Teens Consolidated Resource Blog

Teens Are Our Future

When working with teenagers, you realize how incredibly bright and ready they are for the world!  They still have a lot to learn, but what they have already learned gives them the tools to be enthusiastic and valuable contributors to our museum and park communities.  Giving teens the opportunities they need to apply their learning and critical thinking skills helps them continue to grow into citizens who are better able to make decisions consciously and conscientiously as advocates for cultural literacy and support of our cultural institutions.

Teenagers are a group who are about to embark into adulthood.  They are an audience who is seeking an identity and forming their life philosophy and outlook.  Museums and parks offer real world experience, and informal learning environments that greater reflect the world teens are about to join.

We hope the following list of resources consolidated from our series of teenager blog posts will help other Museum Educators access the resources they need to maximize the interaction they have with the teen audience.

M.LiT - Museum Leaders in Training, Virginia Museum of Fine Arts

http://www.vmfa.state.va.us/Learn/Teens/MLiT/

Jobs for teens in museums:

http://teens4hire.blogspot.com/2009/06/jobs-for-teens-in-museums.html

Museum of Fine Arts, Boston:

http://www.mfa.org/programs/teen-programs

Museum Teen Summit:

http://www.museumteensummit.org/home.html

Saguaro National Park - link to teen stewards site: 

http://www.nationalparks.org/our-work/success-stories/saguaro-national-park-park-stewards

Additional resources and just a few examples of Teen Nights:

The Walters Art Museum

Oklahoma City Museum of ArtMuseum of Contemporary Art, Los Angeles
High Museum of Art
“Why Museums Don’t Suck: The Current State of Teen Engagement”

ARTFORUM at WAVE the museums, galleries, and archives of Wolverhampton
This is a regularly held event that provides people between 14 and 25 the opportunity to explore the museum’s gallery as well as learn new techniques and make their own art. It is entirely run by the participants, who decide what they want to focus on.
http://www.wolverhamptonart.org.uk/events/artforum-new-year-3rd-weds-2013-01-16/

ARTLAB at the Hirshhorn
This is a digital media studio that provides all teens age 13-19 access to technology and art. It is comprised of studio time as well as daily workshops and provides participants with marketable skills.
http://artlabplus.si.edu/artlabplus/about.html

Creativity, Community, and a Dash of the Unexpected: Adventures in Engaging Young Adult Audiences
Although this research publication is aimed at the higher end of our focused age group, young adults between 19-35, this report hits on a few key points to keep in mind when programming for older teens. They found that they "... originally thought of this audience as an age group but later realized that style, not age, was a better way to categorize the target audience."
http://denverartmuseum.org/sites/all/themes/dam/files/final_report_to_the_field_1.16.2012_final.pdf

Case Study: Teens at the New York Hall of Science - Science Career Ladder

Although most of previous posts on engaging teen audiences have focused on art and humanities museums, science museums across the country have been working with teens for years. With the nation’s renewed emphasis on science, technology, engineering, and math (STEM) education and careers, science museums can be key players in science learning and teaching outside of the classroom. As John H. Falk and Lynn D. Dierking note in “The 95 Percent Solution,” the vast majority of science learning takes place outside of formal schooling. They argue that one of the major contributors to the achievement gap between low-income students and their more privileged counterparts is the opportunity for learning outside of school time, such as through summer camps, travel, service projects, independent research, and museum visits. Teenagers are also in one of the age groups least like to partake of out-of-school science learning (eg: field trips are less likely in high school than elementary school). Museums and other institutions of informal learning can and should be active supporters of STEM education for teenagers, provoking and supporting their natural curiosity. This post looks at one museum that has done just that.

Since 1986, the New York Hall of Science (NYSCI) has sought to engage teenagers of diverse backgrounds and interests and encourage careers in the sciences, through the Science Career Ladder (SCL). The museum recruits college and high school students to work as Explainers, with potential to advance and become leaders of the program and at the museum. At the same time, Explainers are exposed to and encouraged to explore a variety of STEM-related careers. The SCL also partners with Queens College to encourage science majors to pursue science teaching and with other universities and organizations. The program has been successfully disseminated to and implemented in science museums around the country.

In this report on SCL, NYSCI outlines and evaluates the program, which has evolved over time in response to multiple evaluations and expansions. In the program’s current incarnation, interested high school students complete an application and participate in a group interview. The museum does not base selection on grades and actually seeks out students working below their full potential, who have perhaps become disengaged from school or are shy. In this way, the program engages adolescents who have some interest in science, but might otherwise fall through the cracks or never realize their aptitude or passion for science, teaching, communication, or leadership. SCL can be a tremendous opportunity for these often overlooked students, especially since the program emphasizes mentorship.

Participants enter the program as Explainer Volunteers, assisting with public programs and special events. Some may have already been involved at NYSCI, in elementary and middle school as after-school Science Club Members, though many have no prior affiliation. By passing through stages of training and receiving good performance reviews, participants may move up to be paid Explainer Interns and then Explainers, at which point they receive more intensive training and begin interpreting exhibits and demonstrations, one weekend day a week and summer weekdays. Explainers that demonstrate leadership potential may become Explainer Floor Captains, and eventually, Program Explainers, aiding in the overall management of the program and its special projects. Explainers can even continue advancing after high school, which is especially crucial considering the dearth of meaningful museum programming for older teens and young adults, as noted in a previous post. There are real opportunities for growth in all stages of the program, and participants are often encouraged to apply for other positions at the museum.

Through the Explainer program teenagers develop their scientific thinking and teaching skills, while building their confidence, sense of leadership, and scholarly ambitions. The program aims to accomplish this development by making the Explainers full members of the museum community, giving them real responsibilities, providing professional development, holding them to high expectations, and listening to their ideas. Participants are taken seriously. As noted in our earlier post, many teens are eager to work and gain a sense of independence, but the quality of such work is crucial to the positive development of the teen and the impact the work experience will have on future career progress. According to the report, multiple evaluations of the program have noted a sense of peer camaraderie and mentorship, such that older participants motivate younger ones to pursue their goals. As noted earlier, fidelity and identity formation are critical in adolescence. The fact that the program encourages supportive peer-to-peer and adult mentoring helps ensure the confidence, positive development, and success of the teen Explainers.

The impact of the program’s structure and values are evident in its measurable success. For example, the high school graduation rate of participants is five times higher than that of other New York City students in the same diverse demographic groups. Even more dramatically, 98% of SCL’s over 2500 alumni have graduated college, well above local and national averages. The fact that this program targets underserved high school students not necessarily performing at their full potential makes these statistics even more dramatic.

The Science Career Ladder is indeed just that: a ladder. Many of the people now running the program and holding other high level positions at the museum actually started as Explainers. This alumni are key leaders at the museum and can use their own experiences in the program to continue to shape it, evaluate it, and prioritize it. In addition, over 60% of participants have gone into other STEM careers, at least partially as a result of the opportunities SCL provides to explore career options and tap into its alumni network. Many have also gone into teaching, helping to continue the cycle of learning. Meanwhile, NYSCI has helped other science museums implement similar programs. In all these ways, NYSCI does indeed appear to be contributing to Falk and Dierking’s “95% solution.”

Additional articles on and reviews of SCL:
“Explainer Program, New York Hall of Science: Engaging Young People in Science Education and Stimulating Interest in STEM Careers” from The Opportunity Equation
“The Science Career Ladder” from Change the Equation
Sickler, Jessica (2009). “New York Hall of Science Science Career Ladder Retrospective Impact Study Final Report.” from Informal Science        


A sampling of other museums that have also implemented career ladder programs:
--Yale Peabody Museum of Natural History - SciCORPS (Science Career Orientation & Readiness Program for Students)
--Pacific Science Center - Discovery Corps
--Thinktank Birmingham Science Museum - Science and Heritage Career Ladder

18-20 year olds: The Forgotten Teen

In researching this blog we decided to look into what museums have to offer people in their late teens. Specifically, those who have recently graduated high school. Unfortunately when looking into this, I discovered that museums, like the general public are lacking in their programming for late teens. There are incredible programs for teens who are still in high school as well as for slightly older young adults who can drink, but this group of people between these two ages seems to have been forgotten.

There is great potential to provide something great for this age group. As I mentioned, museums are not the only ones to have left this group behind. Most public programming is only offered so long as these teens are still in high school or until they turn 18. After that, if these teens want to participate in special programming it is assumed that they will be comfortable participating alongside older adults. The problem here is that these older teens/young adults often don’t have the finances to participate the same way more established adults can. There is also a generational difference that can sometimes be considered intimidating if not approached appropriately.

The good news!

This group is looking for a way to engage. For those who have decided to forgo college there is little to no programming out there and they are looking to fill the void that has been left by graduating high school. Even those who do attend college, despite having on campus programming, are still looking for a way to connect to the larger community. This has created an opening for museums to step up.

Part of the solution is simple. To be more inclusive museums need to our best to extend the age limits in our programming. Far too often teenagers age out of programming that has been designed specifically for them, without being shown where they fit next. We also need to remember to start including these older teens in our programming for young adults. This means remembering that not all programming for this age needs to be a cocktail hour.

For some inspiration take a look at these museums who are stepping up and finding ways to include these forgotten teens:

ARTFORUM at WAVE the museums, galleries, and archives of Wolverhampton

This is a regularly held event that provides people between 14 and 25 the opportunity to explore the museum’s gallery as well as learn new techniques and make their own art. It is entirely run by the participants, who decide what they want to focus on.
http://www.wolverhamptonart.org.uk/events/artforum-new-year-3rd-weds-2013-01-16/

ARTLAB at the Hirshhorn 

This is a digital media studio that provides all teens age 13-19 access to technology and art. It is comprised of studio time as well as daily workshops and provides participants with marketable skills.
http://artlabplus.si.edu/artlabplus/about.html

Creativity, Community, and a Dash of the Unexpected: Adventures in Engaging Young Adult Audiences

Although this research publication is aimed at the higher end of our focused age group, young adults between 19-35, this report hits on a few key points to keep in mind when programming for older teens. They found that they "... originally thought of this audience as an age group but later realized that style, not age, was a better way to categorize the target audience."
http://denverartmuseum.org/sites/all/themes/dam/files/final_report_to_the_field_1.16.2012_final.pdf

ArtLab+

            This week, I visited the Smithsonian’s ArtLab at its location in the Hirshhorn Sculpture Garden. ArtLab is a digital media studio for teens. It is a space where teens can partner with mentors, be creative, and develop marketable skills for the future. ArtLab is open Monday through Friday from 3:00 pm to 7:00 pm.  These hours make it convenient for teens to go to ArtLab after school.  For the first two hours, ArtLab has Open Studio where the teens can take advantage of the space and materials in the ways that they deem fitting. The last two hours consists of Artist Studio, which includes more structured workshops on video/animation, photo/design, audio, and critical reviews.

What ArtLab offers is truly unique in terms of museums partnerships with school-aged children. This uniqueness comes with its own set of challenges. To gain a better understanding of ArtLab, I observed an Open Studio hour and spoke with Amy Homma, ArtLab educator.  

My initial observations of ArtLab consisted of watching the Open Studio portion of the day. The Open Studio is basically a drop-in hour for local teens involved in ArtLab. The teens can work on projects, explore new technology, and discover things that interest them. For most of the hour that I observed, the majority of teens were playing Xbox and Playstation video games.  While playing video games may not seem like the best way to build relationships with mentors, create new things, or develop new skills, the teens were freely choosing how they wanted to engage in the space, which is the theme of Open Studio. They were also developing social skills and mediating any conflicts that occurred over which game to play or length of playing time. In addition, the teens are being exposed to technology that they may not have access to at home or school.

One or two were working on projects of their choice. These students were harder to observe. They were working quietly by themselves drawing, working on computer graphics, or practicing in the sound studio. Even for the students working on projects, free choice was something that defined their experience. The overall atmosphere of the Open Studio was comfortable and the teens were encouraged to express themselves freely.

After my observations, I spoke to Amy Homma about ArtLab. We discussed the things ArtLab has to offer, as well as the challenges that face ArtLab, and ArtLab’s ability to connect school-aged children to museums. Ms. Homma explained that the mentors were of key importance when trying to engage the teens. She said that the building the mentor relationship can be  a “slow process”. But the process allows for a “tailored experience” for both the mentor and the teen. The relationship between the mentor and teen is built upon the foundation of personally knowing each other and then expands to a “fun, productive, rewarding” relationship where the teens are supported in “self directed learning”.

            According to Ms. Homma, in addition to the mentors, ArtLab also offers a space that is truly unique. It is through this space that ArtLab is able to fulfill their mission and engage the teen audience. ArtLab offers a space that is full of choice and self-direction, while providing the supporting structure to allow the teens to be productive, creative, and ultimately be rewarded for their work.  ArtLab provides a space where the focus is not on the “output” but rather on the “process”.

            While the mentors, space, and mission are the defining features of ArtLab, they are also the things that pose the greatest challenges. Offering the correct mixture of support and freedom is what Ms. Homma describes as the “constant push and pull”. The informality allows ArtLab to appeal and work for teens, but it also provides institutional challenges. Ms Homma said that they are “Constantly asking what success is.’ and “What are we looking for?”  Since it is hard to define success, it is even more difficult to measure and evaluate the success. ArtLab faces these difficulties in a variety of ways. They conduct team surveys, and the foundations supporting ArtLab plan to conduct several longitudinal studies following different ArtLab participants.

            Other challenges that ArtLab faces are the physical restrictions of their building and the location on the National Mall.  Artlab’s building is a small structure on the grounds of the Hirshhorn’s Sculpture Garden. Since it is not located in the Hirshhorn Museum building it can be hard to maintain that connection, but the teens are encouraged to explore the Hirshhorn. The teens recently made a Halloween zombie music video that was filmed in the Hirshhorn. The video can be viewed on the ArtLab’s Facebook page.  I highly recommend watching it.

            Artlab’s location on the National Mall can also be problematic. Like many other museums on the National Mall, ArtLab struggles with not being built into a community. ArtLab’s mission is to engage local teens, but the National Mall is not a residential community.  The teens have to commute to the National Mall to take advantage of ArtLab. This makes ArtLab less convenient than other programs that try to engage teens in their own neighborhood, which often take place in libraries or community centers near the teens’ homes.

            After talking with Ms. Homma and observing the teens during the Open Studio, it became clear that many of the things that allow ArtLab to engage their school-aged audience are also the things that provide the greatest challenges. ArtLab is trying to define itself as a learning space outside school. For museums attempting to engage school-aged children, the museum must understand and embrace the wants and needs of this audience and offer something beyond what is offered in school. 

ArtLab website:

http://artlabplus.si.edu/

ArtLab facebook:

https://www.facebook.com/HMSGartlabplus 

Teen Employment in Museums

Teens working in museums is a win/win for all involved
Museum jobs provide the opportunity for teenagers to gain valuable resume building skills. Universities and employers are looking for candidates who have experience outside of school that demonstrates responsibility and a desire to seek out challenging opportunities.  There are many opportunities for teens in museums and historic sites or parks. Museums benefit from working with teenagers by embracing the chance to connect with this audience and the wider community. Museums also get more help!

As institutions of learning and education, museums and National Parks have a unique opportunity to tap into the potential of collaborating with schools.  Co-developing work-study and school-credit-for-work programs with high schools has been successful in institutions such as the National Building Museum in Washington, D.C. and also in the National Parks.  Both utilize students to conduct research and develop programming.  In Tuscon, AZ at Saguaro National Park, students help the biology team inventory and monitor the park’s signature species as well as learn to set wildlife trail cameras. Mentorship and skills gained by collaborative work projects with teens provides opportunities for those who may not have other opportunities to gain this type of quality experience.  

Teens find inspiration in working outside the classroom.  Connections to science, art, and history can be made on a personal level for individual teens in museums.  Getting out of the classroom and into an informal educational setting can provide the space for a teen to develop their interests and lead them to work in fields inspiring to them.     
 
Is it good for teenagers to work? Research has shown that too much work, coupled with the responsibilities of school and social development, is not good. Statistics reveal that at about 20 hours or more teenagers start to suffer with their grades and personal functioning. As a parent, limiting the number of hours your child works is critical to making it a positive experience. But equally important will be the quality of work they are doing. Teenagers are often working in jobs that require little training or education (due to the lack of experiences they have had at their age). Unfortunately, jobs like this (e.g. working fast food or retail, for example) add little value to the cognitive and psychosocial development of their person. Conversely, when teenagers feel like their job gives them skills they can use in the future, satisfaction or quality greatly increases.
In their article, “Some effects of teenagers’ part-time employment: the quantity and quality of work make the difference,” Julian Barling et. al. argue that “the quality of employment, and the way in which employment quality moderates the amount of part-time work, is more important than employment quantity alone in predicting school performance and personal functioning.”#

Museums are a quality work environment:
As museum educators, we see the museum as a quality work environment. Time-management, interpersonal skills, public speaking, interpretation, writing, management, event-planning are a few skills that can be gained working in a museum or park.


YouthALIVE initiative:
In 72 institutions throughout the US, youth have come together in science centers, children’s museums, zoos, aquariums and botanical gardens. Responses from participants of youthALIVE! self-reported their successes and satisfaction. “Every story stresses learning” and “an awareness that they have acquired knowledge and skills that will be useful in the rest of their education and lives.” Other skills acquired included: communication and public speaking, social awareness (of themselves in relationship to others and to society), confidence (speaking in front of groups, being accepted by the museum “family”), improved language skills (for English language learners) and building positive relationships (making friends, finding role models). Such opportunities also formally introduce youth to the workplace.# I have found that this age group of students are often working or want to work. They see it as more valuable than schooling for its practical application and money-earning power. So, if they can work in an environment where they also learn life skills and subject matter, they can really be enriched.


Examples:

Saguaro National Park - link to teen stewards site: 

http://www.nationalparks.org/our-work/success-stories/saguaro-national-park-park-stewards

Museum Teen Summit:

http://www.museumteensummit.org/home.html

Museum of Fine Arts, Boston:

http://www.mfa.org/programs/teen-programs

Jobs for teens in museums:

http://teens4hire.blogspot.com/2009/06/jobs-for-teens-in-museums.html

The Participatory Museum by Nina Simon:

http://www.participatorymuseum.org/chapter7/

Teen Nights

When designing programs for teenagers, museum educators—no matter how talented, resourceful, educated, experienced, understanding, or creative—are all lacking in one crucial characteristic.  We are not teenagers.  Yes, we once were, but we are no longer.  In fact, many of us have actually put quite a bit of effort into repressing certain aspects of those years in our memories.  As noted in our earlier post about teenagers, adolescence is paradoxically both social and isolating, both confusing and potentially empowering.  We all experienced these feelings to varying degrees, as do teenagers today, but our memories of those trying times do not necessarily resonate with how actual teenagers, still very much in the moment, are processing these developmental advances and conflicts.

When it comes to designing programs for teens, the museums that are most creative and successful at doing so are those that work not just for teens, but with teens.  Museums all over have developed Teen Councils and teen volunteer programs charged with helping the museum bring other teens to their respective institutions through meaningful experiences.  A later post will explore these councils and other programs for highly invested teens in greater depth.

One increasingly common result of these collaborations between museums and teens has been the museum Teen Night.  Catering exclusively to teenagers (usually with a school- or government-issued ID proving so), these Teen Nights often feature live music, DJs, dancing, performances, crafts, art projects, exhibit tours, and gallery activities, blending the social with the creative.  By linking the evening’s activities to a specific special exhibit or part of the collection, the organizers help emphasize and take advantage of the unique qualities of the museum.

For example, at the Institute of Contemporary Art/Boston, the upcoming Teen Night builds the party around the Brazilian artists Os Gemeos by focusing on their inspirations, namely hip hop culture and dreams, through spoken word and break dancing tutorials.  

But even museums with less obviously “teen-friendly” collections can successfully host such events.  By partnering with the Museum Teen Summit, museums, in New York, as diverse as The Frick Collection and the New Museum, have featured similar events.  And museums across the country, with teen councils or consultants of their own, have also done so.

Many of these events also seem to return to the common teen question of identity, whether through art-making and personal expression or gallery discussions.  Teen Nights can further build focus on this theme, as the Brooklyn Museum and We Are the Youth did in creating their Teen Night Event for LGBTQ Teens & Allies.  The organizers used the special HIDE/SEEK: Difference and Desire in American Portraiture exhibit as a launching off point for the event, which featured DJs, voguing lessons, gallery activities, dancing, and performances.  

As Nina Simon writes in a post on her Museums2.0 blog, museums can act as the sort of safe space teens seek and need.  Incorporating opportunities for fun and creative expression only strengthen these qualities.

Teen Nights also provide a way for museums to invite and pique the interests of teens who perhaps do not normally go to the museum.  Teens who do not have the interest or inclination to commit to a teen council or multi-session program have the chance to be involved in the museum for a night.  And if they are so inspired, participants may even seek out opportunities for more involvement or education at the museum.  If anything, Teen Night participants get to have a night to themselves, with friends (a key motivator for teens), to try new things and learn in a special space.

Additional resources and just a few examples of Teen Nights:
The Walters Art Museum
Oklahoma City Museum of Art
Museum of Contemporary Art, Los Angeles
High Museum of Art
“Why Museums Don’t Suck: The Current State of Teen Engagement”

Who are those teenagers anyway?

Who are those teenagers anyway?

Teens are forming their identities

Perhaps the most important tool for success with a teen audience is to really understand this stage of development and the risks and opportunities involved.

This time of life:
Adolescent people are in a stage of life distinguished by rapid physical, psychosocial and cognitive changes. Erik Erikson, educational psychologist, said “The growing and developing youths, faced with this physiological revolution within them, and with tangible adult tasks ahead of them are now primarily concerned with what they feel they are, and with the question of how to connect the roles and skills cultivated earlier with the occupational prototypes of the day.”(1) They are asking universal questions like “Who am I? Is this what I will be like from now on? Who needs me? Am I normal? Am I loving and lovable? Who thinks I am important? What can I do well? Who will show me how to...?”(2) Such questions lead to behaviors that are testing boundaries, testing society and testing out the adult-version of their identities.

Friends are important support and teachers of what is good and bad in life. Peers teach them what is acceptable and desired. This can lead to the formation of distinct social groups, that at times operate using exclusion and meanness. From an outsider, who has already navigated this stage of life, their behavior can seem cruel and narrow-minded, but developmentally, young people are protecting themselves and their own identity by filtering out what they don’t want to be and adhering strictly to the model they hope to emulate.  Erikson explains ”Adolescents not only help one another temporarily through much discomfort by forming cliques and by stereotyping themselves, their ideals, and their enemies; they also perversely test each other’s capacity to pledge fidelity...It is important to understand (which does not mean condone or participate in) such intolerance as a defense against a sense of identity confusion.”(3)

From the horse’s mouth:
Teenagers explain in their own words what teen identity means. Made by Anthony Clarke and Mark-Peter Johnson and Travis Cramer made this video for a high school class project where they interview classmates about what they think identity is. 

What do teenagers need?
Teenagers need to be supported through their formation of a positive identity. They desire independence, but also meaningful relationships with adults and each other. Also, abstract thought is beginning to develop. Erikson has described adolescence as “a psychosocial stage between childhood and adulthood, and between the morality learned by the child, and the ethics to be developed by the adult.”(4) Teenagers are in a stage of life where decisions they make can affect the rest of their lives. When proper support is absent during this time of added gravity, teenagers can become victims of unhealthy behavior in their quest for identity (substance abuse, unwanted pregnancy, delinquency, failing school). Deanna Banks Beane says “When a community cannot give its youth socially acceptable modes for carrying out the tasks of adolescence, the young people become vulnerable to other, less positive vehicles for finding answers to those universal Who am I? questions of youth.”(5)

What can museums do?
Youth need to develop positive relationships, opportunities, competencies, values and self-perceptions that help them grow into caring and responsible adults. Although school is where they spend the majority of their time, schools cannot provide all the experiences a young person might need. In reference to science literacy John H. Falk and Lynn D. Dierking propose that 95% of learning takes place outside of the classroom.(6) Like learning, positive developmental opportunities happen largely outside of the school, and can happen in museums!

Successful Programming is characterized by youth programs that are not designed to redeem those in need of “fixing.” Rather, they should be responsive to changing local needs and value young people’s input. “These programs do not view the young people as deficient, but rather as resources to be developed, valuable to themselves, their organization, and their communities.”(7) Because developmentally, teenagers are looking more to each other than any other group for information, fun, and acceptance, what better resource for reaching this audience than the teen audience themselves?! Youth program staff must be people who can be counted on. Consistency and stability are essential in establishing trusting relationships with young people. Also, understanding youth, loving them and holding them to high expectations are critical attributes for being an effective coach.

Do you have any examples of good youth programming?
Stay tuned! Our upcoming posts will highlight many opportunities for museums and teenagers to collaborate, thereby strengthening both parties, as well as the community.

References:

1. Erikson, E. H. (1963). Childhood and society (2nd ed., pp. 247-274). New York: W. W. Norton & Co.

2. Beane, Deanna Banks (2000). "Museums and Healthy Adolescent Development: What are we learning from research and practice." Journal of Museum Education, 25 (3), 3-8.

3. Erikson

4. Erikson

5. Beane

6. Falk, John H. and Lynn D. Dierking. "The 95% Solution." American Scientist. Nov-Dec 2010.

7. Beane