Solving the mystery of Kulturmasche

So, you ask, whatever does „Kulturmasche“ mean? And what does it have to do with community engagement? I had promised answers and admittedly I have been pondering over these questions since I first started this venture called blog.

When I started my new job as an Outreach Officer for a local Museum in England, fresh out of uni, I had quite a few discussions with friends and colleagues about the purpose of my work – isn’t outreach about luring people into museums?

Museum education, the argument went, is about developing tailored learning programmes for people who (mostly) enjoy vising museums and would like to find out more. Programmes for schools and other groups are enjoyed by the teachers if not all of the students. Targeted yes, special projects rarely.

Outreach is about tailored learning aimed at luring people into museums who would never dream of putting a foot over the threshold – a ploy, a scam, manipulation (these are all synonyms of the German word “Masche“. “Kultur” means culture, by the way). Always as a project, always different, always very few participants. A lot of work. Ineffective. Why bother? If they don’t want to, leave them.

Is this really the case?

In Germany, the term “Kulturelle Bildung“ accumulates a lot of methods and approaches similar to the notions of outreach and community engagement in the UK. It’s a very broad and highly differentiated term, I’ve gathered that much.

But could these approaches also be reproached of being a ploy (scam, manipulation – that is, a “Masche“)? I am intend on finding out:

What sort of outreach and community engagement in the arts (and especially in museums) is going on in Germany? What are they aiming to do? How do they do it? And how does this compare to my work in the UK?

I shall report here.

By the way, I don’t actually believe outreach – or “Kulturelle Bildung“ – to be a “Masche“ in the sense of a ploy, or a scam. I think it’s an approach to learning with a difference – and that’s a way to interpret “Masche“ in German as well.

In the end, for me it’s not about raising visitor numbers but about the people I help to discover culture for themselves – in whatever shape or form. And to encourage them to make it part of their daily lives. For the sake of getting goose bumps when listening to a great concert, the fun to be had when visiting a museum with the grandchildren or the Saturday afternoon gone by in a blink while dabbling in painting.

That’s what I call success when applying the cultural „Masche“.

 

 

 

 

 

Advertisements

Talk about virtual volunteering now available online

Quick newsflash: My most recent talk at the Discovering Collections, Discovering Communities conference organised by TNA and RLUK in Birmingham last year in autumn is now online as part of RLUK’s web presence. This is a first for me. I am not soo keen on the video but you can flick through the slideshow and read the abstract (and watch the video if you must).

The talk was about Britain from Above’s engagement programme with virtual volunteers, ‚traditional‘ volunteers and all other very faithful and active users who contributed to britainfromabove.org.uk, written after the Activity Team had wrapped up their work but before all final evaluation results came in.

Britain from Above was a four year Heritage Lottery funded project run by English Heritage (soon to be Historic England) and its partners, the Royal Commissions on the Ancient and Historic Monuments of Scotland and Wales. It aimed at conserving, digitising, cataloguing and making available online on http://www.britainfromabove.org.uk the first 95,000 images of the Aerofilms collection, those taken between 1919 and 2006. Overall, this unique collection comprises of more than 1.2 million negatives, taken between 1919 and 2006, documenting the changing face of Britain in the 20th century.

You can find out more here: http://www.rluk.ac.uk/about-us/blog/britain-above-user-engagement-digital-real-world/