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Transcript of Narrative Sketch
the content of what will be communicated to the audience
the constructive nature of the learning that people will be taking from the experience
the intended impact of the programming February 10 ENTER A proposal for a suite of programming around the topic of "Food" to be carried out at a science centre in Vancouver Literature:
Home Economics version 1
purple = overarching categories February 11 February 14 JOURNAL:
Sitting at a coffee shop and going through all of the articles, trying to weed out the ones I don’t need. It’s so hard. Each article has some little nugget in it that is meaningful, but do I hang onto something that has only one quote that I can take out of it? What if I get rid of something potentially fruitful? Selecting the articles I'll read is like curating my learning process before I even begin... I've chosen to read articles on:
how I do the project: Articles about autobiography and framing museum ed.
curriculum theory in museums, and on implications of curriculum and activities of museums
food studies and food exhibits
museum education in general (mostly on constructivism) Leggo, 2008 Carl Leggo talks about the importance of writing about oneself for scholarship. I identified with his struggle on the inward focus of the task – I wonder if this project is too self-centered and self-indulgent, but he brings up that it’s necessary to reflect in order to grow, and to grow personally in order to grow professionally. That makes me feel better about the endeavour and justifies all of this time I’m spending thinking about my own process. I hope that this project will help me to achieve both. Is this project too self-indulgent? I need to make sure the programming includes multiple modalities/paths for learning Hein, 1994 & 1998 Experiences should be open to visitors multiple paths and through multiple modalities. I should design programming that engages various senses (apt for food theme) and allows a degree of individual choice (by either offering many different types of programs or giving choice within a program) Thinking About
the Process The first ideas: No culling yet - I'm just throwing things out there. I'm sure there will be many more concepts to come. Literature:
Curriculum Theory Programming at other institutions Literature: Museum Education How can my programming reflect the inter-connectedness of so many concepts? Will it be too confusing to highlight all these connections?
Is it more effective to focus on one connection to people’s lives, or several? For example, if we’re hosting a lecture on organic farming, do we connect it to human health, to the environment, to food systems as a whole, on politics in agriculture, etc. or just choose one and have a more in-depth conversation? I need to come up with a plan to tackle this huge topic 1. Create a mind-map of possible topics related to food – totally open, so as not to limit myself at the beginning. (continuous refinement)
2. Determine a context and boundaries of the programming proposal: Time frame, audiences, etc.
3. Brainstorm possible programming – through own ideas, gathering ideas from other venues (programming from other institutions).
4. Determine broad categories of programming and
5. Expand, refine, define, program possibilities as I move along in the process. Connelly and Clandinin, 1990 Connelly and Clandinin talk about having a “narrative sketch”. I think this is like my Prezi. It will hold “broad descriptions of scene and plot and a number of sub-sketches of key characters, spaces, and major events that figure in the narrative.” (p.11) What data holds meaning? (What do I present?) The Narrative Sketch February 18 • Place = Science Centre in Vancouver
• Time-frame = Spring/Summer season (March – August, 2012)
• Audience = School groups (primary and secondary), Pre-school and Daycare groups, Families, Teens, Adults
• Theme constraints = Food theme with strong relation to science: Likely with “Environment”, “Health”, and “Chemistry” as the main focii?
(TBD, but so far, this is my hunch for best links to programming).
• Venue constraints = assume use of a kitchen (with oven and gas range) some outdoor gardening space (raised beds) and chicken coop The plan: Identify the constraints version 2
yellow = programming ideas The interview Meeting with Georgia Stanley:
Met with Georgia about her role in writing the text for the “Local Foods” exhibit at the MOV and the process she went through with the photographer.
It all sounds much looser and less planned than I ever would have imagined, although the grouping of the exhibits was cleverly done (in season themes, with the photographs in each season tackling issues that are associated with each part of the year). Am I over-prescribing? February 21 February 20 Hooper-Greenhill, 1992 "The same material object, entering the disciplines of different ensembles of practices, would be differently classified" (6)
links to my interview with Georgia and our discussions on how the content of our ideas was drastically changed depending on how we broke down the concept of "food". "Power relations within museums and galleries are skewed toward the collecting subject who makes decisions in relation to space, time, and visibility; in other words as to what may be viewed, how it should be seen, and when this is possible" (7) On Power On Taxonomies I feel pressure on to determine the "perfect" categories early, but... "the lack of a flexible model for museums leads to severe problems in accomodating and working with the new elements that are imposed upon the existing field" (8) On Museum Flexibility Smith, 2009a Smith outlines 3 levels of health "literacy" Also makes explicit 3 different levels of engagement with programming:
empowering to affect change Can one-off public programming lead to
personal and community empowerment? Programming ideas added, with some consideration of venue capabilities and constraints What are the practical boundaries? What is the format? Who is the audience? Hooper-Greenhill, 1992 "Don't over-reach, remind yourself that this is one paper building towards your final project in 590. So allow the time frame of the writing (it has a dead line) to keep you focused and on track." Alex de Cosson, e-mail correspondence Note to self: The reflection and writing will take some time - don't delay in engaging in the process of creating! Makes explicit each interaction the human body has with food - this reminds me of how it fits in with the agricultural food system Breakthrough! Kitchen Lab programming Body Works Gallery? Nutrition/Health programming Our World Gallery exhibits "Centre Stage" Live Shows Urban Garden (outdoor) exhibits Films Food Systems & Urban Agriculture programming Programming Plan I now have three documents full of programming ideas - one for each concept. They cover activities that can happen in each programming area. I've spoken to people in the community about the types of workshops they offer, and have a list of some real possibilities!! Hurrah! Next steps:
1. Finish a draft of programming ideas
2. Identify some readings to help me reflect on which programs to keep. February 27 Wait... wait.. wait... Shoot... I thought I was well on my way... Is the purpose "Food Literacy"? Smith talks about "the notion of becoming food literate" and how that can guide curriculum Food Literacy What is Literacy? It is beyond reading/writing. It is about what literacy enables us to do:
- Think critically
- Make decisions Smith, 2009b “Unexamined food is not worth eating: Food Literacy as the foundation for food and nutrition courses.” Why promote Food Literacy? a. The public is bombarded with confusing often contradictory nutrition advice
b. The health crisis created by dramatic increases in overweight and obesity
c. We live in an obesogenic environment
d. Distancing and commodification of food
e. Cultural loss
f. Rising concerns about food safety
g. Loss of biodiversity and sustainability issues
h. Massive food insecurity
What are types of Food Literacy? a. Functional: basic factual information about nutrition
b. Lifeworld: lived experience of food production and preparation
c. Interactive: developing personal/interpersonal skills to explore meanings and
significance of food
d. Narrative: exploring stories and creating new stories around food/culture/identity
e. Critical: skills to evaluate and taking effective individual, social and political action OK - What does the BC curriculum have to say about what we should know about food? Aak! A lot, apparently... OK... be calm. Let's see if we can distill this. Sustainable Resources 11 & 12 ahhh.... it's not so different from my previous concept. Breaking News: I've just been assigned to write the content for the Urban Garden area of the new outdoor exhibit. This "imagined" programming is now taking on a new level of importance to my work. It could be something that I do actually get to implement. Vallance, 2006 Vallance examines museum education through the lens of Huebner's 5 rationales. These align quite tightly with the issues I've been considering when I've been considering the text/content of the exhibit. a. Technical
c. Scientific (pedagogical)
e. Ethical What information is included and is it correct? What impact does this information (or the way it's presented) have on the people reading/interacting with it?
Is this information biased? What is the best way to present this information for the intended audience? What will the emotional and sensual impact of this information and its presentation? Should I be presenting this information? Is it harmful to anyone? Thinking Creating Reflecting Connelly, F. M., & Clandinin, D. J., (1990). Stories of Experience and Narrative Inquiry. Educational Researcher, 19(5), 2-14.
Grumet, M. (2009). Curriculum inquiry, theory and politics. Curriculum Inquiry, 39(1), 221-234.
Hein, George E. (1994). The Constructivist Museum. In E. Hooper-Greenhill (Ed.), The Educational Role of the Museum (73-79). New York: Routledge.
Hein, George E. (1998). Learning in the museum. London: Routledge.
Hooper-Greenhill, E. (1992). What is a Museum? In Hooper-Greenhill, E. (Ed.) Museums and the Shaping of Knowledge. London: Routledge.
Leggo, C. (2008). Autobiography: Researching our lives and living our research. In S. Springgay, R. Irwin, C. Leggo & P. Gouzouasis (Eds.), Being with a/r/tography (pp.3-23). Rotterdam, Sense Publishers.
Simon, Nina. (2010). Why Participate? In The Participatory Museum (Preface). Retrieved from http://www.participatorymuseum.org/read/ Lindauer, M. (2003). Inside, out, and back again: The relationship of New Museology and Curriculum Studies to Museum Education. Paper presented at Current Research in Museum Studies, A forum featuring the Year 2004 Smithsonian Fellows in Museum Practice. Washington, D.C.: Smithsonian Center for Education and Museum Studies.
Ministry of Education, Province of British Columbia (2005). Science K to 7: Integrated resource package 2005. Victoria, BC: Ministry of Education
Ministry of Education, Province of British Columbia (2006). BC First Nations Studies 12: Integrated resource package 2006. Victoria, BC: Ministry of Education
Ministry of Education, Province of British Columbia (2006). Biology 11 and 12: Integrated resource package 2006. Victoria, BC: Ministry of Education
Ministry of Education, Province of British Columbia (2006). Chemistry 11 and 12: Integrated resource package 2006. Victoria, BC: Ministry of Education
Ministry of Education, Province of British Columbia (2006). Health and Career Education K to 7: Integrated resource package 2006. Victoria, BC: Ministry of Education
Ministry of Education, Province of British Columbia (2006). Social Studies K to 7: Integrated resource package 2006. Victoria, BC: Ministry of Education
Ministry of Education, Province of British Columbia (2007). Home Economics: Foods and Nutrition 8 to 12: Integrated resource package 2007. Victoria, BC: Ministry of Education
Ministry of Education, Province of British Columbia (2008). Science and Technology 11: Integrated resource package 2008. Victoria, BC: Ministry of Education
Ministry of Education, Province of British Columbia (2008). Sustainable Resources 11 and 12: Integrated resource package 2008. Victoria, BC: Ministry of Education
Smith M.G. (2009a). Unexamined food is not worth eating: Food literacy as the foundation for food and nutrition courses. Paper presented at: Canadian Symposium X, 2009. Saskatoon, Saskatchewan.
Smith, M.G. (2009b). Food or nutrition literacy? What concept should guide home economics education? International Journal of Home Economics. 2(1), http://www.ifhe.org/47.html Falk, J.H. & Dierking, L.D., (1992). Creating the Museum Experience. In Falk J.H. & Dierking, L.D. (Eds.) The Museum Experience. Whalesback Books, Washington, 129 - 160.
Vallance, E. (2004). Museum Education as Curriculum: Four Models, Leading to a Fifth. Studies in Art Education, 45(4), 343-358.
Vallance, E. (2006). Finding Order: Curriculum Theory and the Qualities of Museum Education. Journal of Museum Education, 31(2), 133-141. Concept Concrete Informed by: Whose objectives am I trying to meet? How can I engage the public most effectively? Will reading about curriculum theory make me stuck in a decision-making abyss? Thinking About the Concepts Food has an impact on human health Food has an impact on our culture and economy Food has an impact on the health of our environment Science Home Economics Social Studies Health & Career Ed Understanding component parts of food can help us make wise choices Understanding food at a systems level can help us make wise choices Why are we making food exhibits, again? This "narrative sketch" follows the creation of a suite of programming on the topic of "food" for a science centre. The programs will take advantage of upcoming gallery and programming spaces currently under construction or planned for construction. This presentation includes reflections on academic literature, personal thoughts, and images of documents created throughout the planning process. Its intention is to show the viewer the program-planning process both chronologically and conceptually (thinking about the process, about the concepts, and about the programs).
Like a museum exhibit, the viewer is invited to follow the denoted path or to explore the space in his/her own manner. The entrance and exit are denoted to indicate the chronological start and end of the process. Please feel free to explore particular parts in more detail on your own, or follow the path as you wish. Context The programming suite has been created for three new gallery spaces. They include an urban garden, an outdoor stage, and an indoor kitchen "lab". The urban garden and outdoor stage are within a larger sustainability-themed outdoor gallery, aimed at informing the public of how our behaviours affect the planet and some choices we can make for change. Other spaces available for programming use are an indoor stage ("Centre Stage") and a cinema style theatre ("Science Theatre"). Planning Expanded web with programming ideas taken from research into other institutions' offerings February 18, continued... Thinking About the Programs 14th 20th 11th February 21 February 21 18th All of that brainstorming and connecting and tiny thoughts really come down to three main categories. It looks so simple, it’s embarrassing to think it’s taken so long to get here. But these categories are useful because they also break down the programming possibilities by gallery space. Now I can use these three themes to help categorize the programming and come up with more ideas. + Programming Concepts These distill into three general concepts Feb 25 March 5 Lindauer looks at the fields and relationships between Lindauer, 2003 21st February March Overload! 27th 25th 5th 6th I want to:
Include many different ways in which people can engage with food: lectures, films, workshops, live shows, and a way that they can choose their own path (Hein, 1994, 1998)
Include many senses in their experiences: sight, smell, touch, taste, sound (of chickens!)
BUT as I write down all of the possibilities, I realize that I work kind of like how I cook. This morning, I made crepes for my father’s birthday and the menu of toppings for three people included:
Savoury (on Buckwheat Crepes):
- Smoked Salmon with a dill and lemon cream sauce
- Oven roasted peppers
- Sautéed zucchini
- Caramelized onions
- Feta cheese
- Emmenthal cheese
- Sautéed mushrooms
Sweet (on regular Crepes):
- Berry compote
- Prune and fig yogurt
- Caramel sauce This was all in attempt to give choice, but we all ended up overloading and overeating (as per usual). It’s like going to the V&A museum and having far too much to see and being overwhelmed by the information. It’s best to go in and sample a bit at a time.
I need to learn from my chef friend Marika, who always seems to choose just the right combination of things on the plate without things that just end up being a distraction, and my friend Tassie, who always knows to choose high quality foods and serve just enough. 1st I need to approach the programming suite like it’s a menu. Be selective and only offer what is appropirate. I can even use Huebner’s 5 rationales to help guide me.
HUEBNERIAN PROGRAM MENU
1. Technical - do we have the equipment to carry it out?
2. Scientific - do we have the skills to teach the concepts effectively?
3. Political - who holds power as a result of it?
4. Ethical - is it fair and inclusive to all?
5. Aesthetic - is it enjoyable, feel "right", have a sense of "wholeness"? (p. 349) Vallance, 2004 1st Program Draft Hurrah! It’s finally complete – the first draft of the programming suite! There are a couple of areas that need tweaks, and I should come back to it to address the gap in programs addressing Food and Our Bodies in the School Programs, but the first draft, complete with topic and BC IRP connections is DONE!
Thoughts on what has been successful:-
There are many different ways that people can engage with the topic of food
There is a fairly good offering of programs for each age group/audience
I have a few more areas I want to flesh out:
more programs linking Food Science to Food and Nutrition (about Carbs, Fats, Sugars, etc.) – HACE IRP Connections?
Opportunity for Urban Garden Program for High school (Sustainable Resources 11/12)
More short films 9th 2nd Program Draft Falk & Dierking, 1992 Taking another look through the programming and I’m seeing why I don’t have as much on the “Food and Our Bodies” area... we don’t have much exhibitory devoted to the human body. So naturally, I won’t have as much programming in that area. I shouldn’t be making up programming just to satisfy a concept that I have – it has to be meaningful to the people and the context of the gallery. I can’t force a program to happen where there isn’t anything hands-on for the students to do. I need to let the physical space dictate the best way for visitors to interact. The physical elements in a museum are the first line of how people engage with a topic. It is difficult and foolhardy to try and force a visitor to think about a concept that is not in front of them, especially when there is so much stimulation and information around them already. Final Draft 7th to see how exhibit development can be informed by all of these areas.
On page 3, she begins by presenting 4 different social purposes, and it made me realize that I don’t really know what the social purpose of this exhibit is… Is this something that is determined by the overall mission of the institution (and therefore applies to ALL of our exhibits) or is this determined on an exhibit by exhibit basis? Is it possible for one museum to have several galleries – each with its own social purposes??? Lindauer approaches the purpose from an exhibit-level, but I wonder if each exhibit CAN have its’ own goal… Curriculum Theory Educational Philosophies Learning Theory Research (Evaluation) Theory EXIT Determining the larger concepts:
Brainstorming food-related ideas Determining the larger concepts:
Brainstorming food-related ideas and programming Determining the larger concepts:
Expanding on food-related programming Talking about the way I’ve been conceptualizing food and food programs, we noticed how differently ideas came to us, depending on the larger concepts we started with.