6615 Week VIII Outreach

8/6/2019 6615 Week VIII Outreach

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Week VIII:OutreachMarch 16, 2011


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Education Programs: Outreach as anAdministrative Function(Elsie Freeman)

Outreach is an extension of referencework Mistake to call it decorative orexpendable in comparison to otheradministrative duties/tasksThe public is a difficult termnot asingle body of clients


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What is Outreach?Outreach can range at the least from simpleexhibits, tours, and curatorial talks to moresophisticated activity, including multilevelconferences, traveling exhibits, group instruction,teacher workshops, courses based on the archives

using records as text arid archivists as facilitators,or cycles of activities focused on a theme or a period . But in developing any of these educationalservices we must first decide for whom we are

producing them , at what level of sophistication they

need to be produced, and in what formats they canbest be supplied to the maximum number of people.Such development removes from outreach its charity-basket connotations and turns it into anadministrative device , one in which we makedecisions about whom we serve and in what ways weserve them.


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Discussion Questions???Freeman argues that education programs andoutreach activities have long been seen as isolatedand separate events in archival institutions (pg. 282).Why is this so? If outreach is seen as an extension of reference work, and reference work is a part of the

technical archival process, then why is outreach not?Or is this a comment on the legitimacy of referencearchivists echoed in writings like Duff and Fox?Freeman suggests that archival administration oftensees outreach as superfluous, but then tells that many

archives are doing outreach on their own. If it is sowidely viewed as being decorative or unnecessary,why are so many archives active in outreach? Whydoes she contend that short programs are noteffective?


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Who are our Users? Public?

5 out of 10 Genealogists1 out of 10 Casual Researcher2 out of 10 Students2 out of 10 Researchers likely to Publish(Study from National Archives)


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Outreach Programs

Organizing Principle: Reach More Clients in Less Time Service in Bulk means Multiplying the Number

of Potential Clients Provide Multiple Service(s) to any Single

Public

Who will execute these programs?Who will pay for them?Does the current staff have the skills to

do this? Do we need to hire someone?


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Three Possible Options

Assess Talents of Existing Staff Creation of Networks Within a Region Talent Networks like Research Networks

Learn How to Do It Ourselves!!! Possible Courses, Workshops, Training??? Existing Literature


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Do We Charge for OutreachPrograms???

Nothing in the world is free. . .. Although amuseum staff with imagination and commonsense can run programs at a very low cost,ultimately there is a bill. If the audience isdivided into interest groups that pay feescommensurate with the program or servicesreceived, it is possible to cover all or most of the costs of the program. Audience size tends to increase after a charge islevied.Provides funds to ensure further such programsin the future


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Discussion Questions???Do you agree or disagree with Freemansapproach to learn how to do it ourselves if noother source is available?Freeman argues that to pay for outreachprogramsarchives should charge for them. Sheexplains that the National Archives charges fortheir outreach programs. How feasible is thissolution for smaller archival facilities? What arethe advantages/disadvantages of charging foroutreach programs?How much license should the public have indetermining when they have been given goodvalue for their money? Especially when much of the general public does not understand how anarchives operates.


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Public Programs ( Kathleen D. Roe)

Kathleen D. Roe is the Director of Operations at the New York StateArchives and a Fellow of the Society of

American Archivists.MSLS, Wayne State University (1979)BA & MA in History, Michigan State Univ(1968-1974)Has worked at the New York StateArchives for over 32 years in a variety of positions


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Public Programs

Serve a crucial function for archives byacting as the interpreter between arepository and the public Promote archival goals to acquire andpreserve valuable resources, encourage andexpand the use of historical records, andraise public awareness of archives and theirpurpose

Public programs are less clearly defined thanother parts of the total archival process Different termsoutreach, educational programs,

external programs, development services & publicservice


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The Public Program Audience

Number of Audiences: Scholarly and Historical Researcher Teacher/Student Community Professionals in Various Fields Researchers Following Personal Interests General Public

Match the general interest areas withintheir own particular holdings with groupswho would find them of interest


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Kinds of Public Programs

Oral HistoriesBasic Information Programs Brochures, Slide Shows, Tours & Speeches

Educational programs designed to bringhistorical records to students at primary,secondary, and university level. Archival teaching packets are a particularly

popular method for reaching studentpopulations.

The author mentions finding aidsare

they a public program???


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Archival Exhibits( James Gregory Bradsher &

Mary Lynn Ritzenthaler )Both authors have worked for the NationalArchives as well as members of SAA.Ritzenthaler is currently a senior staff member of the Document Conservation Laboratory inPreservation Programs for the National Archives[she gets to handle the Declaration of Independence].

Archival exhibits are mounted to interest, inform,stimulate, entertain, and educate viewers Useful in drawing attention to the resourcesavailable in archival institutions and serve as an

invitation to further research


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Establishing a program and definingan audience

Adopted to fill a needShould meet conservation standardsScaled to fit resources and expertise

Written policy statement defining theobjectives of the program??? Regulations and guidelines Govern type, size, complexity and frequencyPolicy should define audiencePermanent, semi-permanent or changingoften???


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Types of ExhibitsTwo basic types

Organized around a subject or type of object orcommemorate/celebrate an event

Those that present archival institutions and their holdingsin a favorable light by focusing on various archival activities,functions, and services

Thematic or subject exhibits can explain andinterpret historical events, activities, and topics, aswell as simply introduce visitors to the raw materialsof history.Exhibits that focus on the institution can explain thenature and value of archives, describe the mission. of the archival institution, and depict specific archivaloperations.Institutional exhibits can be mounted to show thecontributions the archival institution has made to thecommunity or the world of scholarship.


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Choosing a Subject

Must be selected to meet the interests of both the viewer and the institution.Exhibit staff should try to pose questionsthat evoke concrete rather than theoreticalresponses (who, when, where, what, how,etc.)Frequently exhibits are mounted in

connection with a specific event, such as aspeech, a conference, or an anniversary. Thus,the event itself dictates the subject of theexhibit.


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Planning

First step is research to determine if resources exist within the archives todevelop the topic.Proposal outlining purpose, scope, majorthemes & tentative dates.Once approved, action plan developed.Time allocated: Research Conservation Work Marketing Installation of Exhibit


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Selecting Exhibit Materials

Integral to Subject Being PresentedMust Advance Theme or Idea Behind theExhibit

Strong Documentary Value & VisualImpactQuality outranks Quantity

Written Documents are not Dull (BUTtoo many can overwhelm)Better to Have Mix of MaterialsMust be Sensitive to Privacy Issues


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Designing an ExhibitCoordinate the number, size, thematic placement,and format of the items to be exhibited Space available for the presentation of eachtheme Layout in each case or panel should be sufficientlyattractive and interesting to gain and hold theattention of the viewerVisitor traffic patterns need to be studied andplanned in relation to the distribution of displaycases, free-standing panels, and overall room sizein order to eliminate traffic hazards Colors and textures are important designelements in an exhibitcreate mood Lighting, labels and overall physical appearance is

very important


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Discussion Questions???

Where does one go to learn the nuts and bolts of exhibit design? Bradsher discusses floating matsand other fun techniques but doesnt reallyexplain where to find how-to information on

these processes.In your opinion, where do Bradsher &Ritzenhaler's instructions on building exhibits inarchives fit into the conversation on user needs?

How user-oriented do they expect archives tobe? Working in a small regional manuscriptrepository, what amount of time and resourcesmight you allocate for exhibits?


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Preservation

Records on exhibit are more vulnerable todamage or theft than those in passive storage.Some documents are more susceptible thanothers to exposure to light or fluctuatingtemperature and relative humidity.It is important to acknowledge that damage willoccur and to determine whether this isacceptable and to what degree (with exhibiteddocuments).

Mounting, temperature, humidity, air quality, lightlevels and duration of the exhibit must all beconsidered.Exhibit cases should be air-tight and fitted withpick-resistant locks.


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Program Coordination

Exhibits must be publicized if the targetaudience is going to be aware of theirexistence.

Distribution of posters, brochures, andbanners; direct mailings; and listings in tourguides

Receptions with food (what concerns this

brings up) Producing a catalog or checklist Do you use volunteers??? Need to be

supervised


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Administrative Considerations

Expensivewhat are the costs? Staff time?Outside funding possibilities

Do we charge?Do we sell items (catalogs, slide sets,posters and postcards)?

Do we need items from other institutionsto enhance/complete our exhibit?Permanent file on each exhibit should becreated.


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Viewing the World Upside Down(Terry Cook)

Dr. Cook was the Director of theNational Archives of Canada for over 22years (retired).

Currently teaching Archival Studies forboth the University of Ottawa andManitoba

PhD History, Queens University (1977) Both a Fellow of SAA as well as theAssociation of Canadian Archivists


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A New Approach to Public Serviceand Public Programming

Do archivists serve the "general public" or"cultural elitists ? Should archivists think more about

genealogists?Are archives and historical researchersshunning each other, as the profession moves"toward a new focus of archives for thepeople ? Should the public face of archives now beconsidered part of heritage tourism or acultural industry (even entertainment)???


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New Face of Archives

Four Phases of Image, Awareness,Education & UseReference Tools respond to the needs of

the users rather than the expectations of archivists. Should describe records to meet

researchers needs Look to the Corporate Worlds forexamples


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In Search of ExcellencePublished in 1982 (Tom Peters & Robert H. Waterman, Jr.)Sold 3 millions copies in 4 yearsExplores the art and science of management used by leading1980s companies with records of long-term profitability andcontinuing innovationEight Key Themes:

A bias for action, active decision making Close to the customer Autonomy and entrepreneurship Productivity through people Hands-on, value-driven - management philosophy that guides

everyday practice - management showing its commitment. Stick to the knitting - stay with the business that you know. Simple form, lean staff - some of the best companies have

minimal HQ staff. Simultaneous loose-tight properties - autonomy in shop-floor

activities plus centralized values.

Know Thy Market, Know Thy Customer


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After considering Terry Cookscontention that archives have beenaffected by the American corporate

culture of the 1980s, should archives bewary of adopting any corporate like stylesof management? Is any emulation of the

way corporate America operates andmanages a slippery and dangerous slopefor archives?


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Information Anxiety

During the writing of this article, over1,000 books are published internationallyeveryday.

9,600 different periodicals published inthe US alone every year.Worlds total amount of printed

information doubles every eight years.And remember this was written beforethe explosion of the Internet


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Discussion Questions?Cook states that archivists should not let the publicprogramming driven by trendy consumerism betray theorganic integrity of archives (pg. 131). Do you agree thattrends in customer gratification and market research haveinfluenced the archival profession? If so, is this a negative orpositive impact on archival institutions and archivists? Howcan archival records keep their organic integrity in a worldconcerned with the client, the service, and the satisfaction?Cook argues that Unless the focus of archival work inappraisal, description and public service and outreach is theprocess of records creation and the creator and the archivalmaterials that result from both, archivists condemnthemselves and their users to a diet of fast food, of quick hitsof facts, names, and dates without context and without muchmeaning. (9) Do you agree of disagree with Cook? Shouldarchival public programming have a user-driven focus or afocus on records creation and the creator and the archivalmaterials that result from both?


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How does Terry Cook propose thatarchivists can aid in easing informationanxiety?Cook mentions information anxiety as

defined by Wurman as the inability to keepup with the flow or information overload. Inlight of this constant pressure of material onrepositories is it feasible to want to increasea repositories user anxiety by publicprograms and outreach events and exhibits?Is more always better or should repositoriesbalance their overloads and should they becareful what they wish for?