1 00:00:15,076 --> 00:00:25,676 Speaker 1: Pushkin, This is solvable. I'm Ronald Young Jr. The first 2 00:00:25,676 --> 00:00:28,556 Speaker 1: introduction to a museum for me was the Brooklyn Museum. 3 00:00:28,956 --> 00:00:32,236 Speaker 1: The Brooklyn Museum, like many well known museums across the 4 00:00:32,396 --> 00:00:35,756 Speaker 1: United States, is a sight to behold. A modern glass 5 00:00:35,756 --> 00:00:39,716 Speaker 1: shell pulls light towards the front entrance, drawing visitors inside 6 00:00:40,676 --> 00:00:43,116 Speaker 1: enter any of the galleries, and ornate objects seemed to 7 00:00:43,116 --> 00:00:48,436 Speaker 1: glow with every color sparkling curiosity and exploration. Being in 8 00:00:48,436 --> 00:00:51,716 Speaker 1: a museum can feel like stepping into a totally new world, 9 00:00:52,596 --> 00:00:55,436 Speaker 1: But the museum is not separate from the world that 10 00:00:55,436 --> 00:00:59,076 Speaker 1: we live in. Race matters. If museums are the keepers 11 00:00:59,116 --> 00:01:02,276 Speaker 1: of cultural stories, whose stories and how those stories are 12 00:01:02,316 --> 00:01:07,836 Speaker 1: told matter, but the decision makers well. In twenty eighteen, 13 00:01:08,276 --> 00:01:10,676 Speaker 1: forty six percent then of all the boards in American 14 00:01:10,756 --> 00:01:15,956 Speaker 1: museums were one hundred percent white, and curatorial departments were 15 00:01:15,996 --> 00:01:19,076 Speaker 1: over eighty percent white. So how do we get those 16 00:01:19,156 --> 00:01:23,276 Speaker 1: chairs filled by more representative crowd. We decided to bring 17 00:01:23,356 --> 00:01:28,316 Speaker 1: these conversations within the museum themselves, conversations around what Egypt 18 00:01:28,396 --> 00:01:30,996 Speaker 1: looked like and having black people around it. We had 19 00:01:31,036 --> 00:01:35,636 Speaker 1: conversations around anti blackness in Egyptology, real conversations like that 20 00:01:35,796 --> 00:01:40,876 Speaker 1: within the institution we thought was really important. Stephanie Cunningham 21 00:01:40,996 --> 00:01:44,756 Speaker 1: is the director of Museum Hugh, an organization working to 22 00:01:44,876 --> 00:01:48,396 Speaker 1: challenge the status quo and make museums more welcoming and 23 00:01:48,476 --> 00:01:54,236 Speaker 1: representative of everyone. Museums being more relevant and reflective of 24 00:01:54,236 --> 00:02:04,276 Speaker 1: our society and community is a solvable problem. Tell me 25 00:02:04,316 --> 00:02:07,396 Speaker 1: about the first time that you went to museum and 26 00:02:07,476 --> 00:02:10,596 Speaker 1: what was that like for you. Yeah, So for me, 27 00:02:10,796 --> 00:02:13,516 Speaker 1: I grew up in Brooklyn, New York, born and raised, 28 00:02:14,036 --> 00:02:18,036 Speaker 1: and the first introduction to a museum for me was 29 00:02:18,076 --> 00:02:21,836 Speaker 1: the Brooklyn Museum. And you know, my family is from 30 00:02:21,916 --> 00:02:26,476 Speaker 1: the Caribbean, Jamaica and Trinidad, and we would go, my 31 00:02:26,556 --> 00:02:30,156 Speaker 1: family and I to the Brooklyn Museum to see exhibitions 32 00:02:30,516 --> 00:02:34,396 Speaker 1: and really enjoyed that. And then I ended up going 33 00:02:34,716 --> 00:02:38,156 Speaker 1: to nurse in high school and I hated it, but 34 00:02:38,396 --> 00:02:41,076 Speaker 1: the Brooklyn Museum, right across the street from me, really 35 00:02:41,116 --> 00:02:45,316 Speaker 1: intrigued me. So the Brooklyn Museum, fifteen minutes twenty minutes 36 00:02:45,436 --> 00:02:49,436 Speaker 1: from my house was my first introduction to the museum field. 37 00:02:50,116 --> 00:02:53,836 Speaker 1: And what would you say drove your interest beyond going 38 00:02:53,876 --> 00:02:56,596 Speaker 1: to the museum, what drove your interest in working in 39 00:02:56,596 --> 00:02:59,996 Speaker 1: that field. So for me, it was like, it would 40 00:03:00,036 --> 00:03:02,316 Speaker 1: be so cool if I had the opportunity to be 41 00:03:02,396 --> 00:03:07,436 Speaker 1: around our all day one, invite people to enjoy this 42 00:03:07,676 --> 00:03:11,876 Speaker 1: art with me too, you know escape. You know, like 43 00:03:12,036 --> 00:03:16,436 Speaker 1: corporate America, I had already you know, learned that people 44 00:03:16,476 --> 00:03:18,636 Speaker 1: had to address a certain way, look a certain way 45 00:03:18,676 --> 00:03:20,876 Speaker 1: in corporate America, and the arts was this place where 46 00:03:20,876 --> 00:03:24,396 Speaker 1: you could be free from all of that and you know, experiment. 47 00:03:24,796 --> 00:03:28,036 Speaker 1: There's so many different learning styles. There's people who are 48 00:03:28,116 --> 00:03:34,316 Speaker 1: visual learners, auditory learners, you know, kinesthetic learners, and and 49 00:03:34,636 --> 00:03:38,836 Speaker 1: that's what arts and culture provide people with the opportunity 50 00:03:38,916 --> 00:03:43,156 Speaker 1: to do to get you know, different ways to learn 51 00:03:43,436 --> 00:03:49,236 Speaker 1: and to tap into the best way that you learn. Agreed. Yeah, 52 00:03:49,316 --> 00:03:53,436 Speaker 1: So what's the problem with museums these days? Because I 53 00:03:53,436 --> 00:03:55,556 Speaker 1: don't think you'd be in your line of work if 54 00:03:55,556 --> 00:03:57,996 Speaker 1: you didn't see an issue there. And one thing this 55 00:03:58,076 --> 00:03:59,756 Speaker 1: struck me that you said is you said you wanted 56 00:03:59,756 --> 00:04:01,916 Speaker 1: to be an artist, and you know, you wanted to 57 00:04:01,956 --> 00:04:04,396 Speaker 1: be creative and free and do your thing, and you 58 00:04:04,396 --> 00:04:05,996 Speaker 1: want to get away from the corporate world. And I'm 59 00:04:06,036 --> 00:04:07,916 Speaker 1: someone who used to work in the corporate world. I've 60 00:04:07,916 --> 00:04:11,556 Speaker 1: pivoted away. And what I've discovered is that there's always 61 00:04:11,676 --> 00:04:14,916 Speaker 1: a layer of corporateness. No matter where we go, there's 62 00:04:14,916 --> 00:04:18,636 Speaker 1: always a layer of corporate So what exactly was the 63 00:04:18,716 --> 00:04:23,236 Speaker 1: problem with museums for you? Honestly, I went into the 64 00:04:23,276 --> 00:04:27,036 Speaker 1: field to be free or what I had imagined or 65 00:04:27,076 --> 00:04:30,916 Speaker 1: what the museum feel projects. However, when I got into 66 00:04:30,996 --> 00:04:32,796 Speaker 1: the field, I saw that there was a lot of 67 00:04:32,996 --> 00:04:36,796 Speaker 1: racial inequality. The museum is not separate from the world 68 00:04:36,796 --> 00:04:40,636 Speaker 1: that we live in. Race matters. The Brooklyn Museum, for example, 69 00:04:40,716 --> 00:04:44,756 Speaker 1: is in the middle of Crown Heights, a very black neighborhood, 70 00:04:44,996 --> 00:04:49,276 Speaker 1: large Jewish community as well. However, a large portion of 71 00:04:49,396 --> 00:04:54,236 Speaker 1: leadership were white and from somewhere else. When I became 72 00:04:54,276 --> 00:04:56,556 Speaker 1: an intern, I was the only person going to like 73 00:04:56,636 --> 00:04:59,636 Speaker 1: the local college. I was doing my undergrad at Brooklyn College. 74 00:04:59,676 --> 00:05:02,796 Speaker 1: Everyone else was at an ivy or private school. I 75 00:05:02,876 --> 00:05:05,276 Speaker 1: was the only black or person of color in the 76 00:05:05,916 --> 00:05:10,796 Speaker 1: curatorial department internship. Way that I got my internship was 77 00:05:10,836 --> 00:05:13,956 Speaker 1: I kept applying and I would either get nose or 78 00:05:13,996 --> 00:05:16,876 Speaker 1: wouldn't hear anything back. And then I walked into the 79 00:05:16,956 --> 00:05:19,596 Speaker 1: museum and you know, spoke to someone at Visitors Services 80 00:05:19,636 --> 00:05:22,516 Speaker 1: and was like, look, I've been come to this museum 81 00:05:22,556 --> 00:05:27,196 Speaker 1: long time. You know, I'm studying our history at Brooklyn College. 82 00:05:27,316 --> 00:05:31,076 Speaker 1: Like I need an opportunity. And thankfully someone from the 83 00:05:31,236 --> 00:05:34,396 Speaker 1: education department was earshot and actually gave me a chance. 84 00:05:35,116 --> 00:05:38,276 Speaker 1: But the change that I wanted to create looked like 85 00:05:38,556 --> 00:05:42,236 Speaker 1: having the opportunity for more, you know, black and brown 86 00:05:42,436 --> 00:05:46,596 Speaker 1: people being within the field within these predominantly white institutions 87 00:05:46,636 --> 00:05:51,636 Speaker 1: in New York. Even the educational system pushes institutions like 88 00:05:51,716 --> 00:05:55,276 Speaker 1: the Brooklyn Museum, like the met like the Googenheim, like 89 00:05:55,396 --> 00:06:00,436 Speaker 1: the Whitney as premier cultural authorities in New York City. However, 90 00:06:00,476 --> 00:06:04,276 Speaker 1: I had to learn from myself about Studio Museum in Harlem, 91 00:06:04,396 --> 00:06:08,436 Speaker 1: el Museum Delbardio, a Museum of Chinese in America. All 92 00:06:08,436 --> 00:06:11,756 Speaker 1: of these tuitions that are located in communities that I'm 93 00:06:11,836 --> 00:06:15,876 Speaker 1: doing really amazing work wasn't getting the visibility and the 94 00:06:15,916 --> 00:06:26,156 Speaker 1: funding that they so deserved. Last year, after George Floyd died, 95 00:06:26,196 --> 00:06:29,916 Speaker 1: we saw a lot of racial reckonings happened across multiple fields. 96 00:06:29,916 --> 00:06:32,316 Speaker 1: We saw it happened in Hollywood, We saw it happened 97 00:06:32,356 --> 00:06:35,636 Speaker 1: in the food industry. Surprisingly, we saw it happened in 98 00:06:35,836 --> 00:06:40,516 Speaker 1: very many unexpected places. Did any fallout happen with these 99 00:06:40,636 --> 00:06:43,836 Speaker 1: racial recogonings in the museum industry? You know, there was 100 00:06:43,836 --> 00:06:47,476 Speaker 1: a call for a greater racial equity racial justice within 101 00:06:47,516 --> 00:06:50,636 Speaker 1: the museum field as well. There was a whole survey 102 00:06:50,716 --> 00:06:55,756 Speaker 1: done by Museum Next, which is an international organization, asking 103 00:06:55,756 --> 00:07:00,036 Speaker 1: people do they feel like museums are relevant? And a 104 00:07:00,076 --> 00:07:03,476 Speaker 1: lot of people said they thought museums was important, but 105 00:07:03,556 --> 00:07:07,556 Speaker 1: not necessarily relevant because they didn't feel like museums were 106 00:07:07,556 --> 00:07:12,476 Speaker 1: talking about issue within our society and wasn't standing up 107 00:07:12,596 --> 00:07:16,516 Speaker 1: for anything. And so that's incredibly important to know that 108 00:07:17,036 --> 00:07:22,836 Speaker 1: our society wants to see museums become more involved. There 109 00:07:22,876 --> 00:07:26,276 Speaker 1: were a lot of people asking for changes made within 110 00:07:26,316 --> 00:07:30,676 Speaker 1: the leadership and within policies of museums as well. And 111 00:07:30,756 --> 00:07:33,156 Speaker 1: so what I did was I created the very first 112 00:07:33,236 --> 00:07:38,276 Speaker 1: map and directory of museums created by black, Indigenous and 113 00:07:38,316 --> 00:07:41,316 Speaker 1: other people of color. The map now has over one 114 00:07:41,436 --> 00:07:45,236 Speaker 1: hundred and fifty museums throughout the country. The list is 115 00:07:45,276 --> 00:07:49,596 Speaker 1: still growing, but it shows these community museums, or also 116 00:07:49,676 --> 00:07:54,596 Speaker 1: known as culturally specific museums, their pedagogy is one that 117 00:07:54,676 --> 00:08:01,836 Speaker 1: puts community before collections. These community museums or doing incredible 118 00:08:01,876 --> 00:08:05,356 Speaker 1: work across the country. My work right now looks like 119 00:08:06,116 --> 00:08:10,236 Speaker 1: supporting those institutions and in the same time challenging the 120 00:08:10,396 --> 00:08:16,356 Speaker 1: racial infrastructure of those larger museums that we know by name. 121 00:08:17,996 --> 00:08:20,956 Speaker 1: You stated clearly the problem, and you stated clearly what's 122 00:08:20,956 --> 00:08:23,796 Speaker 1: going on a lot of inequity within the museum field. 123 00:08:24,316 --> 00:08:26,596 Speaker 1: Talk to me about how you went from identifying that 124 00:08:26,716 --> 00:08:30,276 Speaker 1: problem to starting your company, Museum hu and then how 125 00:08:30,396 --> 00:08:33,756 Speaker 1: Museum Hugh worked with museums in order to create more 126 00:08:33,836 --> 00:08:36,836 Speaker 1: equity within the field. So it really started out as 127 00:08:36,876 --> 00:08:40,556 Speaker 1: like a collective to think about what we were going through, 128 00:08:40,636 --> 00:08:42,636 Speaker 1: how we can speak up, how we can speak out, 129 00:08:42,636 --> 00:08:45,556 Speaker 1: and things like that. And then we decided to bring 130 00:08:45,636 --> 00:08:49,156 Speaker 1: these conversations within the museum themselves. And the first one 131 00:08:49,276 --> 00:08:51,796 Speaker 1: was actually at the met and it was like thirty 132 00:08:52,276 --> 00:08:55,836 Speaker 1: of us and we had conversations around the anti blackness 133 00:08:55,876 --> 00:09:01,076 Speaker 1: in Egyptology, the lack of conversations around what Egypt looked 134 00:09:01,076 --> 00:09:03,956 Speaker 1: like and having black people around it. We had conversations 135 00:09:03,996 --> 00:09:09,956 Speaker 1: around the Metropolitan Museum has artifacts from all across the world, right, 136 00:09:09,956 --> 00:09:13,276 Speaker 1: and ninety percent of the staff and the curators are 137 00:09:13,276 --> 00:09:16,596 Speaker 1: still white, right, So it's not even cultural representation there 138 00:09:16,636 --> 00:09:21,956 Speaker 1: within the cultural collections. So having real conversations like that 139 00:09:22,076 --> 00:09:27,556 Speaker 1: within the institution we thought was really important. Museum started 140 00:09:27,596 --> 00:09:31,156 Speaker 1: looking at Museum Hugh as a way to get more 141 00:09:31,196 --> 00:09:35,956 Speaker 1: diverse people of color within their institutions who have the 142 00:09:36,076 --> 00:09:40,476 Speaker 1: skills and expertise and knowledge. We hosted zoom conversations with 143 00:09:40,676 --> 00:09:44,356 Speaker 1: hundreds of folks throughout the country around what they were 144 00:09:44,396 --> 00:09:48,236 Speaker 1: dealing with at work in the museum, and so all 145 00:09:48,236 --> 00:09:51,316 Speaker 1: of those things are really incredibly important to museum who 146 00:09:51,436 --> 00:09:55,276 Speaker 1: as we continue to move forward, and I'll mention this 147 00:09:55,396 --> 00:09:58,276 Speaker 1: last thing here in New York City, with the support 148 00:09:58,316 --> 00:10:01,756 Speaker 1: from the New York City Department of Cultural Affairs, I'm 149 00:10:01,796 --> 00:10:06,596 Speaker 1: creating what's what we're calling Hugh Arts NYC, where it's 150 00:10:06,636 --> 00:10:13,236 Speaker 1: looking specifically at of color created and led arts organizations 151 00:10:13,316 --> 00:10:17,356 Speaker 1: to amplify their work and provide additional support and also 152 00:10:18,876 --> 00:10:24,196 Speaker 1: write a comprehensive report about their experience in creating and 153 00:10:24,316 --> 00:10:30,396 Speaker 1: leading these arts organizations. Listening to you, it sounds like 154 00:10:30,556 --> 00:10:32,756 Speaker 1: you know the work that you're doing to create space 155 00:10:33,636 --> 00:10:36,676 Speaker 1: for black and brown folks, especially to be included within 156 00:10:36,916 --> 00:10:39,396 Speaker 1: the field itself and to be included in the conversations 157 00:10:39,436 --> 00:10:42,636 Speaker 1: of the field. It does sound a lot like DEI work, 158 00:10:43,156 --> 00:10:45,356 Speaker 1: and I can understand the separation that you have because 159 00:10:45,396 --> 00:10:48,676 Speaker 1: you're not actually teaching them how to be You're just 160 00:10:48,716 --> 00:10:51,236 Speaker 1: talking about bringing folks to the table, as opposed to 161 00:10:51,556 --> 00:10:55,076 Speaker 1: confunting internalized biased or going down a very technical path. 162 00:10:55,156 --> 00:10:57,996 Speaker 1: You're just saying, Hey, there's black and brown folks here, 163 00:10:58,076 --> 00:11:01,716 Speaker 1: let's bring them to the table. Sure. And also within 164 00:11:01,916 --> 00:11:06,396 Speaker 1: the words diversity, equity, and inclusion encompasses so many different things. 165 00:11:06,516 --> 00:11:12,676 Speaker 1: It almost always talks about, you know, gender, race, sexuality, 166 00:11:12,676 --> 00:11:14,596 Speaker 1: and all of those things are important, but all of 167 00:11:14,596 --> 00:11:18,116 Speaker 1: those things are large enough to have a space for themselves, 168 00:11:18,196 --> 00:11:23,476 Speaker 1: and for me, it's about explicitly talking about race working 169 00:11:23,476 --> 00:11:27,276 Speaker 1: within the structure of the museum system. What would you 170 00:11:27,316 --> 00:11:30,956 Speaker 1: say to folks that say that, because the structure is 171 00:11:30,996 --> 00:11:35,156 Speaker 1: inherently racist, and it's an inherently like a product of 172 00:11:35,196 --> 00:11:38,596 Speaker 1: a structurally racist society, that it's impossible to see the 173 00:11:38,636 --> 00:11:41,436 Speaker 1: types of changes that you want there. How do you 174 00:11:41,476 --> 00:11:45,036 Speaker 1: respond to that type of criticism? Yeah, I think that 175 00:11:45,436 --> 00:11:48,436 Speaker 1: what we know a lot of industries in the US, 176 00:11:48,476 --> 00:11:54,676 Speaker 1: you know, comes from the support of colonialism, racism from 177 00:11:54,676 --> 00:11:58,676 Speaker 1: our museums to our banks, and on and on and on. However, 178 00:11:58,876 --> 00:12:03,116 Speaker 1: there is a way I believe that museums can be 179 00:12:03,876 --> 00:12:10,396 Speaker 1: spaces where it creates equity and creates conversation around change, 180 00:12:10,436 --> 00:12:14,836 Speaker 1: and not just conversations but implements change. So, for examples, 181 00:12:15,516 --> 00:12:21,636 Speaker 1: the Native American Museum in California, which is you know, 182 00:12:21,876 --> 00:12:27,356 Speaker 1: native run owned institution. During the pandemic, they change their 183 00:12:27,556 --> 00:12:32,476 Speaker 1: entire focus, not just you know, looking at indigenous arts 184 00:12:32,476 --> 00:12:37,676 Speaker 1: and culture, preserving that through their own again pedagogy, narratives, 185 00:12:37,676 --> 00:12:44,516 Speaker 1: and perspectives, but they then began feeding the elders ancestral 186 00:12:44,596 --> 00:12:48,596 Speaker 1: foods and such for their survival throughout the pandemic because 187 00:12:48,636 --> 00:12:53,036 Speaker 1: they realize that people needed to literally be fed. Right, 188 00:12:53,076 --> 00:12:59,436 Speaker 1: And so these cultural institutions, culturally specific institutions, these community museums, 189 00:12:59,716 --> 00:13:03,276 Speaker 1: are really looking at the health and well being of 190 00:13:03,316 --> 00:13:08,556 Speaker 1: their community. For the larger museum field. That is that's crazy, right, 191 00:13:09,316 --> 00:13:12,916 Speaker 1: we can't be definitely, we have to exactly so that 192 00:13:12,996 --> 00:13:17,196 Speaker 1: kind of work is incredibly important. New York Historical Society, 193 00:13:17,236 --> 00:13:20,516 Speaker 1: for example, which is not a culturally specific museum, in 194 00:13:20,636 --> 00:13:26,396 Speaker 1: response to the former president's charge against you lack of 195 00:13:26,396 --> 00:13:30,796 Speaker 1: support for immigrants, they created what's known as the Citizenship Project, 196 00:13:30,836 --> 00:13:34,756 Speaker 1: where they help New Yorkers working on becoming a citizens. 197 00:13:34,756 --> 00:13:40,356 Speaker 1: They provided the opportunity to teach them citizenship tests right 198 00:13:40,476 --> 00:13:43,876 Speaker 1: through their collection. They taught people, and then what they 199 00:13:43,956 --> 00:13:47,916 Speaker 1: also did was provided a space for them. They did 200 00:13:47,956 --> 00:13:52,996 Speaker 1: so in a real way that creates real impact. And 201 00:13:53,076 --> 00:13:55,196 Speaker 1: the reason why they're able to do that is because 202 00:13:55,196 --> 00:13:58,476 Speaker 1: they don't separate themselves from the communities that they represent. 203 00:13:59,236 --> 00:14:02,036 Speaker 1: So let me ask you, how do you know that 204 00:14:02,076 --> 00:14:04,676 Speaker 1: what you're doing is working. It feels like it's hard 205 00:14:04,676 --> 00:14:07,916 Speaker 1: to really see a metric here. What types of responses 206 00:14:07,916 --> 00:14:11,116 Speaker 1: are you seeing from museums. We've helped hundreds of people 207 00:14:11,636 --> 00:14:15,636 Speaker 1: gain jobs within the museum field, and I would also 208 00:14:15,716 --> 00:14:20,516 Speaker 1: say the fact that Museum Who continuously is invited to 209 00:14:21,196 --> 00:14:25,636 Speaker 1: many tables, whether it be conferences or keynotes and such, 210 00:14:25,676 --> 00:14:29,636 Speaker 1: to talk about the real change that museums need to make, 211 00:14:30,356 --> 00:14:34,316 Speaker 1: shows that you know, we are a reputable source within 212 00:14:34,356 --> 00:14:37,836 Speaker 1: the field, and also that the field is paying attention 213 00:14:38,036 --> 00:14:43,596 Speaker 1: to the large movement and community that Museum Who has created. 214 00:14:44,476 --> 00:14:47,356 Speaker 1: I think that Museum Who has given voice to a 215 00:14:47,396 --> 00:14:50,476 Speaker 1: lot of people who felt like they were voiceless and 216 00:14:50,556 --> 00:14:54,716 Speaker 1: have encouraged people to use their voice in challenging the 217 00:14:54,836 --> 00:15:13,796 Speaker 1: museum to change and to become more equitable. You talked 218 00:15:13,796 --> 00:15:16,436 Speaker 1: a lot about local museums, especially local museums that are 219 00:15:16,516 --> 00:15:20,956 Speaker 1: part of marginalized communities. How can listeners get involved at 220 00:15:21,036 --> 00:15:24,076 Speaker 1: that level? There is there a place they need to go? 221 00:15:24,316 --> 00:15:26,356 Speaker 1: Is there do they need to do to go in there? 222 00:15:26,476 --> 00:15:29,716 Speaker 1: Speak to the managers, speak to visitors services. Where do 223 00:15:29,756 --> 00:15:33,876 Speaker 1: they begin with engaging with those local museums. I think 224 00:15:33,876 --> 00:15:38,676 Speaker 1: the first step is becoming knowledgeable of what steps have 225 00:15:38,716 --> 00:15:41,996 Speaker 1: been taken and what is recommended for folks to take. 226 00:15:42,596 --> 00:15:46,476 Speaker 1: And for me, how I did that myself was reading 227 00:15:46,836 --> 00:15:50,196 Speaker 1: Mountain Frustrations, Art Museums in the Age of Black Power, 228 00:15:50,716 --> 00:15:53,636 Speaker 1: even How to be an Anti Racist, all of those 229 00:15:53,676 --> 00:15:57,436 Speaker 1: things shout out form. Yeah, you know, even even that 230 00:15:57,476 --> 00:16:00,556 Speaker 1: book has helped me even in my work with museum here, 231 00:16:01,076 --> 00:16:05,476 Speaker 1: and so it's incredibly important for people not to guess 232 00:16:05,516 --> 00:16:08,076 Speaker 1: what's needed to be done, you know, on top of 233 00:16:08,476 --> 00:16:13,436 Speaker 1: doing doing those incredibly important readings, you know, following folks 234 00:16:13,436 --> 00:16:15,676 Speaker 1: who are doing the work. Of course, museum h and 235 00:16:15,796 --> 00:16:19,996 Speaker 1: others day's museums are not neutral. There's also museum detox. 236 00:16:20,796 --> 00:16:25,436 Speaker 1: There is a plethora of articles that are constantly being 237 00:16:25,476 --> 00:16:31,756 Speaker 1: written about how to recognize, you know, some challenges or 238 00:16:31,796 --> 00:16:36,196 Speaker 1: issues within your museums that needs to be addressed. That 239 00:16:36,356 --> 00:16:40,076 Speaker 1: is the first step. Thank you so much for being 240 00:16:40,076 --> 00:16:45,516 Speaker 1: with us, Stephanie. Thank you. Stephanie Cunningham is the director 241 00:16:45,556 --> 00:16:48,236 Speaker 1: of Museum Hue, which supports people of color within the 242 00:16:48,356 --> 00:16:51,916 Speaker 1: museum field and works to situate and promote culturally informed 243 00:16:51,996 --> 00:16:56,276 Speaker 1: museum exhibitions and experiences across the nation. We'll have links 244 00:16:56,276 --> 00:16:58,996 Speaker 1: to Stephanie's suggestions for ways you can learn more in 245 00:16:59,076 --> 00:17:02,276 Speaker 1: our show notes. Next week, I'm talking with TV writer 246 00:17:02,436 --> 00:17:04,636 Speaker 1: Mike guy Out about how to get creative, young black 247 00:17:04,636 --> 00:17:08,116 Speaker 1: writers into the writer's rooms of Hollywood. Mike was a 248 00:17:08,116 --> 00:17:10,876 Speaker 1: lot of fun, thanks for Insecure, which is my favorite 249 00:17:10,876 --> 00:17:14,596 Speaker 1: show right now. He's humbly passionate and he's really, really, 250 00:17:14,596 --> 00:17:17,676 Speaker 1: really dedicated to building a pathway for the next generation. 251 00:17:18,036 --> 00:17:20,236 Speaker 1: I laugh a lot in this episode, so get ready 252 00:17:20,276 --> 00:17:22,276 Speaker 1: for that. I hope you'll join us for that conversation. 253 00:17:23,196 --> 00:17:26,756 Speaker 1: Solvable is produced by Joscelyn Frank, researched by David John, 254 00:17:27,316 --> 00:17:31,036 Speaker 1: booking by Lisa Dunn. Our managing producer is Sasha Matthias, 255 00:17:31,236 --> 00:17:35,316 Speaker 1: and our executive producer is Mia Lobell. I'm Ronald Young Junior. 256 00:17:35,996 --> 00:17:36,796 Speaker 1: Thanks for listening.