的地方。特别是，有时会被压制。”当然，不需要太多的记忆搜索就能发现博物馆机构对行动主义的限制，无论是对特定的教育活动还是对整个机构。这些限制在从“博物馆行动主义”(关注博物馆教育本身的专业和实践)到“行动主义中的博物馆”(其预期结果是在博物馆墙外产生更广泛的社会影响)的工作跨越边界时尤为明显。
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Pub Date : 2022-10-02DOI: 10.1080/10598650.2022.2147355
Michelle McGrath, Mark Taylor
ABSTRACT What is the experience of working-class museum professionals in the UK, and what is the Museum as Muck network doing about it? This is a conversation between Michelle McGrath, founder of Museum as Muck, and Mark Taylor, who researches inequalities across cultural and creative industries in the UK. The interview introduces Museum as Muck, which is a network for working-class museum workers, explaining their activism and work. It also discusses broader themes that explain the relative lack of working-class museum workers, including working for free, nepotism, and how entry-level roles are advertised, and moves on to discuss the mechanisms through which class inequality persists even once working-class people have entered the sector. It concludes with a discussion of how current museum professionals and museum educators can influence practice to make museums a more welcoming and supportive environment for working-class people, both in the UK and internationally.
摘要：英国工薪阶层的博物馆专业人士有什么样的经历？museum as Muck网络对此做了什么？这是Museum as Muck的创始人Michelle McGrath和研究英国文化和创意产业不平等问题的Mark Taylor之间的对话。采访介绍了Museum as Muck，这是一个面向工薪阶层博物馆工作者的网络，解释了他们的行动主义和工作。它还讨论了更广泛的主题，解释了工人阶级博物馆工作人员相对缺乏的原因，包括免费工作、裙带关系以及如何宣传入门级角色，并继续讨论了即使工人阶级进入该行业，阶级不平等仍然存在的机制。文章最后讨论了当前博物馆专业人员和博物馆教育工作者如何影响实践，使博物馆成为英国和国际上更受工人阶级欢迎和支持的环境。
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Pub Date : 2022-10-02DOI: 10.1080/10598650.2022.2147359
Erica Robenalt, David Farrell-Banks, Katie Markham
What constitutes activism? It is a slippery term, containing an inherent subjectivity. In exploring activist pedagogies, as we approach them alongside our fellow authors in this Special Issue, we outline our perspective on activism and its link to museum education and practice. Museums have always been sites of political conflict. However, the recent turn toward activism is a newer aspect of their professional practice. Challenging the myth of neutrality in these spaces, practitioners and staff at all levels, as well as those teaching museums, galleries and heritage studies at the university level, have in recent years, begun to build activist perspectives and practices into their programs in order to advocate for global social justice and change. This Special Issue is designed to capture this shift toward a more activist practice amongst practitioners and academics who engage with museums. Born out of a seminar series, Museums, Galleries and Heritage (Studies) from the Edges, which was organized at Newcastle University (UK) between 2019 and 2020, this Special Issue, like the seminar series, is focused on bringing together voices at the foreground of activist teaching and practice from across the museum sector and higher education. Whilst our own background as editors of this Special Issue is primarily an academic one, our experience of running the seminar series at Newcastle University – in which sessions on class, decolonization, (dis)ability, queerness and race were jointly led by academics and practitioners from the cultural sector in the UK – convinced us of the need to increase the opportunities for dialogue between those academics and practitioners who are in pursuit of activist aims. In many ways, a written journal is not the most natural medium for these dialogues; however, we hope this Special Issue will provide a useful starting point for those looking to insert some of these ideas and conversations into their own practices. The value of academic-practitioner collaborations both to educational and activist work in museums has already been discussed, both within this journal and elsewhere. However, this Special Issue represents the first time that such conversations have been united through the specific consideration of shared activist pedagogies across these sectors. We find it important to think about the range of pedagogies involved when we intertwine discussions between higher education and museum sites. It is helpful to think about the process, as Loutzenheiser describes, of how knowledge is transferred from professors, museum practitioners and possible activists who train incoming
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Pub Date : 2022-10-02DOI: 10.1080/10598650.2022.2091834
Reema Ghazi
ABSTRACT Historically museums have provided select introductory orienting materials in languages other than English to support a tourist base. Increasingly, museums are looking to increase their interpretive materials in other languages to provide linguistic diversity, and the institutional motivations for doing so are expanding beyond the needs of tourists. This article will review new trends and research on current translation practices across a broad range of U.S. museums and provide considerations for how the staffing and assessment of translation work in a museum setting may work, taking into account the trade-off between lack of resources and burden on multilingual staff. To inform possibilities for museums, this piece looks at protocols from other public-facing organizations that have a standing history of facilitating linguistic access.
{"title":"Translation Practices in Museums: What the Research Says","authors":"Reema Ghazi","doi":"10.1080/10598650.2022.2091834","DOIUrl":"https://doi.org/10.1080/10598650.2022.2091834","url":null,"abstract":"ABSTRACT Historically museums have provided select introductory orienting materials in languages other than English to support a tourist base. Increasingly, museums are looking to increase their interpretive materials in other languages to provide linguistic diversity, and the institutional motivations for doing so are expanding beyond the needs of tourists. This article will review new trends and research on current translation practices across a broad range of U.S. museums and provide considerations for how the staffing and assessment of translation work in a museum setting may work, taking into account the trade-off between lack of resources and burden on multilingual staff. To inform possibilities for museums, this piece looks at protocols from other public-facing organizations that have a standing history of facilitating linguistic access.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"501 - 509"},"PeriodicalIF":0.6,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43940362","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 : 2022-10-02DOI: 10.1080/10598650.2022.2147357
J. Boys, Zoe Partington
ABSTRACT The DisOrdinary Architecture Project was co-founded in 2008 by Zoe Partington, a partially blind artist who has a chronic condition, and Jos Boys, to promote activity that develops and captures models of new practice for the built environment, led by the creativity and experiences of disabled and Deaf artists. Since then, through this platform, diverse disabled artists have been working with students, educators, museums, galleries, architectural professionals and other cultural practitioners to co-explore innovative and creative ways to think about improving access, equality and inclusion. In this article, framed as a conversation between the DisOrdinary’s two founders and co-directors, we link disability arts and activism to wider artistic and campaigning practices for inclusion. We explore what alternative kinds of museum and gallery spaces we need, and also their underpinning archival, curatorial and educational practices. How can we unlock the potential for change by ensuring excluded people are at the heart of decision-making? What are the barriers? What kinds of critical and provocative creativity can unlock disabled people’s stories and artifacts, as a vital part of our heritage and learning?
{"title":"Abandoned in the Archives? Collaborating with Disabled People Towards More Inclusive Spaces","authors":"J. Boys, Zoe Partington","doi":"10.1080/10598650.2022.2147357","DOIUrl":"https://doi.org/10.1080/10598650.2022.2147357","url":null,"abstract":"ABSTRACT The DisOrdinary Architecture Project was co-founded in 2008 by Zoe Partington, a partially blind artist who has a chronic condition, and Jos Boys, to promote activity that develops and captures models of new practice for the built environment, led by the creativity and experiences of disabled and Deaf artists. Since then, through this platform, diverse disabled artists have been working with students, educators, museums, galleries, architectural professionals and other cultural practitioners to co-explore innovative and creative ways to think about improving access, equality and inclusion. In this article, framed as a conversation between the DisOrdinary’s two founders and co-directors, we link disability arts and activism to wider artistic and campaigning practices for inclusion. We explore what alternative kinds of museum and gallery spaces we need, and also their underpinning archival, curatorial and educational practices. How can we unlock the potential for change by ensuring excluded people are at the heart of decision-making? What are the barriers? What kinds of critical and provocative creativity can unlock disabled people’s stories and artifacts, as a vital part of our heritage and learning?","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"442 - 458"},"PeriodicalIF":0.6,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44487096","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 : 2022-10-02DOI: 10.1080/10598650.2022.2087162
J. Trucks, S. Schmoll, K. Hinko, Gloria I. Lopez
ABSTRACT During the COVID-19 pandemic, informal learning environments (ILEs) were forced to move programming online for the safety of staff and visitors. The Big Astronomy Project responded to the pandemic by releasing a planetarium show as a virtual YouTube 360 stream. This project was also utilized in the late stages of the pandemic in-person at planetarium theaters, offering an opportunity for comparison between two modalities of showing a planetarium program. In general, ILEs often have a clear ambition to spark interest and support existing interest in order to support continued engagement after a visit. We use the four-phase interest model to characterize and compare audience’s prior interest levels between a virtual and in-person environment. We used focus groups and interviews with audience members consisting of 46 individuals across the 2 modalities. We found that the individuals who watched the show virtually tended toward later phases of interest compared to those who watched the show in-person. We also explore how different audiences rated their level of interest. Based on these results we suggest that the virtual and in-person activities may need to be targeted to different audience interest levels.
{"title":"How Interested Are Planetarium Visitors in Astronomy? Comparing Online and In-person Audiences","authors":"J. Trucks, S. Schmoll, K. Hinko, Gloria I. Lopez","doi":"10.1080/10598650.2022.2087162","DOIUrl":"https://doi.org/10.1080/10598650.2022.2087162","url":null,"abstract":"ABSTRACT During the COVID-19 pandemic, informal learning environments (ILEs) were forced to move programming online for the safety of staff and visitors. The Big Astronomy Project responded to the pandemic by releasing a planetarium show as a virtual YouTube 360 stream. This project was also utilized in the late stages of the pandemic in-person at planetarium theaters, offering an opportunity for comparison between two modalities of showing a planetarium program. In general, ILEs often have a clear ambition to spark interest and support existing interest in order to support continued engagement after a visit. We use the four-phase interest model to characterize and compare audience’s prior interest levels between a virtual and in-person environment. We used focus groups and interviews with audience members consisting of 46 individuals across the 2 modalities. We found that the individuals who watched the show virtually tended toward later phases of interest compared to those who watched the show in-person. We also explore how different audiences rated their level of interest. Based on these results we suggest that the virtual and in-person activities may need to be targeted to different audience interest levels.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"510 - 520"},"PeriodicalIF":0.6,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43927772","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 : 2022-10-02DOI: 10.1080/10598650.2022.2135356
Alvin Logan, Margaret M. Saunders
ABSTRACT Caring for many objects is one of the more challenging aspects of the museum profession. In museums that collect cultural belongings, utilizing best care practices ensures that objects of cultural heritage can be studied and appreciated by the peoples whose cultures they represent. Thus, providing collections care is necessary to support learning and to further the efforts of decolonization. However, in many museum education departments, a specialized collections management role does not exist to care for teaching collections. This case study examines why it is essential for education departments to have a dedicated collections manager, particularly in the era of museum decolonization. The case study details how the Burke Museum of Natural History and Culture in Seattle, Washington, applied decolonial efforts to collection management as our team preserves a cultural belonging from the Lummi Nation in our teaching collection.
{"title":"The Ethics of Care: The Importance of Having an Education Collections Manager in the Era of Museum Decolonization","authors":"Alvin Logan, Margaret M. Saunders","doi":"10.1080/10598650.2022.2135356","DOIUrl":"https://doi.org/10.1080/10598650.2022.2135356","url":null,"abstract":"ABSTRACT Caring for many objects is one of the more challenging aspects of the museum profession. In museums that collect cultural belongings, utilizing best care practices ensures that objects of cultural heritage can be studied and appreciated by the peoples whose cultures they represent. Thus, providing collections care is necessary to support learning and to further the efforts of decolonization. However, in many museum education departments, a specialized collections management role does not exist to care for teaching collections. This case study examines why it is essential for education departments to have a dedicated collections manager, particularly in the era of museum decolonization. The case study details how the Burke Museum of Natural History and Culture in Seattle, Washington, applied decolonial efforts to collection management as our team preserves a cultural belonging from the Lummi Nation in our teaching collection.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"476 - 485"},"PeriodicalIF":0.6,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46021224","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: 10.1080/10598650.2022.2097990
Max Cawley, Tasha Melvin, Jenna Gant, Stepheny Hine, Ashley Robbins, Peregrine Bratschi, Imani Vincent
ABSTRACT Homeless families are a vulnerable population not often engaged with directly by science centers. In 2019, the Museum of Life and Science formalized and strengthened a partnership with Families Moving Forward, the largest temporary homeless shelter serving families in Durham County, North Carolina. This partnership aimed to engage families in a co-creation process of understanding needs, co-developing projects, and delivering based on mutual interests between stakeholders. Along the way, lessons learned included designing equitable active listening opportunities, honest and transparent assessments of needs and assets, learning how to meet a new audience where they were, and learning how to be inclusive and accessible to an audience who is rarely designed with or for in museum settings.
{"title":"Science Together: Co-Creating Meaningful Informal Science Education Experiences Between a Science Center and a Temporary Homeless Shelter – A Case Study","authors":"Max Cawley, Tasha Melvin, Jenna Gant, Stepheny Hine, Ashley Robbins, Peregrine Bratschi, Imani Vincent","doi":"10.1080/10598650.2022.2097990","DOIUrl":"https://doi.org/10.1080/10598650.2022.2097990","url":null,"abstract":"ABSTRACT Homeless families are a vulnerable population not often engaged with directly by science centers. In 2019, the Museum of Life and Science formalized and strengthened a partnership with Families Moving Forward, the largest temporary homeless shelter serving families in Durham County, North Carolina. This partnership aimed to engage families in a co-creation process of understanding needs, co-developing projects, and delivering based on mutual interests between stakeholders. Along the way, lessons learned included designing equitable active listening opportunities, honest and transparent assessments of needs and assets, learning how to meet a new audience where they were, and learning how to be inclusive and accessible to an audience who is rarely designed with or for in museum settings.","PeriodicalId":44182,"journal":{"name":"Journal of Museum Education","volume":"47 1","pages":"301 - 309"},"PeriodicalIF":0.6,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47373539","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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