I’m blogging from the Co-Curation and the Public History of Science & Technology conference at the Science Museum (picture is of an exhibit)
Saturday’s programme started with a “provocation” (or keynote talk) entitled “New Ways to engage people” from Andrew Pekarik of the Smithsonian’s Office of Policy and Analysis.
Pekarik is an exceedingly smooth speaker. He rolled off lines about the need to not only “see difference” in audiences but also “be that difference”: to embody such difference within the curatiorial team. To “See it, be it, and then use it too”. To use this difference in content, but also use it in determining display. Moreover, they need to follow this all up by testing the difference. That such testing should be about checking a team’s work, but also a way to identify new differences. As Pekarik concluded, this should become a continual cycle; one that is more important than any step individually.
All lovely sounding stuff, but what do we mean by “difference” here? What of the many possible differences are they looking for?
Answer: between “people people”, “object people” and those who are more “ideas people”. Pekarik noted most curators aren’t really “people people”, they are drawn to the job precisely because they like books and objects, and talked enthusiastically about a process of bringing in “people people” from other areas of the museum. For me, such a categorisation of “people, object or ideas” “people” didn’t ring true. Moreover, it seemed like a distraction from more important differences (class, ethnicity, gender, age).
A couple of senior Science Museum staff picked up on this in questions. One suggested that these three categories are just a 1st step which ends with 2.7 million forms of difference (i.e. as in 2.7 unique visitors). Another flagged up the difference between those who like hands-on experiences at museum. She also raised concern over Pekarik’s starting point of asking people about their most meaningful museum experience. What about people who never have museum experiences? How do you capture those who don’t already like you?
We didn’t have time for my question, but I wanted to ask whether he was still worried about class, race, age, gender, etc. Would he, for example, think about putting children in a curatorial board? I don’t necessarily mean to argue that we should categorise difference in such a way. Indeed, we might argue that limiting ourselves through these sorts of (equally reductive?) audience categories. Maybe another way of conceiving of diversity of audience is useful. It’s also worth underlining points several people made on twitter: however we choose to think about difference, identity (a) is always fluid and multiplicitous and (b) can be changed by the experience of visiting a museum (indeed, people might go to museums to be changed).
I’m sure that interesting work has come out of Pekarik’s sense of difference, and I love his point about the need to consider this as an ongoing process. Still, I worried that it’s a bit too abstract, a bit too devoid of social context (though maybe he’d say I’m just being too much of a “people person”…). Personally, I felt more comfortable with the notion of “community curation” discussed later by Karen Fort from the National Museum of the American Indian. I suspect this sort of approach captures the social and cultural diversity museums I’m worrying about and, in the process, will probably end up covering the differences Pekarik was playing with too. Similarly, we heard about some very open and exploratory ways of involving audiences today – Denver Community Museum, Wellcome’s Things and London ReCut – I suspect there are all sorts of “differences” captured by these too. Also relevant, I think, was Nina Simon’s challenge to think about how a busy museum could, in a web2.0 sense, help make a museum better (not just break exhibits). Projects like these seemed like genuine attempts to involve more viewpoints than just those already held by a museum. In contrast, Pekarik seemed to be working from a point of view where the museum retained the power to frame and articulate its audiences.
Maybe he’s right to though. Maybe we want museums to talk to their idea of us rather than integrate audiences in the very fabric of their production. Maybe I’m just stuck in the 1980s with a focus on Big Social Issues like class. Or, maybe when it comes to communication projects, we need to think about what we have in common rather than what sets us apart; areas of similarity, not difference. (Maybe that’s just another distraction).
ADDED 25/10. At the end of the final day, Elizabeth Anionwu from the Dana Centre’s African-Caribbean Focus Group argued she shouldn’t have to be there: the museum shouldn’t have to go to a special focus group for that sort of perspective, it should it be part of conversations happening already. It should be woven into the infrastructure of the museum.
I couldn’t agree more. I heard the line “but the Science Museum is this great big oil tanker of an institution, it takes ages to change” three times over the course of the weekend. I also heard complaints that I heard 10 years ago when I first started working there. And complaints about problems from the 80s I only learnt about in my history of science degree. It’s time to decommission that bloody oil tanker. The museum is, at least in part, its staff. The crowdsourced grass-roots innovative bottom-up change people were banging on about at the conference applies within the institution too. Don’t like it? Do something.