Compensation and Compassion: Creating a More Equitable Field for Emerging Museum Educators
Natalie Sandstrom, recent graduate of Smith College
Each of us held our imaginary water glasses full of our own knowledge. One person began by pouring some of their knowledge into the glasses of the others, moving slowly and deliberately. We stayed silent, the weight of wisdom seeming to become real in our hands. Then we all took turns sharing and receiving understanding with each of our peers by pouring, until our imagined glasses were overflowing. By the end, everyone had taken from and given to each member of the group, setting a precedent for openly sharing insight that should persist throughout museum education. One way we can realize this goal is by supporting emerging museum educators through experiences such as internships.
For the past three years I have worked as a paid Student Museum Educator (SME) at the Smith College Museum of Art (SCMA), and have had the opportunity to embody this water glass activity — learning from my colleagues, and sharing my own wisdom and experiences. This program incorporates a theoretical framework but is primarily experiential, and focuses on giving undergraduate students gallery teaching experience. In this article I will explore how the SME program models an ideal museum education work environment, and argue that it includes components of compensation, experiential learning, mentorship, and transparency, that we should advocate for in student internships and beyond to fulfill institutional and individual goals. While each of these components is crucial, I focus on compensation and experiential learning because I believe them to be most critical in preparing students to understand and take on the labor involved in museum education. On the institutional level, paying student workers allows a museum to achieve its educational goals by expanding opportunities to create a diverse team of paid student interns who do real, mission-aligned work. Being paid creates opportunities for students to build the experience, skills, and network to succeed, while setting the expectation of a fair and supportive workplace in their full-fledged careers.
Equity, Internships, and Pay
Today institutions are thinking about what it means to create an equitable workplace through gender, race (1), and sexuality, as well as considering economic diversity and fair compensation for labor (see various resources collected by the AAM). Specifically, more and more museums are starting conversations about unpaid internships. Major institutions such as the Met and the Whitney now offer some paid summer opportunities. However, many internship programs, both inside the art world and out, are unpaid. In a 2017 study conducted by MuseumNext, of the 420 museum professionals interviewed, only 8% received a living wage during their time as interns, while 48% had not been paid at all (Richardson 2017). At first thought, one might say “unpaid internships are still better than nothing!” However, upon further consideration, in the context of equity this stance breaks down. Those who cannot afford to work for free are unable to access careers which have high expectations of educational background and previous professional experience. Perhaps students can be creative to find ways to support themselves while trying to build a resume, but this should not have to be the case, as the division of time and labor across multiple commitments can lead to stress.
By relieving the strain of working additional jobs to subsidize unpaid museum labor, paid internships may encourage a wider range of candidates to enter the field. This kind of inclusive consideration allows for a greater number of perspectives when it comes to problem solving, and creates empathy in the field. At SCMA, paying student workers creates this kind of space. For example, in the fall 2018 cohort, the six SMEs came from both work-study and non-work-study backgrounds, from more than five areas of study, and three class years. Two of us were returning staff members, while the other four were new hires. Over the semester we had opportunities to become a team, to understand each other’s unique perspectives, and to draw on those experiences when we needed support. I was in my third year as a SME, coming from an English/ art history background, and a non-work-study student. I would have still been able to be a SME if the position were unpaid, though would have devoted less time. Due to being paid, I was able to dedicate myself to my work, experienced an equitable first workplace, and amassed skills that will be valuable as I enter the museum field.
Fulfilling Institutional Goals Through Transitioning to Paid Internships
The Student Museum Educator program has flourished since transitioning from volunteer to paid in 2014. With SMEs, the education department at SCMA gives fledgling student educators the responsibility and recognition of part-time staff members, under the guidance of Gina Hall, Associate Educator for School and Family Programs. SMEs primarily design and lead responsive, inquiry- and object-based tours for K-12 audiences. Additionally, SMEs assist with implementing interpretive materials, and facilitating community programs such as the annual student gala and monthly drop-in artmaking activities. SMEs are expected to interface with the public in a professional manner, adapting to the needs of visitors of all ages and abilities.
When Hall turned the program from volunteer to paid, the goal was to provide real experience to undergrad students. Hall says that “as an academic museum we have a mandate to pay our students,” and that there is no excuse not to pay students at SCMA, as the museum is eligible to receive part of Smith’s work-study funding (Gina Hall, personal communication, October 2018). Hall previously worked at an institution that paid its interns, and she knew that she needed to implement change to the compensation structure at Smith. Hall felt that the volunteer model was giving students pedagogical background, but not enough opportunities to apply the knowledge they were gaining. Many students were unable to allocate the full time that the position required because of the pressures of work and school, so the programmatic goal of SMEs working directly with K-12 audiences was not being met.
To make the transition from a volunteer corps to a small group of part-time student educators, SCMA had to redirect funds. Before 2014, the museum’s portion of the work-study funding was allocated to paying a student assistant for each member of the education department. The assistant positions shifted to become the Student Museum Educators, responsible for leading gallery tours and helping with administrative tasks. Today, the museum has no unpaid interns, though there is a separate volunteer program which requires only four hours per month.
Of the changes that have come from the switch to a paid student program, Jessica Nicoll, SCMA’s Director and Chief Curator, said that “the shift in recent years to a smaller corps of paid SMEs has had a number of benefits including allowing us to deepen training, giving students more opportunities to develop content and teaching strategies, and compensating them for the significant time they contribute to this work. Paying students is also an issue of equity, making this valuable learning experience possible for all interested students” (Jessica Nicoll, personal email communication, October 2018). Gina Hall echoes this sentiment. In addition to being able to accomodate more tours, Hall says that “with our current model, SMEs have time and guidance for planning, researching, prototyping and reflection, all of which has hugely increased the quality of the learning experiences for our visitors, and the learning experience of the SMEs as well, to contribute to their growth as professional educators” (Gina Hall, personal communication, October 2018).
Fulfilling Individual Goals Through Experiential Learning, Mentorship, and Transparency
Because the position is paid, SMEs are expected to devote 10 hours per week to work. The program is scaffolded with trainings and readings on best practices, which supports work with visitors. Tours are planned collaboratively, and reflective writing and conversation exercises are conducted after each group visit. This not only gives students the tools and vocabulary to teach, but also the skills to reflect and grow. A 2005 study on experiential learning found that “making space for students to take control of and responsibility for their learning can greatly enhance their ability to learn from experience” (Kolb and Kolb, 2005, p. 209). The study also stressed the importance of “the creation of learning spaces that promote growth-producing experiences for learners,” rather than simply focusing on measured outcomes (Kolb and Kolb, 2005, p. 205). In my time as a SME, I was part of three different cohorts, each of which had a range of student educators with different expertise of subject and age group, allowing a dynamic and supportive work environment that celebrates highs and learns from stumbles.
For most of us, being a SME is our first time working in a museum, and may also be the first teaching experience, so students come in with excitement and eagerness to grow. This necessitates hands-on leadership from SCMA education staff, as well as older and more experienced members of the SME cohort. As the program leader, Gina Hall understands how harnessing new educators’ enthusiasm can benefit all parties involved. She says that “the energy and perspective that student educators infuse into their time in the office makes them an invaluable voice within the institution, helping us to be more relevant and accountable, thoughtful and purposeful in the education work that we do for all audiences” (Gina Hall, personal communication, October 2018). Accordingly, Hall actively promotes the informal mentorship component of the SME program, encouraging students to not only engage with her, but also museum staff both inside and outside of the education department. I have been on both sides of the mentorship: receiving advice from Gina when applying to internships; and giving new SMEs tips on office workflow, or insight on classes who return to the museum annually. This not only helps the SMEs feel like valued and included staff, but also helps them understand what keeps a museum running. SMEs see not only visitor engagement, but also the paperwork for scheduling groups, and the discussions across departments about how to make the museum inviting and accessible. For example, when the curatorial staff works with education to plan physical accessibility in a new exhibition, SMEs can be privy to those talks. Thus, because students are paid, they spend more focused time working, which leads to a fuller mentorship experience, through which the real labor of the field becomes clear.
I have loved these interdependent aspects of being a paid student educator. Throughout my time at Smith, I have worked with my colleagues to talk about how to engage students who have special needs, and how to have a range of group management strategies ready to go. I have learned how to appropriately redirect language surrounding artworks that depict minorities or represent problematic historical events. The museum allowed me to have difficult conversations, and I have come away with a toolkit of strategies to help me face hard teaching moments. I have also learned to harness my background and share my passion with visitors. As someone who has studied English (with a focus in British Romanticism) and art history, I have felt the joy of leading my best tour ever with a group of high schoolers looking at sublime depictions of landscape. I have also experienced the desk work — spending hours researching the most economical art materials to buy in bulk for public programs. I believe that these experiences will prepare me for success as I transition to “the real world,” and I hope that my future work environments will be as supportive and collaborative as SCMA.
The Smith College Museum of Art takes pride in knowing that, through its immersive and challenging work environment, Smithies are set up for success. Various SMEs have gone on to work in such places as MoMA, the Nelson Atkins Museum, the MFA Boston, and the Denver Children’s Museum. Jessie Magyar, Community Outreach Coordinator at the ICA in Boston, says that “as a SME, I learned how to facilitate meaningful conversations and help people form personal connections with art objects. That has absolutely inspired every career aspiration and choice I’ve made as an artist, educator, and art therapist” (Jessie Magyar, personal email communication, October 2018). While Jessie’s SME cohort was unpaid, she still gained skills that she could take away. Kate Hanks, class of 2018, said that being a paid SME not only gave her confidence and experience, but also helped her realize her value: “if I can be paid for my labor as a college student, then I should be paid for my labor as a post-grad member of the workforce” (Kate Hanks, personal email communication, October 2018). These alumnae quotes demonstrate how compensation amplifies the other three components of a great work environment for young educators: mentorship, transparency, and experiential learning.
Conclusion
As I leave Smith and SCMA, there are many takeaways I will bring with me. First and foremost, I know that my teaching toolbox has been lined with a foundation of techniques backed up with theory. Thanks to the mentorship I have received, I feel confident that I have something to offer to my future employers; and because of the experiential aspect of this program, I have a sense of what to expect. Finally, I have worked with a range of peers who have brought diverse backgrounds to the office in so many ways, and I have learned the importance of listening, and of cultivating a compassionate and empathetic workplace, which transfers into working with the public.
Here, I have used this lens of my experience to explore the work of SMEs in relation to the institution, demonstrating the value that the student can bring to the museum, and ways in which fair work experience can set students up for success. This should be thought of a case study that acts as a model work environment for other institutions. Paying students and creating a space where experiential learning, mentorship, and transparency can take place ought to be replicated in other museum education departments across the field. While finding the means to make this change happen is a large hurdle, with resources like work study change is possible, and has powerful implications. Taking steps toward creating more accessible and equitable internships and jobs could impact museum education from the ground floor, helping to embolden the next generation of educators through early work experiences.
To conclude, let’s revisit the glass activity, this time considering those future museum educators. Imagine again a room of people with their water glasses of knowledge. Imagine that each of them is different — whether that be their economic, social, racial, mental, physical, or educational background. Imagine the immense potential that lies within each of their cups, waiting to be shared to help their peers’ glasses overflow. Think of the steps we could make toward equity and deeper empathy. As educators, we support visitors as we challenge them to see what more they can find in our museums. I invite us to task ourselves with that same process of discovery, and to welcome others to share that experience. I believe that the field of museum education is a bottomless glass — we can always learn and grow from each other, which strengthens everyone.
Natalie Sandstrom
Natalie Sandstrom is a recent graduate of Smith College, where she was a SME for 3 years. Her interest in the field lies in K-12 visitor engagement and designing interpretive materials. She also runs the blog Beyond Art, and writes criticism on contemporary art for the online magazine artcritical.
Endnote
(1) Some organizations, like the Getty Foundation, Mellon Foundation, Walton Family & Ford Foundation, and AAMD, support goals to add racial diversity to the field, and offer scholarships or grants to young people of color so that they are able to gain experience.
References
Richardson, Jim. (July 2017). Eye Opening Stats on Museum Internships. MuseumNext. Retrieved from https://www.museumnext.com/2017/07/stats-on-museum-internships/.
Kolb, A., & Kolb, D. (2005). Learning Styles and Learning Spaces: Enhancing Experiential Learning in Higher Education. Academy of Management Learning & Education, 4(2), 193–212. Retrieved from http://www.jstor.org/stable/40214287.
