Practicing Ethical Interpretation

Reflections on the 2024 Ethical Interpretation Workshop

By Kendra Campbell

This past summer in the Georgetown area of Washington, DC, the 2024 cohort of the Ethical Interpretation Workshop (EIW) met for the first time in person. The EIW, developed in 2016 by the Office of Strategic Partnerships (OSP) at the Smithsonian National Museum of African American History and Culture (NMAAHC), is an annual program that provides technical training for museum professionals on interpretive theory and ethical practice. Our group had been virtually convening up until that point and it was such a privilege to be able to gather in person as a newly formed community of practice.

Throughout the workshop and our on-site visits to DC institutions, our cohort met with several museum professionals and thought leaders in interpretation who shared their successes in transforming visitor experiences through interpretation as well as their ongoing struggles to confront systemic issues and legacies of colonialism. It was here that I first met curator, educator, and content strategist Ashleigh D. Coren. During Ashleigh’s session, I listened with interest as she discussed understanding identities and integrating disciplines to develop visitor-centered interpretation.

After I returned to my home in Toronto, Ashleigh’s insights stayed with me and I posed to her a few more questions that I was still mulling over. She kindly responded and we continued our conversation, ranging in topics from our experiences in the workshop; being a generalist in museums; the upcoming 250th anniversary; Prince; and finally, the questions interpretive specialists should ask themselves as they go about the critical work of museum interpretation.

Kendra Campbell (KC): So glad we could continue our conversation. I wanted to return to your workshop session topic about identity and the self in the museum. How would you summarize the work you do in museums?

Ashleigh Coren (AC): Throughout my career, I have explored the intersections of race and gender in museum interpretation. This has involved cultivating connections with underrepresented communities, providing research support to cross-functional teams, and championing the vital role museums play in fostering enjoyment, inspiration, and creativity by bridging audiences to their collections. 

KC: Well said. And I’m so glad to hear you mention enjoyment in your description because that focus serves both visitors and staff. Visiting exhibitions with my cohort, building up my community of practice was such a joyful experience for me. It is almost as valuable as the technical training the workshop offered. I’m curious, about your perspective as an instructor, what do you find edifying about the workshop? 

AC: I look forward to facilitating a workshop every year because it’s an opportunity for me to revisit my own ideas about how my identity and professional experiences impact my interpretive approach, and perhaps where my own areas of growth may be. Working with and learning from professionals from an assortment of museums and cultural heritage sites is always a joy.  

KC: You made a very interesting point about collaborative teams and the critical skill of being a generalist in the museum. How has this professional identity informed your experience in ethical interpretation?  

AC: My interdisciplinary expertise and well-rounded knowledge of diverse museum practices have been essential to my success. I can fluently discuss a range of topics in the history of American visual culture, drawing on my experiences engaging with audiences. This 360-degree perspective on the needs and viewpoints of scholars, interpreters, and the public informs my approach to interpretation.  

KC:  In a previous role, your recent work on interpreting women required the use of multiple perspectives, including those outside of the museum. Could you tell me more about that? 

AC: One of my favorite projects was working with the US Mint and on the American Women Quarters Program. For each quarter my team decided to develop commemorative sticker sets for national distribution – a set of six mini “stories” showcasing the legacy and impact of each woman in American history. To develop each set we worked with historians, curators, and the families and estates of the women to design compelling and culturally relevant stickers. Despite our expertise in women’s history, we quickly realized that input from external partners was crucial. Not only could they fill gaps in our collective knowledge, but they could also provide guidance on how to be more culturally sensitive in our interpretive work.

KC: Love that. And the interpretive choice of a sticker sheet reminds me of important research about visitor motivations. That people are seeking experiences not purely for learning and gaining deeper understanding about a topic but, as you say, for fostering enjoyment. I’ll have to keep my eye out for those.

You mentioned something that was a recurring theme for the workshop: the limitations of expertise within the institution. There seems to be a growing trend of projects that aim to demonstrate more humility and care in the stewardship of stories. What have you noticed about the call for and the response to more ethical interpretation?  

AC: The current climate makes it increasingly crucial for organizations to clearly articulate their mission and values, and to remain steadfast in upholding them. It’s important to avoid being solely reactive, and instead consider how the organization’s decisions today will be viewed decades from now. Will the organization be remembered positively for how it treated its audiences and staff? Will it regret the donors and collaborators it chose? Did it give in to the pressure to censor? While fear may be the easy path, history has repeatedly shown that we must ultimately answer for our past actions, whether good or bad. Now is the time to remain focused on developing content that is thoughtful, compelling, and brave. 

KC:  Agreed. In a move to be more thoughtful about interpretation, I’m seeing practitioners frame ethical interpretation as a suite of tools or critical approaches. Before work begins, exhibit development or content teams deliberate and strive for a shared understanding of the project’s aims.  What are some questions you recommend that museum workers ask themselves as part of their work?   

AC: Two: How do certain aspects of my identity and lived experiences impact my approach to interpretation?  How does taking care of myself and being a part of a community of practice help me in my work as an interpreter? 

KC: As I look at your various projects, I can clearly see those elements reflected. Let’s close with some thoughts for the wider community of museum professionals specializing in interpretation: what’s a question you’re thinking about when it comes to the future of our work?

AC: Given the ethical and environmental risks of AI, is it possible for museums to use AI responsibly?

KC: That’s top of my mind as well. Lina Bhatti writing for Kera Collective nicely summarized the discussions that my colleagues and I are having in this moment with the growing popularity and use of AI.

Lastly, your work often engages critically with popular culture and so, I’m very curious about what you’re watching, reading, or listening to right now that’s having an impact on your interpretation practice. And this could be a source of inspiration or to incorporate more rest into what you do.  

AC: LOVE this question. As an advisor on the Made by Us #Youth250 Toolkit Advisory Committee, I’m helping to plan for the United States’ 250th anniversary. In this role, I’ve been reflecting on past and present visual depictions of an American-ness. I enjoy looking for rare films online and recently discovered “The Spook Who Sat by the Door” and “Stormé the Lady of the Jewel Box.” The 250th anniversary is an opportunity to learn from the past and build a more inclusive future. Exploring these films has guided me to ask important questions about which stories are still missing from national conversations about history. 

I’m a huge Prince fan and recently co-hosted a vinyl listening session to celebrate the 40th anniversary of Purple Rain. The program was an interactive experience – a sharing of Prince lore and background history of the album, audience recollections, and silent listening. It was really inspiring to be reminded that art that brings people together across generations, and the importance of taking the time to sit and listen as a shared experience.  

KC: Adding both films to my watch list, thank you. And thanks again for your time.

To learn more about the Ethical Interpretation Workshop and the NMAAHC Office of Strategic Partnerships current opportunities, you can visit https://nmaahc.si.edu/connect/strategic-partnerships.