Spring 2015 VAM Voice

Voice

3126 W. Cary St., #447 | Richmond, Virginia 23221-3504 | 804. 358.3170 | www.vamuseums.org | Spring 2015

Virginia Certificate in Museum Management Turns 10 During VAM’s Annual Conference in March 2015 we gathered just a few of our Virginia Certificate in Museum Management alumni and students together while we celebrated the 10th anniversary of the program.

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Active Shooter: How to Respond Excerpted from the U.S. Department of Homeland Security Booklet

Member Profile: The Birthplace of Country Music Museum

A 10-Year Retrospective of VA An interview with Shelley Brooks, Coordinator, VAC Exhibitions & Events and Curator, TCC

VA M Quar terly Virginia Association of Museums

Summer 2005

Dusting out the Cobwebs

Why We Need Professional Development

Op/Ed: What Might be Hurting Your Not-for-Profit?

Fire Suppression Techniques

Cover Story

When did you start in the certificate program, and what was your original goal in joining? Was that goal met?

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I attended my first VAM-sponsored workshop in 2004 and found the experience to be incredibly rewarding. The daylong workshop hosted by the Chesterfield Historical Society provided valuable and timely information, a private tour of the venue, and an opportunity for fellowship with museum professionals from varying disciplines. Once VAM’s certificate program was established, my goal was to attend as many workshops and conferences as I could to expand my knowledge, visit member institutions throughout the state, and network with professionals who shared similar circumstances and challenges. In 2006, I formally enrolled in the certificate program and for the next few years thoroughly enjoyed every aspect of it. I received my graduation certificate in 2009 having already enrolled in the Advanced Museum Management Certificate in Museum Leadership.

Once you completed the basic certificate in museum management, how did that certificate impact your job?

Taking part in the certificate program impacted my job from the very beginning.

Because Tidewater Community College has formal galleries and a permanent art

collection that I oversee, the workshops have addressed nearly all aspects of my job in one way or another. My education and experiences through VAM’s certificate programs have been viewed by my colleagues and supervisors as meaningful and respected avenues for professional development.

What elements of the certificate program did you find most valuable?

I found the presenters, topics, and venues to be the most valuable. VAM has secured some of the most articulate, dynamic, and respected presenters for their programs. Many have been leaders in their area(s) of expertise and have freely shared their knowledge and experiences with attendees. Discussions have provided time for more unique circumstances and potential solutions. Topics have been diverse, appealing to the equally varying range of institutions in the state and the information attendees are seeking. They have been timely and relevant, and often look toward the future. The venues have been important as they often complement the topic. Examples and hands-on resources are important for memory retention and problem solving.

What made you decide to move on to the advanced certificate?

In all honesty, I didn’t want the rewards and enjoyment to end. I’ve traveled, but

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not terribly long distances. I’ve met new people, seen new places, and tried new things. These aspects of the certificate program have been so fulfilling to me that it seemed natural to work on a higher and more focused level. With this in mind, I completed the Advanced Certificate in Museum Leadership in 2013, and just completed the Advanced Certificate in Collections Management. These two areas are highly relevant to my job and have helped me in leadership circles in particular.

How did your experience with the advanced certificate differ from that of the basic certificate?

The basic certificate was very comprehensive and required taking a variety of workshops that focused on several areas in the museum field such as exhibitions, education, and collections, among others. To me, it seemed more group oriented. The advanced certificates address one of these basic areas and seem to have more individualized requirements.

There was more reading and research involved but with options. The advanced program allowed me to look deeper into my selected topics especially with the mentorship requirement.

What would you say to someone who is thinking about joining the certificate program?

VAM’s Certificate Program Permanent Collections, Visual Arts Center I would highly encourage that person to enroll. The certificate program provides so many qualities that go beyond the material and experiences from the workshops and conferences. Confidence.

Professionalism. Like-minded people.

Unique venues. Partner institutions. And it’s so affordable. Regardless of experience or position in the museum field, the certificate program is the perfect way to stay on top of new trends, develop relationships with colleagues, and find ways to collaborate with member institutions and arts organizations. It’s also a significant achievement on a resume.

We are working toward making sure employers in Virginia know to ask about the certificate in a job interview—what would you say to a potential employer about the certificate?

I would tell a potential employer that the certificate program has a very focused and practical curriculum that offers up-to-date information and resources that can be applied at the workplace. It also provides experience for potential employees who may not have degrees in the museum field. Most importantly, it shows that those who are enrolled in the program, or who have graduated from the program, are dedicated and serious about their work. These are people who are taking advantage of exceptional professional opportunities in order to improve their job performance and broaden their knowledge.

We are currently celebrating the 10th anniversary of the founding of the certificate program. What has worked best in your opinion, and how can we make changes that will make the certificate successful for another ten years?

ties for taking the required elements.

Having the workshops at different venues throughout the state keeps the program fresh and exciting. Attendees have the opportunity to see museums and cultural attractions that they may never have seen otherwise. Speakers are typically experts in their field, interesting and dynamic, and genuinely want to help and guide participants. Discussions are encouraged and offer ways to share information and problem solve. Group activities and individual projects are effectively balanced. The only thing I will say about the future success of the certificate program is, “Keep up the good work.” I can’t think of anything that needs changing at this time, however, as my experiences continue with VAM some ideas may come to light.

Originally from Monterey, California, Shelley Brooks (Chesapeake, VA) earned her BFA from Longwood College in Studio Art and Art History. She completed three Museum Management Certificates from the Virginia Association of Museums, two of which are Advanced Certificates in Museum Leadership and Collections Care. Shelley has 30 years of experience organizing exhibitions, arts programming, and events in art and history disciplines. She has worked for 20 years at the Visual Arts Center of Tidewater Community College. Contact Shelley at sbrooks@tcc.edu.

Photos, from left: Shelley Brooks; VAM Certificate in Museum Management logo; cover of Summer 2005 VAM news magazine, featuring then-President Scott Harris unveiling the Virginia Certificate in Museum Management program.

In my opinion, there are several things that have worked well. The very structure of the program is organized, easy to follow, and has many opportuni-

Spring 2015

Fast Facts: Virginia Certificate in Museum Management Programs The Virginia Certificate in Museum Management provides participants with a way to build their resume and develop new skills in museum management.

Requirements include a multi-day conference, a final project, and 10 one-day workshops, in five areas of study: • Internal Affairs • External Affairs • Exhibitions • Collections Management • Education / Outreach Advanced certificates are available in the following areas: • Museum Leadership • Museum Development • Collections Care • Public Sphere These are designed for those who have already completed the basic certificate, or for those with a master’s degree. The advanced certficates require: • 4 one-day workshops in chosen area of study • Reading assignment from provided bibliography • Mentoring/ coaching sessions with experienced professional in selected subject area • Final project

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Active Shooter: How

Excerpted from the U.S. Department of Homeland Securit • Evacuate regardless of whether others agree to follow • Leave your belongings behind • Help others escape, if possible • Prevent individuals from entering an area where the active shooter may be • Keep your hands visible • Follow the instructions of any police officers • Do not attempt to move wounded people • Call 911 when you are safe

Profile of an active shooter

To prevent an active shooter from entering your hiding place: • Lock the door • Blockade the door with heavy furniture

Technical Insert

Gunmen brazenly stormed Tunisia’s National Bardo Museum in Tunis recently, killing 20 foreign tourists. Two gunmen also died, along with a police officer. At the time of this writing, another gunman is still at large. Unfortunately, catastrophes such as this can occur anywhere, and those who administer public spaces - from shopping malls to movie theaters to museums - must be prepared to respond to these unthinkable situations. To that end, the following excerpt offers an overview of considerations for administrators of public spaces. Please refer to page nine for a listing of additional resources on response to active shooter situations.

An Active Shooter is an individual actively engaged in killing or attempting to kill people in a confined and populated area; in most cases, active shooters use firearms and there is no pattern or method to their selection of victims.

Active shooter situations are unpredictable and evolve quickly. Typically, the immediate deployment of law enforcement is required to stop the shooting and mitigate harm to victims.

Because active shooter situations are often over within 10 to 15 minutes, before law enforcement arrives on the scene, individuals must be prepared both mentally and physically to deal with an active shooter situation.

How to respond when an active shooter is in your vicinity

Quickly determine the most reasonable way to protect your own life. Remember that customers and clients are likely to follow the lead of employees and managers during an active shooter situation.

1. RUN If there is an accessible escape path, attempt to evacuate the premises. Be sure to: • Have an escape route and plan in mind

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2. HIDE If evacuation is not possible, find a place to hide where the active shooter is less likely to find you. Your hiding place should: • Be out of the active shooter’s view • Provide protection if shots are fired in your direction (i.e., an office with a closed and locked door) • Not trap you or restrict your options for movement

If the active shooter is nearby: • Lock the door • Silence your cell phone and/or pager • Turn off any source of noise (i.e., radios, televisions) • Hide behind large items (i.e., cabinets, desks) • Remain quiet If evacuation and hiding out are not possible: • Remain calm • Dial 911, if possible, to alert police to the active shooter’s location • If you cannot speak, leave the line open and allow the dispatcher to listen 3. FIGHT As a last resort, and only when your life is in imminent danger, attempt to disrupt and/or incapacitate the active shooter by: • Acting as aggressively as possible against him/her • Throwing items and improvising weapons • Yelling • Committing to your actions

How to respond when law enforcement arrives

Law enforcement’s purpose is to stop

the active shooter as soon as possible.

Officers will proceed directly to the area in which the last shots were heard.

• Remain calm, and follow officers’ instructions • Put down any items in your hands (i.e., bags, jackets) • Immediately raise hands and spread fingers • Keep hands visible at all times • Avoid making quick movements toward officers such as holding on to them for safety • Avoid pointing, screaming and/or yelling • Do not stop to ask officers for help or direction when evacuating, just proceed in the direction from which officers are entering the premises

Information to provide to law enforcement or 911 operator

• Location of the active shooter • Number of shooters, if more than one • Physical description of shooter/s • Number and type of weapons held by the shooter/s • Number of potential victims at the location

Training your staff for an active shooter situation

To best prepare your staff for an active shooter situation, create an Emergency Action Plan (EAP), and conduct training exercises. Together, the EAP and training exercises will prepare your staff to effectively respond and help minimize loss of life.

Components of an Emergency Action Plan (EAP)

Create the EAP with input from several stakeholders including your human resources department, your training department (if one exists), facility owners / operators, your property manager, and local law enforcement and/or emergency responders. An effective EAP includes: • A preferred method for reporting fires and other emergencies • An evacuation policy and procedure • Emergency escape procedures and route assignments (i.e., floor plans, safe areas) • Contact information for, and responsibilities of individuals to be contacted under the EAP

to Respond

y’s Active Shooter Educational Booklet • Information concerning local area hospitals (i.e., name, telephone number, and distance from your location) • An emergency notification system to alert various parties of an emergency including: - Individuals at remote locations on premises - Local law enforcement - Local area hospitals

Components of training exercises

The most effective way to train your staff to respond to an active shooter situation is to conduct mock active shooter training exercises. Local law enforcement is an excellent resource in designing training exercises.

• Recognizing the sound of gunshots • Reacting quickly when gunshots are heard or when a shooting is witnessed: - Run - Hide - Fight the shooter as a last resort • Calling 911 • Reacting when law enforcement arrives • Adopting the survival mind set during times of crisis

Preparing for and managing an active shooter situation

Your human resources department and facility managers should engage in planning for emergency situations, including an active shooter scenario. Planning for emergency situations will help to mitigate the likelihood of an incident by establishing the mechanisms described below.

Human Resources’ Responsibilities • Conduct effective employee screening and background checks • Create a system for reporting signs of potentially violent behavior • Make counseling services available to employees • Develop an EAP which includes policies and procedures for dealing with an active shooter situation, as well as action planning

Facility Manager Responsibilities

• Institute access controls (i.e., keys, security system pass codes) • Distribute critical items to appropriate managers / employees, including: - Floor plans and keys - Facility personnel lists; telephone numbers • Coordinate with the facility’s security

department to ensure the physical security of the location • Assemble crisis kits containing: - radios - floor plans - first aid kits - flashlights - staff roster; staff emergency contacts • Place removable floor plans near entrances and exits for emergency responders • Activate the emergency notification system when an emergency situation occurs

Reactions of managers during an active shooter situation

Employees and customers are likely to follow the lead of managers during an emergency situation. During an emergency, managers should be familiar with their EAP, and be prepared to: • Take immediate action • Remain calm • Lock and barricade doors • Evacuate staff and customers via a preplanned evacuation route to a safe area

Recognizing potential workplace violence

An active shooter in your workplace may be a current or former employee, or an acquaintance of a current or former employee. Intuitive managers and coworkers may notice characteristics of potentially violent behavior in an employee.

Alert your Human Resources Department if you believe an employee or coworker exhibits potentially violent behavior.

Indicators of potential violence by an employee

Employees typically do not just “snap,” but display indicators of potentially violent behavior over time. If these behaviors are recognized, they can often be managed and treated. Potentially violent behaviors by an employee may include one or more of the following (this list of behaviors is not comprehensive, nor is it intended as a mechanism for diagnosing violent tendencies): • Increased use of alcohol or illegal drugs • Unexplained increase in absenteeism; vague physical complaints • Noticeable decrease in attention to appearance and hygiene • Depression / withdrawal • Resistance and overreaction to changes in policy and procedures

Spring 2015

• Repeated violations of company policies • Increased severe mood swings • Noticeably unstable, emotional responses • Explosive outbursts of anger or rage without provocation • Suicidal; comments about “putting things in order” • Behavior which is suspect of paranoia, (“everybody is against me”) • Increasingly talks of problems at home • Escalation of domestic problems into the workplace; talk of severe financial problems • Talk of previous incidents of violence • Empathy with individuals committing violence • Increase in unsolicited comments about firearms, other dangerous weapons and violent crimes

Assisting individuals with special needs and / or disabilities

• Ensure that EAPs, evacuation instructions and any other relevant information addresses the needs of individuals with special needs and/or disabilities • Your building should be handicapped-accessible, in compliance with ADA requirements.

Managing the Consequences of an Active Shooter Situation After the active shooter has been incapacitated and is no longer a threat, human resources and/or management should engage in post-event assessments and activities, including:

• An accounting of all individuals at a designated assembly point to determine who, if anyone, is missing and potentially injured • Determining a method for notifying families of individuals affected by the active shooter, including notification of any casualties • Assessing the psychological state of individuals at the scene, and referring them to health care specialists accordingly • Identifying and filling any critical personnel or operational gaps left in the organization as a result of the active shooter Download this booklet (entitled “Active Shooter: How to Respond”) in its entirety, from the U.S. Department of Homeland Security’s website at http://www.dhs.gov/ sites/default/files/publications/active_ shooter_educational_booklet_508.pdf ...continued on page 9.

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Member Profile: The Birthplace of single most important event in the history of country music.” Most importantly, the recordings that came out of Bristol in 1927 continue to influence musicians today.

From History to Museum

The Birthplace of Country Music Museum. Photograph by Fresh Air Photo

by René Rodgers, Associate Curator, BCMM Bristol: The Birthplace of Country Music

Member Profile

The mountains of southern Appalachia have long been recognized as a center for traditional music. The earliest settlers brought with them their instruments and musical traditions, which were fused together to form hillbilly music and, later, country music.

In 1927, Ralph Peer, a record producer from the Victor Talking Machine Company, traveled to Bristol, Tennessee-Virginia and set up a

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portable recording studio. Over two weeks, Peer recorded 76 songs by 19 different acts including Ernest V. “Pop” Stoneman, The Carter Family, and Jimmie Rodgers. The combination of Peer’s commercial and marketing savvy with remarkable musicians who caught the public’s imagination – along with technological developments in recording and sound – meant that these recordings met with great success. They are now known as the 1927 Bristol Sessions.

In 2002, the Library of Congress ranked the 1927 Bristol Sessions among the 50 most significant sound recording events of all time.

And Johnny Cash said that “these recordings in Bristol in 1927 are the

Visitors at BCMM’s Grand Opening, August 2014.

Photograph courtesy of Hillmann & Carr

This story of the region’s music heritage caught the imagination of a group of dedicated volunteers several years ago, and they came together to create a museum devoted to that history. These volunteers took their vision even further, beginning the process to become a Smithsonian Affiliate, one of around 160 affiliates across the US. Through extensive fundraising and community partnerships, along with years of planning, work began in 2012 to restore and convert a 1920s building in Historic Downtown Bristol and to begin the development of the permanent exhibit content and design.

The new Birthplace of Country Music Museum (BCMM) opened in August 2014.

BCMM tells the history of the 1927 Bristol Sessions recordings and their

As visitors exit the Orientation Theater film, they see the Circles of Success wall leading them further into the core exhibits. Photograph by Fresh Air Photo

Country Music Museum The sculpture in the museum foyer.

Photograph

by Fresh Air Photo

a genre of music; see early cylinder players, Victrolas, a Western Electric microphone, and instruments signed

by Jimmie Rodgers, Ralph Stanley and Earl Scruggs; hear clips from each record released from the 1927 Bristol Sessions and listen to the oral histories of several people who were there; and much more!

Beyond the 1927 Bristol Sessions

influence on the commercial country music industry, explores how evolving sound technology affected those recording sessions, and highlights how these early recordings impacted American music. As you go through the museum, you are surrounded by music and sound, with many opportunities to go deeper into the history by exploring multiple interactive exhibits and films, including “Greasy Strings,” a film about the techniques behind playing the 1927 songs, and the mixing station, where you can give those old songs new sounds.

Visiting BCMM is not a one-time experience – visitors could easily spend hours exploring the core exhibits. And the museum also hosts a variety of educational programs, musical programs, films, workshops, and community events. Notable upcoming events include the Second Sunday Concert Series (a partnership with William King Museum of Art in Abingdon, VA; running March– August 2015); screenings of Alan Lomax’s American Patchwork Series on Thursdays in April; a concert of piedmont blues with National Heritage Fellow John Dee Holeman in May; and a shape note sing-along, also in May.

Visitors to the core exhibits also learn about the origins of the term “hillbilly” and how it became known as

The museum also has a 2,000 square foot Special Exhibits Gallery, which will feature rotating exhibitions from

Dale Jett and Wayne Henderson played A. P. Carter’s Martin guitar at BCMM in February 2015. Photograph by Tom Netherland, wsm650@aol.com

the Smithsonian, other institutions, and guest curators. The current special exhibit is the Smithsonian -produced “New Harmonies: Celebrating American Roots Music” (open March 18 to September 30).

This exhibit examines the interaction of different musical traditions and the growth of American music, as rich and eclectic as the country itself.

Future exhibits will explore the life and music of Tennessee Ernie Ford (opens October 2015), anything and everything “Made in Tennessee” (opens March 2016), and the musical artists of the Music Maker Relief Foundation, an organization devoted to preserving Southern musical traditions (opens September 2016).

The Birthplace of Country Music (BCMM’s parent organization) also hosts events and concerts throughout the year, as well as produces the Bristol Rhythm & Roots Reunion in Historic Downtown Bristol, the third weekend of September (Sept. 18–20, 2015).

The Birthplace of Country Music Museum 520 Birthplace of Country Music Way Bristol, VA 24201 423-573-1927 www.BirthplaceofCountryMusic.org

“New Harmonies” runs at BCMM from March to the end of September 2015. Photograph by Haley Hensley, BCMM

Spring 2015

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Book Review

101 Social Media Tactices for Nonprofits: A Field Guide

by Melanie Mathos and Chad Norman

by Heather Widener This field guide is a good overall primer for any communications professional in the nonprofit field. The “101” tactics are broken up into essential social media communication actions (that make up the chapter titles): Setup, Communicate, Engage, Fundraise, and Measure. Because all 101 tactics are actually listed in the table of contents, it is easy for the reader to peruse and jump to areas of need or interest.

Because I had decided to read this book cover to cover, and because I have been developing VAM’s social media presence for some time, I found that the tactics described in the book fell into one of three categories for me: I’m already doing this; VAM (with the resources available for social media engagement) doesn’t need to or cannot do this; or (the valuable

takeaways) I can and should be doing this - it will extend our reach and/or make my job easier.

Although this book is geared towards the beginning to mid-range communications professional, the way this book is structured, I think that any level of social media practitioner would find valuable takeaways. For example, tactic #57 focuses on engaging the blogging community and social media “influencers;” tactic #68 focuses on launching a video response contest (which is something VAM is currently considering to augment a broader membership initiative). For someone who is new to social media, there are few areas that this book does not cover.

There is one caveat, however. This is a printed book. It was printed three years ago. This is a very long time in the social media world. Although I found this book

Save the Date!

#VAM2016 March 12 - 15, 2016 The Williamsburg Lodge, Williamsburg, VA

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helpful, and although I believe that most of the content in this book continues to be true today, we all know that social media is the most rapidly growing and changing landscape in the communications world. In my opinion, those seeking the latest and greatest technologies and trends in social media might be better served by reading more readily updated and recent materials like blogs or online articles. To that end, I’ve included a few links that readers might be interested in perusing along with this book: Nonprofit Hub http://www.nonprofithub.org/ Nonprofit Tech for Good http://www.nptechforgood.com/ Social Media for Nonprofits http://socialmedia4nonprofits.org/blog/

...continued from page 5.

Active Shooter Response: Resources from the U.S. Department of Homeland Security Federal Emergency Management Institute

IS-907 Active Shooter: What You Can Do http://emilms.fema.gov/IS907/index.htm

Active Shooter Preparedness

http://www.dhs.gov/active-shooter-preparedness National Protection and Programs Directorate, Office of Infrastructure Protection

Active Shooter Awareness Virtual Roundtable (Webinar)

This 90-minute webinar can help the private and public sector understand the importance of developing an emergency response plan and the need to train employees on how to respond if confronted with an active shooter. The presentation describes the three types of active shooters--workplace/school, criminal, and ideological--and how their planning cycles and behaviors differ.

https://share.dhs.gov/asaware2011

Active Shooter Workshop Series

If you are interested in future workshops, please contact ASworkshop@hq.dhs.gov.

Options for Consideration: Active Shooter Preparedness Video

Options for Consideration demonstrates possible actions to take if confronted with an active shooter scenario.

The video also shows how to assist authorities once law enforcement enters the scene.

http://www.dhs.gov/video/options-consideration-active-shooter-preparedness-video

Coming up from VAM The Collections Conundrum of Deaccessioning Friday, April 10, 2015 10:00 a.m. - 3:00 p.m.

The Lyceum, Alexandria, VA

Best Practices in Board Development

presented in partnership with Organizational Solutions, a program of the Partnership for Nonprofit Excellence Monday, May 11, 2015 1:00 p.m. - 4:00 p.m.

Virginia Museum of Fine Arts, Richmond, VA

Technology Trends

Monday, June 1, 2015 10:00 a.m. - 3:00 p.m.

Virginia Historical Society, Richmond, VA

Virginia’s Top 10 Endangered Artifacts

Nominations for 2015 open June 1, 2015 Virginia’s Top 10 Endangered Artifacts is a project of the Virginia Association of Museums. This public outreach campaign for collections care was first launched in 2011 with support from the Institute of Museum and Library Services (IMLS). Learn more at www.vatop10artifacts.org.

Spring 2015

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Director’s Corner

that it would become what it is now: a program unlike any other in the country, one that other states have emulated, and one that has reached over 200 of our members over the years.

Dear Members, Completing the conference each year is truly a milestone for VAM staff; we begin working on the conference in April, so by the time we get a chance to see all of our preparations come to life in March, we are ready to get started on next year! This conference, though, was an important one for me in a lot of ways. It was my 15th VAM conference as a member of the staff. My responsibilities have changed over the years, but the annual opportunity to connect with all of you is one of the biggest reasons I have stayed with VAM. I get to see, in person, what this organization means to so many people, and how VAM has been able to bring together such a diverse, caring, amazing group of professionals. I am so proud of that.

This year, too, made me proud for another reason: the ten year anniversary of the Virginia Certificate in Museum Management. When Margo and I first brainstormed this program in 2001, I don’t think we had confidence that we could even get it off the ground.

When it launched at the conference in Portsmouth in 2005, we were over the moon. We were hopeful that this program could help us better reach some of our younger members, or those who served as volunteers at small museums.

I don’t think either of us dared to hope

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I was able to go to one of our workshops on Monday, at Monticello. The topic, The Age Wave, was fascinating.

But what made the day for me was knowing that over 80% of the workshop participants were a part of the Certificate program. Throughout the day, I talked with students just taking their first class, and others who wanted advice on completing their final project. This program has become a key component of the VAM experience, and I couldn’t be more excited about that.

VAM Certificate Stats Launched First Graduate Number of Graduates Advanced Certificate Launched Number of active students today

2005 2007 49 2013 137

I hope that all of you will join the certificate program, recommend that a colleague join, or think about serving as a mentor or advisor to a certificate student. By making this unique program a part of all of us, we can help it continue to grow for the next ten years.

Cheers,

Jennifer Jennifer Thomas Executive Director Virginia Association of Museums

Our Governing Council President, Al Schweizer VP, Planning & Resources, Gary Sandling VP, Programming, Gretchen Bulova Secretary, Dana Puga Treasurer, Norman Burns Past President, Tracy J. Gillespie Ex-Officio Members, Robert C. Vaughan and Jeffrey Allison D i re c to r s Eric App Jamie Bosket Dr. Mikell Brown Karen L. Daly Paige Gibbons Charles Grant Debi Gray Joe Keiper

Lisa Martin Jeffrey Nichols Robert Orrison Scott Stroh Vanessa Thaxton-Ward Sarah Whiting Charlotte Whitted Eric S. Wilson

O u r Sta f f Executive Director, Jennifer Thomas Assistant Director, Christina Newton Communications Director, Heather Widener Accountant, Su Thongpan O u r Co nta c ts Phone: 804. 358.3170 Fax: 804. 358.3174 www.vamuseums.org O u r Vo i ce VAM Voice is a member benefit published quarterly for museum professionals and volunteers.

The editor encourages readers to submit article proposals. Contact the communications director for more information.

O u r N e ws D e a d l i n e s Spring: February 15th Summer: May 15th Fall: August 15th Winter: November 1st Our Mission The mission of the Virginia Association of Museums is to serve as the resource network of the Virginia and District of Columbia museum community through education, technical assistance, and advocacy.