Intern Weekly Response: Exhibit Reviews

Posted on July 12th, 2018 by

Every week we’re asking our summer interns to share some thoughts and responses to various experiences and readings. This week we asked them to visit a different museum on their own and review an exhibit. To read more posts from JMM interns, past and present, click here.


The Chesapeake Heritage Center

~Intern Marisa Shultz

If you’ve ever driven on the Chesapeake Bay Bridge and finally (after the toll plaza and traffic) landed on the other side, you’ve been on Kent Island, Maryland’s first English settlement and a seafood lover’s paradise. I’ve lived on Kent Island just about three years now and have always been a great deal curious as to it’s colonial, antebellum, and modern history, so I took a trip over to the Chesapeake Heritage Center to check out its fantastic view and learn a little more about the place I’ve been calling home.

What a gorgeous view!

The historical exhibition itself, while logically grouped into general categories, is a bit of a cabinet of curiosities. Rather than have one central theme or a rotating exhibit, the Heritage Center, likely due to its limited room, tries to tackle multiple topics in one general space; the topics range from the ecology of the bay, the pivotal role of the bay in the War of 1812, local microhistories, and the everchanging modes of transportation.

It was the section on transportation that drew me in the most. Split into three sections (trains, ferries, and cars), this part of the exhibit was filled with a variety of historical photos; they depicted maps, construction, mortgage bonds, and people.

This picture illustrates Ruth Weston, a Chesapeake Bay Bridge Toll Sargent, and the various items people use to pay for the bridge toll, including a fire hydrant, a wedding band, and radios.

In the photo above, the Heritage Center gives a glimpse of Ruth Weston’s career as a Toll Sargent and raises a great deal of questions: What was it like being a woman working the toll booth in the early days of the bay bridge? Was it legal for her to accept objects as a form of payment for the toll? Who wanted to cross the bridge so badly that they left their wedding band? While the exhibit does not attempt to try and answer these questions, it does certainly spark interest.

The transportation section also had artifacts that gave an additional layer. Of personal interest was a program from the dedication of the Chesapeake Bay Bridge (if you’re interested in celebrating with a trip to the Eastern shore, the anniversary is on June 30th). Symbolically placed, the program was put overtop of a photo of a family in a car on the bridge waving at people on the local ferry, representing the passing of the torch from ferries to cars.

This is one of the original programs from the Dedication Ceremony of the Chesapeake Bay Bridge.

While certainly not explicitly stated, if I had to draw a narrative connecting the variety of topics in the exhibit, I would say that the theme is the change, whether it be natural or forced modernization, that has come to the Chesapeake Bay and its communities in the past 100 years. I learned about how our shorelines have shifted from prehistory to today, how the ferries have died out, and how the chemical makeup of the Chesapeake Bay has changed. However, I am a lover of details, dates, and names, and I found myself yearning for greater informational depth in an exhibit that is certainly covered in terms of informational breadth. Overall, I would say the exhibit is a good primer for those with a budding interest in our history, or those just passing through on a sunny Friday while on the way to the beach.


Carroll County Farm Museum

~Intern Justine “Ellie” Smith

I went to visit the Carroll County Farm Museum for this week’s blog post. The Farm Museum actually began as the almshouse for Carroll County. Tenants at the almshouse would work on the farm and in other trades. The farm house is set up with period items from the late 1700s to the 1900s. Visitors can see a variety of objects while visiting to the farm house.

The bedrooms have trundle beds and traditional mattress ticking. There are handmade quilts and canopies over the beds, and in the children’s room there are handmade toys. One thing that I have never seen or noticed in historic home were small vents with pull chains. These were like old fashioned air conditioning. A docent explained that the vents were used to cool the room in the summer. When it was too hot the occupants simply pulled the chain and let air into the room which would create an air current throughout the house. The day I visited there were not any guided tours but docents were around the entire house in period dress to answer any questions.

After making your way through the farm house you cross a small covered bridge which leads to the tenant apartments from the almshouse. Each of the rooms is set up to reflect a different craft or aspect of life in the 1800s-1900s. There was a quilt making room and a sewing room. A kitchen and a tin shop. My two favorite rooms were the veterinarian’s office and the children’s room.

I never had thought about vets existing during the 1800 and 1900s. The vets during this period would have been concerned with working with larger animals like horses and cattle but when formal education for vets became common practice smaller domesticated animals like dogs and cats found their way into the vet’s office. This room had a variety of instruments like glass bottles that once held ingredients for medicines, a scale, and syringes in various sizes. One cabinet had tools of the trade as well as skulls of horses, a fetal calf in a jar, and a heart of a dog that had worms. There was also a taxidermy two headed calf on the wall (though it was not clear if this was real or fabricated). Veterinarians are not something I think of when I think of farms or almshouses so seeing this room was really special and very interesting.

My other favorite room was the children’s please touch room. Because I have been working in the education department at the JMM I am always interested to see how other institutions engage children that visit. Everything in this room could be touched and interacted with.

There were examples of cans and dry goods bags that one would find at a general store. There was a scale that would have been used to weigh out goods to buy. One section of the room had antique post office boxes and postcards that the children could write and address to their homes and the museum would send them. In another corner there was a coloring area and the coloring pages were all images from the museum. There was an area where children could dress up in clothes from the period and could interact with the space. There was also a small reading area for kids. I thought this area was fabulous. It engaged with children of all ages. There was something for any age child to do and connect with in this space. Parents could enjoy watching their children connect with history in a safe environment and not have to worry about them breaking anything or touching something they were not supposed to. I think that more museums should have more spaces where children can get hands on with the history around them.

After leaving the almshouse there are several other outbuildings which can be explored. I did not realize how large of a museum this was before I went. I recommend wearing comfortable walking shoes because there is a lot of ground to cover. In the other building there is antique farm equipment and displays explaining how slaughter houses worked and how cider was pressed. Another interactive part of the museum is the blacksmiths shop. There was a blacksmith demonstration occurring when I was there. It is truly amazing to see this ancient art being practiced. When you walk behind the blacksmith’s shop and follow the path you come across the farm animals that live at the museum. There were ducks, geese, baby pigs and goats, and the two largest residents are oxen.

The Carroll County Farm Museum provides a unique learning experience that goes beyond the normal historic home tour. There is something for everyone to see at this museum and something for everyone to connect with. The Farm Museum goes out of its way to be family friendly and has areas specifically designed with children in mind. I learned a lot about the history of Carroll County and about how farms operated. There is so much to see at the Carroll County Farm Museum and I will definitely have to go back to make sure I can take it all in.

More information about the Museum can be found here.


Medicine and Soda Fountains: The Pharmacy at the Baltimore Museum of Industry

~Intern Ash Turner

Within the Baltimore Museum of Industry, a small pharmacy sits with its wooden doors wide open. Although this old-school pharmacy no longer serves customers, it immerses its visitors into the history and evolution of Baltimore pharmacies. Complete with a soda bar, a register, and cabinets filled with jars and medicinal ingredients, I was taken in by how charming it was to step back in time for a little while during my museum visit.

Picture of the Pharmacy “storefront.” Above the door is a green-striped awning and a “Geo A. Bunting, Druggist” sign. Window displays sit on the left and right side of the door.

Reflection of me in the soda bar mirror as I take a picture of the exhibit’s bar.

I enjoyed that this exhibit was more of an immersive environment rather than a traditional exhibit. The Pharmacy had only a few captions, preferring to leave the visitors’ curiosity with the items themselves. The captions and descriptions that were included were placed either in the window displays near the door, or at the front of the room, so that they didn’t interrupt the immersive space created. For me, leaving the space mostly free of curatorial text painted a better picture of how an old pharmacy might have looked, and it helped the room feel like it was an actual storefront.

Photo taken while looking in from the Pharmacy’s front door toward the right side of the room. Pictured from left to right: A display of cameras in a cabinet, a metal register, and a wooden medicine cabinet.

Close-up photo of pharmacist mixing tools.

I felt steeped in the time period and culture, rather than feeling like I was just reading about the period, which is an experience I feel is unique to museum installations. I also tend to read everything in museum exhibits, so the few placards and posters included in the Pharmacy provided me with the perfect amount of information to digest in a single viewing. Overall, I enjoyed how the exploration of this space was left up to me as a visitor, because I found it intriguing and inspiring to step into this space and let my curiosity lead the way.


Odyssey: Jack Whitten Sculpture, 1963-2017

~Intern Alexia Orengo Green

Having only been in the city of Baltimore a little over a month, one of the places I was extremely thrilled to visit was the Baltimore Museum of Art (BMA). At the Museum, I had the opportunity to visit the new exhibit Odyssey of Jack Whitten’s work. The exhibit displays the evolution of Whitten’s work since 1963 to 2017, through personal items that belonged to Whitten, Whitten’s stories, and sculptures. By doing this, the visitor connects with the art, and has a glimpse of Whitten’s working process. The exhibit is divided on three parts: Whitten’s early work, Greece, and Black Monolith series. Odyssey serves as biography and memorial for the late artist, who died on January 20, 2018.

At the beginning of the exhibit the visitor is presented with Whitten’s early sculptures, which the Civil Rights Movement heavily influenced. From his early works, one of the must striking sculptures is Homage to Malcom, which he dedicated to Malcom X. This piece is completely asymmetrical and combines different techniques and materials, which make the piece even more powerful.

Homage to Malcom. Via The Art Newspaper.

The first room of the exhibit also contains a large picture of Whitten’s studio, allowing the visitor to see where Whitten created his art and got his inspiration from. This photo in conjunction with his personal notes, allow the visitor to see the process Whitten followed when creating his sculptures. Having a picture of Whitten’s studio and reading his personal notes also forms a bond between Whitten, his art, and the visitor.

Jack Whitten’s studio wall. Via BMA.

Because his wife had family in Greece, Whitten spend a great amount of his time there. An anecdote that stayed with me after the exhibit was regarding Whitten’s first visit to Greece. There, he dreamed with a large piece of wood, which he later found during his stay and created a sculpture. The stories behind Whitten’s work and the Greek sculptures from Minoan and Mycenean Greece that are found through the exhibit, transport the visitor to Whitten’s experiences there.

The third part of the exhibit focuses on the Black Monolith series Whitten created. Whitten’s series contrast heavily with the rest of the exhibit because of the dark and vibrant colors they have. The most striking piece of the series is Atopolis: For Édouard Glissant. To create this piece, Whitten layered paint to make it look as it were small tile pieces. Atopolis is Greek for “without place.” The tittle of the piece contrasts with the scene that is shown. Atopolis depicts an aerial view of a city, from its main hub to the more spread out areas.  The large piece attracts the attention of the visitor from the moment they enter the room.

Atopolis: For Édouard Glissant

Odyssey is a spectacular exhibit that showcases the work of a significant artist that was able to influence the world through his art.

Be sure to visit the exhibit at the Baltimore Museum of Art!


House & Home

~Intern Cara Bennet

The National Building Museum’s permanent exhibit, “House and Home,” employs various exhibition techniques to help visitors explore the various social and cultural meanings and connotations of the American “home.” The exhibit utilizes several components including objects, photographs, models, film, timelines, maps, and text panels. These various components make the exhibit accessible to people with different learning styles by allowing them to focus on the aspects of the exhibit that interest them the most. The variety of exhibition techniques also keep the audience engaged by preventing the monotony of an exhibit solely comprised of a single component.

The primary purpose of the exhibit is to convey how a house becomes a home and show what “home” means to a diverse group of Americans. For the most part, this message is successfully conveyed throughout the exhibit. The first room features walls of photographs that depict different families and their homes and the various activities that take place in their homes. The theme of diversity carries on into the next room which features a wall of household objects and includes many multi-cultural objects such as a mezuzah, a tortilla press, and an Islamic prayer rug. This theme is reiterated on the left side of the room which features full scale models of different construction methods which exemplify just some of the many diverse styles of American homes. The models of iconic houses in the center of the room such as Frank Lloyd Wright’s “Falling Water” also emphasize the variety of American homes and highlight houses that were the first to experiment with certain construction techniques and designs.

Model of Frank Lloyd Wright’s iconic home “Falling Water.” Image via.

“House and Home” is an object driven exhibit. The highlight of the exhibit and the section visitors appeared to be most drawn to is the wall of household objects. These are objects that are familiar to most visitors and evoke an emotional or nostalgic response. At first glance these objects appeared to be displayed randomly. The objects had no context and were displayed next to objects from different time periods. For example, a beanbag chair from the 1980s was displayed next to a slipper chair from the 1850s. At first, I found this arrangement confusing and frustrating but once I realized that the objects were organized by room (i.e. kitchen, yard, living room) I gained a greater appreciation for the display and the message the curators were trying to convey. Throughout history and across social lines people have chosen to furnish their homes with objects that represent themselves and their pasts. These ordinary objects reflect their owners’ ideals, values, and aspirations. Objects and houses represent the lives of the people who own them.

The Object Wall. Image via.

While most of the objects in this section are familiar and easily recognized by the audience, label panels below the objects provide context and authenticity. Each label panel features a basic drawing of the outline of each object which is numbered and corresponds to the text label which briefly describes the object and its provenance. Unlike the dollhouses and the model houses, the objects in this section are not displayed behind glass. The only barrier between the visitor and the objects is a low wall and a few feet of space. The lack of glass could indicate that these objects are less important than most museum objects, however this was an intentional decision on the part of the curators and exhibit designers. The lack of glass makes these objects more accessible. These objects are everyday objects that visitors already have a connection to and displaying these objects openly increases the visitors’ connection to the objects by giving them the sense that they can reach out and touch them.

“House and Home” is a fairly accessible exhibit. The flow of the exhibit is clear and linear. Each room flows into the next room preventing the visitor from getting lost or confused. The objects and models in the exhibit are arranged so that they can easily be seen by all visitors. The dollhouses in the first room of the exhibit are encased in glass and placed in the center of the room so that visitors can easily move around them to view the rooms from different angles. Similarly, the models of iconic houses which are displayed in the next room are placed in the middle of the room and are low to the ground allowing children and visitors in wheelchairs to view them more easily.

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Intern Weekly Response: Podcast Nation

Posted on June 28th, 2018 by

Every week we’re asking our summer interns to share some thoughts and responses to various experiences and readings. This week we asked them to select a museum-related podcast and share their reviews, in preparation for creating their own podcast episodes later in the summer. To read more posts from JMM interns, past and present, click here.


Podcast: American Icons

Intern Alexia M. Orengo Green

As someone who recently got interested in podcasts this week’s response was fun because it gave me the opportunity to find new shows. Podcasts can be an informal and fun way to learn about a certain subject on your way to work, while on the train, or even while cooking dinner. This week I discovered the podcast American Icons by Studio 360 on WNYC. As the tittle indicates, this podcast explores several American Icons and how they became icons. The podcast goes from explaining more serious topics such as the Lincoln Memorial to less formal topics such as The Wizard of Oz. This ratio of topics makes the podcast appeal to a greater audience and gives more options to its listeners.

The Wizard of Oz Theatrical Poster. Image via Wikimedia Commons

American Icons is a well-done podcast that explains its different topics in an informal academic way. By doing this the audience feels its learning something new, but not taking a lecture. Another aspect of the podcast I enjoyed is how it interacts with the audience asking them questions, sparking curiosity, and challenging their knowledge. American Icons also makes historical connections to the episode’s topic, an example being Superman and the Jewish community that immigrated to America.

Jerry Siegel, co-creator of Superman, son of Jewish immigrants that arrived in the United States in 1900. Image via Wikimedia Commons

 The podcast also incorporates the social factors that influenced America to create icons. An example of this would be the controversy surrounding the Vietnam Memorial. The controversy arose because of the anti-war sentiment the Vietnam War had and the proposal that was selected for the memorial. This memorial sparked sentiment and forced people to have a conversation about the war. The memorial is made of a black granite wall, in which visitors can see their reflection. In the memorial, the names written on the wall are on the order from the first soldier that died during the war to the last. This memorial was the first one of its kind making it and American icon. The podcast tangles perfectly the historical and social factors making the listener connect with the story.

Vietnam Memorial in Washington DC. Image via Wikimedia Commons

American Icons explains different aspects of American history in a thought-provoking way. The podcast brings different topics to the 21st century and allows its listeners to connect to different stories. This show connects historical, cultural, and social factors while appealing to a large audience.


Museum Podcasts, Visitor Engagement, and Accessibility

Intern Cara Bennet

Admission fees, location, and hours shouldn’t prevent people from accessing all the information that museums have to offer. Museum podcasts are a great solution to this problem. They allow people to learn from and engage with a museum for free whenever it’s convenient for them. Podcasts connect students living in remote locations like Alaska or Hawai’i to museums in Washington, D.C. despite time differences or their ability to travel. Podcasts give museums the opportunity to highlight certain objects in their collections and the roles of various staff members, discuss important issues in the museum field, and to promote upcoming exhibits and public programs. Podcasts also help museums keep visitors engaged by educating and continuing conversations long after they’ve left the museum.

The International Spy Museum in Washington, D.C.

This past week I’ve been listening to “Spycast” a podcast produced by the International Spy Museum. While I’ve been to the Spy Museum a few times before, I’ve already learned so much more about the museum and its collections from the podcast. Episodes feature interviews with authors, historians, and intelligence professionals. Some of my favorite episodes I’ve listened to so far are interviews with former intelligence professionals, particularly women that got started in the CIA in its early days as an agency. Listening to their first-hand accounts is fascinating and not necessarily something visitors could experience by just visiting the museum.

The episode of “Spycast” I’m listening to as I write this blog post.


Spies, Covert Ops, and Secrets, Oh My!

Intern Marisa Shultz

Admittedly, I have always been a bit iffy on podcasts. I am such a visual person that I even prefer to watch television and movies with subtitles, and I have had my fair share of run-ins with podcasts so poorly done that they have taken an interested topic and made it utterly boring. But, I have been pleasantly surprised, actually, way more than pleasantly surprised by SpyCast, put together by the International Spy Museum in Washington D.C.. One of the greatest beauties of the program is that the project began in 2006 and has had weekly installments since 2015, so for someone just discovering this gem, there are many episodes to explore and lots of content to learn. Also due to the series length, if a particular episode does not interest you, there are so many more to choose from.

However, it would be challenging to find an uninteresting episode, for the podcast prides itself on telling unusual and fascinating stories about a corner of history often shrouded in deceit and shadow.

While the scope of the show may be somewhat limited due to its subject (governmental intelligence, espionage, and their implications) the podcast covers a great deal of ground, both historical and modern, within that scope. From the Pope’s spies in World War II to the Pentagon Papers and everything in between both micro and macro, SpyCast covers it all.

While the extent of content and number of episodes is a huge bonus for the podcast, there are two major reasons it works so well. For one, the guests they choose to interview are always experts (often with recently published books) or individuals who have experience in the intelligence or espionage fields; the guests are always well-spoken, interesting, and insightful too.

The other reason is the podcast’s host: Dr. Vince Houghton.

Dr. Houghton does an excellent job at maintaining the programs energy and keeping the conversation flowing. He asks insightful questions that encourage the speakers to share their thoughts and experiences, and while he may tell a short anecdote from time to time, he largely allows the spotlight to be on the guest. Overall, I would say that SpyCast has found a formula that works brilliantly!


Nostalgic Tales from The Memory Palace

Intern Ash Turner

With a name like The Memory Palace, it’s easy to get a sense of what type of podcast you’ll be listening to: an artful sound piece, with swaying background music, and someone describing something to you as if it is his memory. Sleepy, wistful music was an apt choice for the background sound in the first episode I listened to, “Dreamland.”

“Dreamland at twilight, Coney Island, N.Y.” from the Library of Congress

In this episode, you hear a low voice, as if a bedtime story is being read to you, and you are slipping into sleep, mixing what is a dream with what is reality. But what is being told really happened, and you’re transported to the memory of this place—Dreamland on Coney Island. You’re slowly dipped into this time period, this piece of history. It is a story at the same time it is descriptively real, and in this way, it feels like a memory, where it sits comfortably somewhere between dream and reality.

“Ball room, Dreamland, Coney Island, N.Y.” from the Library of Congress

This way of telling history through sound creates an experience for the listener. I found myself pulled in through The Memory Palace’s sound design and detailed, almost nostalgic, historical descriptions. Some of the episodes were heavier with their facts and left me with a specific thought or critique about the historical subject. Other episodes were lighter and invoked a feeling of living in that period of time, or a sense of being in a certain place. I enjoyed that the episodes shifted between heavier and more wistful episodes, since some episodes and their subjects (such as “Hercules,” about George Washington’s slave who escaped to freedom) fit in better with a critical narrator, rather than with dewy-eyed descriptions.

The Memory Palace stands as its own memorable art piece, as its own sort of museum, weaving together fact with story and sound. Each episode is its own small experience, each like a historical artifact, to be taken in one by one.


Listening to the Voices of Survivors

Intern Ellie Smith

Podcasts allow museums to present information in a new way. The United States Holocaust Memorial Museum utilizes podcast in order to share the stories of Holocaust survivors. Through their podcast series “First Person: Conversations with Holocaust Survivors” audiences can listen to excerpts from longer interviews from survivors. These podcast are fairly short about five to fifteen minutes which allows the audience to listen to several in a small amount of time. There is something extremely powerful about hearing the stories of survival and Holocaust experiences from those who actually lived it. Reading a memoir does not provide the same experience as listening to the voices of survivors.

Knowing that some of these individuals have already passed away makes being able to listen to their stories more powerful.

This podcast series has a variety of different interviews. Some individuals talk about their experiences in the camps and others discuss death marches or Kristallnacht. The series allows audiences to gain a comprehensive knowledge of the copious experiences of the Holocaust. Often people only know about the camps; Auschwitz is all they know about the Holocaust. But this series allows listeners to gain knowledge of ghetto life, experiences of the death marches, transportations, and other parts of the Holocaust experience. I think this is a wonderful podcast series which allows people to personally connect to the stories of those who survived the Holocaust.

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Zen and the Art of Educational Programming

Posted on June 27th, 2018 by

Blog post by JMM intern Marisa Shultz. To read more posts from JMM interns, past and present, click here.

The Vanishing Elephant

As I have been working with our staff on the “Vanishing Elephant” educational program, I have been contemplating the steps that it takes to build a successful educational program. I am convinced that even though it may seem chaotic at times, there is an underlying process. While some may call them by different names, here are the basic steps:

1. Conceptualizing

2. Drafting

3. Visualizing

4. Revising

5. Implementing

6. Revising

7. Modifying

Conceptualizing and Drafting

Conceptualizing is the seed of an educational program; it is the idea that is inspired by its subject. This is the broadest and haziest stage, but it is always exciting because the possibilities are, literally, endless. The program, however, really begins to form in the drafting stage, which takes the inspiration and begins grounding it in reality; this is the stage where we have a general outline of activities and begin prototyping the items and props.

I arrived about halfway through the drafting stage for the “Vanishing Elephant” program. By the time I began work on it, the outline had been decided:

Visitors will be divided into five groups and each visitor will get a magnetized card; the card will have a question on one side, and a playing card face on the other. The visitors will get some time to find their answer in the exhibit and then check their answers together as a group. Then based upon a particular arrangement of their cards, the teams will have to crack the message hidden in the card faces.

Additionally, fabrication on the program had already begun. The questions were already developed, and the magnetized board and cards were already out for production. During this stage, I helped prototype the code books and began the fabrication process on those.

These are some of the magnetized playing cards for the “Vanishing Elephant” program! Take a moment and see if you can answer the questions! (The answers are #25: Al Jolson and #21: 16 years old).

Visualizing

One of the things that challenged me during my student teaching semester was classroom management (the layout of the room, what materials to have prepared, when to hand out said materials, timing activities, etc.). I overcame this by visualizing the lesson step by step from the perspectives of my students and myself. During this visualization, I focused on the practical aspects of the lesson, rather than the content, and made sure to prepare myself accordingly. The same technique can be applied to the creation of education programs.

After independently visualizing the “Vanishing Elephant” program and meeting about our concerns, the education department decided to make some changes…

Revising

Someone much smarter than me once said that all writing is revision… the same could be said of lesson planning and educational programs! Once the program has been visualized, oftentimes changes need to be made. The beauty of this step is that it is proactive; these changes happen before the program reaches an audience. For the “Vanishing Elephant” we created two new worksheets, got an easel for the magnetic board, made bags for easier organization, and added time for the visitors to first explore the exhibit and “get their ya-yas out!”

The program at this point definitely looks different than it did in the drafting stage, but that is a good thing!

We developed these two worksheets during the revising stage to help maintain visitor engagement with the program!

Implementation

The next step is to introduce the program to a group of willing test subjects. It is critical in this stage to be both fully aware and completely honest with yourself regarding what is going well and what is, frankly, not. It is because of this personal honesty that can lead us once again to the revising stage, to change and improve the program.

For “Vanishing Elephant,” based upon feedback from our first testing group (thank you again to our wonderful docents and volunteers), we decided to not go over all 25 questions as a group, but rather choose 10 of the most important ones.

But Marisa – you mentioned zen in your blog title! Was that just a clever reference to Zen and the Art of Motorcycle Maintenance or are you actually going to talk about the concept of zen?

It’s both! Zen actually does have something to do with educational programs, and it comes in the form of modifying! Sometimes, no matter how carefully planned, things do not go as anticipated. Sometimes there are more students than anticipated; sometimes visitors arrive late. Sometimes an item goes missing, a space can’t be used, or the visitors need a specific accommodation. No matter the reason, education programming requires us to be flexible, to roll with the punches, and to allow our instincts to lead us.

It just goes to show that in planning for educational programs, our work is never truly done!

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