General knowledge about what national or touristic audiences consume ... Points
to be taken into account. ➢ Several types of objectives may be searched for : 3 ...
ICOM-CECA “Best practice” Education and cultural action programmes Analyzing a program Marie-Clarté O’Neill and Colette Dufresne-Tassé
The CECA network has asked for support around ‘Best practice”. The following document has been designed to act as a critical tool to sustain the planning, achievement and evaluation of education and cultural action projects. Its purpose is to support professionals, students and researchers in analyzing the various aspects of the programmes they are working on. This includes: - Being aware of the multiplicity and complexity of the aspects to be considered - Anticipating the strength and weaknesses in any planning and designing process - Helping in the deepening of awareness around either a specific aspect or a process approach around museum education programs. - Driving analysis and/or evaluation of any project/program. The following four phases are identified, in the tool, for developing a programme: its conception, achievement, evaluation and remediation. PS. The present is used in the text but the instrument can be applied to the analysis of an already existing program.
1. The conception and planning of the programme
a) Origin of the project What are the reasons for initiating the programme, which situations, people, ideas have been the starting elements of the project: a specific demand, field observations, personal intuitions, circulating ideas, outside new or dating research results? NB: The whole process may be influenced by this factor. b) Justification and relevance
Social relevance
Definition Relationship between the project and the social environment in which the museum is situated. Example: The museum is located in a rural or urban environment, with or without the presence of multicultural communities, in an economically rich or deprived environment, in a touristic area, in a specific political situation, etc
Institutional relevance 1
Definition Relationship between the project and both the main objectives and resources of the institution, where the specificity of the collection should be considered, the available professional and scientific expertise, the strength and weaknesses of the general institutional situation etc. Example: A behind the scenes program around an area of expertise of the institution / versus/ an expensive one- off program when there is no regular education activity offer.
Scientific relevance
Definition Scientific relevance is reached through the existing relationship between the information transmitted by the program and the discipline producing the scientific knowledge. Example: The information content of the program relies on checked out scientific information. (Up to date archeological data) The information content of the program retains the fundamentals of the related scientific information (archeology as a process for understanding history /versus/ giving anecdotic research elements)
Economic relevance Definition Economic relevance relies on the relation between the project and: The global financial policy of the institution and/or Outside financial support Obtained by the institution
Obtained by the program leader Example Working around a museum policy where education would be assured to get a fair share of any grant obtained by the institution /Versus/ spending a lot on communication when the conservation or inventory of the collection are in a problematic state.
c) Partnerships Definition Individuals, institutions or bodies likely to be associated to the designing of the project. Example The program is planned in strong collaboration with the representatives of the concerned community or another cultural institution/ versus/ projecting a program only with inside expertise and strength.
d) Beneficiaries
Definition Individuals at which the program is aimed Example School children, elderly population, tourists, etc.
Points to be taken into account Reasons for choosing this specific type of audience : o Meeting a request: 2
-
Individual
Example A teacher asking for an interpretation visit with his class around a specific topic he is working on.
-
Institutiona l
-
Political
Example A program to be designed around a new exhibition Example The political body in charge of the museum (Town council) asking for a tourism oriented program
o Aiming at an unusual audience Example An evening program first designed for the taxi drivers of a city and offered to help them orientate the tourists towards the museum
o Acting in a financial perspective Example A program designed for the local business men as an incentive to private funding
General knowledge about what national or touristic audiences consume in terms of overall cultural offerings. General knowledge about the potential museum need of the population among the overall cultural offering General knowledge on the typical visitors of the museum in question General knowledge on the specific targeted audience e) Aims and objectives Definition What is sought out through the projected program. The desire of the museum to offer their audience an exceptional heritage or art experience often prevents educators from searching for definite and precise achievements both through the whole program and through each of its elements or moments. Example The program tends to provide critical heritage appreciation keys/ versus/ having fun is what is most important.
Points to be taken into account Several types of objectives may be searched for :
3
In the experience field (ex: accessing the exceptional)
In the education field •
Acquiring or improving knowledge.
•
Acquiring or improving know-how.
•
Acquiring or improving personal attitudes or positions
These objectives may be more or less precise. Example Getting a general feeling of a civilization / versus /understanding how you make butter
These objectives may have diverse orientations. In the short term In the medium or long term. f) Resources Definition The means allowing the development of the project. These means cover a very large range of needs and opportunities, from material to scientific. Examples The presence of an exhibited artist / versus/ creation explained by an art historian The material possibility to have a workshop studio / versus / leading workshops in the galleries.
Points to be taken into account Timing opportunities (Mothers ‘day, international museum day, school holidays) Spaces (crowded or empty galleries, auditorium, school cafeteria) Staff( appointed education staff, teacher, gallery conservator)
Financial ressources Available skills for the project
Content- wise (field specialist)
Communication- wise (museum staff trained
to communicate with the visually impaired)
g) Content
4
Definition The content covers all kind of information and/or experience offered throughout the program. Example Aesthetic appreciation can be enhanced by offering related music or poetry and/or by offering methodological “learning to look” keys and/or by providing information about the artist.
Points to be taken into account Possible variety of contents Possibilities offered through the environment, the collections and their related information. The educator is fully aware of the extent and variety of potential contents. Choice Selection of the content Orientation of the content (aesthetical, ethnological, etc.) The selection and orientation of content is done in full awareness of possible varieties of content. Construction Structuring the proposed contents As a program is usually rich in various types of content (technical issues, scientific information, aesthetical or experimental experience, etc), attention is given to the relative dynamic of the whole (logical structure, attention span of the targeted audience) h) Interpretation techniques Definition Nature of interventions selected to carry out the content. Selected information can be carried out using a great number of ways, relying on diverse mediation techniques or agents. Example Lecturing, workshops, demonstration by artists or professionals, performing in or outside the galleries
Points to be taken into account o General scope of the available communication means in museum environment of the existing theory around these means of previous experiences done in or outside museums with these means
o Nature of choice made in such a broad possibility of communication means
Already known and experienced means 5
Original means
o Setting out the means together to build a structure for the whole program When a program uses various communication means, their relative nature, position inside the whole propramme, relative importance, is significant. i) Communication means Definition Nature of interaction selected to communicate the content to the audience through the mediation means. The nature and level of social, intellectual and technical participation is considered. Example Which level of interactivity is offered to the targeted audience during the program? When, how, to which extent, on which dimensions?
j) Coordinating mediation and communication means and content Definition Combining the proposed experience or content with the selected intervention formula (mediation and communication means). Example Is it more efficient to build awareness around the chosen topic through discussion, lecturing or doing, with what level of audience participation?
Points to be taken into account o How do these dimensions combine through each step of the project o How do these dimensions combine through the whole project Example What is the best arrangement of content and means to get to a dynamic scenario for the program?
k) Evaluation projecting Definition Inserting, when planning, in the program, criteria and tools allowing later a verification of the effects obtained through the program Example Checking if the representation about museums has changed in teenagers ‘minds after the offered program by planning specific evaluation tools, before, during or after the visit.
Points to be taken into account o Nature of the elements that should be evaluated o Operators of the evaluation (internals or outsiders) Who decides what should be evaluated?
6
Who conceives the evaluation tools? Who actually leads the evaluation?
o Specificity of the targeted audience for evaluation
Type of the selected audience
Relative precision about the specific audience characteristics (What is a family?)
Ways of selecting the people from whom we want to get information
Selecting whole or part of the audience Choice of a sampling method
o Range of possible research tools to collect information o Relative validity of the information obtained through these tools Example Satisfaction is often over represented in cultural surveys
o Stability of the information obtained through these tools Example Long term or short term memories of a visit
o Choice of a data collecting method o Using an existing tool Example A questionnaire designed for all museums of a country, a state or a city
o Conceiving an original tool Example A questionnaire specifically designed for this museum
o Range of existing tools for analyzing the data, that is to say interpreting them o Selection of the tools for analyzing the data Using an existing tool
Conceiving an original tool Example Selecting quantitative or qualitative approach of the results
2 . Carrying out the program
Definition Implementing the conception and planning of the program by developing its various dimensions and adjusting it to the audience and to the circumstances. 7
Example Inserting the use of multimedia in part of a program will need developing a scenario, working with a designing firm, discussing the technicalities with outside providers, see how it can be inserted in the galleries, how to use it depending of the type of audience or crowd,etc.
a) Developing Definition Preparing the materialization of the diverse aspects of the program Example Buying the necessary equipment, consulting outside advisers
Points to be taken into account o Relationship with external providers o Appropriate to the internal dynamic of the institution o Time frame of implementation b) Implementing Definition Effective materialization of the projected objectives, using projected means: Environment, audience, intervening staff, content and communication means, resources, etc. Example Inaugurating a new Sunday program for families on Mothers’ day with a grant from a firm in baby food and the help of the grandmothers of the “Friends of the museum” etc.
Points to be taken into account Ruling the environment Relationship of the mediator to the other professionals of the museum. Example Are the security guards informed and happy with a dancing workshop in the galleries?
Ruling the time Timing of the development of the program Example Will the auditorium conference be finished in time for the closing procedures of the institution
Ruling the audience o Involved audience o External audience Example
8
How to organize things so that a gallery program does not become a nuisance for the other visitors or the other visitors a nuisance for the program.
Ruling the material means Example Necessary audiovisual appliances
Ruling the financial means Example Not exceeding the anticipated budget
Ruling the intellectual and material process of the program Example Checking that the whole process works in a satisfactory way in every dimension
Adjusting to the audience Example Shortening a visit for elderly visitors
Managing human resources provided by the mediator o
Availability
o
Expertise
Example When can I get the best speaker for this topic?
Reacting to unforseen situations o Situations arising from the program itself o
Objects (missing in the galleries for restoration reasons)
o
Visitors (unexpected wheelchair visitor)
o
Spaces (closed for lack of security or unexpected works)
o Situations arising outside of the program o
Outside events for the museum (transportation strike, demonstration in front of the museum)
c) Subsequent adaptations Definition Necessary adjustments due to the situation Points to be taken into account 9
Reasons for this adjustment Nature of the consecutive change of perspective Relative importance of the subsequent change of perspective Consequence for the quality of the program
3) Evaluation (implementation and results)
Definition Implementation of the process enabling confirmation of the expected effectiveness of the project Evaluation will consist of gathering information data and interpreting results.
Points to be taken into account Eventual adjustments and reorientation of what was previously imagined, that is to say the elements that should be evaluated, the research tools to be used and the involved actors of the evaluation. Carrying out the evaluation o Mastering the collecting of data o Practicality in using the projected research tools Availability of the projected visitors to get the information from (teachers in a hurry to get back to school buses)
Material conditions enabling to collect quality information (seats, sensorial nuisance, etc.)
Interaction conditions enabling the production of pertinent information (questionnaire given out by a responsible person rather than self administered)
Researching the datas o Looking for answers to previous questions or checking hypotheses. This can be obtained through diverse analyzing tools, such as creation of pertinent categories, quantitative treatment, applying variables, etc. o Considering extra clues or information o Criticizing the quality of the subsequent data o Interpreting a) Reporting
10
Definition Giving a communication form on the results and conclusions obtained through the evaluation. Example Organizing a report session for the staff, writing a written report.
Points to be taken into account Two types of research accounts can be found : o Extensive account o Synthesis to be communicated to the management of the museum
These two reports must integrate the following dimensions : o Reasons for integrating an evaluation dimension to the project o Description of the implementation of the research (process, instruments, selected sample, etc.) o Justification of the adopted orientations o Results obtained o Critical analysis and interpretation o Professional and scientific perspectives to be driven from the research
The roles of both documents are necessary and supplementary. An appendix must provide raw gathered data.
b) Remedial process Definition Evolution of the education or cultural action program depending on : o Informal observations led during the development of the program. o
Formal results accessed through the evaluation research.
Points to be taken into account The remedial process is preceded by fundamental re-questioning o Relevance of the pursued aims of the program
Per se 11
In relation to the general orientation of the institution
o Critical analysis of the practical conditions during the making of the program o Significance of the relationship between the action led and its evaluation
The remedial process do not entirely rely on the results of formal evaluation o It can integrate only certain aspects of the obtained results o It can voluntarily exclude certain aspects, considered as non relevant by the institution (audience satisfaction versus audience education) o It can add certain dimensions, not considered in the first version of the project o Who decides of the relative relevance of each of these postures with their consequences ?
Criteria adopted for the remedial process will have regard to all internal and external actors of the project.
October 2011
12
