ORANGE COUNTY MUSEUM OF ARTCamille and Eric Durand Docent Council

Docent Handbook2016

TABLE OF CONTENTS

HISTORY OF THE DOCENT COUNCIL 2

2015-2016 DOCENT COUNCIL BOARD 3

DOCENT COUNCIL BYLAWS 4-10

DOCENT PROCEDURES 11-12

GALLERY EDUCATOR PROCEDURES 13

TOUR CAPTAIN PROCEDURES 14

TOURING RUBRIC USED FOR OBSERVATIONS 15-16

MUSEUM MISSION, HISTORY AND OVERVIEW 17

MUSEUM STAFF CONTACT LIST 18

EDUCATION DEPARTMENT OVERVIEW 19

SCHOOL & TOUR PROGRAMS OVERVIEW 20-24

HANDOUTS SENT TO TEACHERS 25

LIBRARY GUIDELINES 26

EMERGENCY AND SAFETY PROCEDURES 27-28

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Docent CouncilFounded in 1969, the Camille and Eric Durand Docent Council celebrated its 45th anniversary on January 13, 2014. Reportedly the oldest docent organization in all of Orange County, docents new and old gathered together to celebrate the 45 years of continued commitment to bringing contemporary art to the students and public of Orange County. In 1967, shortly after the museum opened, a group of five women (Phoebe Brownwell, Carolyn Dunn, Carol Saindon Kerfoot, Jill Sinclair, and Snoozie Ullman) realized there was a need for a program that helped the community connect with the modern and contemporary art on view at the museum. In 1969, the original bylaws that formed the Docent Council were written, the first training class took place, and docents began providing tours and connecting the public to OCMA’s collection. In the 45 years that followed, more than 400 community members have trained and joined the OCMA Docent Council. There are currently over 60 members of the Camille and Eric Durand Docent Council and 7 new graduates were welcomed from the 2013-14 training class.

Past Presidents1967-1968 Mrs. Robert Byars1968-1969 Joanne Larsen1969-1971 Phoebe Brownell*1971-1973 Snoozie Ullman*1973-1975 Carol Saindon Kerfoot1975-1977 Carolyn Dunn1977-1979 Kay Pastorius1979-1981 Kathy DeLap1981-1983 Charlotte Selling*1983-1984 Jill Sinclair*1984-1986 Pat Nelson*1986-1988 Jane Pence*1988-1990 Joan Holmes-Peterson1990-1991 Lari Bissell*1991-1992 Harriet Selna1992-1993 Virginia Contarsy*1993-1994 Barbara Klein1994-1995 Janice Pell1995-1996 Terri Stampley1996-1997 Jane Fowler1997-1998 Carol Wertheim1998-1999 Diane Spitzkeit*1999-2000 Sandy Beckman2000-2001 Jessica Behrens*2001-2002 Harriet Selna2002-2003 Joyce Rosenblum2003-2004 Aviva Forster2004-2005 Karen Evarts2005-2007 Joyce Rosenblum2007-2009 Gretchen Thompson2009-2010 Connie Magdaleno2010-2011 Kathleen Dapper2011-2012 Nancy Kiddie2012-2014 Bonita Stern2014-2015 Nancy Kiddie2015-2016 Joyce Rosenblum

*deceased

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2015-16 Docent Council Board

President Joyce RosenblumSecretary Diane ChernissTreasurer Bonita Stern

Vice President, Education Pat JorgensenContinuing Education Anita MishookObservations Joanne MercerDay Mentor, Tuesday Claudia ChristensenDay Mentor, Wednesday Sandy SimarDay Mentor, Thurs/Friday Mary Blacker

Vice President, Programs Valerie GreeleyField Trips Merle SternHospitality Gale Edelberg/Phyllis MandelNewsletter Desiree Glenn

Vice President, Membership Barbara DeGrootHistorian Ann Marie RousseauParliamentarian Nancy Kiddie

Members at Large Jane FowlerPat GibsonEdie Levin

      CAMILLE AND ERIC DURAND DOCENT COUNCIL BOARD                2015-2016        

          PRESIDENT        

          Joyce Rosenblum        

                           VP PROGRAMS VP MEMBERSHIP VP EDUCATION SECRETARY TREASURER

Valerie Greeley Barbara DeGroot Pat Jorgensen Diane Cherniss Bonita Stern                           

FIELD TRIPS PARLIAMENTARIAN TRAINING      Merle Stern Nancy Kiddie vacant      

     HOSPITALITY HISTORIAN CONT'G EDUCATION      Gale EdelbergPhyllis Mandel Ann Marie Rousseau Anita Mishook      

     NEWSLETTER OBSERVATIONS      Desiree Glenn Joanne Mercer      

      DAY MENTORS      

Claudia Christensen

Tuesday Sandy SimarWednesday

Mary Blacker Thurs      

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Camille and Eric Durand Docent Council Bylaws

ARTICLE I – NAMEThis organization will be known as the Camille and Eric Durand Docent Council of the Orange County Museum of Art (OCMA), hereafter referred to as the Docent Council. Members will be called Docents.The Docent Council will be governed by these By-laws and will not conflict with the By-laws of OCMA.

ARTICLE II – PURPOSEThe Camille and Eric Docent Durand Docent Council is a volunteer, dues-paying organization whose purpose is to support and amplify the functions of OCMA in the community. Working with the Education Department, the Docent Council provides meaningful educational experiences that engage diverse audiences in observation and discovery of works of art exhibited by the Museum. Docents exemplify the importance of intellectual curiosity by participating in training, recruitment, professional development and group activities.

ARTICLE III – MEMBERSHIPThe Docent Council recognizes six categories of service requirements.

Section 1. Categories

a. Trainee: a non-voting Docent-in-training who fulfills the following requirements:1. Meets with Docent Training Chair(s) and an Education Department representative, and is accepted into Trainee status.2. Fulfills all training requirements.3. Becomes a Museum member and pays all Trainee fees.4. Is encouraged to attend Docent Council meetings.5. Is evaluated by Education Department for acceptance into Docent Council.

b. Provisional: a voting docent-in-training who fulfills the following requirements:1. Has graduated from the docent training program.2. Maintains Museum membership.3. Pays docent dues according to Article III, Section 3 and submits Commitment Form to the Membership Chair.4. Commits to two years following the training program, the first year as a Provisional, the second as an Active docent.5. Commits to the touring requirement as well as to 40 hours annually of combined Educational Development and Elective service.

(a) ToursProvides weekly tours for 75% of the available tour hours as specified on the annual Commitment Form.

(b) Educational Development: Continuing Education sessions, 4-6 hoursExhibition briefings, 2-3 hoursWalk-throughs, 3-6 hoursGeneral meetings, 14 hours Day mentor meetings, 3-6 hours(c) Elective activities that contribute to the gallery educator’s skills:Exhibition-related researchMonday MashupsField tripsMentoringBoard and committee projectsOCMA docent tour observationsGallery and museum visitsDocent Council Book Group meetings6. Follows all Docent Council Standing Rules and Tour and Scheduling Procedures7. Finds a touring substitute if an emergency situation arises.8. Is evaluated during the year by his/her docent trainers and Education Department staff to determine whether or not Active docent status is appropriate.9. Reports elective hours to the Scheduling Chair.

c. Active: a voting docent who fulfills the following requirements:

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1. Has completed the Provisional year2. Maintains Museum membership.3. Pays docent dues according to Article III. Section 3 and submits Commitment Form to the Scheduling Chair. 4. Commits as an Active member for a minimum of one year beyond the Provisional year. 5. Commits to the touring requirement as well as to 40 hours annually of combined Educational Development and Elective Service.(a) ToursProvides weekly tours for 75% of the available tour hours as specified on the annual Commitment Form.(b) Educational Development: Continuing Education sessions, 4-6 hoursExhibition briefings, 2-3 hoursWalk-throughs, 3-6 hoursGeneral meetings, 14 hours Day mentor meetings, 3-6 hours(c) Elective activities that contribute to the gallery educator’s skills: Exhibition-related researchMonday MashupsField tripsMentoringBoard and committee projectsOCMA docent tour observationsGallery and museum visitsDocent Council Book Group meetings6. Follows all Docent Council Standing Rules and Tour and Scheduling Procedures7. Finds a touring substitute if an emergency situation arises.8. Is observed every other year by a member of the Docent Council Observation Committee and Education Department staff.9. Reports elective hours to the Scheduling Chair.

d. Supporting: a voting docent who has served as an Active member for at least five years, who requests in writing Supporting status and who fulfills the following requirements:

1. Maintains Museum membership. 2. Pays docent dues according to Article III. Section 3 and submits Commitment Form to the

Membership Chair. 3. Commits to the touring requirement as well as to 25 hours annually of combined Educational

Development and Elective service. (a) Tours

Provides weekly tours for 40% of the available tour hours as specified on the annual Commitment Form.(b) Educational Development: Continuing Education sessions, 2-3 hoursExhibition briefings, 2-3 hoursWalk-throughs, 1-3 hoursGeneral meetings, 7 hours Day mentor meetings, 1-3 hours

(c) Elective activities that contribute to the gallery educator’s skills: Exhibition-related researchMonday MashupsField tripsMentoringBoard and committee projectsOCMA docent tour observationsGallery and museum visitsDocent Council Book Group meetings

4. Follows all Docent Council Standing Rules and Tour and Scheduling Procedures 5. Finds a touring substitute if an emergency situation arises. 6. Is observed every other year by a member of the Docent Council Observation Committee and

Education Department staff. 7. Reports elective hours to the Scheduling Chair.

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e. Sustaining: a voting docent who has served as an Active or Supporting member for at least seven years and who requests in writing Sustaining status and who fulfills the following requirements:

1. Maintains Museum membership. 2. Pays docent dues according to Article III. Section 3 and submits Commitment Form to the

Membership Chair. 3. Is encouraged to tour and to participate in elective activities and docent affairs. 4. Follows all Docent Council Standing Rules and Tour and Scheduling Procedures. 5. If touring, finds a touring substitute if an emergency situation arises. 6. If touring, is observed every other year by a member of the Docent Council Observation Committee and Education Department staff. 7. Reports elective hours to the Scheduling Chair.

f. Emeritus: a non-voting Docent who is recognized at the discretion of the Docent Council Board. The Emeritus Docent has served as an active member of the Docent Council for a minimum of ten (10) years and has contributed outstanding service to the Docent Council, the Museum and/or the arts community, and who fulfills the following requirements:

1. Maintains Museum membership.2. Is not required to pay Docent Council dues.

Section 2. Change in Membership Statusa. A member may resign by writing to the Docent Council‘s Vice President of Membership.b. The Council may require a probationary period or the resignation of a docent member for repeated failure to meet Docent requirements as set forth in the Bylaws, Standing Rules and Tour and Scheduling Procedures.c. Upon written request to the Docent Council‘s Membership Chair, a leave of absence may be given to an Active Docent who is a member of the Museum in good standing and has paid docent dues, but who cannot meet the requirements as specified in Section 1, C.d. Upon application, a former Docent who resigned in good standing may be reinstated at the Board’s discretion.e. To receive a five year recognition award, a docent must serve in an active capacity for five full years. Docents will receive additional recognition awards at five year intervals if during that period they have met the requirements for supporting docent status.f. Docents who formerly have served OCMA and would like to resume active touring service as docents will be obliged to meet the following requirements to be reinstated:

Docents desiring to resume OCMA services as an active docent after an absence of more than two (2) years will be required to participate in the art history segment of the Docent Training program

Docents desiring to resume OCMA services as an active docent after an absence of five (5) or more years will be required to participate in the full course of docent training, including art history and techniques.

A mentor will be offered and encouraged for all returning docents, but will be assigned to any returning docent who has been absent from OCMA for two (2) or more years.

Special arrangements may be made for returning docents, upon evaluation by Observation and Education Department staff.

Section 3. Financial Obligationsa. The Docent Council Fiscal year will begin on July 1 and ends on June 30 of the following year.b. Docent dues are paid between May 1 and June 30.c. Dues are delinquent after July 1.d. Failure to pay dues on or before August 31 will result in loss of docent membership and privileges.e. Dues are non-refundable.

ARTICLE IV – BOARDThe governing body of the Docent Council is the Docent Council Board composed of elected Officers, Standing Committee Chairs and Special Appointees.

Any Active, Supporting or Sustaining member, or provisional docent, upon the recommendation of their trainer(s), is eligible for election or appointment to the Docent Council Board. The Board members will attend all Board meetings or notify the President of their absence.

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A member of the Education staff of the Museum may be in attendance at all Board meetings.

The Board will be elected annually at the May General Council meeting and installed in June.

Section 1. Officers

PRESIDENT:Presides at all Board and Council meetings, presides at the Docent Council Executive Committee meetings, represents the Council on the OCMA Board of Trustees and other committees as required by the OCMA Board of Trustees. Oversees the Council monies and shall appoint additional Committee Chairs as needed with approval of the Board. The President is a member of all Docent Council committees and for all other functions, or appoints a Docent Council member to represent her/him. The Board may grant the President an abbreviated touring schedule

VICE PRESIDENT, Programs:Assumes the duties of the President in her/his absence;Works with the Education Department in planning Council programs;Reviews the plans for Council field trips with Committee Chair(s)and oversees Field Trips, Hospitality, Historian and Newsletter Chairs and the Parliamentarian.

VICE PRESIDENT, Education:Works with the Education Department to coordinate programs related to the development and enhancement of docent touring skills;Coordinates with related Committee Chair(s): Continuing Education, Day Mentors, Observation, and Training.

VICE PRESIDENT, Membership:Coordinates activities related to the well being of docents, including the recruitment of new docents, monitoring and communicating the status of current docents, and working with Education department to publish the Roster.

SECRETARY:Records and retains minutes at all Council and Board meetings;After President’s approval, distributes minutes to Board members for any changes;Handles general correspondence.

TREASURER:Collects Council dues and maintains a record thereof;Deposits all funds in the name of the Docent Council in depositories designated by the Docent Council Board;Makes payments authorized within the Docent Council budget;Keeps an account of receipts and disbursements;Submits a report of receipts and disbursements at each regular Board meeting;Prepares the Docent Council budget in conjunction with the Education Department and Budget Committee in the first quarter of each year;Submits the proposed budget for Docent Board approval in March of each year;Submits the approved budget to the Education Department to be in included with the Museum’s budget no later than March 15 of each year;At the final meeting of the docent fiscal year, treasurer submits the year-end annual report.

Section 2.Committees: Education, Administration, and Programs

Education Chairs:

CONTINUING EDUCATION:Works with the Education Department to provide educational programs for the Docent Council.

DAY MENTORS:The Day Mentor leads, organizes and supports touring docents on one selected touring day of the week. The DM coordinates with their day’s docents to ensure each provides their availability to the School and Tour Programs Assistant for each new exhibition. The DM builds community within their group by providing social opportunities, meetings and brainstorming sessions

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designed to create connections between their day’s docents and assistance regarding their role as a docent and gallery educator.

OBSERVATION:Works with Education Department to evaluate at least 50% of the touring Docents each year. Establishes a committee to assist in conducting observations. Docents returning from a leave of absence of 2 years or more will be observed before being included on the tour calendar.

TRAINING:Meets with prospective docents in conjunction with the Education Department to conduct interviews and explain the requirements and obligations of the training program. Works with the Education staff to determine the final selection of the training class from those interviewed. Works with the Education Department to establish the training syllabus and to train prospective docents. Acts as a mentor to those in the training program. Attends information meeting(s) for prospective trainees prior to training as well as trainee graduation. The Board may grant the Training Chair an abbreviated touring schedule. From time to time, the training position(s) may be temporarily suspended by the Education Department and Docent Council Board as deemed necessary. Training chairs will observe the docents they trained during the docent’s provisional year.

Program Chairs:

FIELD TRIPS:Plans and organizes Docent Council field trips to galleries, museums, artist studios, collector’s homes, etc. Works in conjunction with OCMA’s Education Staff to select destinations.

HISTORIAN:Maintains a photographic record of activities of the Docent Council functions as well as any pertinent paper records of activities.

HOSPITALITY COORDINATOR:Plans hospitality at offsite events for Docent Council functions and hospitality for General Council meetings.

Membership Chairs:

NEWSLETTER:Produces and distributes the Docent Council newsletter

PARLIAMENTARIAN:Guides the Board members at all Board and General meetings in accordance with Robert’s Rules of Order; Initiates changes to the By-laws and Standing Rules; Serves as advisor to the Nominating Committee.

Section 3. Annual ReportsEach Officer, and Committee Chair will maintain an up-to-date procedure notebook and submit an annual report to the President and Education Department. A written report will be submitted at the last Board meeting, but no later than July 1st.

Section 4. Term of OfficeThe term of each Officer and Committee Chair will be one year, not to exceed two consecutive years in the same position. The President with approval of the Board has the right to extend an Officer’s or Committee Chair’s term under special circumstances.

Section 5. VacanciesIf a vacancy occurs in any position, the President with approval of the Board may appoint a voting member to fill the unexpired term.

ARTICLE V – SPECIAL COMMITTEES

Section 1. Nominatinga. Consists of the Parliamentarian as advisor and nine members elected at the February General Council meeting. Five members will be nominated and approved at the Board meeting and four members, plus an alternate will be nominated from the floor at the General Council meeting.b. The Nominating Committee Chair will be selected from and by the nine members at the first meeting.

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c. Presents the Officer and the Committee Chair slate for Board approval at the April General Council meeting.d. Chair announces the approved Slate of Officers at the April General Council meeting and asks for nominations from the floor. The General Council will vote on the proposed Slate of Officers at the May meeting.

Section 2. ExecutiveCommittee comprised of no less than six nor more than ten members, only two of whom may be non-Board members, selected by the President with recommendations from museum staff; Committee meetings held on an as needed basis, at the discretion of the Council president; Committee has power to make and pass motions without approval of the Docent Council Board.

Section 3. Budgeta. Comprised of the president, treasurer, vice presidents and Education Department staff. b. Meets on annual basis in the first quarter of each year. c. Advises the Treasurer of financial needs that may be considered in budget preparation.

Section 4. Additional Committee ChairsAdditional Committee Chairs may be appointed by the President and approved by the Board if the need arises during a term.

ARTICLE VI – MEETINGS

Section 1. Board meetings will be held every month.

1.a. Executive Committee meetings held on an as needed basis, at the discretion of the Council president.

Section 2. Docent Council meetings will be held each month except July, August and December.

Section 3. Special meetings may be called by the President or upon request of one-half of the voting Council membership.

Section 4. One-third of the voting members present at a General Council meeting and who are eligible to vote constitute a quorum at the meeting. Without a quorum, no motions may be carried.

Section 5. Each Board position will have one vote. A simple majority is required to conduct Council business.

Section 6. The most recent Robert’s Rules of Order will govern all proceedings of the Docent Council.

ARTICLE VII – NOMINATIONS AND ELECTIONS

Section 1. The Nominating Committee will submit a slate of Officers for election and recommended Committee Chairs at the April General Council meeting.

Section 2. Nominations for elected Officers and recommended Committee Chairs may be made from the floor at the April meeting or by written ballot prior to the May meeting with prior consent of the person nominated.

Section 3. The election will be held in May and installation of officers will take place in June.

ARTICLE VIII – AMENDMENT OF BY-LAWSWith one month’s notice, these By-laws may be amended by written ballot or at any General Council meeting with a two-thirds majority vote of the votes cast. Refer to Article III, Section 1 for definition of voting members.

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DOCENT PROCEDURES

STATUSThe Docent Council recognizes six categories of service requirements. Please refer to Article III of the 2006 Docent Bylaws for details.Each year before the fall tour season starts, Docents will choose a day of the week they wish to commit to for the rest of the year. Every new exhibition they will be asked by their Day Mentor to list the dates that he or she is available for tours. Docents are responsible for providing scheduling information in a timely manner. If unable to attend an assigned tour, the docent is responsible for finding a substitute. Email contacts may be found in the docent roster. When a docent arranges for a substitute, he or she must inform the Tour Captain and School and Tour Programs Assistant. In the event of an emergency (less than 24 hrs notice), the Tour Captain and Programs Assistant of Public Engagement must be called.

TRAINING COURSEThe docent training program features instruction in education philosophy, interpretation strategies, and touring techniques, as well as lectures in modern and contemporary art. Participants explore a variety of ways to engage visitors – the general public, families, teens, and elementary school students – through our wide-ranging exhibitions.

DOCENT AVAILABILITYThe Programs Assistant of Public Engagement will collect docent availability on an exhibition by exhibition basis. Docents will be asked to provide their availability for the length of an exhibition at least one month in advance of each new exhibition. The School and Tour Programs Assistant will send a link to the Online Availability Form for docents to fill out.

ONGOING EDUCATIONAdditional training will be required each time exhibitions change and will consist of a lecture by the curator, thematic tour training by the Continuing Education Committee and Education Department, and discussion among the docents. These meetings will also be a chance for docents to share concerns and information with the group.

WALKTHROUGHSDocents who have provided availability for the upcoming exhibition are eligible for the initial curator-led tour of new exhibits and must RSVP to the School and Tour Programs Assistant at tours@ocma.net to reserve a place. Non-touring docents are not eligible for the initial curator-led tour but are eligible for other curatorial or staff-coordinated tours offered during the evening. An advance RSVP is required as space is limited.

GALLERY EDUCATOR Docents who provide tours, as well as our volunteer interns, are conferred with the status of gallery educator. This term is used to describe someone who teaches in the galleries.

TOURING HOURSIf a docent offers availability for a scheduled tour (Tues-Thur from 10:00am-11:30am), the docent will be credited 1.5 hours.If a docent offers availability for a public tour (Th, Sat, or Sunday at 1:00pm), the docent will be credited one hour.For all other purposes, if a docent is asked to step in to provide a one hour tour to a group scheduled through the Education Department, the docent will be credited one hour. For these tours, the docent is responsible for reporting the number of hours that he/she should be credited to the School and Tour Programs Assistant.

OBSERVATIONS1. Trainees will be observed during training sessions to test the effectiveness of training and look for areas to improve.2. Gallery educators will participate in a biennial review with an Education staff member and Peer Docent. This review will consist of a tour observation, follow-up discussion with the School and Tour Programs Department, and written evaluation. Observation Forms (p.19-20) for tours are available to all docents in their handbooks. Please review to understand expectations.3. Education staff will tour the galleries with gallery educators from time to time to spot check training needs.4. Gallery educators should know that teachers and other representatives of visitors' groups will be asked to evaluate programs.5. Gallery educators are encouraged to participate in peer review to help each other grow.6. Gallery educators are encouraged to make suggestions about training or to express needs or areas of confusion. The School and Tour Programs Department will be able to work with docents on problem areas and make suggestions to their mentor.7. A file will be kept for each gallery educator and is available to the assignee. It will contain copies of observations, scheduling info, etc.

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INFORMAL OBSERVATIONSDocents are encouraged to schedule time to informally observer their fellow gallery educators. To schedule an informal observation, please contact the gallery educator you want to follow at least 1 week in advance of the tour. Please indicate which hour of touring you will be following.

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GALLERY EDUCATOR PROCEDURES

►Gallery Educator

Be prepared to tour. You should receive an email at least one week prior to the touring date. If you do not hear from your Tour Captain, you should call him or her. In the event you cannot reach your Tour Captain, call the Program Assistant of Public Engagement. If you are unable to attend an assigned tour, you are responsible for finding a substitute. You can find email contacts on the docent and intern rosters. When you arrange for a substitute, inform the Tour Captain and the School and Program Assistant of Public Engagement.

On the day of the tour, the Gallery Educator arrives at the Museum at least 30 minutes before the scheduled start time of the tour.

►Gallery Educator for Public Tours (PT) Public Tours are advertised to the public and are an important aspect of our Public Programs. Arrive 15 minutes before tour and inform desk of your arrival. Make sure the pieces you wish to tour have not been removed or replaced. Visit the galleries and inform visitors you will be leading a public tour at the designated time. Make sure you sign in and out on the sign-in sheet, plus note how many people were on your tour. Keeping accurate

attendance numbers are critical for our education program grant requests. If no one requests a tour, you may leave 20 minutes after the scheduled tour time. Be sure to sign the sign-in sheet to

receive credit for being there. If you cannot make your tour, find a substitute. When you find a substitute for your tour, please contact the Program

Assistant of Public Engagement. Public tours are offered on Friday, Saturday, and Sunday at 1:00PM.

►Gallery Educator for open engagement (Program dormant at present time) Open engagement is a way for visitors to experience OCMA’s exhibitions through informal conversations with gallery

educators in the galleries. Before approaching a visitor or group, take a moment to observe them to try to determine the motivation(s) for their

visit and best approach. Your approach should be personalized for each visitor. Gauge the visitor’s level of interest and be aware of when it is time to move on to another visitor or group Make museum content more accessible and relevant by helping visitors make links and connections to the art by being

responsive to their comments and inquiries. Leave visitors with the desire and tools to learn more. Be sure to sign the sign-in sheet to receive credit for being there. If you are unable to keep your commitment to open engagement, you must find a substitute. When you find a substitute

for the program, please contact the School and Tour Programs Assistant.

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TOUR CAPTAIN PROCEDURES

The tour captain is a crucial link between the tour calendar and their day’s gallery educators. The tour captain’s role is to ensure all goes smoothly the morning of the tour. Please review the revised Tour Captain guidelines, as well as tools for tour captains including a new phone script, and follow-up email.

Tour Captain (TC)BEFORE THE TOUR

The tour captain name is indicated in all capital letters on the tour schedule posted on ocmatours.net The tour captain is a crucial communication link between the tour calendar, the Programs Assistant of Public

Engagement, and their day’s gallery educators. It is the tour captain’s responsibility to organize their day’s gallery educators and ensure they are prepared to tour that day’s students. An example follows on the next page.

Contact scheduled gallery educators one week before the tour, and tell them about the classes coming to the museum including age, school, how many students, grade level, exhibition, and any student special needs or curricular concerns. If there is no tour, please release gallery educators.

Remind gallery educators to be there at least 15 minutes before the tour is to begin. If there are not enough gallery educators to adequately cover the tour (creating groups of 10 students or less), contact

the Programs Assistant of Public Engagement (949.759.1122x204).

THE DAY OF THE TOUR

BEFORE THE CLASS ARRIVES The Tour Captain meets with gallery educators prior to the tour to establish tour flow and other logistical concerns. The Tour Captain should send one of the gallery educators to check the galleries to be sure everything is in place and

working.

WHEN THE CLASS ARRIVES When a class arrives for a tour, the Tour Captain greets them and directs the class into the galleries. Tell the teacher

about the plan for their visit and lets them know that the tour will begin promptly at 10:00am. The Tour Captain helps the teacher divide the class into as many groups as there are Touring Docents. (This can also

be done by the teacher in advance of arrival at the museum) The Tour Captain gathers the chaperones to thank them for their service and remind them of museum rules and their

responsibilities during the tour.

AFTER BOTH TOURS The Tour Captain is responsible for making sure teacher(s) receive Free Family Passes for their students. These can

be found at the front desk.

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Touring Rubric- Gallery Education ObservationsName of Gallery Educator___________________________________ Date of Observation___________________

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Expectations Notes

Introduction:

Welcome audience Introduce self and space Assess visitors’ interest, motivation, and ability to

interact; adjust content of tour accordingly Use dialogue as a catalyst to prepare visitors for what

they will see Share museum rules and set expectations for group

behavior

Interaction:

Ask open-ended questions that encourage visitors to look closely

Ask productive questions that the group can answer based on what is in front of them, laying the groundwork for critical thinking

Give audience time to look and think (30 second to one-minute “look” for school tours)

Encourage participation by using nonjudgmental responses

Share information to extend dialogue when needed

Add information as a response to visitor curiosity and to reinforce close looking at the art

Offer opportunities for visitors to respond and incorporate shared information into their understanding

Use transitions to connect the works, to pique the group’s interest, and to move to the next stop

Presentation:

Engage audience Project voice Maintain eye contact Face audience Give clear instructions Set appropriate pace Use wristwatch to manage time Maintain professional appearance Effective integration of gallery activities, including

journals, to enhance conversation

Conclusion:

Wrap up dialogue and activities in a meaningful way

Thank visitors and offer them opportunities for future looking

Hand family passes to teacher (tour captain) Escort student visitors out of the museum

ORANGE COUNTY MUSEUM OF ART OVERVIEW

Museum Mission To enrich a diverse and changing community through modern and contemporary art. Our vision is to create a new paradigm of interactive dialogue between art and the public.

Museum HistoryThe museum opened in 1962 as the Balboa Pavilion Gallery by thirteen visionary women. With a focus on modern and contemporary art, their efforts were well received and the museum enjoyed recognition from coast to coast. By 1968 the institution became known as the Newport Harbor Art Museum and in 1972, moved to a nearby, larger location. Interest and support continued to grow, as did its collections and exhibitions and in 1977, the museum opened its doors in the current location on San Clemente Drive. In 1997 the museum was remodeled and renamed the Orange County Museum of Art and to this day, enjoys world-wide recognition for its award-winning education programs and ground-breaking exhibitions, many of which travel nationally and internationally.

Exhibition HistoryThe museum is especially noted for organizing important exhibitions of contemporary art that are locally relevant and internationally significant, including the first surveys of Vija Celmins (1980), Chris Burden (1988), and Tony Cragg (1990), as well as early exhibitions of seminal work by Lari Pittman (1983), Gunther Forg (1989), Charles Ray (1990), Guillermo Kuitca (1992), Bill Viola (1997), Iñigo Manglano-Ovalle (2003), and Catherine Opie (2006). Thematic exhibitions of contemporary art have ranged from Objectives: The New Sculpture (1990) which presented the work of Grenville Davey, Katharina Fritsch, Robert Gober, Jeff Koons, Annette Lemieux, Juan Muñoz, Julian Opie, and Haim Steinbach; Girls' Night Out (2003), which presented work by Eija-Liisa Ahtila, Elina Brotherus, Dorit Cypis, Rineke Dijkstra, Katy Grannan, Sarah Jones, Kelly Nipper, Daniela Rossell, Shirana Shahbazi, and Salla Tykka; and State of Mind: New California Art circa 1970, presenting an in-depth study of California artists in the 1960s and 1970s who re-defined contemporary art.In addition to its significant contributions to the field of contemporary art, the museum has also organized and hosted important exhibitions of modern art and design such as Edvard Munch: Expressionist Paintings, 1900-1940 (1983), The Interpretive Link: Abstract Surrealism into Abstract Expressionism: Works on Paper, 1938-1948(1986), The Figurative Fifties: New York Figurative Expressionism (1988), American Modern, 1925-1940: Design for a New Age (2001), Picasso to Pollock: Modern Masterpieces from the Wadsworth Athenaeum Museum of Art(2004), Villa America: American Moderns 1900–1950 (2005), Birth of the Cool: Art, Design, and Culture at Midcentury (2007), and Illumination: The Paintings of Georgia O'Keeffe, Agnes Pelton, Agnes Martin, and Florence Miller Pierce (2009). In 1984, the museum launched the California Biennial, one of the most important regional surveys in the world devoted to new art. In 2013, that program evolved into the California-Pacific Triennial, the first on-going exhibition in the Western Hemisphere devoted to contemporary art from around the Pacific Rim. Since 2004, the museum's exhibitions have traveled to more than 30 museums throughout the United States and in Europe. These projects include Kutlug Ataman: Paradise (2007); Mary Heilmann: To Be Someone (2007);Peter Saul (2008); Richard Diebenkorn: The Ocean Park Series (2012); Jack Goldstein x 10,000 (2012); and Richard Jackson: Ain't Painting a Pain (2013).

Collection HistoryThe Orange County Museum of Art's collection forms the cornerstone of the museum and is a significant cultural resource for the community. Comprising over 3,000 works of art, the collection's focus is on modern and contemporary art and includes painting, sculpture, photography, drawing, printmaking, video, digital, and installation art produced during the twentieth and twenty-first centuries.The museum's major holdings are California-based, highlighting such movements as early and mid-century modernism, Bay Area Figuration, assemblage, California Light and Space, Pop Art, Minimalism, and installation art. Prominently featured are works by John Baldessari, Elmer Bischoff, Jessica Bronson, Chris Burden, Vija Celmins, Bruce Conner, Richard Diebenkorn, Robert Irwin, Helen Lundeberg, Stanton Macdonald-Wright, John McCracken, John McLaughlin, Catherine Opie, Alan Rath, Charles Ray, Ed Ruscha, and Bill Viola.The museum's international holdings are a growing area of the collection, featuring works of art that provide a meaningful context with which to experience the art of our times. Guided by its mission, the Orange County Museum of Art's collection strives to link the historical and the contemporary; bridge local and global art and culture; and enlighten, inspire, and engage visitors.

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MUSEUM CONTACT INFORMATION

Orange County Museum of Art850 San Clemente Drive

Newport Beach, CA 92660Main Museum: (949) 759-1122

Main Fax: (949) 759-5623Email: info@ocma.net

Museum Staff ListNAME, Title EXT EMAIL

BAUTISTA, Desiree – Membership Manager 246 dbautista@ocma.net

BUTTERFIELD, Lindzy – Programs Assistant of Public Engagement 208 lbutterfield@ocma.net

COBLENTZ, Cassandra- Director of Public Engagement 248 ccoblentz@ocma.net

CORDOVA, Alyssa - Curatorial Associate 239 acordova@ocma.net

DE LA PENA, Adrian - Maintenance & Facilities adeplapena@ocma.net

KENSINGTON, Emma- Visitor Services 243 ekensington@ocma.net

LOPEZ, Albert Jr. - Director of Operations 221 alopez@ocma.net

MANNING, Stacey – Bookkeeper 214 smanning@ocma.net

SCHMIDT, Kirsten – Deputy Director of External Affairs 207 kschmidt@ocma.net

SMITH, Kelly- Director of Finance 215 ksmith@ocma.net

SMITH, Todd- Director and CEO 201 tsmith@ocma.net

WEBB, Kellie- Deputy Director of Institutional Advancement 240 kwebb@ocma.net

ADMISSIONS DESK- Visitor Services 234 admissions@ocma.net

SPECIAL EVENTS RSVPs273258

memberRSVP@ocma.netvipRSVP@ocma.net

WHO TO CONTACT?To reserve a room, please contact Stacey

For questions about the tour schedule, please contact LindzyFor questions about membership, please contact Desiree

If you must cancel a public tour on the day of the tour, please contact Cassandra, and/or Lindzy, Admissions

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ORANGE COUNTY MUSEUM OF ART EDUCATION DEPARTMENT OVERVIEW

Education ImperativeTo engage and enliven our community with innovative programs.

Education ValuesThe OCMA Education Department is guided by the belief that everyone has the ability to be creative. We place the visitor at the center of open-ended, process-oriented experiences with art.

Education Initiatives:1) Deliver visual arts education to K-12 students in Orange County2) Create opportunities everyday for families to experience art together.3) Inspire adults with lively arts and culture programs throughout the day and evening.

Department Overview The two main areas of the Education and Public Programs Department and its programs are:

1) School and Tours Programs Tours and training of gallery educators (docents and interns) Teacher professional development Curriculum development and delivery of print and on-line publications

2) Public and Interpretive Programs Public lectures, artist talks, panel discussions and symposia After hours programs, film and video screenings and other special events Guide by cell and gallery based interpretative interventions Free Second Sundays

Education Programs

OCMA's SCHOOL TOURS program serves approximately 6,500 Orange County youth each year. Grades two through twelve are served with a concentration of fourth graders. Of the 27 school districts that partner in this free program, nearly 60% of the students come from Title 1 schools. In addition to the free tours and accompanying interactive studio component, OCMA is the only institution in the county to provide financial support to cover transportation expenses to schools that otherwise couldn't visit the museum. The museum's THIRD THURSDAYS evenings series provides adult audiences with unique and exciting access to exhibition-based events, including artist talks, film screenings, performance, and more. Additionally, the museum partners with the Newport Beach Film Festival to present monthly screenings and independent films under the moniker CINEMA ORANGE. Artists of all ages may take part in STUDIO SUNDAYS, in which artists and educators work with participants to create an eclectic array of contemporary art that is inspired by artists represented in concurrent exhibitions or the museum's collection. One of the most popular programs for the community is FREE SECOND SUNDAYS, at which time, the public is invited for free to visit the galleries and participate in hands-on art projects, as well as attend live performances and family-geared gallery tours.

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SCHOOL AND TOUR PROGRAMS OVERVIEW

OCMA’s School and Tour programs aim to inspire a sense of creativity, inquiry, and imagination in people of all ages through meaningful museum experiences.

School and Tour Program Goals

The Orange County Museum of Art seeks to create a new paradigm of interactive dialogue between art and the public.

The Tour Programs supports this vision by: Creating opportunities for stimulating and participatory experiences that explore the art and ideas of our time Offering a platform for museum visitors to express and share their ideas Celebrating the diversity of visitors’ voices by validating their meaning-making over a single authoritarian voice Experimenting with modes of engaging museum audiences and expanding their ideas of what a museum experience

can be

A gallery educator facilitates meaningful encounters with the collection by: Creating a space of engagement with art, making visitors feel welcome and at ease Asking open-ended questions to initiate discussion and further exploration Inspiring looking to learn Extending visitor understanding Introducing concepts and ideas that the visitor can draw from to look further independently Meeting each visitor where they are

The Tour Program is guided by the belief that it is rewarding to spend time with works of art; that inquiry leads to discovery; and that well-researched and selective information and making connections between artworks deepens understanding.

School and Tour Programs consist of:

Gallery Opportunities

Exhibition Tours:School and public tours are designed to engage visitors in making discoveries about works of art through guided looking and inquiry. Visitors are encouraged to use their own observations to actively construct meaning, make connections, and explore ideas about art and culture. Tours are conducted by OCMA’s corps of gallery educators who have all completed a rigorous training program.

Open Engagement:Open Engagement allows visitors to experience OCMA’s exhibitions in a low-risk, informal way. Educators stationed throughout the galleries engage visitors in informal conversations and answer questions about the works on view. Open Engagement provides a personalized museum-going experience, empowers visitors to make meaning, and creates a more accessible and relevant way of exploring the art.

Self-Guided VisitsGroups of all ages are able to schedule a self-guided visit when the galleries are open to the public, allowing them to explore the exhibition at their own pace.

Elementary and High School Programs

Pre-Visit Activities:Pre-Visit activities are standards-based lesson plans that teachers may use in their classroom to help prepare students for their museum experience. Each pre-visit activity comes with a PowerPoint of artworks from the exhibition, discussion questions, writing activities, and art projects. Students learn vocabulary and conceptual ideas that they can use again during their museum visit.Exhibition Tours:School tours are designed to engage students in making discoveries about works of art through guided looking and inquiry. Students are encouraged to use their own observations to actively construct meaning, make connections, and explore ideas about art and culture.

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Teacher Resources

Curricula Materials:OCMA offers classroom curricula materials that connect our collection and exhibitions to core subject areas and allow teachers to incorporate the visual arts into their lesson planning. All of our curricula materials support interdisciplinary learning and state learning standards.

Professional Development:OCMA offers professional development opportunities for teachers to deepen their understanding of modern and contemporary art and to impart this knowledge to their students.

Continuing Education Opportunities for Gallery Educators

Continuing Education:Continuing Education is an opportunity to explore the opportunities and challenges that we face on tours. There is always a continuing education session planned for each new exhibition where we review the zone map and specific works in the exhibition. There will also be various continuing education sessions planned throughout the year to meet additional needs of gallery educators.

Exhibition Briefings: Exhibition briefings are offered by curatorial staff to introduce gallery educators to ideas and works included in the upcoming exhibition.

Exhibition Walkthroughs: Exhibition walkthroughs are offered by the curatorial staff to introduce gallery educators to the works once they are installed in the galleries. Walkthroughs generally require an RSVP

Brainstorming Sessions: Brainstorming sessions are planned by day mentors and offer an opportunity for the gallery educators who tour that day to explore, share questions about, and prepare their tours for the new exhibition.

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Who do we serve?

Student fieldtrips to the museum form a central component of the School and Tour Programs, and provide an interactive first-hand experience with art for students of all ages and socioeconomic backgrounds. OCMA’s School and Tour Programs annually serve over 6,000 K-12 and College students throughout Orange County’s 27 districts. Nearly 60 percent of K-12 students come from schools receiving Title 1 funding.

School and Tour Partnerships

OCMA has fostered partnerships with local schools and school districts to create a memorable and meaningful art experience for local students. Partner schools receive priority in scheduling their Tour and Studio Process, free family passes for each student, and a $100 transportation reimbursement.

HBCSD – Huntington Beach City School DistrictHBCSD has partnered with OCMA since 2009, annually bringing all of their fourth-graders, approximately 800 students, to the museum every spring.

N-MUSD – Newport-Mesa Unified School DistrictN-MUSD has partnered with OCMA since 2007, bringing over 2,000 of their fourth-grade students every fall to the museum.

OCEAA – Orange County Educational Arts AcademyOCEAA is a charter school in Santa Ana that brings all of their 2nd-8th graders, approximately 450 students, once a year to view the latest exhibition. OCEAA has had a fruitful partnership with OCMA since it was piloted in 2006.

OCHSA – Orange County High School of the ArtsOCHSA, a visual and performing arts high school in Orange County, annually brings all of their visual arts students, approximately 220 students, since the partnership began in 2006.

OCMA Partnership GuidelinesPrior to Annual Visits (8-12 weeks in advance of 1st partnership visits)

Meeting with Education staff to discuss upcoming exhibitions, any feedback from last year’s visits, scheduling procedure for upcoming visits, and any changes made to programming they should be aware of.

Get arts calendar for the upcoming year, so OCMA staff can attend

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OCMA’s Methods for Touring

OCMA’s tour programs are More about… ThanExperience ExpertiseCollaboration ControlEmpowerment Enrichment

Gallery experiences are crafted to be open-ended. The Gallery Educator’s role is to offer a platform for museum visitors to express and share their ideas and validate their diverse responses and interpretations.

What you as an educator have is…the power to set the rules of behaviorthe power to promote and feature preferred contentthe power to define the types of interaction (borrowed from Nina Simon’s Museums 2.0)

Developing a Tour Visit the galleries. What works immediately draw you in? What ideas interest you? What questions do you have? Use

this information to determine the works you will discuss. Keeping your works of art and questions in mind, skim the research for relevant information and quotes. Keep in mind

that every piece of information you give the visitor can change and limit their thinking and understanding of the piece. As a Gallery Educator you should have plenty of information at your disposal, but only use information at appropriate times to deepen and further the dialogue.

Get to Know Your Group Don’t make assumptions about your group. Approach each group with an open-mind. Get to know your group. The tour experience starts the moment the visitor begins interacting with you, not during the

introduction. In the interstitial time, ask questions that are friendly and low-risk. For example, “Have you ever visited OCMA before?” or “What brought you to the museum today?” Use their responses to gauge how to craft the best experience for them.

Welcome each group and introduce who you are and explain your role at OCMA. Introduce the museum and the museum rules, regardless of the age of your group. Protection of the artwork is

paramount, and rules should be reviewed with all groups (children and adults alike). There are no pens, food, drink, or large bags/back-packs allowed in the galleries. You should maintain a safe distance from all art (18 inches) and never point at a work of art. It is your role, as the gallery educator, to be an example of proper gallery behavior.

Provide an overview of the exhibition to help orient your group and provide a framework for the tour. Try to meet the audience where they are. Use age-appropriate language and behavior. If you introduce a word that

may be new or unfamiliar to your group, always provide a definition. Once you begin your tour, offer the group opportunities to participate during the introduction. Keep in mind that a tour is more about collaboration than control. Every tour is a new tour. There is no prescribed script or short-hand. Be present. Meet your group where they are.

Modes of Interpretation Questions should be open-ended and move from low-risk to higher-risk. If using other modes of interpretation (movement, props, etc.) ensure they offer the visitor an opportunity for closer

observation or deeper understanding.

After asking open-ended questions Allow wait time for visitors to process the question. Be present. Actively listen to each response.

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Solicit more than one visitor response to each question.

Ways to Respond Restate the visitor’s response. Nod or offer words of acknowledgement. Connect a visitor’s observation to previous discussion of the work or another visitor’s observation. Ask follow-up questions for clarification or to further the discussion

o What makes you say that?o Can you say more about that for me?o What do you think?o What led you to notice that?o What else?

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Teacher Guidelines (distributed to all teachers who visit the museum)

The Education Department of the Orange County Museum of Art wants to ensure your museum visit is a rewarding experience. You are scheduled for a two-hour visit including an interactive gallery tour and a hands-on studio process. Please take a few moments to review the following materials. If you have any questions or concerns, please call Lindzy Butterfield, Programs Assistant of Public Engagement at (949)759-1122 x208.

____________________________________________________________________________

Your Confirmation Letter

Please verify the number of students listed on your confirmation letter. If you have any students with special needs, please contact Lindzy Butterfield so we can adapt our program offerings.

Pre-Visit LessonPrior to your visit you will receive an email containing an interdisciplinary pre-visit lesson and PowerPoint to help prepare your students for what they will experience during their museum visit. Please adapt the lesson to your classroom needs and complete with your students prior to their visit.

Museum RulesPlease review these rules with your students prior to your visit:

1. Look with your eyes. It is important to remind students to look with their eyes and to refrain from touching or pointing. The artworks in the museum are fragile and survive only because of constant care. Please cooperate with our guards and gallery educators and resist the temptation to touch.

2. Food, drinks, and gum are not allowed at the museum. 3. Cell phones and portable electronics must be turned off during tours and the hands-on studio process.4. Backpacks and large bags are not allowed in the galleries. Please leave backpacks and large bags at the

Admissions Desk during your tour.5. Photography is permitted inside the museum on an exhibition by exhibition basis. Please ask for current

photography regulations.

ChaperonesOne adult is required for each touring group. The chaperone is required to stay with the group during the entire tour and is responsible for disciplining students within their group. Please distribute the attached chaperone guidelines to all chaperones visiting the museum. Please refer to the number of gallery educators present to separate groups and schedule chaperones.

ArrivalPlease arrive 10 minutes prior to your scheduled tour. Your bus will be greeted upon arrival and students will be directed to the gallery tour or the hands-on studio process. If you are running late, please notify Lindzy Butterfield at (949) 759-1122 ex208.

Name TagsPlease provide each student with a name tag. Our tours are interactive and dependent on students’ responses. Tours run best when gallery educators can call on students by name during their tour.

RosterPlease bring a roster of your students. This allows us to account for all students in case of an emergency.

After Your TourThere is no space at the museum for group lunches. Schools can have lunch at Irvine Terrace Park (Evita Drive and Seadrift Drive, Newport Beach) or Corona del Mar Main Beach (Jasmine Avenue and Ocean Boulevard, Newport Beach). Schools that stop at Corona del Mar Main Beach should call ahead for availability and parking fees.

Bus ReimbursementsFor Title 1 public schools, the museum provides a $100 in bus reimbursements, as available. Availability is dependent on grant funding and is not guaranteed. We are only able to process your bus reimbursement upon receipt of your tour evaluation.

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LIBRARY GUIDELINES

The purpose of the library is to provide information on the museum’s permanent collection and its programs. This is a reference library and not a lending library. This means all library materials must be used in the museum and may not be taken from the museum. If you need to take something home, make copies on the copy machine, which has been provided for this purpose in the library. The library is currently split between the Community Room and the Education Intern office (next to the Studio Classroom)

Artists’ files are in the four drawer file cabinets to your right as you enter the library in the Education intern office. Folders containing a wide variety of information are filed alphabetically. IMPORTANT: When removing artist file, use “Out” card so file may be properly returned. Artists whose work is in the Museum’s permanent collection are indicated by a red or blue dot on the label.

Artist monographs are shelved on the tiers of shelves along the side and back wall alphabetically by the artists’ name in the Education Intern Office.

Exhibition catalogs for group shows can be found in the Community Room. These catalogs are shelved alphabetically by city where museum is located and name of museum.

The library is open during the hours the offices are open, Monday through Friday, 9:00 a.m. to 5:00 p.m.; however, before coming to use the library check with the Education & Public Programs Assistant at 949-759-1122, ext. 224 to make sure the Community Room or Education Intern Office are not in use.

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GENERAL EMERGENCY/DISASTER EVACUATION PROCEDURES

When you hear the fire/evacuation alarm, or are told to leave the building: Remain calm – reassure others. Leave quickly, but safely. Take with you: your car keys, purse and/or briefcase. Do not attempt to take large or heavy objects. The highest-ranking member of the education department shall be responsible for ensuring that all volunteers evacuate

the area. In addition, every volunteer should check that all others in the workspace are leaving as instructed. As you exit the building, quickly check nearby restrooms, offices, galleries, etc. for any one who might need assistance. Accompany and assist any handicapped person. Shut all doors behind you as you exit the building (closed doors can slow the spread of fire, smoke and water). Proceed as quickly as possible, but in an orderly manner. Do not push or shove. Once out of the building, move away from the building. Go to the most convenient Assembly Area. For the Museum Galleries and Education Center : the preferred Assembly Area for staff is the street access steps in the

center of the parking lot. Visitors should be directed away from the building. Meet with other members of the Education Department, but remain in the Assembly Area. Wait for further instructions. Do no talk to the press or anyone else who is not a staff member. The Director and/or the Director of Communications

are the only staff members to speak to the press.

EARTHQUAKE PROCEDURES

Even in a severe earthquake, much can be done to prevent or minimize injuries, and/or damage the Museum’s collection and property.

If you are inside a building during an earthquake, stay inside. Remain calm – reassure others. Be prepared for aftershocks. Dive under a table or desk, or move to an inside corner away from windows. Watch for falling objects. Grab anything handy (coat, newspaper, cardboard box, etc.) to shield your head and face

from falling debris and splintering glass. Stay away from windows, mirrors, overhead fixtures, filing cabinets, bookcases and electrical equipment. Do not rush outside.

If you are outside during an earthquake, stay outside. Remain calm – reassure others. Be prepared for aftershocks. Move to an open area away from buildings, walls, trees, lampposts, and power lines. If forced to be near a building, wall, tree, lamppost, or power line watch for falling objects.

After an earthquake: Remain calm – reassure others. Wait for instructions from Security. If evacuation is ordered, proceed to Assembly Area (see Facilities Map), and wait for further instructions. If someone is injured, immediately notify Security. Do not move seriously injured persons, unless they are in obvious

and/or immediate danger from fire, falling objects, collapsing building, etc. When evacuating the building: open doors carefully; watch for falling objects; do not use matches or lighters; avoid

using Museum telephones. Be prepared to fill out a Change of Condition, Damage, or Loss Report form if there was any damage to the Museum’s

collection or property; and an Accident Report Form if any person was injured. Turn in all completed Forms to Security as soon as possible. Remain on-site until Security dismisses you.

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ILLNESS OR INJURY PROCEDURES

Some illnesses or injuries are of a minor nature and can be handled by First Aid.

In the event of an illness or injury: Do not overreact. Remain calm – reassure others. Immediately report incident to any Museum Staff person, who will contact Security. Security will dispatch a trained officer, with first aid supplies, who will render the minimum first aid necessary and

determine what additional treatment is required (i.e. call Paramedics). Unless it is a life-threatening situation, do not attempt to render any first aid yourself before Security personnel arrive. Do not attempt to move a person who has fallen and appears to be in pain. Try to make them comfortable, but do not

move them. Security will provide a blanket or covering. Avoid unnecessary conversation with, or about, the ill or injured person or persons. Unnecessary conversation might

increase the person’s distress or fear, and thereby contribute to the medical shock. Limit your communication to quiet reassurances, but also try to determine by talking with the sufferer and/or observation, whether the injury or illness is serious. If in doubt, Security will call the Paramedics.

Under no circumstances should a Museum employee, Tour Guide, or Volunteer discuss the possible cause of an accident or any conditions which may have contributed to the cause, nor any information about insurance, with members of the public.

Be prepared to fill out an Accident Report Form or Witness Statement Form. Turn in all completed Forms to Security as soon as possible. Remain on-site until Security dismisses you.

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