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Making Public Outreach the Norm in Archaeology

April 12, 2015

robertlfs:

From the Tennessee Council for Professional Archaeology . . .

Originally posted on Tennessee Council for Professional Archaeology:

A recent exchange on Facebook prompted TCPA President Dr. Tanya Peres to think more about public archaeology, and the best practices for archaeological professionals when it comes to conducting public outreach and education.   


Tanya M. Peres, PhD, RPA
President, Tennessee Council for Professional Archaeology
Director, Rutherford County Archaeology Research Program
www.mtsurcarp.wordpress.com

Chances are you do archaeology because you have a passion for the past. How often do non-archaeologists remark that you have the coolest job, then launch into a litany of questions about what you do, what you find, where you’ve worked? Public interest in archaeology and the past is at an all time high. Yet, many archaeologists still shy away from actively participating in regular public outreach. I’m here to confess, I used to be one of them. Then I realized, this is not an “all or nothing” proposition. Yes, there are archaeologists that specialize in public archaeology/outreach. They…

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Service Learning Pedagogy and Field Based Learning

April 2, 2015

robertlfs:

Important piece on community service learning and archaeology in the Mississippi Delta by Jayur Mehta.

Originally posted on Jayur Madhusudan Mehta:

Fieldwork and Community Service Learning in New Orleans and the Mississippi River Delta.

This is a personal story, and in it, I write about why community service learning (CSL) matters to me and how my experiences in the discipline have fared since starting CSL projects in 2014. Herein, I write about why CSL is an important pedagogical tool for a holistic university education, and why archaeology, which by its very nature is embedded within descendant communities and local stake holders, can be easily integrated into CSL projects. Two recent events and outcomes from CSL have precipitated and inspired me to put pen to paper. One event was a benefit concert organized by a student for my community partners and another was a particularly successful service day with another community partner and collaborator. Through service learning activities I organized for my classes and my community partners, several successful and positive outcomes…

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Museums as Community Assets

March 30, 2015
Newton

Brandi Newton

So we have gotten to that time of the year where in my museum studies classes I always ask students to respond to the question below.  In this semester’s undergraduate Introduction to Museums course, Brandi Newton, an art history major provided a particularly insightful and compelling response.  The question:

Put yourself in the position of John or Josephine Q. Public. In the current economic chaos, the bank is foreclosing on their home, they have lost their jobs, and the city just reduced their public services. In referring to the National Endowment for the Arts and the Institute of Museum and Library Services, the House Budget Committee recently argued that “The activities and content funded by these agencies…are generally enjoyed by people of higher income levels, making them a wealth transfer from poorer to wealthier citizens.” Isn’t your research or the position you aspire to a museum professional just another example of this wealth transfer? What do John and Josephine Q. Public get for their tax dollars that fund your research/position?

Museums: Important Community Assets

 by Brandi Newton

In recent years The House Budget Committee stated that museums are essentially nothing more than a wealth transfer from the poor to the rich. If this wealth transfer were to exist then any professional working in a museum would be a participant in maintaining this transfer. In this paper however, I will argue that this wealth transfer either does not exist or is so small that it should not be counted as a loss. I will do this by illuminating the percentage of tax dollars actually used by museums and highlighting the missions of a handful of museums based on educating the public while supporting these claims through examples of funded programs designed to give back, often at not cost, to the community.

Greater than 93 percent of annual not for profit museum budgets are covered by either revenue or private donations leaving less than seven percent to be covered by a combination of local, state, and federal taxes (National Endowment for the Arts 2012). Based on these numbers one could actually argue the opposite of what The House Budget Committee stated. Since private donations from foundations, corporations, and individuals compose 38.2 percent of annual museum budgets, the wealthy are in fact transferring their wealth to the greater community not the other way around. To put this further in perspective, data from 2013 showed that “the $146 million budget of the National Endowment for the Arts (NEA) represents just 0.012% (about one one-hundredth of one percent) of federal discretionary spending” (National Endowment for the Arts 2013:1). This amount of money is a drop in the bucket for federal spending, yet despite their lack of financial support from the government, museums still find ways to give back to their communities.

As described in their mission statement, the National Civil Rights Museum in Memphis, Tennessee seeks to benefit its visitors and community by inspiring “participation in civil and human rights efforts globally, through [their] collections, exhibitions and educational programs” (Stokes-Casey 2014:2). This museum benefits its community by giving back in ways that lead to them exposing more people to what they have to offer; this also works to fulfill their mission statement. One way they accomplish this is by offering free admission days. This of course, allows access for those individuals who could otherwise not afford to attend the museums. Their website states that, “Tennessee residents with state-issued ID may visit the museum for free on Mondays from 3 p.m. until closing” (National Civil Rights Museum 2014).

Additionally, The National Civil Rights Museum’s Education Coordinator, Jody Stokes-Casey has been working with a local charter school to develop a program that teaches the values and history offered in the museum itself. This is a seven-week program that, except for one museum field trip, is actually brought to the school and presented to the students during their homeroom period. The stated goal of one of this program’s resources, which is titled Courage in the Civil Rights Movement is to “enrich their classrooms and to create a resource for teachers to facilitate discussion, encourage student dialogue, increase understanding, and promote courageous action” (Stokes-Casey 2014:4).

There are other ways museums can serve their communities; some do not even require attendance to the museum itself. For instance, The National Museum of American History in Washington D.C. says as a free service “We design and produce a wide variety of teacher professional development workshops and digital learning resources – from short YouTube videos to complex mobile app games, websites, webinars, and electronic field trips” (The National Museum of American History 2015). This type of programming meets one of the goals in their mission statement, which is to “explore the infinite richness and complexity of American history” accomplished through “dynamic public outreach” (The National Museum of American History 2015).

Seeing this museum with its multiple historical exhibits in person is also quite easily accomplished. Barring an individual’s personal transportation and time constraints, this museum in incredibly accessible to the public because, admission is always free. This in itself is quite an awesome service considering the fact that for the majority of museums 40.7 percent of their revenue comes from earned income (National Endowment for the Arts 2012).

Yet another example is the Pacific Science Center in Seattle, Washington whose STEM “Out-of-School-Time…sends teams of high school interns and Science Center educators into underserved communities to inspire students to pursue STEM learning.” This outreach program alone has reached over 150,000 students. After participating in the math portion of this outreach program 70 percent of students saw an increase in their test scores. Their outreach doesn’t begin and end here, in all “The Center’s outreach initiatives serve more than 200,000 individuals spanning over 39 counties and four states, making it one of the top outreach organizations in the Pacific Northwest” (JPMorgan Chase & Co. 2015). It is important to point out that much of the funding for The Pacific Science Center’s STEM Out-of-School-Time program has been provided, not by tax dollars but by a private company. “JPMorgan Chase Foundation has contributed $750,000 [to The Pacific Science Center] over the past 5 years” (JPMorgan Chase & Co. 2015).

I would argue then that public funding be increased because of the measurable and notable benefit that museums are able to provide to their communities. Does a more educated society not benefit us all? In fact, Dr. Anne-Imelda Radice who in 2006 was appointed the Director for the Institute of Museum and Library Services said, “Public funding helps museums deliver quality services that strengthen communities, families, individuals and the nation” (Manjarrez, C., C. Rosenstein, C. Colgan, and E. Pastore 2008:2). This one simple sentence sums up so much of what is important about museums and why they are of such importance in our lives. They provide opportunities for families, friends and colleagues to learn together and create shared memories. However, this benefit can be achieved individually as well. Ultimately, they ensure that our cultural heritage is preserved for posterity so that we may learn from the past. They inspire us as we look toward the future.

 

References Cited

 

JPMorgan Chase & Co.

2015 Pacific Science Center: Inspiring a lifelong interest in science, math and technology. http://www.jpmorganchase.com/corporate/Corporate-Responsibility/seattle-pacific-science, accessed March 20, 2015.

 

Manjarrez, C., C. Rosenstein, C. Colgan, and E. Pastore

2008 Exhibiting Public Value: Museum Public Finance in the United States (IMLS-2008-RES-02). Institute of Museum and Library Services. Washington, DC.

 

National Civil Rights Museum

2014 Visit. http://civilrightsmuseum.org/visit/, accessed March 17, 2015.

 

National Endowment for the Arts

2012 How the United States Funds the Arts. Washington, DC.

(http://arts.gov/sites/default/files/how-the-us-funds-the-arts.pdf)

 

National Endowment for the Arts

2013 Fact Sheet. http://www.nasaa-arts.org/Research/Grant-Making/NEAFactSheetSpring2013.pdf, accessed March 17, 2015.

 

The National Museum of American History

2015 American History. http://americanhistory.si.edu, accessed March 17, 2015.

 

Stokes-Casey, Jody

2014 Courage in the Civil Rights Movement. NCRM.

Implementing Co-Creative Projects

February 9, 2015

In my last post I talked about projects co-created during the Fall Semester by students in my Museum Practices graduate seminar at the University of Memphis.  This week I report on implementing those project in Peru.

This past January, my colleague and a student in the graduate seminar, Elizabeth Cruzado Carranza and I traveled to the Hualcayán, Peru to deliver several of the products from the student projects.  Below is a report on some of the products discussed in last week’s post that we delivered during our January visit:

  • SWOT (Strengths, Weaknesses, Opportunities, Threats) Analysis and Strategic Plan for cultural heritage development in the Hualcayán community – We delivered thirty copies of the document written byElizabethCruzado Carranza andClaudiaTullos-Leonard to community leaders and other interested residents oftheHualcayán community.  The five goals in the strategic plan addressed the cultural heritage needs the community expressed over the past several years.  The plan lists objectives under eachgoalto be accomplished in the first year or by the fifth year of the proposed Strategic Plan timeframe, set to
    install2

    Timeline Banners installed in Museo de Hualcayán.

    begin on July 1, of 2015.  In delivering the documents, we suggested that the community discuss the content between now and the July 1 timeframe start date to refine and amend the Plan’s content.  In this way, the Strategic Plan’s co-creation extends beyond the content but to include the implementation – an important step for the community’s ultimate role in administering a sustainable cultural heritage program in Hualcayán.

  • Museum Timeline Banners – We mounted and installed the six banners requested by Hualcayán teachers that present a linked local, regional, and international timeline.  U of M students Christian Roesler and Mariah Selitsch researched, designed, and printed the banners.  The products are of a professional quality, address specific topics raised by the Hualcayán teachers – all for under $75.00 US, thanks to the Museum Practices students.
  • oralhisthual

    Delia, a Quechua woman interviewed by students for the oral history project.

     

    Oral History Project — A true highlight of Elizabeth and my visit was meeting with Hualcayán high school teacher Leodan Abanto Alejo Valerio whose class collected community oral histories over the Fall Semester of 2014 (Spring Semester in Peru).  I posted before about the genesis of this oral history project.  Leodan’s student interviews exceeded our expectations.  We were somewhat concerned if the notoriously shy Hualcayán students and area residents would be able and agreeable to having their stories recorded.  However, because of the co-creative nature of the project their hesitancy was for the most part avoided.  Some interviewees preferred only to have their voice recorded, but overall the students collected nearly twenty individual 10 to 20 minute histories from community elders.  Elizabeth will synthesize those histories into a book form that will report the founding and history of the village and discuss the natural and cultural resources of the Hualcayán community.  By July of 2015, we will print 200 copies of the history for distribution to community families and for use in the school.  By the end of 2015 we intend to produce a DVD of the recordings in Quechua and Spanish.  At the suggestion of one community resident, the DVD will also contain published articles, written reports on the archaeology of the area, along with a copy of the virtual exhibit in the Hualcayán Museum opened in August of 2014.  (If you would like to make a much-needed donation to this project, please visit the PIARA website.)

  • In January, Elizabeth and I also met with the Women of Hualcayán artisans who are creating woven, sewn, and embroidered crafts that are currently sold at two locations in the United States.  The project was launched in the summer of 2014.  Alicia Anderson, one of the Museum Practices students, thoroughly researched fair-trade and other similar small start-up projects to determine best practices toward a sustainable operation for the women artisans.  In January, we were able to discuss a range of options with the women on how they wished to move forward. The conversation assured that community expectations aligned with the actual possibilities for the project.

An important aspect of our trip to Hualcayán in January was for two archaeologists to make the trek to the rural community, located a 12-hour commute from Lima, for purposes other than those directly related to their archaeological research.  The sole purpose of our January visit was to respond to the community’s expressed needs.  We went to Hualcayán in response to John Cotton Dana’s (1917:38) prophetic co-creative call nearly one century ago to “Learn what aid the community needs: fit the museum to those needs.”  I suggest the same call is applicable for outreach work in applied archaeology as well.

Museum Practices and Co-Creation

January 26, 2015

I just returned from a quick trip to Peru to update work on a couple of projects. While in transit, I completed a paper that summarizes the past 7 years or so of co-creative work at the C.H. Nash Museum at Chucalissa. The paper is part of a volume that Beth Bollwerk and I are editing for the Advances in Archaeological Practice journal based on a session we organized for the Society of American Archaeology annual meeting this past Spring. All of the above help solidify in my mind some lessons on co-creation.

My regular snippet quotes I use on co-creation include:

To give voice and be responsive to the needs and interests of local community members; to provide a place for community engagement and dialogue; and to help participants develop skills that will support their own individual and community goals. – Nina Simon 2010:187

Working together or diversifying audiences is not enough. What is needed are reciprocal, co-created relationships that connect the assets and purposes of organizations. Elizabeth Hirzy 2002

. . . the act of engagement with others who are trying to make decisions related to particular heritage resources. Erve Chambers 2004:194

Learn what aid the community needs: fit the museum to those needs. John Cotton Dana, The New Museum

That was the perspective taken by the 15 students enrolled in my Museum Practices graduate seminar this past semester at the University of Memphis as  they worked on projects for the Museo de Hualcayán, Peru that opened just this past summer. The students based their projects on the Peruvian community’s expressed needs. Some of the products included:

  • Strat plan

    SWOT and Strategic Plan

    A SWOT (Strengths, Weaknesses, Opportunities, Threats) Analysis and five-year Strategic Plan created by Claudia Tullos-Leonard and Elizabeth Cruzado Carranza. The plan responds directly to the community expressed need for cultural heritage, educational, and tourism opportunities in the rural Andean community. Claudia brought her considerable business expertise from the private sector and Elizabeth her five years of work in Hualcayán to create the plan.  The Peruvian community will take the next step to assess and refine the proposal.

  • A series of timeline banners for the newly opened Museum created by Christian Roesler and Mariah Selitsch. This past summer Hualcayán high school teacher Leodan Abanto Alejo Valerio expressed the need for a resource that linked local, regional, and international events from prehistory to the present day. Christian and Mariah used their graphic and archaeological abilities to produce a series of six banners.
  • In a meeting this past summer, Leodan also expressed the need to document the history of the Hualcayán village.  He noted that the government issued textbooks covered national and even regional Peruvian history but contained no information on the local community. (This situation is very similar to my experience in Southwest Memphis that prompted an oral history project in that neighborhood.) For Hualcayán, Lacy Pline and Merrileigh Rutherford created a proposal to install a complete oral history program and station to both record and view collected interviews – all at a cost of under $1500.00! They drew on their research interests coupled with internships at the National Civil Rights Museum where a similar program was conceived. I have posted before about the oral history program launched this past fall in Hualcayán.
  • huarasfinal-spanish

    One of six Timeline Banners

    The website and other social media outlets for Proyecto de Investigación Arqueológico Regional Ancash (PIARA) were completely revamped and upgraded to reflect current best practices by Remi Chan and Brooke Garcia. Although not an expressed community need, the upgrade does allow for a more effective communication of activities in Hualcayán and prepares for anticipated internet capabilities for village residents.

  • Other completed projects by the Museum Practices students included a marketing plan for the Women of Hualcayán craft artisans, a short video on the importance of archaeology preserving cultural heritage, a follow-up to the successful quipu project from this past summer, and several school lesson plans for use in the coming year.

My takeaway on why these projects have value are several:

  • The activities foster reciprocal relationships where the needs and interests of the community/students/archaeologists/museum professionals are equally supported and valued. Creating the noted products is not possible without the full participation of all partners. All partners expressed needs benefit equally.
  • As an applied anthropologist, I seek to address real world concerns beyond the walls of the academy and present that perspective to my students. In end of the semester evaluations, Museum Practices students consistently report that creating something that lives in the real world is a highlight of the class.
  • Coupled with the above, the created products follow best practices for the rural Peruvian context. The completeness and professionalism the students brought to their projects was no different from had they created products for a major metropolitan museum in the U.S.
  • Co-creation enhances the stakeholder role of all participants for a long-term commitment to the process.

Next week I will post on the January trip to deliver the products to the community in Peru.

 

And even more on public dollars and museum support . . .

January 11, 2015

As I noted in two recent blog posts, for the past few years, half of the final exam in my Museum Practices graduate seminar in the Museum Studies Program at the University of Memphis consists of responding to the following:

Put yourself in the position of John or Josephine Q. Public. In the current economic chaos, the bank is foreclosing on their home, they have lost their jobs, and the city just reduced their public services. In referring to the National Endowment for the Arts and the Institute of Museum and Library Services, the House Budget Committee recently argued that “The activities and content funded by these agencies…are generally enjoyed by people of higher income levels, making them a wealth transfer from poorer to wealthier citizens.” Isn’t your research or the position you aspire to a museum professional just another example of this wealth transfer? What do John and Josephine Q. Public get for their tax dollars that fund your research/position?

HD 08 lab2This week’s post is another excellent essay written by Lacy Pline a graduate student in Art History at the University of Memphis.  Lacy is also enrolled in the Museum Studies Graduate Certificate Program with a strong interest in public outreach and education in both art history and archaeology. 

Museums Giving Back to Communities

by

Lacy Pline

In her blog Museum 2.0, Nina Simon discusses the public argument about arts support, as seen through the lens of the Detroit Institute of Arts.[1] Simon opens the blog with a question: “How often do we get to see what people really think about the value of the arts?” In response, she offered screen-shots from people with varying ideas. Ken Dettloff’s comment particularly stood out to me when he argued: “Detroit needs [an] art museum while City residents do without streetlights, police, and fire protection? [It] doesn’t make sense!”

Much like the prompt for this class, Dettloff raises a very valid point. How can you even begin to justify artistic programming when there are people in the local community who are going without the most basic necessities? How could I, as a public servant, argue that my research or involvement within a museum is worth their money, when they lack fresh water, electricity, or even a place to live?

I thought for some time on this question, at first reading through the “Labor Day and the Cultural Heritage Professional” blog from Archaeology, Museums, and Outreach. I agree with the claims made that cultural heritage can be used as a source for empowering the people.[2] On a larger scale, this can be seen from the example we watched in class. After a sacred hut burned down, the company who documented the site in 3D was able to make this information available to the community, who otherwise might have lost everything. On a smaller scale, the African American cultural heritage exhibit at the C.H. Nash Museum at Chucalissa offers a similar community component, bringing people together through a common heritage. I also agree that museums and public servants must be proactive with the communities, helping to empower people through culture at all times (not just when it’s someone’s project). Along the same page, there should be no disconnect between the public and the professional.

As I continued to research this question however, I was a bit put-off by the response I seemed to most often receive. It was essentially that museums help to create vibrant, thriving communities. They connect community members to one another, they provide educational programming, and they offer events. While this is true, if I was Josephine Q. Public and had just lost as much as she had, I don’t know if hearing those reasons would feel enough for me. The hard truth is, it’s extremely difficult to justify the arts in the face of deprivation. The only answer I could come up with is that it is only justifiable when you make it directly benefit these same people. Benefits should reach beyond “providing culture” and other ethereal rewards, to actually making a difference in the lives of the community.

So how would a museum do this? My first instinct was to see what I could provide through my museum that addresses their current problems. While this is somewhat altruistic, it is also a simple business practice – if you make your museum an integral part of the community, a staple, people will want to fund the museum in order to keep the doors open. If community members are suffering from lack of food or clean water, a museum could create a community garden or well. If there are issues of security within the community, the museum could help organize Neighborhood Watch groups, or create a safe haven (a “Third Space”), open to all.

Beyond addressing the necessities, a museum should strive to give back to the people as much as possible. Children could be educated through special programming and summer camp options. The museum could organize a Senior Citizen Night, creating events just for the elderly. Art or photography classes could be taught in art museums on evenings for members of the community. The Cummer Museum in Jacksonville Florida has a night at the museum type of event, where each Tuesday for 3-4 hours, the museum is open to anyone for free. The C.H. Nash Museum at Chucalissa offers Volunteer Days, where volunteers can come to the museum and help assist or organize artifacts.

Museums could also strive to educate the community on their own unique personal heritage, creating oral or local history exhibits, or co-creating temporary exhibits with visitors, which is described in The Participatory Museum.[3]

In conclusion, the only way to truly be able to justify spending public money is to spend as much as an institution possibly can on giving back to that same community.

[1]          Nina Simon, “The Public Argument About Arts Support as Seen through the Lens of the Detroit Institute of Arts,” Museum 2.0 (August 29, 2012), accessed: http://museumtwo.blogspot.com/2012/08/the-public-argument-about-arts-support.html

[2]          Robert P. Connolly, “Labor Day and the Cultural Heritage Professional,” Archaeology, Museums, & Outreach (September 3, 2012), accessed: https://rcnnolly.wordpress.com/2012/09/03/labor-day-and-the-cultural-heritage-professional/

[3]          Nina Simon, “Co-Creating with Visitors,” in The Participatory Museum (2010), accessed: http://www.participatorymuseum.org/chapter8/

 

Lacy can be reached at lapline(a)memphis.edu

Launching Your Cultural Heritage Career in 2015

January 5, 2015

As we move into the New Year, career planning is often at the forefront of folks thinking.  I have posted before about career opportunities in the cultural heritage sector.  In the guest post below Ariana Carella offers some solid advice on this process.  I first met Ariana as the enthusiastic and very helpful voice at the Information Center of the American Alliance of Museums (AAM).  Over our couple years of phone and email contact, I came to know Ariana as an articulate, passionate, and solution-driven individual.  Although a loss to the AAM, I was certainly not surprised that one year ago Ariana was hired as the Membership Manager of the environmental advocacy group Rachel’s Network.

In the past, Ariana shared her resume and application cover letter  with my students as examples for how they might craft their own application package.  Below, Ariana responds to my question of how to make an individual’s application package stand out from the other 100 or more an employer receives for desirable positions.

arianac

Getting Noticed in the Job Seeking Process

by

Ariana Carella

When I was working in the American Alliance of Museums’ Information Center, I read articles about job-seeking for consideration in the online Career Management Resources library. Most of the materials I read were lengthy essays or narratives, which can be hard to synthesize into a resume. The resource library is a great reference tool, but the articles usually didn’t address the heart and soul of applying for a job, that an effective job-seeking process should be a personal one.

Throughout my career, I’ve had conversations with people in the museum community who have shared insights about managing their careers. Below are some of the tips I consider important, which can be used alongside other job-seeking resources:

  • Research, research, research. It is essential to research a prospective employer to give you a sense of the organization’s culture, mission, and how you fit might in. Go to the website, read annual reports, and talk to former and current employees. You can also review the organization’s financial viability by looking up their 990 tax form on Guidestar. The more you learn about the organization, the better you can tailor your resume and cover letter to demonstrate your compatibility. If the only tailoring you’re doing to your cover letter is changing the organization’s name, you are not doing enough work. Your resume and cover letter is the beginning of a conversation you will have with a potential employer, and it is fairly evident to those reading a stack of resumes who has or hasn’t done their homework. In some cases, after doing some research, you may decide an organization is not a good fit for you or your career goals.
  • Your resume is not a complete representation of your career. One tip I received early on: you will need two resumes during the job application process. The first one is a comprehensive resume, which includes every aspect of work you’ve ever done, including volunteering, certifications, etc. The second resume is what you actually send. Use your comprehensive resume to curate the story you want to tell your future employer. Does the job you’re applying to require strong research skills? Which experiences demonstrate that? Do you see any trends in your qualifications and experiences? In my case, I wanted to tell a story of a person with a strong customer service ethic, so I pulled out aspects of my work history from a varied career, which included working at a bank, at a student union, and AAM. The key is to make it easy for the people reviewing your resume to do their job. That may mean leaving out projects you cared deeply about, but aren’t relevant or important enough to share with this particular employer. Put on your HR hat and consider your resume from their perspective. Don’t make them struggle to draw connections between your experience and the work required for the job. Do the work for them!
  • Your resume is not your cover letter. The two pieces work in tandem with each other, but they should never be the same. My resume aims to prove why I’m qualified for the job; it’s a catalogue of relevant tasks, responsibilities, achievements. My cover letter is an opportunity to explain why I’d be a good fit for the organization. For instance, in my resume, I may state that I helped launched a new website as part of a Web team, listing a variety of associated tasks (e.g., copyediting content, managing data migration). In my cover letter, I could then build on that story and say that my experience on teams makes me a good fit for the small nonprofit I’m applying to.
  • One-on-one conversations. I cannot stress enough the importance of mentorship and one-on-one guidance. Whenever possible, meeting with someone to discuss your skills is 100 times more helpful than any available online resource. You may have strengths you don’t know are strengths. You may not feel comfortable speaking about those strengths with confidence and conviction. An outside perspective can help illuminate the things you do best and the things you are most passionate about in your work. And these conversations can also help you prepare for the interview, allowing you to practice speaking assuredly and effectively about yourself. Reaching out to my network of former colleagues and Professional Network leaders about my goals helped me structure my thoughts for my resume, cover letter, and interview. Contacts from my network graciously shared their resumes and approaches with me, and their samples helped me finesse a good format and style. Moreover, in opening up a conversation with them, these contacts were then aware of my skills, and when they heard about jobs that may suit me, passed along those opportunities. In some cases, they had the ability and inclination to put in a good word, where they had their own contacts.

The process will take a lot of hard work and time, but simply crossing off items from a resume-writing checklist is not enough. At the end of the day, your job is where you are going to spend most of your waking time. Clarifying what work you like, where you want to work, and what skills you want to develop may seem like a waste of time or too “squishy” and introspective. But doing this hard work will allow your strengths and personality to shine through in every aspect of the job application process. This preparation is the infrastructure of your career pipeline.

I couldn’t be where I am without the help of many people, who contributed different aspects to my job-seeking process. More often than not, people truly want to help you succeed. But if you don’t ask, you don’t get. So, I encourage you to speak up, reach out to your network, and ask for guidance!

You can contact Ariana via her LinkedIn Page.

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