Carol Bolton Betts, editor for the
Illinois Heritage Association, wrote an overview of The Small Museum Toolkit as
part of the IHA’s Technical Insert series.
The IHA has graciously allowed The Small Museum Toolkit to share this
introduction in seven blog posts during July and August. The posts will help
you to get to know about the content of the Toolkit from an outside
perspective.
As visitors are drawn into a museum, it is the job of that museum
to interpret the artifacts in its collections, telling their stories, revealing
their meaning, and clarifying their relevance to its audience. Book 5 of The
Small Museum Toolkit explores ways of doing this that will truly engage and
challenge the visitor.
In chapter 1, Stephen G. Hague and Laura C. Keim discuss the importance
of committing to “audience-centered interpretation” (1) and then drawing upon
the expertise of scholars, staff members, and many segments of the community to
formulate an interpretive plan based on the museum’s best resources. Hague and
Keim stress the importance of selecting clear interpretive themes. They
emphasize that whereas tour guides were once the sole interpreters dealing
with the public, other staff members and volunteers now have roles to play, as
do new technologies. All interpreters must be well versed in the interpretive plan
and able to execute it. Periodic evaluation helps. The authors use often
amusing texts to illustrate their points.
Madeline
C. Flagler writes in chapter 2 about the task of interpreting difficult
issues. She describes her own experiences working at the Bellamy Mansion Museum
in Wilmington, North Carolina, and the Mission Houses Museum in Honolulu,
Hawaii. These museums presented opportunities to deal with subjects like
slavery and marginalization in an ethical, honest, and effective manner.
Flagler details each museum’s methods. Each had a goal to become inclusive in
regard to staff, subject, and community. A related aspect of interpretation is
covered by Teresa Goforth in chapter 3. She provides guidance in conducting
research that will help find the truth about artifacts—what they are, how they
were made, how they were used, and what they meant to the individuals who
created them. She urges using primary and secondary sources—diaries and
letters, photos, county histories, public documents, and oral histories—to
establish and understand the context of objects.
Chapter
4, by Eugene Dillenburg and Janice Klein, presents a blueprint for creating
exhibits, from planning to building. After defining what an exhibit is, the
authors tell how to pick an exhibit topic, a target audience, and a main
message. They offer tips for developing content, organizing the exhibit,
preparing labels, and mounting the exhibit. The final chapter of book 5
addresses program management. Rebecca Martin gives important details to
consider in program planning, audience identification, goal setting,
scheduling, and site selection. She provides samples of a confirmation letter
and a contract that can be used when engaging presenters. She includes a list
of supplies needed to run a program and advises on setting a budget and
identifying funding sources. Martin’s program management checklist hits all
the important points covered in her chapter.
Adapted
from Carol Bolton Betts, “An
Introduction to The Small Museum Toolkit,”
Illinois Heritage Association, Technical Insert 177 (May-June 2012). As a
volunteer, Ms. Betts has done editorial work for the Illinois Heritage
Association (illinoisheritage.org) since 1982. She was an editor at the
University of Illinois Press for twenty years, working primarily on books about
art and architecture, film, women’s history, and subjects related to the
history of Illinois. Earlier she served on the staff of the Philadelphia Museum
of Art and taught art history at Villanova University and at California State
University–Los Angeles.
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