Should you get a Ph.D to work in a history museum? – Part 1 | On public humanities. Should you get an MA or Ph.D to work in a history museum? I talk to many students interested in museum work. They ask about what training they should get for this. My story is pretty straight now. For better or worse, an MA seems to be necessary to get ahead in the museum world.
But some of the students ask about a Ph.D. My instinct is that the answer to all of these questions is no. There are three parts to this essay. Part 1. First, some research. Most curators, and almost all educators, do not have Ph.Ds. There are some interesting numbers in the new AAM 2012 National Comparative Museum Salary Survey. Overall, 1.7 percent of the museum workforce has a doctorate, 9.3 percent a masters degree. 15 percent of directors had PhDs, 20 percent of chief curators, 24 percent of senior curators, and 16 percent of assistant curators. Assuming that “assistant curator” or “educator” are the jobs mostly likely open to recent graduates, the Ph.D. is not a necessary degree. Like this: Like Loading... National Report 2014 | Heritage Counts. This year’s edition of 'Heritage Counts’ provides an overview of research on the value and impact of heritage.
By bringing together evidence, historic environment professionals and those with an interest in heritage can better understand and demonstrate the value of the historic environment and its impact on factors including growth, the economy, our wellbeing and sense of place. 'Heritage Counts’ 2014 explores the value of heritage by looking at three key areas: Levels of heritage participation and perceptions of heritage among members of the public. Different types of heritage impact: Individual, Community and Economic The ways in which economists have tried to quantify the overall value that people place on heritage Heritage Counts 2014 - England (915.65 KB) Heritage Counts 2014 - Summary (135.33 KB) It introduces several new pieces of research, including: The full reports for the research above can be downloaded separately from the Value and Impact of Heritage page.
Kansas City museum considering cultural district. Matching Museums to a New Reality | Museum in a Bottle. My journey hasn’t included obvious destinations in a museum pilgrimage. Typical choices might have been New York, London, more of Europe. Instead of traveling to major museum centers, I’ve gone off the grid for short periods. Onto oceans, into deserts, up mountains. I went into the Sahara in Morocco around the time of the US government shutdown, when many American museums also went off the grid. John Falk describes how visitors don’t learn new information when visiting museums, but rather tune into information which confirms previously held understandings (Identity and the Museum Visitor Experience, 2009).
These ideas persisted for me when I crossed paths with Imazighen (Berber) nomads who make their way between the Atlas mountains and the Sahara depending on the season. All culture may be connected but I also know that who I am, my identity and worth, is challenged, conflicted or contradicted by a multitude of different cultures, politics and ways of living. Tamegroute Kasbah Like this: Museum Jobs That Didn't Exist in 2003. (& what that says about the evolution of our field.) A couple weeks ago, I read a post on Coexist called “Eight New Jobs People will have in 2025,” projecting openings for Digital Death Managers, Un-Schooling Counselors, Digital Detox Specialists and Microbial Balancers. While slightly tongue in cheek, this article is built on solid trends analysis, and reflects many of the forces of change we have been tracking in CFM’s TrendsWatch report.
It takes a great approach to forecasting—making potential futures specific and personal by thinking about how they will change our day-to-day lives (not to mention job prospects). The article prompted me to look in the other direction—backwards—to chart the emergence of museum positions that didn't exist a decade ago. Some of these may just be catchy new labels for traditional functions (is Jeff Byers, “Storyteller” at the Asian Art Museum in San Francisco, simply an interpreter in 21st century guise?) Of course, museums don’t enjoy unlimited growth. Museum Jobs That Didn't Exist in 2003. Museums Change Lives. Forming an Open Authority in Cultural Heritage. The following post is by Lori Byrd Phillips, who served as the 2012 US Cultural Partnerships Coordinator for the Wikimedia Foundation and is now Digital Content Coordinator at The Children’s Museum of Indianapolis.
Her research on Open Authority was recently published in Curator: The Museum Journal. You can learn more in this video from Ignite MCN and on her blog, “Defining Open Authority.” No one knows everything, everyone knows something, all knowledge resides in humanity. —Pierre Lévy Lori presenting at the MCN ignite sessions – Michael P. This often quoted idea of collective intelligence holds true now even more than when it was first written 20 years ago, due much to the interconnected, social, and open digital worlds in which we live. It’s no wonder that curators see themselves as the last bastions of legitimacy in this digital age. So what really is open authority? So the next time the question of open access comes up, be sure to soothe the fears of those around you. 21st Century Museum Issues Lecture Series: Reinventing the Museum.
Games for Change | Games for Change is the leading global advocate for supporting and making games for social impact. Are museums a man or woman's world? | Culture professionals network | Guardian Professional. Women are still working in a man's world. This was the conclusion I reached at the Inclusive Museum, a global conference that annually brings together hundreds of passionate museum professionals committed to opening up their institutions.
A core part of this year's programme focused on the topic of gender mainstreaming, defined by the Council of Europe as "the (re)organisation, improvement, development and evaluation of policy processes, so that a gender equality perspective is incorporated in all policies at all levels and at all stages". Gender mainstreaming emerged as a strategy towards global equity by 1995, after it was addressed at the UN's fourth world conference of the Beijing Platform for Action.
Evidence of gender equality schemes can be found online for most national museums. How women are represented in museum displays lies at the heart of the issue. What strategies can museums adopt to achieve this vision? • How do we monitor and evaluate gender representation? CultureBlock can help businesses find creative neighborhoods - Philadelphia Business Journal. A new cultural mapping tool that we wrote about last week has officially launched. CultureBlocks is free and helps organizations and citizens alike find creative neighborhoods in Philadelphia.
Businesses can use it to figure out where to locate. The program was launched Tuesday by Mayor Michael Nutter. “CultureBlocks symbolizes the extraordinary role the creative community has played in our city’s economic recovery and neighborhood development,” Nutter said. “This web-based tool is the first of its kind in the nation, and it is a testament to the creative sector in our city that Philadelphia is the first to undertake a project like this. As a test run, I tried out CultureBlocks to find data on the Old City neighborhood where the Philadelphia Business Journal is based. The same search found 65 “cultural businesses,” which included a dance academy, printers, galleries, an ad agency, as well as Fox29 and KYW Newsradio. Peter Van Allen covers hospitality, marketing and retail. Lisa Mazzola. Museums and Motivation: Intrinsic Motivations. “The desire to learn for its own sake appears to be a natural motive built into the central nervous system.” —Mihaly Csikszentmihalyi & Kim Hemanson How can game play dynamics be used by museums to engage visitors more effectively?
In Museums and Motivation Part 1, I asked how museums can use extrinsic motivation to pull in and engage visitors, and how some of these motivations are used effectively in games and less so in museums. Here, I will look at intrinsic motivation. Intrinsic Motivation What is intrinsic motivation? How does this translate into an experience at a museum, zoo, or historical society?
Competence or Mastery Intrinsic motivation is fed by conditions that ensure calibrated competence. This is something museums seem rarely able to do. This may not be practical or feasible for most museums, but I think museums could do a better job if they really thought about it. The executional details of this are probably far-reaching and complex, but if a museum were set up like Plants vs. Www.aam-us.org/docs/research/acme-2013-final.pdf?utm_source=MagnetMail&utm_medium=email&utm_term=rcnnolly&utm_content=Weekly%3A 04/23/13&utm_campaign=Weekly%3A April 23. What the public thinks. We commissioned BritainThinks to research public attitudes to the future of museums and their impact. A report into the research is now available to download here (pdf). The research examines what people perceive as the main purposes of museums and their role in society. This will help us develop the Museums 2020 vision. BritainThinks has produced a toolkit to stimulate discussion about the research (pptx).
Conclusions The most immediate finding from the research was the strong, resilient positivity felt toward museums and the passion which some of the discussions elicited. Interestingly, this was displayed by visitors and non-visitors alike, suggesting that museums are perceived to have a societal role that is broader than just satisfying individual visitors. Against this backdrop, there is a clear impression of what purposes museums currently have and this strongly informs attitudes to those that they should have in the future.
There is not, however, an aversion to any form of evolution. Process stories. In politics, the idea of a process story – the inside story about how policy is made – doesn’t always sit well. It’s “too inside baseball.” The focus on what is happening behind the scenes, on the machinations that impact policy outcomes is often perceived to be a distraction from the political outcomes themselves. But I’m a sucker for stories that unpack how something happens rather than simply focussing on the end result or product. I like knowing why particular choices were made and by whom; it helps me understand the flows of power and influence that shape the world. This emphasis on process instead of only the final product is an idea that I can see in a few different places in our sector too, and I’m really excited by it.
I love this. Social media and digital publishing platforms open up a lot of potential for institutions that want to create compelling content and stories about their exhibitions that aren’t so strictly bounded by the dates and spaces of the gallery. Wild, right? The Mindful Museum: Challenges and opportunities in the 21st Century. Museum 3 - what will the museum of the future be like? Museums, Cubed. Last month, Nate Rudy shared his hope that museums would pop up more often in storefronts to help revitalize small towns. This week, guest blogger Leslie Davol, pushes us to go even further, based on her experience creating distributed cultural experiences via the Street Lab and Uni Projects. The future of museums can include public space, even outdoor public space. A commitment to bring museum programs to plazas, parks, town squares, and even farmers markets and malls—the places where we already gather—will benefit our culture, our cities, and museums themselves.
And it will signal what we, as a society, value. What we put in public space, be it a monument, a sculpture, or an activity, says the world about our priorities. All too often we end up erecting billboards. I worked in museums in New York City for many years before moving to Boston in 2006 and working with my husband to start a nonprofit called Street Lab. What Uni offers the public is not particularly new. What employers seek in public history graduates (Part 3): Skill sets beyond collections management | History@Work.
This is the third post in a series to discuss the genesis of the idea for the “What Employers Seek in Public History Graduates” session at the 2013 National Council on Public History meeting in Ottawa. Session panelists will continue to share their thoughts on the topic in entries in the coming weeks. Before the rapid proliferation of museum studies and public history programs began in the 1960s and 1970s, almost all museum professionals held degrees in traditional academic disciplines related to the content areas of their museums. People who worked in historic sites and history museums usually had degrees in history. Typically, museum-specific skills and knowledge in areas such as collections care, exhibit development, and interpretation were learned “on-the-job.”
In today’s economic climate, fewer museums and heritage sites can afford to hire entry-level professionals who must be trained on-the-job to do the work of public history. Where Should Museums Look for the Workforce of the Future? That leaves me wondering, who would museums hire if they looked beyond the traditional pipeline? Especially as there is such widespread dissatisfaction with the traditional pipeline (e.g., museum studies programs, arts administration). Some signals of how this model of training and hiring is creaking at the seams include: I’m not convinced the solution to these challenges lies in recruiting different people to museum studies programs and tweaking the syllabus.
I suspect it lies in a completely different pattern of recruitment. I’m not talking about a return to the fad that (I hope) peaked in the ‘90s—that of hiring people from the business world as museum directors on the premise that for-profit managers would do a better job managing non-profits that people who trained up in the system. I’m talking about hiring for entry and mid-level positions, drawing people from diverse backgrounds, experience and skills, and giving them the museum-specific training they need once they are on the job. Evidence that the staycation trend is both real & long-term - Leisure e-Newsletter.
Evidence that the staycation trend is both real & long-term We recently dug into unpublished data from the U.S. Consumer Expenditure Survey to determine how real the staycation trend is in respect to spending at location-based entertainment venues during trips and whether it is only recession-based or perhaps a much longer term trend. For our analysis, a trip is defined as further than 50 miles from home or on an overnight trip, which includes vacations. The Consumer Expenditure Survey collects information on the spending habits of American consumers, including data on their expenditures, income, the number of households making particular expenditures and other household characteristics, using both a Quarterly Interview Survey and the Diary Survey of approximately 7,000 households each year. The survey is conducted by the U.S. Census Bureau division of the U.S.
Since 1996, average household CBE spending has only varied slightly. A recent analysis by the U.S. Sca.jiscinvolve.org/wp/files/2013/01/Sustaining-our-digital-future-FINAL-31.pdf. Museums and open educatione-Literate. As we rethink the factory-style model of education in our schools (students learning in a group at a standardized pace) empowered by the powerful technologies now at our disposal, we will naturally also think of ways to better support the educational missions of museums. Some recent discussions The thoughts below were inspired by a number of recent blog posts: Nina Simon’s Khan Academy and Online Free Choice LearningGretchen Jennings’s Museum Educators – What’s Next and a second post on the topicErin Branham’s First Steps to Embracing Digital Literacy for Musem Educators Each of these raises important questions about the role of museums and museum education given the enormous changes taking place in both K-12 and higher education.
Some of this discussion was prompted by the fall 2012 issue of Museum Education on the theme of Museum Education in Times of Radical Social Change (sadly locked away behind a pay-wall). 4) Experiment with new tools for collaboration and publishing. MuseMediapedia / Johns Hopkin's MuseMediapedia. Pop-Up Museums...On Main Street. 3. The future of museums is about attitude (not technology) - Keynote by Jasper Visser, 2012. Newly Formed Benefit LLC to Support Permanent Home for National LGBT Museum in Washington, D.C. Archaeology and Open Authority « Archaeology, Museums & Outreach.
Ben Kacyra: Ancient wonders captured in 3D. Letting Go? Sharing Historical Authority in a User-Generated World : The Pew Center for Arts & Heritage. Graham Beal | Where There's a Mill, There's a Way | Cultural Conversation by Judith H. Dobrzynski. Museums and the challenges of the 21st century: paper by Dr. Klaus Müller « Future of Museums. Mobile museums (on a truck): History and science delivered. Www.valcasey.com/ichim/assets/casey_ichim.pdf. Technology in museums turns visitors into curators and creators. Thousands show up at the Grand Rapids Art Museum to see ArtPrize 2012 winner 'Elephants'
The Museum of the Future. Will US museums succeed in reinventing themselves? Diversify or Die: Why the Art World Needs to Keep Up With Our Changing Society. Museums of the future: providing the personal, collaborating with the crowd | Culture professionals network | Guardian Professional. Intercultural Dialogue and Social Cohesion in Museums - MeLa Research Project. Local Holocaust Museums Grow Amid Worries About Future. Towards a New Mainstream.