\u201c2nd grade student this morning after hearing that Theseus ditches Ariadne after they escape from the Minotaur: \u201cWell, maybe he was too young for marriage. I mean, you shouldn\u2019t marry someone you just met. You should like, get to know each other first. But it was still mean of him.\u201d<\/em><\/p>\nLike the Greek myths that inspired it, this discussion offered an interesting analysis of human behavior. After telling these students the myth of Theseus and Ariadne, I asked students what they thought of the story\u2019s ending. The first flurry of responses focused on abandonment and notions of fairness; everyone agreed that Theseus made a bad choice. Well, nearly everyone. I pushed for dissent, and asked if anyone had another point of view. This young lady had been sitting silently for a while, and when she did speak it was with energy.<\/p>\n
On some level she was trying to make Theseus\u2019 decision to abandon Ariadne acceptable. On a deeper level, I wonder if this student, like the young lady who compared the Buddha to the Doctor, was thinking about role models. As you can see in the comments left by my Facebook friends, Disney\u2019s \u2018Frozen\u2019 explores these ideas very effectively as well. Whether or not this student had seen the movie (and I suspect she had), it was a powerful reminder to me about making room for respectful dissent when interpreting works of art. Students really absorb the lessons that they learn from movies, so it makes good sense to keep tabs on what those lessons are \u2013 and what ambiguities they might offer.<\/p>\n
So what patterns have I noticed about kids\u2019 interests at the Met?<\/strong><\/p>\nThe Unknown<\/strong><\/p>\nMany of these conversations involve discovering new frontiers, and the thrill and fear that accompany real, authentic exploration. As long as the fear of the new doesn\u2019t overwhelm the group, it can be very productive if acknowledged. There\u2019s a lot to be said about the transformative power of discomfort; just ask an oyster.<\/p>\n
Role Models<\/strong><\/p>\nHumans are social animals; we look to others for tips on how to behave. Many students are searching for role models, and some have found them in fictional characters. These young people are looking for ways to connect these characters and their worlds to the real world around them, and they will do so at the first opportunity.<\/p>\n
Contemporary Connections<\/strong><\/p>\nMuseum educators often talk about contemporary connections: strategies or concepts that help visitors understand something unfamiliar by tying it to something personally familiar from today. When students initiate their own contemporary connections, they often do so in unpredictable ways that can be surprising, humorous, or subversive. There is something to be said for letting students make their own connections instead of doing it for them. Kids will bring pop culture with them into the museum regardless, so ignoring its power means missing opportunities for authentic discussion.<\/p>\n
Keeping up-to-date on popular trends among young learners can really help make genuine connections that make complex ideas accessible. It can also highlight key misunderstandings about objects or the stories objects tell. For example, the idea that you should get to know your future partner well before committing is a very particular approach to marriage, presumably not one endorsed in most ancient societies.<\/p>\n
Some Takeaways for Museum Educators<\/strong><\/p>\n1. Listen. Really Listen.<\/strong><\/p>\nFocus on what students are really saying when they respond to your questions, not just what you think they mean. This is hard. Use the words they use to define academic terms and abstract concepts. If a student\u2019s comment strikes you as snarky or disruptive, lean in to it. Find out more. Let them know you\u2019re interested in their thinking. Give them space to explain. If they don\u2019t want to explain to you, consider asking them to turn and talk with some of their peers. Listen to what you hear, and think about how it connects to your own ideas about the content or lesson.<\/p>\n
2. Let students drive the conversation.<\/strong><\/p>\nMy boss sometimes talks about how effective museum educators need to be a \u2018Guide on the Side\u2019 rather than a \u2018Sage on the Stage,\u2019 and this is vital to effective gallery teaching. Use a light touch to keep the conversation moving. Stay goal-oriented, but don\u2019t get so attached to your goals that you lose sight of the importance of the process of discovery for your participants.<\/p>\n
3. Ask for divergent thinking<\/strong><\/p>\nSeek out dissenting ideas so that you are encouraging participants to think both deeply and individually. Some works of art open themselves up to a wide range of possible interpretations without ever committing to just one \u2013 examples might include many modern and contemporary art objects. Other works of art, like a Gupta period Buddhist sculpture or ancient Roman sarcophagi, have very specific meanings that their makers intended; there are incorrect understandings of some works of art, and that is important for us to acknowledge. Those misunderstandings are often great starting points for real inquiry if you can help students ground their misunderstandings in the visual elements of the artwork! Either way, seeking out divergent thinking empowers students to discover and craft the complexity of interpretation for themselves.<\/p>\n
4. Reflective Practice needs others<\/strong><\/p>\nI think the capacity to reflect in action (while doing something) and on action (after having done it) is an important part of professional practice. Both are hard to do, and both benefit greatly when other people can be sounding boards. I find these status updates help me slow down and think about the choices I\u2019ve made. Better yet, doing so gives me immediate informal feedback.<\/p>\n
Give it a try!<\/p>\n
By David Bowles
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