1 00:00:08,460 --> 00:00:14,940 Claire Bown: Hello and welcome to the Art Engager podcast with me, Claire Bown. 2 00:00:15,090 --> 00:00:19,200 I'm here to share techniques and tools to help you engage with your audience 3 00:00:19,290 --> 00:00:22,740 and bring art objects and ideas to life. 4 00:00:23,940 --> 00:00:25,560 So let's dive into this week's show. 5 00:00:29,850 --> 00:00:33,660 Hello and welcome to a new episode of the Art Engager. 6 00:00:34,545 --> 00:00:38,775 I'm Claire Bown, and today I've got a solo episode for you focusing 7 00:00:38,775 --> 00:00:44,745 on how to transform your guided experiences from passive to active. 8 00:00:45,615 --> 00:00:50,655 But before that, in the last episode, I was speaking with Sita Sergeant, 9 00:00:50,655 --> 00:00:52,695 founder, and self-described. 10 00:00:52,980 --> 00:00:58,050 Chief Troublemaker at She Shapes History, an Australian tour company 11 00:00:58,050 --> 00:01:02,610 and social enterprise that's really changing how we experience women's 12 00:01:02,610 --> 00:01:05,550 history through engaging walking tours. 13 00:01:06,045 --> 00:01:10,725 So if you missed it, do go back and listen to episode 1, 4, 7. 14 00:01:12,314 --> 00:01:17,445 I am also excited to share that we are celebrating six months of my book, the 15 00:01:17,475 --> 00:01:20,294 Art Engager, being out in the World. 16 00:01:20,774 --> 00:01:24,255 Thank you to everyone who has supported the book so far. 17 00:01:24,585 --> 00:01:28,335 I'm really grateful for all your enthusiasm and feedback. 18 00:01:29,560 --> 00:01:34,510 And if you've enjoyed the book, please consider leaving a review on Amazon as 19 00:01:34,510 --> 00:01:37,000 this really helps others discover it. 20 00:01:37,510 --> 00:01:42,130 And I'd love for you to share what you'd like about the book on social media too. 21 00:01:42,760 --> 00:01:47,380 If you are reading as part of a book club, get in touch to request a 22 00:01:47,380 --> 00:01:50,320 free q and a with me for your group. 23 00:01:51,915 --> 00:01:56,835 You can now support the Art Engager with a monthly subscription on Patreon. 24 00:01:57,225 --> 00:02:02,595 If you enjoy this podcast, please consider supporting us to keep the content coming. 25 00:02:02,835 --> 00:02:05,505 All the details are in the show notes. 26 00:02:06,255 --> 00:02:08,205 Let's get on with today's show. 27 00:02:10,410 --> 00:02:16,020 So take a moment to think about the guided experiences or programs at your museum. 28 00:02:16,800 --> 00:02:20,820 You probably already know that active participation creates more 29 00:02:20,820 --> 00:02:24,600 meaningful visitor experiences than passive listening. 30 00:02:25,170 --> 00:02:32,250 Yet, consistently facilitating this, actually doing it day after day, tour 31 00:02:32,250 --> 00:02:34,710 after tour, program after program. 32 00:02:35,310 --> 00:02:37,950 That's where the real challenge lies. 33 00:02:38,610 --> 00:02:42,320 So today we're gonna explore some practical techniques for 34 00:02:42,320 --> 00:02:47,280 transforming experiences from passive to active, drawing both from my 35 00:02:47,280 --> 00:02:51,720 book and also from approaches I've gathered through years in the field. 36 00:02:52,935 --> 00:02:56,805 And these strategies will help you to consistently create 37 00:02:57,135 --> 00:03:01,875 more impactful and memorable experiences for your participants. 38 00:03:05,445 --> 00:03:07,905 So let's start at the beginning. 39 00:03:08,475 --> 00:03:13,365 Now, in order to consistently create active participation on our guided 40 00:03:13,365 --> 00:03:18,915 experiences, we need to be clear about what we're actually working towards. 41 00:03:19,245 --> 00:03:26,475 So what does an active, engaging visitor experience really look like in practice? 42 00:03:27,645 --> 00:03:33,585 So creating active experiences means shifting away from traditional approaches, 43 00:03:33,645 --> 00:03:40,005 and in the past museum programs often relied on this one way delivery of 44 00:03:40,005 --> 00:03:47,775 information -so facts, figures, stories, and anecdotes, these one size fits all 45 00:03:47,775 --> 00:03:55,035 experiences, rarely considered individual needs, preferences, or interests. 46 00:03:55,635 --> 00:04:00,915 Participants on these programs were passive observers, rather than active 47 00:04:01,605 --> 00:04:07,485 contributors, and this may have led to potential disengagement and 48 00:04:07,485 --> 00:04:13,485 even boredom despite these programs focusing on collection highlights. 49 00:04:15,735 --> 00:04:20,210 So instead of this traditional model, we want to create experiences where 50 00:04:21,230 --> 00:04:26,170 the educator facilitates discovery rather than just conveying information. 51 00:04:27,045 --> 00:04:33,555 Participants actively contribute to the experience rather than just receive it. 52 00:04:34,395 --> 00:04:40,065 Success is measured by engagement, connections made, and the meaning 53 00:04:40,065 --> 00:04:46,875 constructed and different perspectives enrich and enhance the experience 54 00:04:47,265 --> 00:04:50,055 rather than diluting the narrative. 55 00:04:51,345 --> 00:04:56,535 Now, none of this means we're setting aside expertise, knowledge, or content. 56 00:04:57,075 --> 00:05:01,215 In fact, it takes more knowledge to guide discovery, than to 57 00:05:01,215 --> 00:05:03,555 simply present information. 58 00:05:04,275 --> 00:05:08,595 You're still meeting any content goals you may have, but you're just 59 00:05:08,595 --> 00:05:13,455 doing it through engagement rather than one way information delivery. 60 00:05:15,060 --> 00:05:18,780 And I've got a quote here from an educator who told me after a workshop 61 00:05:18,780 --> 00:05:23,560 in their feedback, they said, "I used to think my job was to teach participants 62 00:05:23,560 --> 00:05:25,720 about the collection or the site. 63 00:05:26,170 --> 00:05:30,430 Now I think my job is to help participants discover meaningful 64 00:05:30,430 --> 00:05:35,230 connections between these places, objects, and their own lives." 65 00:05:37,090 --> 00:05:42,970 so if we think about this as a spectrum, what does moving from passive to active 66 00:05:43,090 --> 00:05:46,570 actually look like in practice in museums? 67 00:05:47,770 --> 00:05:53,440 So if we start at the passive end of the spectrum, we often see approaches 68 00:05:53,440 --> 00:05:59,590 like maybe longer presentations, uh, leading with information about 69 00:05:59,590 --> 00:06:05,050 artworks, objects, historic rooms, and with limited space for dialogue. 70 00:06:06,505 --> 00:06:12,865 We might see predetermined routes through the galleries or historic buildings 71 00:06:12,865 --> 00:06:18,655 with few opportunities for choice by either the guide or the participants. 72 00:06:20,155 --> 00:06:25,675 There may be questions that mainly check for listening or retention of 73 00:06:25,675 --> 00:06:32,185 information, rather than encouraging curiosity, observation, or thinking. 74 00:06:34,030 --> 00:06:40,330 And maybe content that doesn't actively connect to or build upon participants' 75 00:06:40,360 --> 00:06:46,435 existing knowledge and experiences, it might be the same content that's 76 00:06:46,435 --> 00:06:50,125 repeated for every guided experience. 77 00:06:51,505 --> 00:06:57,055 And even, uh, physical positioning that resembles a sort of, uh, follow 78 00:06:57,055 --> 00:07:02,785 the leader approach with the group moving and stopping as one unit, maybe 79 00:07:02,785 --> 00:07:09,355 standing in similar formations at each location, gathered around the guide 80 00:07:09,595 --> 00:07:15,640 and their attention directed mainly to specific features that are highlighted. 81 00:07:16,840 --> 00:07:20,050 So that's the passive end of the spectrum. 82 00:07:20,440 --> 00:07:24,820 But what about as we move towards the more active end? 83 00:07:24,880 --> 00:07:31,120 So we might incorporate elements like: discussion-based approaches 84 00:07:31,180 --> 00:07:36,460 with multiple perspectives contributing to the understanding. 85 00:07:37,240 --> 00:07:41,620 We might have some choice points where participants can influence 86 00:07:41,620 --> 00:07:47,290 which objects, artworks, rooms, or stories, we can explore more deeply. 87 00:07:49,030 --> 00:07:53,170 We'll definitely have questions, questions that invite personal 88 00:07:53,170 --> 00:08:00,940 connections and multiple interpretations, and also tailored content, content 89 00:08:00,940 --> 00:08:05,650 that builds on and connects to existing knowledge and experiences. 90 00:08:06,790 --> 00:08:12,670 And there might be physical arrangements that facilitate engagement with the site 91 00:08:12,730 --> 00:08:16,720 and interaction amongst the group members. 92 00:08:18,085 --> 00:08:24,955 Now it's important to also say at this point that active doesn't necessarily mean 93 00:08:24,955 --> 00:08:28,675 physical activity or talking all the time. 94 00:08:29,245 --> 00:08:34,045 Mental and emotional engagement are equally important forms 95 00:08:34,045 --> 00:08:36,085 of active participation. 96 00:08:36,655 --> 00:08:40,885 So if you have a participant and they're quietly looking at and 97 00:08:40,885 --> 00:08:46,315 thinking about an artwork, they may be just as actively engaged or even 98 00:08:46,315 --> 00:08:51,770 more engaged than someone who's answering factual questions about it. 99 00:08:55,150 --> 00:09:00,130 So before we dive into any specific techniques, we need to first 100 00:09:00,130 --> 00:09:06,160 address the mindset change required to create active experiences. 101 00:09:06,550 --> 00:09:11,290 And this starts with rethinking three key relationships. 102 00:09:11,290 --> 00:09:16,900 So first, the relationship between the educator, guide, 103 00:09:16,930 --> 00:09:19,300 docent, and the participant. 104 00:09:20,680 --> 00:09:25,930 So if we see ourselves as facilitators, rather than information 105 00:09:25,930 --> 00:09:31,630 providers, we naturally create more space for active participation. 106 00:09:31,960 --> 00:09:37,925 Your knowledge then becomes an active tool to guide and foster discovery. 107 00:09:40,090 --> 00:09:44,740 Secondly, we need to rethink the relationship between the 108 00:09:44,740 --> 00:09:47,140 participant and the object. 109 00:09:47,770 --> 00:09:52,120 So we need to recognize that participants bring their own perspectives and 110 00:09:52,120 --> 00:09:58,930 experiences to the conversation, and this helps us to design encounters that create 111 00:09:58,930 --> 00:10:04,690 opportunities for them to connect and find meaning in what they're looking at. 112 00:10:06,160 --> 00:10:10,780 And thirdly, the relationship amongst participants. 113 00:10:11,320 --> 00:10:14,680 So museum visits are social experiences. 114 00:10:14,680 --> 00:10:16,660 People learn from each other. 115 00:10:17,110 --> 00:10:21,790 So by creating opportunities for participants to share ideas and 116 00:10:21,790 --> 00:10:27,010 perspectives with each other, we enrich everyone's experience. 117 00:10:28,945 --> 00:10:33,685 And making these mindset shifts requires intention. 118 00:10:34,255 --> 00:10:41,275 So in my book, I emphasize the importance of actively and intentionally creating the 119 00:10:41,275 --> 00:10:44,215 conditions where engagement can happen. 120 00:10:44,635 --> 00:10:49,615 This is central to two of the eight practices in the Thinking Museum approach. 121 00:10:49,915 --> 00:10:54,355 That's facilitation and creating a community of collaboration. 122 00:10:55,285 --> 00:10:57,505 And at the start of the book. 123 00:10:57,900 --> 00:11:02,819 I also discussed the 3 Foundations of the approach, so that's 124 00:11:02,819 --> 00:11:04,740 observation and noticing. 125 00:11:04,980 --> 00:11:10,709 Shared visual, inquiry and personal discovery, and accepting these as 126 00:11:10,709 --> 00:11:16,469 the values from which you design and lead your programs is a crucial 127 00:11:16,469 --> 00:11:21,660 part of the mindset shift needed for creating active experiences. 128 00:11:24,280 --> 00:11:26,560 And this shift can be quite challenging. 129 00:11:26,560 --> 00:11:31,540 So in museum programs where sharing knowledge is the primary focus, this 130 00:11:31,540 --> 00:11:37,870 can be difficult, but knowledge and facilitation aren't opposing skills. 131 00:11:39,145 --> 00:11:44,305 Good knowledge of your collection or your site can actually enhance your 132 00:11:44,305 --> 00:11:49,584 ability to facilitate meaningful discussions and to respond confidently 133 00:11:50,214 --> 00:11:53,814 to whatever emerges during an experience. 134 00:11:57,265 --> 00:12:03,234 So let's have a look at the first moments of any guided experience 135 00:12:03,234 --> 00:12:05,094 when we're getting started. 136 00:12:05,125 --> 00:12:12,385 So the first few minutes sets the tone for everything that follows, and in the 137 00:12:12,385 --> 00:12:17,604 Thinking Museum approach, this falls within what I call the Entry phase. 138 00:12:17,964 --> 00:12:18,745 So this is one of. 139 00:12:19,135 --> 00:12:26,005 Three phases of a guided experience, which are Entry, Exploration, and Exit 140 00:12:26,755 --> 00:12:33,235 and traditional museum tour introductions often focus on establishing the 141 00:12:33,265 --> 00:12:38,665 educator or guides credentials may be outlining some collection highlights 142 00:12:40,240 --> 00:12:43,270 or providing historical context. 143 00:12:43,780 --> 00:12:49,690 Now, while these elements may have their place, they can also unintentionally 144 00:12:49,690 --> 00:12:53,110 signal a passive experience ahead. 145 00:12:54,520 --> 00:12:58,330 So here's how to make your introductions more active. 146 00:13:01,180 --> 00:13:05,530 So firstly, keep your personal introductions brief and relevant. 147 00:13:05,920 --> 00:13:11,170 Focus on your role as a facilitator and what you love about your job 148 00:13:11,290 --> 00:13:15,550 rather than listing credentials or academic achievements. 149 00:13:15,599 --> 00:13:19,379 Secondly, the idea of connection before content. 150 00:13:19,379 --> 00:13:21,569 I've said it before, I'll say it again. 151 00:13:22,019 --> 00:13:25,109 Take time to make connections with people. 152 00:13:25,109 --> 00:13:30,749 Take time to learn about your participants before the program starts in earnest. 153 00:13:31,170 --> 00:13:36,295 You know, asking what drew you to this exhibition today creates a relationship 154 00:13:36,884 --> 00:13:38,974 that values their perspective. 155 00:13:41,564 --> 00:13:46,844 Also make sure you frame the experience as collaborative from the start. 156 00:13:46,844 --> 00:13:52,754 So use 'we' language this positions participants as co explorers 157 00:13:53,114 --> 00:13:55,724 rather than just audience members. 158 00:13:56,114 --> 00:14:00,134 So, for example, 'today we'll be exploring these artworks together...' 159 00:14:00,314 --> 00:14:06,284 is a simple shift that positions participants as active contributors. 160 00:14:07,664 --> 00:14:11,894 And also establish participation norms early. 161 00:14:12,464 --> 00:14:17,774 So, include a simple participation element in the first few minutes of the program. 162 00:14:18,224 --> 00:14:24,344 This will set the expectation that this will be an interactive experience. 163 00:14:25,034 --> 00:14:28,704 So for example, you could invite participants to share their initial 164 00:14:28,704 --> 00:14:33,924 impression of the gallery space or the building, or to spend some time 165 00:14:33,984 --> 00:14:39,159 observing and describing what they see in the first artwork or object. 166 00:14:41,634 --> 00:14:48,084 And acknowledge the value of diverse perspectives upfront, so explicitly 167 00:14:48,084 --> 00:14:52,554 invite different viewpoints you could say in your introductions. 168 00:14:52,554 --> 00:14:58,164 'You know, one of the wonderful things about art history, whatever 169 00:14:58,164 --> 00:15:02,484 theme you want, is how it can mean different things to different people. 170 00:15:02,904 --> 00:15:07,074 And I'm really looking forward to hearing your perspectives today.' 171 00:15:09,369 --> 00:15:12,099 And lastly, think about choice points. 172 00:15:12,159 --> 00:15:16,179 So if this is appropriate for your setting, you might want to let 173 00:15:16,179 --> 00:15:21,399 participants know about potential opportunities to influence the 174 00:15:21,399 --> 00:15:23,799 direction of the experience. 175 00:15:23,949 --> 00:15:29,379 So you might say today we'll have a few moments where we can decide together 176 00:15:29,739 --> 00:15:32,709 which areas to explore more deeply. 177 00:15:35,364 --> 00:15:36,984 So that's your introduction. 178 00:15:37,404 --> 00:15:40,014 Let's move on to questions. 179 00:15:40,194 --> 00:15:45,144 So questions, I've said many times on this podcast, they are the most 180 00:15:45,144 --> 00:15:51,414 powerful tool we have for creating active experiences, but the type of 181 00:15:51,414 --> 00:15:54,894 questions we ask makes all the difference. 182 00:15:56,079 --> 00:16:01,449 So in passive experiences, questions, often test knowledge. 183 00:16:01,599 --> 00:16:04,309 So, you know, questions like, ' who can tell me when 184 00:16:04,309 --> 00:16:05,809 this building was constructed?' 185 00:16:07,430 --> 00:16:12,379 They might also have single correct answers, ones the guide 186 00:16:12,379 --> 00:16:14,599 or educator already knows. 187 00:16:15,709 --> 00:16:22,699 These questions might focus mainly on identifying features, styles, or dates 188 00:16:23,299 --> 00:16:26,679 or artists, when we're talking about art, 189 00:16:27,549 --> 00:16:32,139 they might also act as rhetorical devices before the guide eventually 190 00:16:32,139 --> 00:16:34,359 provides the right answer. 191 00:16:35,499 --> 00:16:39,909 So I like to think of these as 'performative questions' because they're 192 00:16:39,909 --> 00:16:45,129 not signaling that you are interested in what participants have to say at all. 193 00:16:46,119 --> 00:16:51,089 So here's how to transform your questioning approach 194 00:16:51,179 --> 00:16:54,059 into more active questioning. 195 00:16:56,344 --> 00:16:59,734 Ask genuine observation questions. 196 00:16:59,824 --> 00:17:04,024 You know, 'what do you notice about this room?' 'What details stand out 197 00:17:04,024 --> 00:17:09,964 to you in this artwork?' So these invite everyone into the conversation 198 00:17:10,024 --> 00:17:12,814 regardless of any prior knowledge. 199 00:17:15,364 --> 00:17:18,904 Then you might want to use some comparative questions, you know, 'how 200 00:17:18,904 --> 00:17:24,184 does this space differ from the one we just visited?' 'Or what similarities do 201 00:17:24,184 --> 00:17:29,164 you notice between these two objects?', these types of questions, prompt, 202 00:17:29,284 --> 00:17:31,744 active looking and connection making. 203 00:17:34,444 --> 00:17:38,734 And you might want to include some personal response questions such as, 204 00:17:38,794 --> 00:17:44,134 'which aspect of this museum or historic site do you find most compelling?' 205 00:17:46,114 --> 00:17:49,894 Or what about some hypothesis generating questions. 206 00:17:50,494 --> 00:17:54,844 'Why might the inhabitants have designed the space this way?' 'Or 207 00:17:54,874 --> 00:17:59,194 what might this unusual feature tell us about how people lived?' 208 00:17:59,494 --> 00:18:03,364 these types of questions, invite speculation rather 209 00:18:03,364 --> 00:18:05,674 than regurgitation of facts. 210 00:18:07,504 --> 00:18:11,704 And you'll also want to think about sequencing your questions. 211 00:18:11,704 --> 00:18:16,594 So in my book, I share lots of tools to help with formulating 212 00:18:16,624 --> 00:18:19,354 and sequencing your questions. 213 00:18:20,164 --> 00:18:24,964 First, in the Discussion Cycle, I show how moving from observation to 214 00:18:24,964 --> 00:18:31,234 description, to interpretation and conclusion creates a natural progression. 215 00:18:32,544 --> 00:18:36,984 And you might also want to try one of my 10 Questioning Practices. 216 00:18:36,984 --> 00:18:41,724 These will help you to sequence questions for different types of discussions. 217 00:18:42,234 --> 00:18:46,614 And crucially, these frameworks allow space for sharing 218 00:18:46,614 --> 00:18:49,344 information in an active way. 219 00:18:51,499 --> 00:18:57,879 And finally, you want to give wait time, so allow five to seven seconds 220 00:18:57,879 --> 00:19:00,699 of silence after asking a question. 221 00:19:01,179 --> 00:19:06,819 This shows you genuinely expect some thoughtful responses, and it gives 222 00:19:06,819 --> 00:19:11,229 people time to think- really, really important, especially when they're 223 00:19:11,229 --> 00:19:13,869 taking in new environments as well. 224 00:19:17,334 --> 00:19:22,524 So let's now talk about movement and how we design spaces, because the 225 00:19:22,524 --> 00:19:26,964 way we move through museums really shapes whether we are just passively 226 00:19:26,964 --> 00:19:30,044 following or actively engaging. 227 00:19:31,214 --> 00:19:35,334 So in more passive setups, we tend to see things like this. 228 00:19:35,544 --> 00:19:38,664 Perhaps everyone gathered behind the guide, we're all 229 00:19:38,664 --> 00:19:40,464 looking in the same direction. 230 00:19:40,854 --> 00:19:46,524 The group moves together as one following a set route, and people might stay 231 00:19:46,524 --> 00:19:51,084 at the same distance from each other throughout, and there's not much physical 232 00:19:51,089 --> 00:19:53,904 interaction with the space itself. 233 00:19:54,869 --> 00:19:57,179 But we can change this. 234 00:19:57,839 --> 00:20:04,049 So try mixing up the physical arrangement if space allows, get the group to form 235 00:20:04,049 --> 00:20:10,834 a semicircle as this helps everyone see both the object and each other. 236 00:20:12,324 --> 00:20:18,384 And in small rooms like those in a historic house or an old building, you 237 00:20:18,384 --> 00:20:24,054 can invite people to choose a spot where they can really notice something specific. 238 00:20:24,714 --> 00:20:29,394 And if you're outside, getting people to look from different vantage points 239 00:20:29,394 --> 00:20:34,764 can really open up new ways of seeing the landscape or the architecture. 240 00:20:36,969 --> 00:20:40,539 You can also offer choice in how people move. 241 00:20:40,989 --> 00:20:46,299 So say something like, uh, 'take a few minutes to look around this area and 242 00:20:46,299 --> 00:20:49,539 find something that stands out to you'. 243 00:20:50,139 --> 00:20:56,049 And this changes people from being followers to becoming explorers. 244 00:20:57,159 --> 00:21:01,029 Then when you come back together, you can share and compare 245 00:21:01,239 --> 00:21:02,619 what caught your attention. 246 00:21:04,209 --> 00:21:07,989 I also love to use positioning as a thinking tool. 247 00:21:08,199 --> 00:21:13,509 So for example, asking, um, perhaps 'where do you think a member of the household 248 00:21:13,539 --> 00:21:19,029 might have stood in this room?' Or 'find a spot that gives you a completely 249 00:21:19,029 --> 00:21:21,039 different view of this feature'. 250 00:21:21,579 --> 00:21:26,199 It turns thinking into something physical and visible. 251 00:21:28,299 --> 00:21:31,149 And of course varying how people look. 252 00:21:31,509 --> 00:21:36,699 So careful closeup looking for looking at details, using the middle 253 00:21:36,699 --> 00:21:43,329 distance to take in the whole scene or from very far away for context. 254 00:21:43,329 --> 00:21:49,299 And all of this helps to create different layers of engagement. 255 00:21:50,679 --> 00:21:53,949 You can even use the body as a way to respond. 256 00:21:54,369 --> 00:21:57,309 So, you know, try something like, 'how do you think people 257 00:21:57,309 --> 00:21:59,319 moved through this space?' 258 00:21:59,409 --> 00:22:05,589 Or 'notice how your body reacts to the size or layout of the architecture.' 259 00:22:06,369 --> 00:22:11,619 It's about tuning into how the space feels, as well as how it looks. 260 00:22:13,344 --> 00:22:16,654 And yes, this even works in tight spaces. 261 00:22:16,654 --> 00:22:20,524 So in a small room, you could say something as simple as, 'take 262 00:22:20,524 --> 00:22:25,654 30 seconds to notice one detail that interests you about how 263 00:22:25,654 --> 00:22:28,684 this space was designed or used'. 264 00:22:28,744 --> 00:22:29,409 And then we'll share. 265 00:22:30,484 --> 00:22:34,234 Prompts like these can make a big difference. 266 00:22:39,634 --> 00:22:42,214 So let's move on to talk about how we can facilitate 267 00:22:42,214 --> 00:22:45,334 interaction amongst participants. 268 00:22:45,754 --> 00:22:50,524 So in a more traditional program, the guide would stand at the front, would 269 00:22:50,554 --> 00:22:56,524 ask a question, someone would answer, and the guide or educator would respond. 270 00:22:56,884 --> 00:22:59,794 Then another question and another answer. 271 00:23:00,094 --> 00:23:05,559 So it's a bit like everything has to go through the guide, like a wheel 272 00:23:05,559 --> 00:23:10,689 with the guide at the center and the participants around the edge. 273 00:23:11,109 --> 00:23:15,164 But there's no connection between the people who are on the edge, there's 274 00:23:15,164 --> 00:23:18,224 no real conversation or collaboration. 275 00:23:18,644 --> 00:23:24,974 This setup really limits how much participants can interact with each other. 276 00:23:25,634 --> 00:23:31,609 So how can we change this dynamic into a more active one? 277 00:23:33,399 --> 00:23:37,719 So you could start with something very simple like partner looking. 278 00:23:37,719 --> 00:23:41,619 So 'turn to the person next to you and share one thing you've 279 00:23:41,619 --> 00:23:43,809 noticed about this object'. 280 00:23:44,169 --> 00:23:49,239 And with this, everyone gets involved at once and it helps people feel 281 00:23:49,239 --> 00:23:51,699 more comfortable participating. 282 00:23:53,109 --> 00:23:55,659 You can also build in layers. 283 00:23:55,929 --> 00:24:00,699 So you can start with pairs, then bring pairs together in small groups 284 00:24:00,699 --> 00:24:06,459 to spot patterns or common ideas, and only then share with the whole group. 285 00:24:06,489 --> 00:24:12,639 And by doing this, you are building confidence and energy step by step. 286 00:24:15,044 --> 00:24:18,194 You could also create structured sharing opportunities. 287 00:24:18,194 --> 00:24:22,574 So techniques like each person shares one element they notice 288 00:24:22,574 --> 00:24:24,194 that hasn't been mentioned yet. 289 00:24:24,644 --> 00:24:30,434 And this ensures broader participation, much more so than open discussion. 290 00:24:31,604 --> 00:24:33,974 And you can also assign roles. 291 00:24:34,304 --> 00:24:36,674 So perhaps perspective taking roles. 292 00:24:37,004 --> 00:24:41,054 You could create small groups, and each group considers the same 293 00:24:41,054 --> 00:24:43,304 object from different perspectives. 294 00:24:43,304 --> 00:24:49,424 So design elements, historical context, emotional response, whatever you want, 295 00:24:49,634 --> 00:24:52,364 and then bring it all together to discuss. 296 00:24:55,424 --> 00:24:58,904 So let's talk about information next. 297 00:24:59,144 --> 00:25:05,414 So, in traditional or more passive guided experiences, the content is often fixed. 298 00:25:05,774 --> 00:25:10,664 It's delivered the same way, regardless of who's in front of you. 299 00:25:11,624 --> 00:25:16,964 But when we shift to a more active approach, our content becomes 300 00:25:16,964 --> 00:25:19,184 more responsive and adaptable. 301 00:25:20,969 --> 00:25:23,969 Now, this doesn't mean that we stop sharing important 302 00:25:23,969 --> 00:25:26,629 historical information or context. 303 00:25:26,899 --> 00:25:27,799 Not at all. 304 00:25:28,159 --> 00:25:33,079 It's about offering multiple pathways into the core ideas. 305 00:25:34,879 --> 00:25:38,509 So ask your participants what they're curious about. 306 00:25:38,599 --> 00:25:39,769 Ask this question. 307 00:25:40,039 --> 00:25:43,129 What are you wondering about this 'object, this artwork?', and 308 00:25:43,129 --> 00:25:46,069 ask it throughout your program. 309 00:25:46,549 --> 00:25:49,999 It gives you a sense of what the group is curious about, and then 310 00:25:49,999 --> 00:25:55,999 you can share tailored information that connects with their interests. 311 00:25:57,509 --> 00:26:01,309 Sometimes I'll share a small piece of information and it 312 00:26:01,309 --> 00:26:03,619 will act as a springboard. 313 00:26:04,099 --> 00:26:08,419 Then I'll ask something like this: 'knowing this information, 314 00:26:08,899 --> 00:26:13,789 how does it change how you look at the artwork or object? 315 00:26:14,029 --> 00:26:15,949 What do you notice differently now?' 316 00:26:17,674 --> 00:26:23,584 So this keeps the conversation active and it gives meaning room to grow. 317 00:26:25,549 --> 00:26:29,059 And always invite interpretation first. 318 00:26:29,109 --> 00:26:33,669 So before sharing an explanation ask what do you think this might be? 319 00:26:33,669 --> 00:26:37,119 Or Why do you think this detail was included? 320 00:26:37,449 --> 00:26:43,534 Then you can add context that builds on their ideas or observations. 321 00:26:45,934 --> 00:26:48,874 So finally, moving to closing. 322 00:26:49,414 --> 00:26:55,384 So how we end an experience matters just as much as how we begin. 323 00:26:55,894 --> 00:27:01,174 Passive closings usually involve a quick summary or a 'thanks for 324 00:27:01,174 --> 00:27:06,964 coming', but active closings are an opportunity to help visitors reflect, 325 00:27:07,354 --> 00:27:10,534 connect, and carry something forward. 326 00:27:11,539 --> 00:27:15,019 So you might use reflection prompts. 327 00:27:15,529 --> 00:27:20,049 These are prompts or questions that invite participants to identify what 328 00:27:20,049 --> 00:27:24,759 was most meaningful, surprising, or thought provoking for them. 329 00:27:25,359 --> 00:27:29,079 So you might want to use my Look Back, Step Forward, or my 330 00:27:29,079 --> 00:27:33,559 3 2 1 Reflection Questioning Practices from The Art Engager. 331 00:27:33,579 --> 00:27:36,669 These are so useful to end a program. 332 00:27:38,244 --> 00:27:41,574 You might want to issue some connection invitations. 333 00:27:41,574 --> 00:27:46,224 You might say 'is there an idea from today that you might take with you 334 00:27:46,464 --> 00:27:52,914 into everyday life?' Or you might do some group reflection, so you might 335 00:27:52,914 --> 00:27:57,324 ask the question, 'what themes have we noticed across the galleries or 336 00:27:57,384 --> 00:28:00,144 objects or artworks that we explored?' 337 00:28:01,854 --> 00:28:05,544 And you might want to ask some forward looking questions. 338 00:28:05,874 --> 00:28:12,144 So 'what might you see differently now after this experience?' In my 339 00:28:12,144 --> 00:28:17,184 book, I call this phase the Exit phase, and it's a phase where you 340 00:28:17,184 --> 00:28:20,934 are really helping participants to take what they've experienced 341 00:28:20,964 --> 00:28:23,844 and connect it to a wider world. 342 00:28:26,049 --> 00:28:32,109 So transforming visits from passive to active is essentially rethinking 343 00:28:32,229 --> 00:28:34,569 how meaning gets made in museums. 344 00:28:35,784 --> 00:28:41,334 The approaches we've discussed today from re-imagining the educator's role 345 00:28:41,664 --> 00:28:48,204 to transforming questions, redesigning physical movement, facilitating visitor 346 00:28:48,204 --> 00:28:53,844 interaction, to adapting content, to closing for continued engagement, all 347 00:28:53,844 --> 00:28:58,704 of this serve this larger purpose. 348 00:28:59,484 --> 00:29:01,314 Now it's a change in technique. 349 00:29:01,374 --> 00:29:02,034 Sure. 350 00:29:02,394 --> 00:29:04,674 But it's also a mindset shift. 351 00:29:05,094 --> 00:29:11,364 And these shifts ask us to trust that our participants bring valuable perspectives, 352 00:29:11,664 --> 00:29:17,034 that meaning happens through engagement, and that our role is to facilitate 353 00:29:17,034 --> 00:29:20,814 discovery, not just deliver facts. 354 00:29:21,924 --> 00:29:25,794 So I'd love to hear how you are making these shifts in your own work. 355 00:29:26,424 --> 00:29:28,524 What's working, what's challenging? 356 00:29:28,554 --> 00:29:32,754 You can share with me on social media at Thinking Museum. 357 00:29:33,764 --> 00:29:35,954 So that's all for today's episode. 358 00:29:36,374 --> 00:29:39,404 I hope you found it helpful and thought provoking. 359 00:29:39,734 --> 00:29:45,374 If you've enjoyed this episode, or if any episode in our extensive back 360 00:29:45,374 --> 00:29:50,504 catalog has resonated with you, please consider supporting the Art Engager. 361 00:29:50,924 --> 00:29:56,524 You can join us on Patreon with a simple, low cost monthly subscription 362 00:29:56,704 --> 00:29:58,894 to help keep this content coming. 363 00:29:59,254 --> 00:30:01,294 Thank you to all our new supporters. 364 00:30:01,624 --> 00:30:04,624 Your generosity really makes a difference. 365 00:30:05,674 --> 00:30:11,794 Finally, don't forget to visit my website to learn more about The Art Engager book 366 00:30:12,064 --> 00:30:14,374 available now wherever books are sold. 367 00:30:16,134 --> 00:30:17,274 That's it for today. 368 00:30:17,334 --> 00:30:19,404 Thank you so much for joining us. 369 00:30:19,464 --> 00:30:20,604 See you next time. 370 00:30:20,874 --> 00:30:21,324 Bye. 371 00:30:25,494 --> 00:30:29,484 Thank you for listening to The Art Engager podcast with me, Claire Brown. 372 00:30:30,834 --> 00:30:34,764 You can find more art engagement resources by visiting my website, 373 00:30:34,764 --> 00:30:39,654 thinkingmuseum.com, and you can also find me on Instagram at Thinking 374 00:30:39,654 --> 00:30:41,814 Museum, where I regularly share. 375 00:30:41,854 --> 00:30:46,654 Tips and tools on how to bring art to life and engage your audience. 376 00:30:47,824 --> 00:30:52,054 If you've enjoyed this episode, please share with others and subscribe to the 377 00:30:52,054 --> 00:30:54,874 show on your podcast player of choice. 378 00:30:55,804 --> 00:30:59,044 Thank you so much for listening, and I'll see you next time.