Looking Reality in the Eye: Museums and Social Responsibility. Robert R. Janes and Gerald T. Conaty, eds. Calgary, Alberta: University of Calgary Press, 2005. 196 pp.
Reviewed by Shelby J. Tisdale
The idea for the book, Looking Reality in the Eye: Museums and Social Responsibility,
emerged from a panel discussion on museums and social responsibility at
the annual meeting of the Canadian Museum Association in 2002. The
themes of the different chapters presented look closely at social
responsibility and use specific examples of museums connecting with
communities to examine a variety of issues that affect our everyday
lives. These include such topics as the social and natural environment,
crime, economic inequality, and political issues such as the
repatriation of human skeletal remains to native peoples. A question
that runs through this book is how museums can continue to be relevant
and sustain themselves when they are challenged by the perils of the
global marketplace, declining attendance, reduced public funding, and
earned revenues. The examples offered demonstrate that there are
museums moving beyond their preoccupation with the bottom line and that
are embracing activities that address the “troublesome aspects of our
contemporary world that help to make sense of this emerging search for
significance in the museum world” (p. 3). Many of the authors suggest
that museums have two choices: (1) they can stay where they are and
maintain status quo in their mission of collecting, preserving, and
caring for the collections and quite possibly become irrelevant, or (2)
they can connect with their surrounding communities, and possibly world
communities depending on their mission, and address the many issues and
choices that humans are faced with on a daily basis. Instead of the
exhibitions and educational programming being determined by the
collections and developing stories around them, these stories are based
on connections with the communities and focus on topics that pertain to
social responsibility internally and externally using the collections.
The
book is divided into 10 chapters based on the papers presented at the
CMA annual meeting. Robert R. Janes and Gerald T. Conaty’s
“Introduction” provides a brief history of museums and points out that
museums are a product of the society that supports them (p. 1)—that
they essentially became the “temples of the dominant society” where
their “reality had been constructed by the educated classes of society
and that the perceptions of more marginal groups were mostly excluded
from this reality” (p. 3). They argue that because our societies are
more complex and diverse, that “museums are no longer the monolithic
institutions of the past” and many are focusing instead on “telling
particular stories with larger meanings” (p. 3). These stories often
reflect issues and people that have been marginalized by mainstream
society—First Nations peoples, immigrants, the chronically ill, and
criminals. Others relate to the ongoing issues in nature and
environmental degradation through educational programming. The chapters
that follow provide examples of museums that are continuing traditional
museum work but have chosen paths that embrace socially responsible
missions that require intuitive appreciation of certain values that are
largely absent or unspoken in contemporary museum work (p. 8). These
values, as outlined by these authors, include idealism, intimacy,
depth, and interconnectedness. Each chapter demonstrates how museums
incorporate these values into their searches for meaning as they build
new kinds of relationships with their publics.
In
“History is as History Does: The Evolution of a Mission-driven Museum,”
Ruth J. Abram discusses how the Tenement Museum located on Manhattan’s
Lower East Side tells the stories of the changing and ethnically
diverse occupants of this single tenement through its exhibits. The
staff decided to select dramatic stories that capitalized on the “power
of place” and used the artifacts to support these stories. The goal was
to have the museum be accessible to all of the public and that it be a
safe and neutral place where a dialogue could take place concerning the
tough issues of immigration, race, and other enduring social issues in
this culturally diverse neighborhood.
Two
chapters focus on the incorporation of the indigenous voice in
exhibition planning and interpretation. In “Our Story in Our Words:
Diversity and Equality in the Glenbow Museum,” Gerald T. Conaty and
Beth Carter address the history of relationships between indigenous
peoples and museums and discuss how the Blackfoot became full partners
with the Glenbow Museum in the development of an exhibition that
interprets their culture. The result of this partnership was the
exhibition Nitsitapiisinni: Our Way of Life,
which opened at the Glenbow Museum in Calgary, Alberta, Canada in
November 2001. This was the first significant modification to Glenbow’s
First Nations exhibits in over 25 years and became a model for how the
curatorial staff works with First Nations peoples. Paul Tapsell, a
descendant of the Maori tribes Te Arawa and Tainui, also discusses the
importance of including the voices of the peoples represented in
exhibitions, in “Out of Sight, Out of Mind: Human Remains at the
Auckland Museum—Te Papa Whakahiku.” He also describes the history of
the removal of Maori human remains and the attempts by the tribe to
have these individuals repatriated. Tapsell discusses in detail the
consultation process for the repatriation of Maori human remains and
associated funerary and sacred objects from the Auckland War Memorial
Museum. In both these cases the voices of the Blackfoot and the Maori
have become an integral part of each museum’s goal to become more
socially responsible.
Three
chapters focus on educational outreach. First, Joanne DiCosimo from the
Canadian Museum of Nature (CMN) provides an overview of “One National
Museum’s Work to Develop a New Model of National Service: A Work in
Progress.” To develop this model the museum followed a systematic
process of consultation, analysis, pilot testing, and then further
consultation and analysis. DiCosimo details the steps in developing the
model, which is a useful tool for any museum rethinking its approach to
educational outreach to include a wider audience. In the case of the
CMN, their outreach was embedded in new ways of looking at social
responsibility in terms of the nation as a whole. In “Engaging Young
Minds and Spirits: The Glenbow Museum School,” Michèle Gallant and
Gillian Kydd discuss the collaboration between the Glenbow Museum
School, local schools, and Chevron Calgary Resources (a wholly-owned
subsidiary of Chevron Texaco Corporation), The Calgary Foundation, and
individuals in the community to develop a unique school program. They
discuss the four main areas of the program that they believe define its
uniqueness, including: “what makes this different from traditional
field trips; the philosophy of the program and why [they] do it; the
impact on the students, teachers, museum staff and parents; and the
role in the community” (p. 71). They operate from the premise that
“museums are public places with enormous potential for human growth and
enjoyment” (p. 71). Through the development of the innovative and
highly collaborative educational outreach program, they demonstrate
that the old model of the isolated classroom and teachers needs to
change, as does the old model of the isolated museum (p. 84).
The
Liberty Science Center in New Jersey approaches their education program
a little differently. In “Liberty Science Center in the United States:
A Mission Focused on External Relevance,” Emlyn H. Koster and Stephen
H. Baumann profile three of the Center’s mission-driven learning
experiences that have strong emphases on social responsibility. Their
primary goal is to reach underserved audiences. One educational program
focuses on youth smoking through plays and websites while another is
learning “live” through the real-time observation of a cardiac surgeon
performing surgery on a patient. The students are able to ask the
surgeon questions and have the opportunity to learn firsthand in a
classroom set up in the Center. Both institutions have come up with
innovative ways to reach wider audiences.
Susan
Pointe’s chapter “Is Art Good for You” points out the challenges of
being relevant to a very different type of audience. Her art gallery
located inside a hospital was not being utilized other than to exhibit
some of the hospital’s art collection and she was under pressure from
the hospital administrators who were considering using this space for
other purposes. Pointe had to first determine who her audience was and
then develop a plan to reach out to them. She did this in several ways
by taking the art and artists to the patients and bringing the families
of patients into the gallery to see the art as well as to have the
opportunity to create art. In “Telling It Like It Is: The Calgary
Police Service Interpretive Centre,” Janet Pieschel also discusses
reaching out to a very different audience than that of the typical
museum. She had the difficult task of developing an interpretive center
within the administration building of the Calgary Police Service and
her target audience was primarily at-risk youth. The goal of this
Center was to “educate young people about crime, the consequences of
crime, and the poor lifestyle choices that our youth can make” (p.
177). Pieschel reviews three exhibitions at the Center: (1) substance
abuse, (2) juvenile prostitution, and (3) domestic abuse, family
violence, and healthy relationships. These exhibits are all done as
dioramas with audio tracks of youth in trouble and are based on real
life stories. While the Center focuses on prevention through its
exhibitions it also offers assistance to young people who are being
abused or using drugs and alcohol, for example.
In
“Negotiating a Sustainable Path: Museums and Societal Therapy,” Glenn
C. Sutter and Douglas Worts describe the development of The Human Factor
exhibit at the Royal Saskatchewan Museum. This chapter explores “the
links between sustainability (in the Brundtland [Commission’s] sense),
culture, and the potential of museums as agents of social change” (p.
131). They believe that “while museums can and should be addressing
sustainability through the non-formal education system, they also have
a broader role to play as active facilitators of social change at local
and regional levels” (p. 131). Sutter and Worts argue that, “[M]useums
can help by encouraging people to become more conscious of critical
relationships that link them to nature and to other people. Some of the
roles that museums can play include being storytellers through
non-formal education providing sanctuaries that inspire reflection, and
acting as catalysts to spark needed social change” (p. 137). They apply
the classic model of sustainable development that integrates social,
economic, and environmental concerns to the development of their
exhibit.
These
chapters present case studies in which individual museums and science
centers have searched for ways to be internally and externally
sustainable by connecting to communities to develop ways of coping with
environmental and social degradation and to create new levels of
understanding history and cultural diversity. This is accomplished
through educational outreach, incorporating oral histories and voices
from the past as well as the present into exhibitions, and bringing the
public into a dialogue with museums as ways of expressing their
interests and concerns about the social, political, and physical
environment surrounding them.
The
authors are as diverse as the museums they work in and include
anthropologists, scientists, social activists, and artists. Some
chapters are more “academic” while others are less so. Collectively,
they represent experiments at redefining what museums can be. Although
the chapters could have been arranged in a more cohesive manner, each
one offers possible ways in which museums can become more socially
responsible and more connected to the publics that they serve. Some
authors provide useful step-by-step guidelines while others are more
general. This book would be useful in museum studies programs and
should be read by those working in museums wanting to move beyond mere
entertainment and who are looking for ways to engage younger audiences.
Museum staff that are searching for ways to create a dialogue about
relevant issues such as globalization, environmental degradation, and
high crime rates or wanting to develop more meaningful, positive
relationships with indigenous peoples and other populations that tend
to be marginalized should consider reading this book. As museum lovers
and workers we cannot sit back and assume that our exhibits will bring
people to our doors. These authors make a good argument that when
museums take on the challenge of becoming socially responsible and
connect to the communities whom they serve, they become more relevant
and sustainable. This is important to consider when we are asking
ourselves, “Why do museum matter?”
Shelby
J. Tisdale is the Director of the Museum of Indian Arts &
Culture/Laboratory of Anthropology in Santa Fe, New Mexico. Tisdale is
a specialist in the Native American art and archaeology of the American
West, in particular the Southwest and northern Mexico, and she has
produced numerous exhibits and publications. Her most recent book Fine Indian Jewelry of the Southwest: The Millicent Rogers Collection (Santa
Fe: Museum of New Mexico Press, 2006) received the Southwest Book Award
from the Border Region Library Association and the Ralph Emerson
Twitchell Award from The Historical Society of New Mexico. She has also
published on the basketry of the Great Basin and the Northwest Coast in
Woven Worlds: Basketry from the Clark Field Collection at the Philbrook Museum of Art (Tulsa: Philbrook Museum of Art, 2001).