Today I’m returning to one of my favourite subjects - questions.  I’m going to explore open-ended questions in detail - not just what they are, but why they are important and when you can use them for the best engagement. Plus, how can you get better at asking open ended questions and ask more of them in your programmes? How can you make sure that you don’t default to closed questions or recall questions? I'm sharing 4 ideas that will help you to ask more open-ended questions & keep the conversation flowing in an open and engaging way.LinksEPISODE WEB PAGE The Art of Questioning Class with Claire BownDownload the 2023 Ultimate Thinking Routine ListSupport the ShowJoin the Slow Looking Club Community on FacebookDownload my free guide - how to look at art (slowly)Curated newsletter by Claire Bown

I often get asked about neutrality as a 'stance' for museum facilitators of discussions around art and objects. So today I'm addressing the question: How neutral do we need to be as a facilitator in the museum?  Facilitation is a key part of creating engaging and interactive discussions around art and museum objects.As a facilitator, you are guiding the process, creating participation and activating the learning and engagement. But do you have to be neutral too? If you look at the general definition of a generic facilitator you will often see the word ‘neutral’ or ‘impartial’ used. What do these words actually mean? And what should we be neutral about? Is it even possible to be neutral as a museum facilitator?Neutrality is a tricky concept and this subject is always quite a thorny one in my classes and trainings. Listen to today's new episode to find out what I recommend. LinksEPISODE WEB PAGE Download the Ultimate Thinking Routine ListSupport the ShowJoin the Slow Looking Club Community on FacebookCurated newsletter by Claire BownEpisode 5 - The Art of FacilitationEpisode 44 - The 4 Elements of a Great IntroductionEpisode 84 - Why Inclusive Language Matters with Margaret Middleton

I know thinking routines are a huge crowd pleaser. I’m their biggest fan too - they have fundamentally changed the way I lead discussions around art and objects. Used in combination with the other 7  practices of the VTM approach such as  good questions, a range of facilitation skills, slow looking  and more, you can create wonderfully engaging discussions in the museum about art and objects. Used as part of a holistic approach, thinking routines will transform the way you work with objects and with audiences in the museum.Thinking routines have wonderful benefits for the participants in your guided tours and educational programmes. But I also believe thinking routines are incredibly useful and beneficial tools for you too - as a museum educator, guide, docent or teacher.  And so today I’m going to focus on you - and I’m going to share some 6 key  benefits you’ll get  from working with these magical structures with art and objects. I going to talk about why routines are beneficial, the importance of structure, the flexibility of routines, how they help you to master sharing information and improve your questioning technique. And finally I’m ending with probably the biggest benefit of all - so stay tuned for that one! LinksEpisode Web PageDownload The Ultimate Thinking Routine ListSupport the ShowJoin the Slow Looking Club Community on FacebookDownload my free guide - how to look at art (slowly)Curated newsletter by Claire BownEpisode 3 - The Magic of Thinking RoutinesEpisode 62 - 7 Ways to be creative with thinking routinesEpisode 12 - 6 Best Practices for Sharing InformationEpisode 36 - Quick Ways to Improve your Questioning TechniqueUsing Thinking Routines To Formulate Better Questions

I’m talking to Margaret Middleton today about what inclusive language is and why it matters. Margaret Middleton is an American independent exhibit designer and museum consultant currently based in Belfast, Northern Ireland. With a degree in industrial design from the Rhode Island School of Design and over 15 years of experience in the museum field, they work at the intersection of design and social justice.We know museums aim to be welcoming places for everyone, but the ways museums communicate can unintentionally exclude and alienate visitors.Likewise, when we’re working as museum teachers, guides and educators the words we choose when we communicate can hide unconscious biases and assumptions, especially about subjects like “family.”10 years ago, Margaret created a tool called the Family Inclusive Language chart which helps us to choose words that avoid labelling and making assumptions about the identities and relationships between museum visitors. We discuss:the ways you might use the Family Inclusive Language chart in the museumhow certain words, phrases and tenses can have a positive or negative effect on a group.why choosing the right words is just as important as avoiding the wrong ones.how we can be more intentional about the language we use and can train ourselves to not automatically default to words that may not be inclusive. This chat will make you more aware of the language and the words you use when you’re with visitors in the museum. And you’ll gain useful insight into how thoughtful word choices have the power to create connections and include everyone. LinksSupport the ShowJoin the Slow Looking Club Community on FacebookDownload the NEW resource - how to look at art (slowly)Curated newsletter by Claire BownEpisode webpage (+ transcript)margaretmiddleton.com for Family Inclusive Language chart, helpful articles, and other free resourcesMargaret Middleton on TwitterWelcoming Young Children into the Museum: A Practical Guide - Sarah Erdman, Nhi Nguyen, Margaret Middleton

What words come to mind when you hear the word ‘teenager’? Or the word ‘adolescence’?Do you love working with teens or feel a little apprehensive? I’ve recently been facilitating some team trainings in museums about how to engage with teenagers and so I’ve been thinking a lot about the best ways to work with teens. It's also a subject I get asked about a lot. Here are some tips and ideas for better ways to engage with teenagers in the museum on your guided tours and programmes.I'm exploring:Why our thoughts shape our attitude towards teensSeeing teenage behaviour through a developmental lensPositive reasons for working with teensCreating an inclusive, warm and friendly atmosphereThe importance of shared ownershipThe role of open-ended questions and careful listeningReading the group and avoiding false cluesWhy less is moreAnd why teens like to discuss themes of global significanceLinksSupport the ShowJoin the Slow Looking Club Community on FacebookDownload the NEW resource - how to look at art (slowly)Curated newsletter by Claire Bown5 harmful myths and 5 inspiring truths about teenagers - Big ThinkEpisode 44 - The 4 elements of a great introduction

I’m talking today about making space and time for slow looking.So if you've been listening to the podcast for a while, you'll know that I've been practising the art of slow looking for a long time now the last 11/12 years. And it's very much a personal practice and also something that I use with groups of all ages with a variety of objects, artworks, situations and places.But why is it so important to incorporate slow looking into your guided tours, educational programmes and art experiences?In today's episode you'll hear:who inspired my love of slow looking when I first got started in 2011myth-busting: about what slow looking is and how it works. how slow looking is the key to engagement3 main reasons why it's important to make space and time for slow lookinghow you can incorporate it into your guided tours, your educational programmes your online session, even if you think you don't have the time or the spacethe key benefits to including slow looking onto your programmes - whatever format they takeIf you're not making space and time for slow looking, then you're really missing a trick - listen to today's episode about making the space and time for slow looking and embed it as a fundamental part of all your programmes. LinksEpisode 2 - What is slow looking (and how can I get started?)Episode 7 - How to Develop a Daily Slow Looking PracticeFree resource - Thinking Routines for ObservationFree guide - how to look at art (slowly)Support the ShowJoin the Slow Looking Club Community on FacebookCurated newsletter by Claire Bown

Today I’m sharing a variety of different ways to refresh your practice for 2023 so you don’t get stuck in a rut. Are you looking forward to designing and leading guided tours, art experiences, educational programmes in 2023?If, however, you’re not sure about your answers to those questions, or about how you feel about the coming year, then it’s definitely time to shake things up a little. If you’re feeling tired, jaded or uninspired, then it’s definitely time to make some changes. It’s a wonderful thing to do at any time of year, but especially at the start of a new year. If you continue to do things exactly as you've always done them, then you might end up feeling like you’re on auto-pilot, or start feeling a bit restless or even bored. It’s tempting to stick to the tried and tested formula - especially if it worked well last year - but making a few simple changes to your practice and the way you do things might help you to rediscover a passion and enthusiasm for your work. And this renewed enthusiasm will of course come across to your participants and might even be contagious. This episode is for you even if you’re not feeling stuck, perhaps you’re  more than happy with the way you do things. But you may hear something here that you’d like to try out at some point this year. And your audience will thank you for it!So here are 7 different ways you can refresh your practice for the coming year. This episode is not about sweeping changes, this is about small changes that will have a big effect. Enjoy!LinksThe Art of Questioning - A 45 minute self-paced masterclass taking you step-by-step through the process of improving your questioning technique. Full of takeaway tools and exercises to help you consistently create, sort & evaluate your own questions.Other episodes to help you refresh your practice:Episode 29 - How to Develop a Reflective PracticeEpisode 52 - From Good to Great: How to Develop and Grow as an EducatorEpisode 53 - How to Define your Personal Facilitator StyleEpisode 60 Learn, Unlearn, Relearn Episode 77 - How to Show up in a Resourceful StateEpisode 64 - 4 Powerful Questions to Supercharge your Art Experiences Support the ShowJoin the Slow Looking Club Community on FacebookDownload the NEW resource - how to look at art (slowly)Curated newsletter by Claire Bown

Today I'm really happy to be chatting to Sarah Ciacci about her wonderful work as a family tour specialist. We’re exploring how to engage and inspire families on a guided tour. Sarah Ciacci has been a Professional Blue Badge Guide for London since 2008 and specialises in family tours and art tours. She set up Tours For My Kids to provide inspiring and engaging tours to families in London and Rome She is also a Blue Badge art tutor for trainee guides training in the National Gallery, Tate Modern and Tate Britain. She is an accredited lecturer of the Arts Society, a university lecturer, a gallery educator and runs regular courses and independent lectures on a variety of art historical periods.In our chat today, we talk about the values and principles that guide and shape her work and What made her decide to focus on working with familiesWe explore what families actually want from museums and heritage (and what they quite often get instead)We talk about how she engages children and their parents with art and history and the techniques she uses. How she designs AND facilitates for engagement using variety and pace. We talk about whether it’s all about the kids or whether the parents get involved too. And how you might design intergenerational tours. I’ve led  many many family tours in the past too and we have a good chat about what works and what doesn’t with family tours. Sarah and I seem to be on the same wavelength about so many things!This is a lovely chat about creating engaging family experiences with art, objects and even buildings.  Enjoy! LinksSupport the ShowJoin the Slow Looking Club Community on FacebookDownload the NEW resource - how to look at art (slowly)Curated newsletter by Claire BownTours for My Kids Website: www.toursformykids.comSocial Mediawww.instagram.com/toursformykidshttps://twitter.com/toursformykidshttps://www.facebook.com/toursformykids/

Today I’m sharing 5 different thinking routines that you can use to compare, contrast and make connections. I’m exploring how you can use these thinking routines to create engaging discussions with art, objects and ideas. I'll look first at what comparing & contrasting is and why it’s important.  Then I'm sharing some ideas for things you might want to compare and contrast, before sharing different ways to look at similarities and differences. Then I'm sharing 5 thinking routines help us to make thoughtful and purposeful comparisons. LinksSupport the ShowJoin the Slow Looking Club Community on FacebookDownload the NEW resource - how to look at art (slowly)Curated newsletter by Claire BownEpisode 8 How to use ‘See Think Me We’ thinking routine to create personal and community connections with artworks

I’ve recently lost my voice so I’m taking some time to recover this week and sharing an episode from the back catalogue. Today I'm revisiting an episode about to survive tumbleweed moments. This episode first aired in Oct 2021. It takes a deep dive into what a tumbleweed moment is and how to get over one when it happens. I'm also exploring 7 ways to avoid one in the first place.  A tumbleweed moment is a moment of silence or dead air. It can happen when you ask a question and you don’t get a response. Tumbleweed moments happen to all of us - whether we are seasoned pros or just starting out. Everyone gets them. This is also something that comes up time and time again when I do trainings. I always get asked the question, ‘But what if no-one says anything?’So this is the ultimate guide. First I'm sharing some handy steps to work though to help you get over any tumbleweed moments you face. And at the end as I’ll share 7 ways to avoid one in the first place. LINKSOriginal Episode: Episode 23 How to Get Over a Tumbleweed Moment (And Avoid One in the Future)Episode 44 The 4 Elements of a Great IntroductionEpisode 10 10 Common Mistakes to Avoid When Asking QuestionsEpisode 36 Quick ways to improve your questioning techniqueEpisode 42 How to Read a GroupEpisode 69 How to Use Body Language to Create Engagement

Today I’m talking about how we can get ourselves into our best state - our most resourceful state - for when we show up to facilitate art discussions, tours, programmes or lessons. And sharing 8 different ways for you to turn up at your best!How you show up is important. Whether you’re leading a tour, teaching an educational programme, teaching a lesson in a classroom or facilitating a training.You want to make sure that when you arrive, you’re in the best state possible. This is something that we can all strive for in whatever people-facing commitments we may have - that we are calm, ready and clear to do our work in the best way we can.In the coaching certification that I’ve been studying for over the past year we’ve been talking about how to show up in a resourceful state.In today's episode, I'll explain what this means and suggest 8 different ways to get yourself into a resourceful state before every tour, programme or session that you lead. LinksSupport the ShowJoin the Slow Looking Club Community on FacebookDownload the NEW resource - How to Look at Art (Slowly)Curated newsletter by Claire BownEpisode 69 How to Use Body Language to Create Engagement Episode 52 From Good to Great: How to Develop and Grow Personally as an Educator 'Everyday NLP' written by Florence Madden & Eleni Sarantinou - a really good read if you'd like an accessible introduction to NLP https://florencemadden.co.uk/the-story-of-everyday-nlp/Stephen Gilligan and Robert Dilts Generative Coaching: Coach vs Crash state

I’m really happy to be talking to Dr Alex Woodall about her wonderful work with objects. We’re talking about how the joys of working with objects creatively. We’re exploring how you can use objects to spark all sorts of connections, associations and fun in the museum and beyond…Dr Alex Woodall is a museum professional and academic, inspired by the creative use of objects and rummaging in stores. She has 20 years’ experience working in learning, interpretation and exhibition management and leadership roles, including at Sheffield Museums, Manchester Art Gallery, the Royal Armouries in Leeds and the Sainsbury Centre at the University of East Anglia. She is currently Programme Director for the Postgraduate Creative and Cultural Industries Management degree at the University of Sheffield, where she teaches a large international cohort about museum management. In our chat today, we talk about the joys of working with objects creatively. Alex shares how her love for objects started when she was very small rummaging through her dad’s ‘museum’ full of amazing finds that he’d dug up in the garden - rocks and fossils and clay pipes and so on. And how that developed into a career-long fascination with all kinds of objects.We talk about what objects do, ​​ how we can use them and what we can get out of working with objects. Alex tells us what an object dialogue box is and how you can use objects to spark all sorts of connections, associations and fun in the museum. She takes us through a wonderful activity that I did with her at the ICOM CECA conference in Denmark recently that helps us to notice more details and find stuff in museums that we would normally overlook. We also talk about how we can use objects to inspire more creativity and imagination organisations in for example meetings, in teams, programming, brainstorming etc. And she shares two wonderful books to read if you’re as fascinated by objects as we both are. This is a delightful chat about creating joyful engaging experiences with objects -Enjoy! LINKS HOW TO LOOK AT ART (SLOWLY) - a free guide for looking with 30+ activities!Support the ShowJoin the Slow Looking Club Community on Facebookwww.alexwoodall.co.ukAlex Woodall on Twitterhttps://www.kettlesyard.co.uk/Karl and Kimberley Foster - Object Dialogue Boxes https://www.sorhed.com/http://www.marymaryquitecontrary.org.uk/Books mentioned:Sandra Dudley (2010) Museum Materialities: https://www.routledge.com/Museum-Materialities-Objects-Engagements-Interpretations/Dudley/p/book/9780415492188Pablo Neruda (1994) Odes to Common Things: https://www.amazon.co.uk/Common-Things-First-Pablo-Neruda/dp/B0058WGC84Written by Alex Woodall: Woodall A (2020) 'Storehouses of Unimagined...

We’ve reached another milestone and in honour of 75 episodes, I’m releasing a new FREE resource today.How to Look at Art (Slowly) shares 30+ different ways that you can look at art or objects in museums.In today’s special episode I’m talking you through some of these different ways of looking slowly. I'll share why it's important to slow down and look carefully, before explaining the 4 sections of the guide: Static Looking, Movement, Observation by Drawing, Observation by Writing and Viewfinders. How to Look at Art (Slowly) is a resource that can be used by anyone. Whether you’re going to a museum alone and would like some strategies for looking, or if you’re visiting with a friend and are on the lookout for some new ways to engage with what you’re seeing. Likewise, if you’re an educator or guide, you can use these activities with your groups. All of the activities are coded as either solo or group activities.These simple activities offer a framework and tools for looking at art and objects for longer.Choose a variety of different ways to look as you move around the museum. You may want to choose activities that appeal to you or you might want to step out of your comfort zone and try something new. All of the activities will help you to see more. Download this free guide via the link below and then listen to the episode!LINKSHOW TO LOOK AT ART (SLOWLY) - a free guide for looking with 30+ activities!Support the ShowJoin the Slow Looking Club Community on Facebook

Today I’m chatting to Ben Street about his new book 'How to Enjoy Art: A Guide for Everyone'. We’re talking about how we can enjoy art without needing to know anything about it. Ben Street is an author, educator and art historian. He’s also been a school teacher and museum educator. He’s a writer of interpretation for museums and exhibitions and a writer of art criticism. He’s an academic and he writes books - “How to Enjoy Art: A Guide for Everyone” (Yale) and “How to be an Art Rebel” (Thames and Hudson) are out now.In our chat today, we talk about the values that guide Ben’s work and how he’s passionate about us all being able to enjoy art without needing any specialist knowledge. We talk about slow looking and open questioning and how we can approach art with the tools we already have within us. We focus on why looking is so important to the art experience, we explore ways in which we can look for longer and we talk about how scale and space affects how we relate to art. We discuss why we rarely feel we need to read about a piece of music before we listen to it, but with art, we feel we need to know something about it to look at it. And that artworks come ‘wrapped in text’ before we can even get to them. Why is this? How has this come about?This chat is jam-packed with ideas and inspiration for you. Here’s my chat with Ben. Enjoy!LINKSSupport the ShowJoin the Slow Looking Club Community on FacebookBen Street - WebsiteTwitterInstagramLinkedInBooks - How to Enjoy Art; How to be an Art Rebel

Today’s episode follows on from a popular post I wrote on social media recently about how to talk about the recent climate activist protests in art museums with your participants.  I wanted to take the opportunity to explore the subject in a bit more detail here. Art has been hitting the headlines recently with numerous climate activist protests targeting famous paintings in museums - from Van Gogh’s 'Sunflowers' in the National Gallery in London, to Monet’s 'Grainstacks' in Potsdam and Vermeer's 'Girl with a Pearl Earring' in the Mauritshuis in The Hague.Now, whatever your views about these attacks - and I’m acknowledging here that there are very passionate views on all sides - as educators, how we respond is equally important. Whether you’re working with groups in the museum or with students in a classroom, people will mention recent events and will want to talk about it. They may even ask you for your opinionsSo, in today's episode we'll explore how these events are an opportunity to engage in perspective-taking and discussion with visitors, rather than voicing our own opinions. It means listening to a range of perspectives and keeping an open mind, creating discussion with visitors and inviting them to explore and even understand the different perspectives involved. But, importantly, you have to feel comfortable creating conversations about contentious issues such as these and know that you will be able to facilitate objectively. So, first I’ll talk about the kinds of discussions you could facilitate around this subject and will share a range of thinking routines and questions that you can use to create conversations. And secondly, I’ll take you through a super-useful exercise that will help you to get to know yourself and your feelings better - this is an exercise that will ultimately help you to facilitate subjects around all kinds of sensitive and contentious topics.There are lots of resources associated with today's episode too, including a free PDF summary sheet - and I've shared all the helpful links below. LINKSDownload the summary sheet of today's episode - Resources for talking about contentious issues (free PDF) 6 thinking routines for perspective-taking (free PDF) Episode 11 Step Inside: Thinking Routines to Foster Perspective-TakingEpisode 43 Tips for facilitating meaningful discussions around sensitive subjectsSupport the ShowJoin the Slow Looking Club Community on FacebookMy Friday newsletter

Today I’m talking to Rachel Ropeik about her work. We’re talking about how we can use our bodies to react to art & the many ways in which we can incorporate movement into museum learning.Rachel Ropeik is an educator, facilitator, adventurer, experience builder and pirate who brings thoughtful, playful, and progressive approaches to catalysing change in arts and culture. She currently works independently, sharing her skills with various clients. Before going independent, Rachel’s arts education career spanned many a major art museum and travel company in New York, London, Paris, and the internet. I first heard of Rachel’s work more than 10 years ago as part of a small group of educators that I admired and followed for their innovation and experimentation in the art museum education space. In our chat today, we talk about Rachel's work past and present and the values and principles that guide her practice. We focus on why movement has been and still is such an important part of her work and how we can incorporate more movement into our programmes. Rachel shares many examples of the different ways in which she has used movement in different programmes, with different groups and artworks over the years. We talk about how we can create physical comfort and put people at ease so that we can use movement without any fear or feelings of uncomfortableness.Rachel shares tools and techniques that we use to incorporate a range of movement into the way we lead our museum programmes. And also how we can use movement ourselves as a way to become more present, aware and reflective.Finally, Rachel shares 3 amazing books that you all must read immediately. Do stay tuned for her recommendations!LINKS Support the ShowJoin the Slow Looking Club Community on FacebookRachel Ropeik on LinkedInRachel Ropeik on Instagramrachelropeik.comhttps://rachelropeik.com/connect#subscribeBooks recommended by Rachel:The Art of Gathering by Priya ParkerBe More Pirate by Sam ConniffWintering by Katherine MayBBC Radio 4 abridged version of Wintering by Katherine May: https://www.bbc.co.uk/programmes/m00127f5

Today I’m talking about why I created my method Visible Thinking in the Museum (or VTM for short) and who I created it for.Why did I go and develop a new teaching method when there were plenty of methods already out there?So, today I’m sharing exactly what prompted this 11 year mission into creating a method for engaging discussions in museums around art and objects. Over the years, I have done a lot of research into other methods or strategies for discussing art and objects. So I know a lot about what other methods are out there for educators to use. From my research and experience, I've drawn key conclusions about what works well and what was lacking in existing approaches such as Visual Thinking Strategies and more.And these conclusions led me to designing my own method that contained all the elements I wanted in a teaching methodI'm sharing the two basic needs that the new method arose out of, followed by 10 reasons why I created a new approach. And some of the reasons may surprise you!LinksVTMO Beginners Course -starts 1 NovemberEpisode 62 - 7 ways to be creative with thinking routines Episode 1 - The moment when I first heard the words Visible Thinking...Episode 51 - What is Visible Thinking in the Museum? Support the Show My Friday newsletter The ™ WeeklySlow Looking Club

Today I’m so happy to be talking to Hanna Piksen about deconstructing the traditional guided tour and creating a completely new experience where guides are given free rein to design and lead the tour entirely from their own perspective. Hanna Piksen is the Head of Co-learning at Het Nieuwe Instituut in Rotterdam. This is the national museum for digital culture, design and architecture in the Netherlands. Hanna has a background in art history, art education and in collaborating with artists. She believes that the most valuable and unexpected things happen when museum education is content based, visitor focused and experiment driven. In today’s episode Hanna talks to me about the Detour Experiences that she has developed in Het Nieuwe Instituut. Detours are unlike any other guided tour you have been on. Detours are deconstructed museum tours that give their guides the flexibility to present information in a way of their choosing. Each one is specially designed from the Detour guide’s unique perspective as a musician, dancer, art teacher or designer. In this episode we talk about the innovative hiring process for their unique team, the qualities that they are looking for in a Detour guide & the unlearning that the department had to do in order to co-construct these new experiences.We explore how a Detour Experience works and the ways in which it differs from a traditional guided tour. We also chat about what benefits the guides and the audience get from these experiences and Hanna shares feedback on how they have been received. This one will open your eyes to new ways of looking at, thinking about and designing guided tours.LinksSupport the ShowJoin the Slow Looking Club Community on FacebookHanna PiksenHet Nieuwe InstituutMore info about Detours and Detour Guides at Het Nieuwe InstituutMuseumNext article about Detour guides https://www.museumnext.com/article/overcoming-museum-fatigue-with-detour-guides/

Body language is defined as ‘the conscious and unconscious movements and postures by which attitudes and feelings are communicated’.When we talk about body language we’re talking about a wide range of human expression - such as posture, eye contact, use of space, voice, gesture, and so on.And these are signals that communicate with us nonverbally, they are ‘wordless signals’ that can be indicators of engagement.These signals are quite often done instinctively, rather than consciously too.Being both aware of and able to read these signals helps us to create connections and build rapport with our groups and thus to create engaged groups.So during this episode think about what signals you are sending to your group through your body language. Are you putting people at ease, building trust and connecting people to you by your body language? Or does your body language undermine what you’re saying or doing in the museum?And also, how can you use what I’m talking about here to better read your group and build more engagement?LinksSupport the ShowJoin the Slow Looking Club Community on FacebookListen Like You Mean It by Ximena VengoecheaAmy Cuddy's Ted Talk

Today I'm delighted to be talking to Marina Gross Hoy about how to look, and in particular, how to look at your daily life as if you were looking at a work of art.Marina Gross Hoy is a museum studies PhD candidate and a writer. Her doctoral research at the University of Quebec in Montreal focusing on how museums develop digital projects to create engaging experiences for visitors.She has a Master's in Museology from the École du Louvre, and she has previously worked on the education team at Agence France-Museums, the French agency that supported the creation of the Louvre Abu Dhabi.Marina's writing, which is wonderful, explores how looking at daily life with the same gaze we use with art in a museum can open us up to wonder, wholehearted living, and empowerment.In today's episode, Marina shares how one evening in 2020, she realised that she would look more closely into a painting of a sunset than looking at the one right in front of her.And this led her to experimenting with what it would mean to look at her life like a work of art, using what she started calling 'the museum gaze'.In today's episode, Marina shares the main characteristics of 'the museum gaze' and how it works in practice. We discuss how observing life with the same gaze we use with art in a museum works in practice and the numerous benefits we can glean from a regular practice of looking at life in this way.LinksSupport the ShowJoin the Slow Looking Club Community on FacebookEpisode 7 How to Develop a Daily Slow Looking PracticeMarina Gross-Hoy's websiteMarina's newsletter The Museum Gaze Marina's Instagram

Many of us are experts in our field - possibly art historians, historians or archaeologists - and want to share that incredible knowledge with the groups we lead in our programmes.But sometimes having that knowledge can be a burden. It can weigh heavy on us. Knowing what information to share, when to share it and how to share it is tricky. How much is too much?And how can you share it in way that engages the group, energises the discussion and inspires new thinking?In today’s episode I want to shift your mindset about information. I want you to encourage you to think carefully about how you view information and how and when you share it in your programmes. I'm exploring the 6 main problems with sharing contextual information in museum programmes and providing you with a series of coaching questions to help you work out how you really feel about sharing your knowledge. I'm introducing you to my What? How? When? framework which allows you focus on knowing what information to share, and how and when to share it. I'll end by sharing my thoughts about how I genuinely feel about information. Does it help to deepen and enrich experiences in the museum or does it hinder personal discoveries? Find out in today's episode.LinksJoin my mini-course on 4th and 11 October 2022 'How to Share Information to Engage and Delight your Audience'Episode 12 Best Practices for Sharing InformationSupport the ShowJoin our free community for the podcast The Slow Looking Club.

Most of us think we’re good listeners. But are we really? What does it mean to be an active listener in an art discussion, guided tour or educational programme in the museum? Listening is one of the most important skills in our toolbox. But few of us know how to really listen. It's just not something we're taught. It requires both time and practise to develop effective listening skills. And it’s a challenge - when we’re listening our minds naturally tend to wander and our concentration can come and go..Listening is an essential skill for us - without active listening, discussions remain on the surface level without truly engaging all the participants.Today's episode will help you to work on your listening skills. First I'm exploring the 4 different levels of listening.Then I'm sharing 7 tips with you to improve your active listening skills and help you to choose the right level of listening for when you’re communicating with others.Share this one widely - listening is one of the keys to a better society!LinksSupport the ShowFind out more about my bookJoin the Slow Looking Club Community on Facebook

Today I’m so happy to be talking to Richa Mehta about her work. We’re talking about what a mindful museum is, museum-based art therapy and how art can support the development and exploration of identity and connectionRicha Mehta is a certified art therapist and educator working as a museum education and wellness professional at the Louvre Abu Dhabi.Richa believes that the museum space can be more accessible to marginalised community members, through implementing museum-based wellness and art therapy programming and resources,.In today’s episode we talk about her journey from the classroom to the museum and her recent studies in art therapy.We discuss the Louvre Abu Dhabi’s journey to being a Mindful Museum and what this means for the staff and for the visitors, the collection and the museum space itself.We explore what museum-based art therapy is and how it might work in practice. Richa shares a model of how she views museum-based art-therapy and an adaptation of See Think Wonder that could be used for these sessions. We also chat about how an art therapist would work with any strong emotions that came up in the museum environment.And finally we talk about how being a third culture kid, and her cultural identity and background has influenced her practice and work today.So here is our chat - enjoy!LinksSupport the ShowJoin the Slow Looking Club Community on FacebookRicha MehtaArticle for the Canadian Art Therapy Association https://www.canadianarttherapy.org/envisage/envisage-spring-2022-mehtaLouvre Abu DhabiLouvre Abu Dhabi’s A Mindful Museum - https://www.louvreabudhabi.ae/en/about-us/a-mindful-museumMindful Art Moments - https://www.louvreabudhabi.ae/en/Whats-Online/mindful-art-momentsReflect & Express - https://www.louvreabudhabi.ae/learning-resources/the-arts-for-health-and-wellbeing/en/reflect-and-express.html 

I don’t really like big lists of ‘good’ or ‘great’ questions - for example, 50 questions to ask about art. These lists are OK for a quick source of inspiration or for a boost now and again, but it’s the list part that I don’t like - you’re not going to be carrying around a list with you in the museum. Instead it’s much better to work on your questioning technique⁠ with exercises and experimentation rather than trying to memorise or use big lists of questions. Working on your technique yourself will help you to phrase questions better in the moment, instinctively and naturally. And this will always work better than parrot-phrasing a question you read on a list. But there are some questions that I think are worth remembering. And these are the types of questions that have a really powerful effect when they are asked. So today I’m sharing 4 simple questions that will supercharge your art experiences.These are questions that can be used at any moment during your experience or guided tour to great effect. I’ve chosen questions that work for me time after time with all sorts of different groups, different artworks or objects, different types of museums and different situations. These are universally powerful questions - listen to episode 64 to find out what questions I've chosen!LinksSupport the ShowSlow Looking ClubThe 5 Golden Rules for Asking Brilliant Questions⁠ (Episode 4)10 Common Mistakes to Avoid When Asking Questions (Episode 10)How to use artworks to improve your questioning skills (Episode 15)Quick ways to improve your questioning technique (Episode 36) ‘Bad’ questions - questions to avoid in your art experiences (Episode 48) Autumn Effect at Argenteuil (1873), Claude Monet, Courtauld Gallery, London, UK, Public Domain https://courtauld.ac.uk/highlights/autumn-effect-at-argenteuil/Reyhan Hassanzadeh (2004) from the series: Terrorist, Tropenmuseum, Amsterdam, NLhttps://khosrow-hassanzadeh.com/project/terrorist-paintings-03/

 In an age where the average person checks their phone at least 85 times a day, our inundated brains are slowing down. ⁠ ⁠We need to retrain ourselves to get better at sustained attention. And to learn to appreciate the benefits of it too.⁠ ⁠Spending time slow looking offers refuge from the rush and time to slow down and see the details. It’s the opposite of scanning and scrolling.“Always-on” behaviour is about being in a constant state of alertness without giving our full focus to anything. Slow looking is a wonderful alternative to life in the fast lane.The 4 activities I'll be sharing here are simple, effective ways to slow down, improve your observational skills and focus and notice more details around you.You can use these slow looking activities throughout the summer - either on your own or with friends and family and children.All of the activities are designed to help you develop your ability to see - and in doing so, spark creativity, curiosity and improve focus. You can do these activities with art, objects or with nature. You don’t have to be in a museum to do slow looking. They are designed to work in a range of environments, outside and inside.I hope they will contribute to a wonderful summer. Let’s get started! And don’t forget to share what you get up to on Instagram, Facebook or Twitter using the hashtag #summerslowlookingLinksSupport the ShowOur Facebook Group - The Slow Looking ClubOther recommended episodes on slow looking: Episode 2 - What is Slow Looking (and how do I get started?)Episode 7 - How to Develop a Daily Slow Looking PracticeEpisode 25 - 3 Thinking Routines for Slow Looking and DrawingEpisode 41 - 12 Reasons to Get Started with Slow LookingEpisode 56 - Learning to Love 'Boring' Objects through Slow Looking

When you get started with thinking routines, it’s worth getting to know a small handful of routines and using them repeatedly until you feel comfortable and confident using them.  But once you have that confidence, something magical starts to happen. And this is where we can be more creative with thinking routines. Thinking routines are not rigid, inflexible structures. Unlike some protocols, you don’t always have to use them exactly as they are written, without any room for creativity. Think of thinking routines as flexible and malleable structures to guide thinking and conversations around art and objects. Be playful with them and experiment!In today’s episode I’m sharing 7 ways you can be uniquely creative with thinking routines. Listen in to find out how!LinksSupport the ShowOur Facebook Group - The Slow Looking ClubDownload my Ultimate Thinking Routine List Episode 16 - How to Use See Think Wonder in your Art DiscussionsEpisode 6 - 6 Essential Thinking Routines you Need in your Repertoire

Today I’m so happy to be talking to Karly Allen about her work. We’re talking about how mindfulness can help us to connect with and engage with art, how we can bring mindfulness practices to the experience of drawing. Karly Allen is a UK-based gallery educator, drawing tutor and mindfulness teacher. She has worked for the National Gallery, London, over the past 20 years and has taught widely for UK art collections including the National Portrait Gallery, Wallace Collection and Royal Collection. In 2018, Karly co-founded Limina Collective to bring mindfulness and reflection practices to museum and online spaces.  We explore how mindfulness and meditation practices, observation of the artwork and drawing interrelate with each other. And how drawing with mindfulness creates connections, opens us up to creativity and helps us to overcome any resistance we might have to drawing or the fear of the blank page. We talk extensively about the benefits and how it help us to tune into a mode of being being open, letting go of preconceptions and habitual patterns of looking. LinksMasterclass: Mona Lisa - Experiments in Drawing with MindfulnessTuesday 19 July at 17.00 hrs CETThis masterclass offers an experimental space to explore drawing and mindfulness, with Leonardo’s iconic painting as our focus.Sign up here: https://buy.stripe.com/aEU00A3Th8pP1Wg5ksSupport the Show Find out more about Limina Collective and contact Karly via their website https://www.liminacollective.comJoin the Limina Collective monthly newsletter Connect on Instagram:@limina_collective@karlykallenLimina Collective's exhibition audios for Manchester Art Gallery, 'Room to Breathe': https://manchesterartgallery.org/exhibitions-and-events/exhibition/room-to-breathe/Limina Collective's series of films for the Royal Academy, 'A Slow Look': https://www.royalacademy.org.uk/articles/tag/slow-lookLimina Collective's film for The Wallace Collection, 'Taking Time to Look': https://www.youtube.com/watch?v=ZVp4h27aeos

There is a famous quote by Alvin Toffler that goes:‘“The illiterate of the future are not those who can’t read or write but those who cannot learn, unlearn, and relearn.”As educators, you’re probably already quite enthusiastic about the learning part. Being a lifelong learner is something that is a part of us. We’re constantly learning new things and updating our knowledge. But learning is not just about acquiring new things to learn, it’s important to learn, unlearn and relearn. In today's episode I'm talking about why it's necessary to consistently ‘unlearn’ our habits, unconscious beliefs, assumptions, and our practices so that we can make space for the new. I'm sharing some tips and coaching questions to get you thinking about where you can declutter and detach, so that you stay fresh and relevant. LinksSupport the ShowJoin our FREE SLOW LOOKING CLUB Community Sign up for my weekly dose of carefully-curated inspiration The TM WeeklyFind me on Instagram, Facebook, Twitter and LinkedInAdam Grant's book Think Again: The Power of Knowing What you Don't Know 

In today’s solo episode, I’m talking about observation skills - why they are important and I’m sharing 9 thinking routines that you can use to boost your observation and description skills.As you’ll know from previous episodes, I’m really fascinated by observation and really interested in developing my skills in this area (I have LOADS of  books on this subject!)Most of the time we are observing passively - missing out on a wide range of life that we simply don’t notice. The act of looking requires some work to improve it - but like a muscle we can train it to work better. So, today I'm sharing 9 thinking routines that you can use to improve your powers of observation or with your groups. LinksThinking Routines for Observation - FREE download of 9 thinking routine cheatsheets https://pages.thinkingmuseum.com/observationSupport the Show Episode web pageEpisode 6: 6 Essential Thinking Routines you Need in your Repertoire https://thinkingmuseum.com/2021/05/26/6-essential-thinking-routines-you-need-in-your-repertoire/Episode 25: 3 Thinking Routines for Slow Looking and Drawing https://thinkingmuseum.com/2021/10/18/3-thinking-routines-for-slow-looking-and-drawing/Episode 42 How to Read a Group https://thinkingmuseum.com/2022/03/02/how-to-read-a-group/

Today I’m so happy to be talking to Mitch Bach about what makes a great guided experience and how you can create wow moments in your programmes. Mitch is one of those people you meet and instantly get on with. He’s warm, witty and whip-smart. We met in New York a few years ago and have been friends ever since. We share the same passions about making guided experiences interactive, participative, memorable and even, transformative. Mitch is the co-founder of TripSchool, a community of 6,000+ tour guides, tour leaders and entrepreneurs committed to lifelong learning. He's also the leader of Tourpreneur, a community of 4,000+ tour operators. Both organisations offer training, mentorship, meetups, and a wide range of other resources to empower and encourage experience creators.And that’s what we’re talking about today - guided experiences and tours. We discuss what makes a great guided tour and what makes a great guide. Then we spend some time exploring what a ‘wow’ moment is and how you can create them to make your programmes more memorable and, even transformative. This is a longer chat than usual as we had so much to talk about. You will definitely want to grab a notebook as there are so many takeaways from this chat. So, here it - enjoy!LinksTourpreneur Community Group - facebook.com/groups/tourpreneurTripSchool - thetripschool.comBooks Mitch recommended: The Experience Economy - B. Joseph Pine II and James H. Gilmore The Power of Moments - Chip HeathInterpretation: Making a Difference on Purpose - Sam H. HamThe Art Engager Episode 32 - 6 Ways to Create Awe-Inspiring Moments Tourpreneur Podcast episode with Joe Pine about experiences: The Experience Economy in Tours and Activities with Joe Pine

It’s time for another bitesize episode - a short and snappy episode that will give you a quick win or something to think about in less than 10 mins. Today I’m talking about why endings are important and sharing with you a 3 part framework for planning your strong conclusion. If the introduction is setting the scene for what’s to come, then the conclusion is most definitely when you wrap everything up, tie up any loose ends and leave your participants wanting more. The way you end your programme or guided tour is super-important. Great guides, educators and facilitators know that how you end things shapes people's memories of the experience. Find out how to go out with a bang, rather than a whimper in Episode 57!LinksPriya Parker 'The Art of Gathering'

In today’s solo episode, I’m talking about how we can use slow looking to learn to love objects that you might find 'boring' or uninspiring.We can’t possibly love everything in a museum’s collection. There are always going to be some objects or artworks that we are drawn to for some reason. Equally there will also be objects or artworks that leave us cold.Equally, every museum or art gallery has its superstar or highlight objects. These are the objects or artworks that get far more attention than others. They are usually well positioned, even spotlighted and quite often have a space all to themselves.So, as much as this episode is about how we as educators, guides and docents can learn to love so-called ‘boring’ objects, it’s also about how we can get our visitors to love objects that are less well known too.Today I’m sharing examples of two objects that only came to life for me once I had spent time with them. I hope the examples will provide some inspiration for you to search out the ‘boring’ and ‘mundane’ objects in your organisations, and to fully embrace them.Spending some time slow looking with objects that you’re not immediately excited by will, I promise, transform the way you see them.At the end, I’m sharing the key takeaways from these two examples and how they can teach us to love boring objects.LinksSUPPORT THE SHOWJoin the SLOW LOOKING CLUB Community on Facebook Find me on Instagram, Facebook, Twitter and LinkedInSign up for my weekly dose of carefully-curated inspiration  The TM WeeklyVintage Dutch Bean Slicer (Snijbonenmolen) The Great Pustaha Google Arts and CultureEpisode 2 What is Slow Looking (and How Can I Get Started?)Episode 41 - 12 reasons to get started with slow looking

Today I’m delighted to be talking to educator, facilitator and newly published author Jess Vance about her work. We’re talking about how questions are her superpower and how we can cultivate the conditions for inquiry to thrive.Jess and I met on Instagram a while back when we were discussing the importance of the question ‘what makes you say that’. Since then we’ve chatted regularly and I’ve watched her journey to becoming a published author with interest. I was honoured to be involved with reading some of the early chapters and thrilled to be asked to write a recommendation for the book too. I couldn’t wait to invite Jess to be on the podcast as I think we can all learn so much from her practice. It just so happens to coincide with the publication of her book too. Jess Vance is an enrichment and environment coordinator with a thorough teaching and leadership background - she’s a former IB PYP Educator & PYP Coordinator. After about a decade in the classroom, Jess moved into leadership roles. And she’s taken the things she learned inside of the classroom - such as her approach to questioning and listening as an inquiry educator into her role as a leader. In her newly released book, 'Leading with a Lens of Inquiry', she outlines the ways in which we need to support and facilitate teachers in the same ways in which we want them to engage with their students.Her book is for teachers, leaders, coaches, coordinators, and anyone basically who is invested in cultivating the conditions for authentic and meaningful inquiry to thrive.In today’s chat we talk about the values that drive Jess’s work and the connections we can find between her work and ours. What can we learn from her practice? We discussed how questions are her superpower, the role curiosity, listening and reflection play in her work and how mindfulness is the thread brings everything together. We had so much to talk about. So, here it is - enjoy!LINKSSupport the ShowJoin the Slow Looking Club Community on FacebookJess Vance's website-- downloadable resources, coaching and other professional learning offeringsLeading with a Lens of Inquiry on AmazonJess' Instagram-- giving you an insight into her professional practice and offering tangible ways to infuse curiosity and an inquiry mindset each and every dayMichael Stone - Awake in the WorldWarren Berger - A More Beautiful Question & The Book of Beautiful Questions

Today I’m sharing a 'picture of practice' from art facilitator and English teacher Elisa Mosele.We’re talking all how she uses thinking routines to overcome the fear of speaking a language and encourage all her students to participate. We also explore how she combines slow looking, church art and spirituality in her work as an art facilitator.Elisa Mosele is a English language teacher and an art facilitator.  She currently collaborates with the Verona Minor Hierusalem Foundation. She introduced the concepts of VTM and thinking routines to the foundation and in 2020 initiated their first virtual sessions looking slowly and carefully at artworks from local churches. Elisa wrote a blog for me in 2020 about her very first experience facilitating with thinking routines virtually and it was great to hear in our chat about how she is now facilitating sessions in person too. In today’s chat we talk about how Elisa uses thinking routines to develop vocabulary and how she combines Visible Thinking with spirituality in her work at the foundation. LinksEpisode Web PageSupport the Show What I learned from my first virtual facilitation session with arthttps://thinkingmuseum.com/2020/12/10/first-virtual-art-facilitation/Elisa Mosele on LinkedIn Home - Fondazione Verona Minor HierusalemMuseo di Castelvecchio - Caroto e le arti tra Mantegna e Veronese: dal 13 maggio al Palazzo della Gran Guardia

Today I’m starting something new. I know we are all busy and sometimes it can be hard to find the time to listen to a full length podcast episode. So once a month I’ll be sharing a 'bite-sized' episode that will give you a quick win or something to think about in less than 10 mins.  Today I’m going to share a quick episode that will help you to start defining your personal facilitator style.  We'll look at what we mean by personal facilitator style and why it's super-important and then I'll take you through an exercise to help you to define your personal facilitation style.

A willingness to continue growing and developing is at the heart of our practice as museum educators, teachers and guides. We are never ‘done’ with learning. There is always a strong desire to keep honing our craft.Personal development keeps us motivated and pushes us out of our comfort zone. It helps us to keep innovating, experimenting and being creative. But, what are the best ways that we can grow and develop personally? Today I'm sharing 8 different ways to go from good to great…and can reach your full potential.

Way back in 2011, I discovered the magic of thinking routines and Visible Thinking whilst working at a museum in Amsterdam. It was at this point that I started developing a new approach for educators, what became Visible Thinking in the Museum or VTM for short. Visible Thinking in the Museum is an easy-to-follow method that allows educators like you to confidently design and lead engaging inquiry-led sessions with art, objects and ideas for any audience. But what’s it all about? And why should you use it? Today we’re talking about the foundations, principles and practices of the VTM method and 8 ways it can help you to engage your audiences. LinksEpisode Web PageVisible Thinking in the Museum Online (VTMO) Course Support the ShowJoin the SLOW LOOKING CLUB Community on FacebookFind me on Instagram, Facebook, Twitter and LinkedInSign up for my weekly dose of carefully-curated inspiration  The TM Weekly

Today on our 50th episode, I'm launching a new series of episodes all about 'pictures of practice'. I'm really interested is in finding out how other museum educators around the world engage their audiences with art and objects. What are some of the practices that are really important to them? How might they use thinking routines, or slow looking, questioning or facilitation?For our very first Pictures of Practice, I'm talking today to Gabrielle Grime is a Heritage Education Officer at Wanneroo Regional Museum in Australia. She believes museums can be places of sanctuary which foster wellbeing, as well as sparking creativity, wonder and connection. Gabrielle read about the Peel the Fruit thinking routine on my blog and decided to give it a go with a group of primary school children. She speaks about this powerful experience in today’s chat and how it moved some people in the group to tears. She then followed my VTMO course last year and is now a member of my community of practice The Thinking Museum Membership. Gabrielle shares how she is applying a number of ideas from the course and the continuing membership classes in her work.In this chat we talk about what values inform her practice, how she's going to use slow looking with Front of House staff in a pilot programme and what thinking routines she loves to use. Gabrielle also shares why she stays up until 11pm or midnight to attend classes! We talk about questioning, facilitation and being part of a community of educators learning, exploring and sharing together. I know you’re going to love listening to Gabrielle - and hope her enthusiasm inspires you as much as it did me - enjoy!LINKSEPISODE WEB PAGESupport the ShowJoin the Slow Looking Club Community on FacebookVisible Thinking in the Museum Online Course - starts 09 May!The Thinking Museum MembershipConnect with Gabrielle Grime on LinkedIn Wanneroo Regional Museum

Today I’m delighted to be talking to playwright, theatre director, teaching artist and museum educator Mary Hall Surface about her work. We’re talking all things creative and reflective writing through art. As a museum educator, she uses both theatre and creative writing to expand perspective, uncover complexity, and deepen understanding. She is the founding instructor of National Gallery of Art’s Writing Salon in Washington DC, and a six-summer faculty member of Harvard’s Project Zero Classroom.  Her plays have been produced at major professional theatres, museums, and festivals throughout the US, Europe, Japan, Taiwan, and Canada, including 4 art-inspired productions at the National Gallery of Art. During the pandemic, she has developed an online presence too - facilitating creative and reflective writing workshops and classes, all inspired by art for museums, schools, and arts centres throughout the US. Mary Hall and I have a lot in common and in today’s chat we talk about our love of close looking, thinking routines and how you can use artworks to inspire writing. We talk about a variety of projects that Mary Hall has been involved in at the National Gallery of Art, the Smithsonian American Art Museum, and the different types of online workshops that she teaches. Mary Hall shares 4 wonderful tips for how you can improve your writing through art - so make sure you don’t miss those. We really could’ve talked for hours and I loved our chat. So, here it is - enjoy!LINKSEPISODE WEB PAGESupport the ShowJoin the Slow Looking Club Community on FacebookMasterclass with Mary Hall Surface 26 April: Inspire Your Memoir Writing through Visual ArtThe SAAM Social-Emotional Learning Toolkit:https://americanart.si.edu/education/learn-from-homeLink to Open Window, Collioure, 1905, Matissehttps://www.nga.gov/collection/art-object-page.106384.htmlLink to Edward Hopper, People in the Sun, 1960, oil on canvas, Smithsonian American Art Museum, Gift of S.C. Johnson & Son, Inc., https://americanart.si.edu/artwork/people-sun-10762Mary Hall Surface - website and mailing list sign up: www.maryhallsurface.comUpcoming Smithsonian Associates workshop: Mothering: A Reflective Writing WorkshopUpcoming Van Gogh/Mary Oliver Workshop: Springs’ Awakening: A Reflective Writing WorkshopWriters’ Studio on the Amalfi Coast

I’m back with a new episode today all about my favourite subject .I'm talking about 'bad' questions, and specifically, 10 types of questions you should never ask (or at least try to avoid!).Good questions can be many things: clear, simple and purposeful, but also relevant, concise and perhaps, even powerful.But is there such a thing as a 'bad' question?And if so, what types of questions are 'bad'? Why types of questions should we be avoiding on our museum tours and programmes?To find out the 10 types of questions I chose, listen in to today's show! ResourcesEPISODE WEB PAGESUPPORT THE SHOWJoin the SLOW LOOKING CLUB Community on FacebookOther Art Engager episodes about questioning:Episode 4 The 5 Golden Rules for Asking Brilliant QuestionsEpisode 10 10 Common Mistakes to Avoid When Asking QuestionsEpisode 15 How to Use Artworks to Improve your Questioning SkillsEpisode 36 Quick ways to improve your questioning techniqueFind me on Instagram, Facebook, Twitter and LinkedInSign up for my weekly dose of carefully-curated inspiration The TM Weekly

As you may or may not know, I’ve recently had Covid (and you can probably hear it in my voice) I’m taking some time to recover. So as we’re approaching 50 episodes, I thought I would take the time today to revisit an episode from the back catalogue. Today we’re revisiting an episode all about thinking routines that you can use for perspective-taking. This episode first aired in July 2021. It takes a deep dive into what perspective-taking is, and why it matters. Then I look at 4 essential perspective-taking thinking routines that you can use in your programmes - from the ever-so-useful Step Inside (one of my all-time faves), to new thinking routine Step In Step Out Step Back, via Circle of Viewpoints and little-known thinking routine Point of View. If you are leading any type of programme with groups then you need to have a perspective-taking thinking routine in your repertoire. As I say in this episode, perspective-taking is a crucial skill for all types of relationships - both professional and personal. And I believe we have a responsibility to encourage perspective-taking - In doing so, we might not only serve our audiences better, but also model a kinder society.LINKSSupport the show Ellen Galinsky ‘Mind in the Making’ 

Slow Art Day is an international event celebrating looking at art in a different way. This year Slow Art Day is taking place on Saturday 2 April 2022 in over 160 venues around the world (and counting…).So, what is Slow Art Day all about? Here’s what you need to know.LINKSEpisode Web PageThe Slow Looking ClubSupport the ShowSlow Art DayAnnual Report 2021

You may remember Samantha Boffin as she was my first guest on the show (Episode 21) and now she is the first guest to come back for a second episode. Besides being a voiceover artist, Sam is also an actor. Sam also does an improv class every week and believes that we are all expert improvisers - we just don’t realise we are. In this episode, Sam is sharing what improv is and how it can help us as educators in our own practice and when we’re with our groups leading programmes about art. We also talk about how improv makes you a better listener, how it makes you more confident and flexible and to not be afraid of failure. We discuss how we might be able to use improv techniques and games with our groups - from Yes, and…, Narrative, Colour, Emotion and line-by-line stories via Humpty Dumpty and Brian the washing machine repair man. We discuss how you can make your audience feel safe and comfortable using improv techniques. We had a really lovely chat and I hope you enjoy it. Here it is!LINKSEpisode Web PageMasterclass 29 March 'Improv your Engagement’Support the Show The Improv Handbook by Tom Salinsky & Deborah Frances WhiteHow to be the Greatest Improviser - Will Hineswww.samanthaboffin.co.ukLinkedIn Instagram   Taking Creative podcast Paul Merton interview:  https://www.bbc.co.uk/sounds/play/m00159s7 

A good introduction is essential to foster a great group dynamic. An introduction is crucial on any type of programme - whether you’re leading a guided tour, an educational programme, a 15 minute in-gallery conversation or an online session. At this stage, group participants are learning what to do, how the tour or programme is going to operate, what is expected and what is acceptable.It’s your role to give them the orientation they need. And more than that, a good introduction is about about placing connection before content - you're establishing trust, forming connections, and building rapport.Today I’m talking about introductions - why they’re important and the 4 elements of a great introduction. LINKSEPISODE WEB PAGEJoin our free Facebook Community Support the Show Curated Newsletter

In the light of recent world events and the troubled times we live in, in today’s episode I’m going to share some thoughts about facilitating meaningful discussions with artworks and objects around sensitive subjects in difficult times. Some programmes, tours or sessions specifically involve sharing difficult narratives and directly addressing challenging subjects. Other types of programmes might touch on subjects that can be contentious and/or sensitive. Or you may visit artworks or objects that can surface and bring up emotions, feelings and more.Particularly now with the devastation occurring in Ukraine, it’s important to be aware of and sensitive to these emotions and to be thoughtful when asking participants to share their personal connections around a subject. So today I'm sharing some advice that may be beneficial to you when facilitating an art discussion around a sensitive topic. I'm also going to touch on how you can look after yourself and manage your own emotions too. LINKSEpisode web pageJoin our free community - Slow Looking ClubEpisode 42 - How to Read a Group 

What does it mean to 'read a group'? It's the ability to understand the mood in the room and how receptive people are. When you’re working with groups in the museum or online, it’s extremely helpful to be able to know how to ‘read the room’. Paying attention to others and listening for clues can pay dividends. Being able to read a group and see how engaged they are, whether they are enjoying the programme, following along or even whether they are listening is extremely important. It's important to be able to pick up on clues not only from the discussions taking place, but also from the underlying reactions and things that are left unsaid from those in the room as well.These subtle cues aren’t always easy to pick up on, but you can train yourself to not only be aware of them, but to influence group dynamics, by paying more attention. So, in today's episode here are a few easy ways to read a group. LINKSEpisode Web PageJoin our FREE community The Slow Looking ClubSupport the Show

Slow looking is simply the art of learning through observation. I’ve been working in this way for the last 10+ years and can wholeheartedly recommend it to anyone - both as an individual practice and as a way of working with and connecting your participants to art and objects. But don’t just take my word for it.  But, why would you want to slow down and spend time with just one artwork or object? Why is it important to practise paying attention and noticing more details?Looking at something slowly and carefully is in itself a rewarding process – the object or art work becomes more interesting the longer you look at it. But more than this, there are known benefits of slow looking and in this post, I’m going to take you through 12 reasons why you, yes, you, should get started with slow looking.LINKSEpisode Web PageJoin the FREE Slow Looking ClubSupport the Show Sign up for my Friday newsletter - The ™ WeeklyThe Art of Slow Looking in the Classroom  In The Distracted Mind: Ancient Brains in a High Tech World, authors Adam Gazzaley and Larry D. RosenWhy Looking at Art Makes you Smarter Peter Clothier

Have you been using the same thinking routines for a while now? Maybe you’ve got a few core routines that you’re comfortable with and now you’re looking for some new routines to add to your repertoire?I’m always looking for new ways to engage with our audiences and love trying out new routines in my membership monthly thinking routine classes. I really enjoy seeing all the possibilities of how this thinking routine might pair with different artworks, themes and situations.I’ve tried and tested these 5 routines extensively and they all work both online and offline with a variety of materials – artworks and museum objects, written texts, quotes and videos. Which 5 thinking routines did I choose? Listen in to find out!You can find in-depth classes about each of these thinking routines in the library of my membership programme. LinksEpisode Web PageThe Thinking Museum Membership ProgrammeSupport the Show Subscribe to my Friday newsletter - The TM Weekly