House museums are complex organizations but one of the most effective tools for navigating this complexity is the humble mission statement. In this 30-minute webinar, Erin Carlson Mast, president and CEO of President Lincoln’s Cottage in Washington, DC, discusses how she’s leveraged the values embedded in their mission statement to transform their community programs and daily operations to affect the lives of their visitors. She’ll be interviewed by Max A. van Balgooy (me!), co-editor of the recently published Reimagining Historic House Museumsand president of Engaging Places.
The webinar is today (Thursday,April 23, 2020) at 3:00 – 3:30 pm Eastern (that’s 12 noon Pacific) and registration is free to AASLH Members and $30 Nonmembers. This webinar will be recorded and will be available in the AASLH Resource Center after the event has passed. Registrants of this event receive complimentary access to the recording in their Dashboard.
This webinar is part of the Historic House Call webinar series. Organized by the committee of the AASLH Historic House Affinity Community, Historic House Call webinars provide staff and volunteers working in historic house museums the chance to hear from a leading expert on a topic related to historic sites and ask questions about that topic. Historic House Calls are presented quarterly at no charge for AASLH members.
In the week since I last reported on the impact of COVID-19 on house museums and historic sites, things have changed significantly. A sampling of websites around the country shows that most have closed through the end of March and many have canceled events through April. Last Friday, the home pages of The Alamo, Minnesota Historical Society, and Colonial Williamsburg made no mention of the virus, but within days they did. CW made a special effort to contact me to clarify that they had posted a message on its website on Tuesday, March 10 that it was “temporarily suspending ‘hands-on’ aspects of Historic Area and Art Museums programming to limit frequent contact with common objects and surfaces by employees, volunteers and guests. Colonial Williamsburg is otherwise observing normal operations and hours”, however, this was not present on its home page, where most visitors first search for information. One of the lessons we’re learning from this situation is how, when, and where we communicate vital information to our visitors and that we may need to update our emergency response procedures. Keep notes for your debriefings later on!
We can also anticipate this will have significant financial consequences, especially for those who rely heavily on tourism or revenue from admissions. At this point, I haven’t heard of any major decisions in response to this particular situation (such as layoffs), but historic sites are long experienced with hurricanes, snowstorms, hot and humid days, tree falls, and road closures that can suddenly cause attendance to plunge or prevent access to the site. We’re a resilient bunch. On the top of our minds is the unanswerable question is how long will the restrictions last? And how long will it take to resume normal operations after restrictions have lifted? Colleen Dilenschneider provides some advice to the latter question in “Why Marketing Matters During COVID-19 Closures.”
But perhaps there’s an even bigger question that we should be considering: how can house museums and historic sites contribute to our communities in this type of situation? Are we helpless or helpful? Are we vital or trivial? Certainly we need to place the health and safety of our staff (both paid and volunteer) and visitors above our buildings and collections, but then what’s next? Now that the initial response to the virus is waning, I’m seeing some movement in this regard:
Students in “Museums and Community Engagement” develop engagement plans through a wide variety of tools and techniques, including crowdsourcing research on target audiences.
This semester my course on museums and community engagement at George Washington University prepared an annotated bibliography of research published in the last decade on audiences that are a common focus for museums in the United States: students in grades 3-5, families with children under 12 years, and adults over 50 years. Because most museums don’t have access to academic research libraries, the class has agreed to share their bibliography with the field (link to pdf below). While the thirty-six articles provide a useful picture of the research for these audiences, please recognize it is not complete nor comprehensive—with twelve students in the course in a fast-moving semester, this is just to get them started on a community engagement plan for the Alexander Ramsey House, Joel Lane House Museum, and Van Cortland House.
A year ago, James Madison’s Montpelier invited me to the National Summit on Teaching Slavery to create a “methodology for how public historians work with descendants” (program, 6 Mb pdf). Over a long weekend, fifty people from across the country with a wide range of experiences and perspectives worked in small groups to define and prioritize standards and best practices for interpretation, research, and involving the descendant community. It builds upon Montpelier’s award-winning exhibition, A Mere Distinction of Colour, to help “Americans of all types truly understand the ongoing struggle for freedom, rights, and equality in our nation.” The National Council on Public History recently posted a nice series of discussions on the exhibition with students in the Cooperstown Graduate Program.
One of the major challenges was determining what is distinctive about teaching slavery from interpreting other topics, such as women or Asians. At first, the discussions identified practices that had already been figured out years ago by the American Historical Association and the National Association for Interpretation, but that was to be expected because many participants had little experience in scholarship or interpretation–what bound us together was improving and enhancing the interpretation of slavery at museums and historic sites. Although the rehash of these professional practices was frustrating and I wondered why we were going over old ground, it eventually dawned on me that Continue reading →
George McDaniel (center) with the HLI Associates 2018.
This blog has laid fallow for many weeks because I’ve been pulled away by the History Leadership Institute’s seminar in November and my museum management courses at George Washington University (plus jury duty!). That doesn’t mean I haven’t been collecting ideas and resources to share and with winter break upon me, I’ll be posting regularly again.
Today, I’m sharing one of the products created at the History Leadership Institute (HLI). The program not only aims to provide a benefit to the people and organizations that participate but also to the field as a whole. An example is the session on responding to public tragedies.
History organizations are showing a rising interest in playing a more active role in their communities, but when a public tragedy strikes, how should we respond? Public tragedies can take a variety of forms and are unpredictable, as seen in 9/11, Parkland, Columbine, Hurricane Katrina, and California’s Camp Fire.
Exhibition hall at IGU/NCGE/CGA meeting in Quebec, August 2018.
I’ve just returned from Quebec where I attended an international geography conference that was a combination of the annual meeting of the Canadian Association of Geographers (CAG), the annual conference of the National Council for Geographic Education (NCGE), and the regional conference for the International Geography Union (IGU). Despite the combination of organizations, I’d guess it would be comparable to a regional museum association meeting of about 500 people with the usual sessions, plenary speakers, and exhibition hall.
The big difference from museum and history conferences is that the geography associations seem to accept all presentation proposals. Each presentation is assigned a 15-minute slot in a 60 to 90-minute session according to their committees or study groups (e.g., health care, tourism, indigenous peoples, islands). Presenters in the same session usually have not met each other and there’s no moderator, so it’s just one presentation after another with no introductions or transitions. The result is that a session can be a mixed bag, so a session on “teaching geographic content” included Continue reading →
This fall I’ll be teaching a project management class in the Museum Studies Program at George Washington University (GW) and the final project will be writing a grant application to the Institute of Museum and Library Services (IMLS). The final project gives graduate students a real-life experience and provides museums with a foundation for an Institute of Museum and Library Services (IMLS) grant application.
If you’ve been thinking about applying for IMLS grant to improve the care of your collections, better engage your community, or improve learning through your museum but have been too busy or unsure where to begin, GW graduate students may be able to help. It’s part of our effort to serve the museum field, especially smaller institutions that are often juggling too many responsibilities without sufficient resources.
IMLS’ Museums for America (MFA) is one of the best federal grant programs available because it supports “projects that strengthen the ability of an individual museum to serve its public.” That’s pretty flexible but projects do need to focus on one of three areas: Continue reading →
Museum studies students learning QGIS in GW’s Museums and Community Engagement course.
Closing out my first semester as a professor in the Museum Studies Program at George Washington University was inspirational. Graduation was perhaps the culmination of the students’ achievements, but it was also seen in their final products in the three courses I taught. I always aim to give them a major project that provides a real-world experience, such as completing an Organizational Assessment report from AAM’s Museum Assessment Program (MAP). In the “Museums and Community Engagement” class, the final assignment is a community engagement plan but it was done in partnership with several local museums, creating a mutually-beneficial relationship.
San Diego’s Comic-Con, the international conference “dedicated to creating awareness of, and appreciation for, comics and related popular artforms,” has morphed into one of the biggest events in the nation with attendance topping 130,000 people. It’s also spawned local versions around the country, including Indianapolis at the end of this month.
The Indiana Historical Society has cleverly combined its mission to connect “people to the past by collecting, preserving and sharing the state’s history” with the interests of the Comic Con audience by creating “Comic CONservation.” Participants will “learn how professionals use science and technology to restore and care for comic books” plus they get to play vintage arcade games and see original Ray Bradbury cover art from the nearby Center for Ray Bradbury Studies at IUPUI. Wow! IHS collections consists primarily of documents and photographs, plus they have a team of conservators working in a state-of-the-art paper conservation lab (The forceps are strong with this one), so they are drawing on their strengths to reach a new audience. Can’t wait to hear how this turns out (especially if people can dress as their favorite comic book character!).
Do you have a clever idea for using conservation or preservation to reach a new audience? Please share it in the comments below.
The Metropolitan Museum of Art recently shared the results of its research on the users of its online collections, which approach about 600,000 visitors per month. Digital analyst Elena Villaespesa collected information on motivations and knowledge through Google Analytics, heat maps, and an online survey to develop six core user segments: professional researchers, student researchers, personal-interest information seekers, inspiration seekers, casual browsers, and visit planners. This typology will help the museum “plan new content and prioritize production of new features for the online collection” and is a finer version of the “stroller/streaker/scholar” categories that are often used by museum educators.
Using visitor research to plan and design the online collection is good application, but the article also points out several other ideas that will be useful to history museums and historic sites: Continue reading →