The Museum as a Platform for Critical Discourse and Debate

THE PUBLIC PROGRAMME The Museum as a Platform for Critical Discourse and Debate

Bernard Hay, Senior Learning Producer, the Design Museum Donna Loveday, Module Leader

Rosalita Baldassin Lara Machado Ruth Mitchell Carmel Wilkinson-Ayre

OVERVIEW Our proposal challenges the traditional symposium or panel discussion format by encouraging the participants to actively share their personal knowledge and experience.

The event has been divided over two days, the first focussing on theoretical discussion and the second being a hands-on workshop. Combining two formats allows us to create an event which is dynamic in its content and setup.

01

RESEARCH JOURNEY 1.1 Inspiration 1.2 Key texts, films and quotes 1.3 Format References

02

PROJECT DEVELOPMENT 2.1 Aims and outcomes 2.2 Format and audience 2.3 Overview and breakdown 2.4 Takeaways and evaluation 2.5 Budget, H&S considerations 2.6 Key challenges

01 - RESEARCH JOURNEY

1.1 INSPIRATION

Key texts, films and quotes References

Our group was initially interested in communal rituals and engaging and possibly SUBVERTING THE POWER DYNAMICS IN LEARNING FORMATS. Aligning our ideas with Rogoff (2008), learning became an EXCHANGE between facilitator and students, LEVELLING THE HIERARCHY of who learns and who teaches.

POWER DYNAMICS

This initial interest led to research into power dynamics and collective events, such as Carnival.

CARNIVAL

research journey

Inspiration

1.2 KEY TEXTS, FILMS AND QUOTES References

The main texts that inspired our concept relate to the educational turn and creativity in the 21st century.

“possibilities for the museum to open a place to engage ideas differently” “a space of experimentation and exploration” “desire, curiosity and empowerment” TURNING Irit Rogoff

“Why Man creates?”

Saul Bass

Screenshot from Saul Bass’ “Why Man Creates?’

(1968)

research journey

“Creativity is perceived not only as the expression of human potential but also understood as fundamental for societal growth.”

CREATIVITY AND INNOVATION: SKILLS FOR THE 21ST CENTURY. Primi, Tatiana & Wechsler, Solange (2018)

“To create today is to create dangerously.

Any publication is an act, and that act exposes one to the passions of an age that forgives nothing.”

CREATE DANGEROUSLY. Camus, A. (2018)

“The creative designer, then, must be given not only the chance to experiment, but also the chance to fail.”

DESIGN FOR THE REAL WORLD Rebel With a Cause: Creativity v. Conformity Victor Papanek (1971) research journey

Inspiration Key texts, films and quotes

1.3 FORMAT REFERENCES Examples of Learning Programmes which use a decentralised approach to deliver communitybased and knowledge exchange events.

References from past Manifesto Workshops.

THE SHOWROOM Communal Knowledge is a programme of COLLABORATIVE PROJECTS where artists and designers are invited to work with COMMUNITY groups, organisations, schools and individuals from The Showroom’s neighbourhood.

research journey

THE BRITISH MUSEUM - KNOWLEDGE EXCHANGE PROGRAMME

BRITISH MUSEUM

The Knowledge Exchange programme has an ethos of COLLABORATION, OPENNESS AND FLEXIBILITY. Designed to support the museum sector to respond to current challenges, the programme creates professional exchanges for museum staff of any specialism and at any level.

SHADES OF NOIR The collective, Shades of Noir (SoN), run an independent programme that supports curriculum design and pedagogies of social justice through representation. They believe in promoting ACCESSIBLE KNOWLEDGE and create safe physical spaces that offer the opportunity to have CRITICAL AND INTERDISCIPLINARY DISCUSSIONS.

research journey

MANIFESTO MAKING WORKSHOP, ROYAL ACADEMY OF ARTS The Successful Artist? was a drop-in workshop led by artist Raju Rage. The workshop provided a space for artists and creatives to come together and write their own artist manifestos. Each individual manifesto was combined to make a large-scale collective manifesto.

MANIFESTO MAKING WORKSHOP, SOUTHBANK CENTRE Jacob V Joyce led a drop-in session at the Southbank centre focused on writing a youth manifesto. The main premise of the manifesto discussed what being an artist means now and what manifestos in the future could look like. It also touched on themes such as self-expression, identity and gender.

research journey

02 - PROJECT DEVELOPMENT

01

research journey

project development

2.1 AIMS AND OUTCOMES

Format and audience Overview and breakdown Takeaways and evaluation Budget, H&S considerations Key challenges

• To expand creative thinking.

• To inspire and motivate creative practitioners to consider their contributions to society.

• To recognise creative practices as a form of activism.

• To re-evaluate your professional practice to better align this with your personal ethos.

project development

Aims and outcomes

2.2 FORMAT AND AUDIENCE Overview and breakdown Takeaways and evaluation Budget, H&S considerations Key challenges

From our initial research into the subversion of power dynamics, as a group we felt it was important to bring people together from different stages of their careers or studies and for them to share their knowledge and expertise.

This format is about sharing knowledge, experience, ideas, evidence or expertise with nonacademic communities (LSE definition).

KNOWLEDGE EXCHANGE Up to 25 participants, studying or working in the creative industries (aged 18-60+).

We believe that anyone working or studying in the creative industries can work together regardless of their age or the length of their CV.

project development

Aims and Outcomes Format and audience

2.3 OVERVIEW AND BREAKDOWN Takeaways and evaluation Budget, H&S considerations Key challenges

project development

ICEBREAKER

The general aims of the icebreaker exercise:

• To foster creativity.

• To get everyone involved.

• Increase a sense of community in the group.

• To reduce inhibitions.

• To establish a collaborative and cooperative learning environment quickly.

‘Marooned Icebreaker Activity’

project development

q u e s t i o n

1

FRONT try to answer this question from the perspective of:

There will be a Question card per ten minutes of discussion time for example during the event we will have a 60-minutes discussion time, and will therefore put 6 Question cards in the stack.

project development

BACK

What is the role of pride in the creative process?

a child

BACK

QUESTION CARD EXAMPLE

In order to challenge the symposium format, we decided to take away formal constrictions and create free-flowing discussion through the use of two kinds of cards: • QUESTION CARDS • PERSPECTIVE CARDS.

p e r s p e c t i v e

FRONT

DECENTRALISED DISCUSSION

MANIFESTO WORKSHOP

The participants will be invited to write, edit and craft their manifesto on the theme of Why We Create and to answer and question the nature of creative practitioners and creativity.

• Why are Manifestos still relevant today?

• How can design reflect diversity of thought and voices?

• Does improvisation allow for freedom in the creative process?

• In our current society what would you keep and what would you redesign?

• How can creatives maintain their integrity?

“Manifestos were statements of purpose, calls to action.”

“Manifestos came in all degrees of simplicity or complexity.”

“All tried to make a mark. Today manifestos are back.”

Steven Heller (2011)

project development

M-L-XL STUDIO

M-L-XL Studio, founded by Marco Campardo and Lorenzo Mason, based between Venice and London, focuses on research and experimentation with language, techniques and materials.

In 2009, M-L-XL Studio (known as Tankboys at the time) launched their own Manifesto project. This project began as an exhibition at XYZ Gallery (Treviso, Italy) and Shandong University of Art and Design (Jinan, China).

To then become a limited-edition printed publication, digital archive and website. The manifestos incorporate and are inspired by professional beliefs of contemporary designers such as Milton Glaser, Bob Gill, Enzo Mari and Bob Noorda.

project development

Aims and outcomes Format and audience Overview and breakdown

2.4 TAKEAWAYS AND EVALUATION

Life of Manifestos post event: The manifestos produced during the workshop will be catalogued for the SACKLER LIBRARY AND ARCHIVE. Moreover, each manifesto will be scanned and made digitally available to download through a link on the event section of the Design Museum website.

Budget, H&S considerations Key challenges

The manifestos will form a family of important documents for action and could be used as a physical and digital output by the Learning Department for future reference.

02

project development

Aims and outcomes Format and audience Overview and breakdown

2.4 TAKEAWAYS AND EVALUATION

Budget, H&S considerations Key challenges

A checklist will be given to all the participants at the beginning of each day and will be collected at the end of the event.

Completing the checklist during the event and not only at the end of it, will encourage participants to challenge themselves by trying to tick as many boxes as possible as the learning event goes on.

The checklist will be divided into 3 sections, looking at different relationships: with others, with the event and with the self.

Personal spontaneous suggestions will be also welcomed as part of the evaluation process.

1. RELATIONSHIP WITH OTHERS • I successfully worked in groups/collaborated with the other participants • I was able to communicate/share my ideas to others • I had at least two meaningful conversations • I hope to keep in touch with some of the participants 2. ENGAGEMENT WITH THE EVENT • The scheduled activities triggered my interest • The scheduled activities challenged my knowledge • I engaged with the scheduled activities • The event was well-organised 3. OVERALL PERSONAL SATISFACTION • I had fun/enjoyed myself • I leave the event feeling satisfied • I would repeat this experience if I could • I felt welcomed • I learned something I didn’t know before 4. Any other suggestions/comments/reflection on your experience today

project development

Aims and outcomes Format and audience Overview and breakdown Takeaways and evaluation

2.5 BUDGET, H&S CONSIDERATIONS Key challenges

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Considering a budget of £3000 for the event, we concluded that our proposal would be feasible and achievable within budgetary and logistical constraints. The largest proportion of the budget would be used to secure M-L-XL Studio as facilitators for the Manifesto Workshop. The budget will cover refreshments for the participants (approx. calculation of £600 across both days of the event) and materials for the manifesto workshop.

The venue (learning space) is fully accessible to include participants with special needs.

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project development

Aims and outcomes Format and audience Overview and beakdown Takeaways and evaluation Budget, H&S considerations

2.6 KEY CHALLENGES What are some of the key challenges, or areas for further development, that would need to take place if we were to realise our public programme proposal?

• Availability of facilitators.

• Attendance numbers.

• Competing with other events across London during LDF. • Level of engagement of participants.

• Managing expectations.

project development

THANK YOU

Bernard Hay, Senior Learning Producer, the Design Museum Donna Loveday, Module Leader

Rosalita Baldassin Lara Machado Ruth Mitchell Carmel Wilkinson-Ayre