Going the Extra Mile During this Government Shutdown
By Jenna Jones, Volunteer Coordinator
This year certainly started out like none other. As you know, Smithsonian Associates does not receive any federal funding. Most of our programs, however, are held in Smithsonian museums and Ripley Center, which are federal facilities that have been closed due to the shutdown.
A few of our lectures have been able to be moved to alternate venues, primarily on the campus of Catholic University. This photo shows the Martin Luther King Jr. program at CUA's Hannan Hall.
We are beginning to relocate some the studio arts courses to the Hill Center.
Check our website to see an update on program relocations, postponements and cancellations. The website has the most up to date information.
We truly appreciate how these 19 Event and Art Reps have ventured out to help our staff and patrons:
Kevin Connors Arthur Edmunds
Leah Deitrick Courtney Rapanick
Mort Glassberg Jennifer Fisher
Joan Kugler George and Roberta Stevens
Rachel Colligan Lisa Winton
Mary Jo Rubino Carol Farris
Chris Ventura Kay Gilley
Courtney Jenkins Rita Suffness
Dori and Woody Davis* Alvina Jones*
* Pictured with Jenna at the Martin Luther King Jr. Program on January 23, 2019.
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Program Guide Redesign is a Symphony of Style
by Joann Stevens, Guest Blogger
The “Joint is Jumpin'” at the Smithsonian in 2019! The year opens with the debut of Smithsonian Associates’ redesigned program guide and a colorful opening spread spotlighting the Smithsonian Year of Music initiative. The year-long, pan institutional initiative features films, programs, exhibits, concerts, and more, highlighting music from Bach to the Beatles, indigenous to Indie, jazz to jingling bells.
The cover is a cool duet: An updated nameplate set in a modern, sans serif font harmonizes with an archival photo of jazz legend Dizzy Gillespie’s iconic bent trumpet and carrying case. The font for the inside text is Minion Pro (not the adorable characters of Despicable Me, but equally cool). And that’s just the beginning of the contemporary-style symphony scored for this redesign.
Trending is a new program category added to History, Culture, Science, Art and Studio Art. It was added as a nod to Smithsonian Associates’ web-savvy members and highlight topics—including food, film, television, and video-- that didn’t fit neatly into the pre-existing categories.
The guide's updated color palette reflects the Smithsonian Institution’s own rebranding efforts and color suggestions. There are larger photos and more tightly written copy designed to provide program descriptions that are livelier and easier to read. Call-outs using colored type within a rectangular box announce program extras such as food tastings; “Smithsonian Spotlight” features a similar rectangular icon with the partial Smithsonian sunburst; and a compass icon signals a tour program. Readers are directed to the website for tour-program details that are no longer in the printed guide. Vesna Gjaja, director of marketing and membership, noted that “The redesign’s overall goal was to achieve a fresh look with a lighter, airier feeling while still maintaining the integrity of a product catalog. In addition, fonts and color palette were updated to reflect the new Smithsonian brand identity guidelines.”
Meanwhile, here are a few details of the Smithsonian Year of Music, as previewed in the January guide (and worth waiting for):
52 Mondays of lectures, offering podcasts on Beethoven string quartets in the National Portrait Gallery, Hip-Hop at the African American History and Culture museum, gamelan at Freer/Sackler, and more.
52 Wednesdays of music films such as Gimme Shelter (Rolling Stones concert doc) in the American History Museum, and an indigenous music festival at the American Indian Museum.
The 2019 Smithsonian Folklife Festival themed “The Social Power of Music.”
Music Exhibits such as John Lennon: The Green Album at the National Postal Museum, featuring Lennon’s boyhood stamp album, or Ella’s Books: Volumes from the Library of Ella Fitzgerald. And more!
Smithsonian Associates’ music programs include a series of Smithsonian Chamber Music Society programs, Emerson Quartet concerts, lectures contrasting “Bach and Handel: Two Titans of the Baroque”, and music commentator and pianist Rob Kapilow discussing what makes classical music great.
The January guide showed up in mailboxes just as the government shutdown began. But the February issue is ready to mail on time. “The Smithsonian Associates team is working hard and we're keeping things going forward," says Cecelia Reed, editor.
You might say, this is one ensemble that is staying very much in tune.
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Shutdown Socials: Feb. 1 at Panera Bread and January 19 at Clyde's
At the end of week 4 of the government shutdown, a hearty group of Event and Art Reps met up at Clyde's to enjoy each other's company. A good time was had by (from left) Herta Boringer, Maureen Chelak, Connie Knowlton, her husband, Brian, Rick Davidson, Jenna Jones, and Shirley Loo. Not pictured: Kay Gilley and Jan Zastrow.
Several volunteers sent their regrets but liked the idea that we had a get together, so another one is planned for Friday, February 1st. We will either celebrate the end of this shutdown and our return to Ripley, or we will bolster our morale as it continues. Either way, a fun time. The plan is to meet up for lunch at Panera Bread, 601 13th St NW, Washington, DC. The closest metro stop is Metro Center.
Hope you can join us at 12:00 noon on February 1! Please sign up with Sign Up Genius so we know who is coming - it's easy.
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Studio Arts Volunteering: It’s a Learning Experience
By Janet Hewitt, Guest Blogger
Here’s the deal. No one expects you to know everything right off the bat when you first become a Smithsonian Associates studio arts program volunteer. You will be thoroughly trained, yes. But there are also things you will learn just by doing. Take, for example, the case of Ria Sivaraman.
Ria went for the full-on, complete, dive-right-in immersion experience, and not just with respect to studio arts volunteering. She is not only new to the Smithsonian Associates - she is new to DC., and even new to the United States.
As an Australian, Ria is actually new to this hemisphere as well. So when she arrived here in DC, it was late fall and cold, whereas “back home” it was almost summer and warm. (She mentioned this a few times, when we shared a cube in Ripley.) It turns out she’s not a big fan of cold weather.
A watercolor class was her first go-round as a studio arts volunteer. Even experienced artists will tell you that watercolor is one of the hardest mediums to tackle. But that didn’t seem to phase Ria, who is a laid back, adventurous, Australian with a great sense of humor (Maybe that’s what it takes to master watercolors?).
To get the actual perspective of a rookie volunteer in studio arts classes, we felt it was important to talk openly and honestly (which Ria tells me Australians seem to be particularly good at). We wanted to know how challenging it is to be a rookie volunteer for one of these classes. Even though all volunteers are well trained ahead of time, training sessions and the real deal are two slightly different experiences.
As a studio arts volunteer myself, it’s always kind of an immersive learning experience with each new teacher. That first class is always educational, whether you’re a veteran or a rookie (or somewhere in between).
To showcase the perspective of a true rookie, I decided to ask Ria a few questions. So here we go.
When you saw that large colored folder in your very first class, with the roster of students, along with other serious-looking content, did any of it make you a tad bit nervous? Like perhaps the street-level map of the Smithsonian museums and the evacuation route to lead people out in case of an emergency? Or the instructions for taking same-day signups, with multiple steps for charging a person’s credit card--any of that make your palms a bit sweaty?
A: The first time I received the blue folder, I actually felt more in control knowing everything I needed would involve rifling through the folder. The only part that made me nervous was if any students showed up with friends wanting to join in and I’d have to navigate a seemingly complex (to me) system of processing a door ticket with either cash or credit card. However, I highly recommend attending the [new volunteer] in person trainings, as you can ask questions and watch a demo of how to go through the door ticket sales.
Part of the role of a studio arts volunteer is making sure the classroom is kept clean. As you know, the sinks are one of the more challenging areas to keep tidy. Do you think it’s actually possible to get the sinks 100 percent clean? Do you think getting the sinks 80 percent (or better) clean might be considered “A” work or at least a “B+”? Or do you think sink cleaning should be graded on a curve?
A: I understand the sink in an art class can never be sparkling clean or the room would lose some of its charm. I think getting it to 80 percent should be considered an A-, seeing as there are some stains that are particularly tough and would probably require more professional cleaning. I make sure the sinks are mostly clean and dry with the area around it tidy and ready for use by the next class.
Do you know who the one-man SWAT team is that you should call if there are any problems with the computer/projector equipment? If I told you his first name is Michael could you find his desk inside Ripley in 5 minutes or less?
A: Our class did once require Michael [Kamel]'s assistance--the one-man SWAT team--to attend to a very stuck drawer. The teacher’s drawer was completely stuck and wouldn’t budge. I first asked Kathy [Fuller] who might be able to help. While not a calamity, Michael was on the job in 10 minutes and I know the teacher greatly appreciated it.
On a scale of 1 to 10 (with 10 being excellent), how good would you say you are at stacking easels at the end of a class? Do you know there is a photo near the easels you can consult to see if you’ve done it right?
A: I am pleased to give myself a 10 for easel-stacking skills. To be honest, easels were only used once during the course and I found it relatively easy to stack them and keep them out of the way to avoid any tripping hazard for students. The photo helped.
How would you rate your skill at making two-sided, color, copies for teachers to use as handouts? Use a scale of Excellent, Satisfactory or Needs Improvement. Do you know where the room is in Ripley where the copier is? Do you know the copier code that is needed to make copies?
A: My copier expertise greatly fluctuates between “Excellent” and “Needs Improvement” depending on the amount of coffee I’ve consumed for the day. It took me a couple of tries to remember where in Ripley the copier was, however, the Ripley copier is really easy to use and Jenna pointed out the code is on the back of your name badge—so it’s good to know you don’t have to depend on pure memory.
If a student arrives significantly late for class and the teacher has already begun instruction, and this student has been late before, what do you do? Do you stop them at the door and remind them that they must be on time or else they can’t come into the classroom? Or do you allow them to come in, but tell them they will have to stay late and help you clean the classroom as a kind of detention? Or do you report them to Secretary Skorton?
A: Except for a couple of students, everyone was always on time or even early. I wish I could ask the late student to help clean up the classroom! But I’m more Ms. Honey than Ms. Trunchbull and I’m pretty lenient, as was the teacher who was fantastic at welcoming everyone. He structured the class in a way that started with a review of everyone’s homework first, so by the time he started the lesson for the day all students had already arrived.
On a scale of 1 to 10, how much have you enjoyed being a studio arts volunteer so far? How much more fun is it than a plane ride from DC to Australia?
A: I have thoroughly enjoyed being a studio arts volunteer. I give it a 10 out of 10! It was not easy moving here from Australia but the students and teacher were amazing and helped make the day I was volunteering so much more enjoyable--much more enjoyable than the 20-plus hour journey to DC. Besides, I learned a few amazing watercolor tips that I would not have known otherwise.
Has the partial government shutdown affected your current class assignment? Do they even have government shutdowns in Australia?
A: The shutdown has not really affected my class assignment yet and I hope it won’t. There hasn’t been a government shutdown in Australia as far as I can remember. Australia is more renowned for changing prime ministers and moving on.
So, hopefully, both new and old volunteers can take something from Ria’s experience, or just nod in amusement at our lighthearted exchange. But all studio arts volunteers should know that Jenna Jones and her team are planning a calendar of training events to prepare them in 2019 to be the best studio arts volunteers they can be.
In March, for example, there are three dates for mandatory training classes. All studio arts program volunteers must attend one of the three sessions in order to continue volunteering in the program. The session dates and times are: March 20 (Wednesday), 6 pm-8 pm; March 23 (Saturday), 10 am-Noon; and March 26 (Tuesday), 10 am-Noon. You can sign up for your preferred session on VSys. We will meet in Studio Arts Classroom 3038/3039.
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Meet Rich Ching: Our Logistics Expert
By Kiren Jahangeer, Guest Blogger
Where are you from and where did you grow up? What brought you to DC?
I was born and raised in Steubenville, Ohio. That’s a small town on the Ohio River about a half hour west of Pittsburgh, Pennsylvania in the heart of The Rust Belt. I came to the DC for college at American University and somehow managed to keep myself employed after I graduated. How long have you been working at the Smithsonian? (Describe duties a bit for volunteers who don’t know you)
I’ve been here at Associates for nearly 4 years. My official title is Venue Logistics Coordinator. I started in March of 2015 and my primary duty is to take care of finding an appropriate space for all of the programs that Associates presents. I maintain the official calendar of record for Associates and also take care of any Ripley Space Requests that come in from the rest of the Institution. I also create the Associates weekly schedule which tends to appear in various places. In addition, I coordinate the logistical execution of Associates programs. This includes ensuring the correct technological components are available, the scheduling of AV Technicians, ensuring spaces are set up properly by the Ripley Facilities Staff, informing Security of scheduled events, and making sure that any accessibility related requests are addressed and appropriate services are scheduled. Basically, programmers tell me what they want and I make sure that it happens.
What is the best part of your job/what is the most rewarding?
The best part of my job is the flexibility it gives me. I do a lot outside of my full time job, but I’ll get into that in a second. The most rewarding thing is probably seeing satisfied patrons, whether that’s after a program or at a sleepover or at Breakfast at the Zoo. If people are satisfied and think everything went as planned, then it means I did my job.
Who is the most famous person you have seen on the job?
There have been countless famous people that I’ve run into, but the one that always sticks out in my mind was interacting with Tim Gunn. It’s incredible how almost instantaneously I became very self-conscious of what I was wearing!
Do you have a favorite Smithsonian museum to visit for fun?
I love the National Portrait Gallery/American Art Museum. I could literally spend hours in that place and the artwork is always so incredible and inspiring.
What is the strangest thing you’ve had to do as part of your job as a museum employee?
I’d say building a drainpipe using plastic water bottles in order to redirect rain that was streaming off a tent to avoid it pooling in the middle of a covered walkway for one of the Francophonie Grand Fete a few years ago. It was a little crude, but highly effective!
Is there anything else you’d like to add?
When I’m not at Associates, I am a freelance Theatrical Production Manager and Consultant. I do a lot of work with small theatre companies in town and help out other organizations who don’t normally have someone who does Production work. Theatrical Production is very similar to what I do at Associates. It’s logistical execution. I take what’s planned or wanted and make it happen. And hopefully under budget! In addition to that, I’m still a regular stage manager at the Kennedy Center and have helped out with special events and galas all over town. I’m also the Supertitles Coordinator for Washington Concert Opera and am a Company Member at The Keegan Theatre.
One other thing that I do that’s near and dear to my heart is that I’m a staff member of The American Legion Buckeye Boys State. Buckeye Boys State is a Government/Civics/Leadership Camp for High School Boys that have finished their Junior Year. (And yes, there’s a Buckeye Girls State too!) Every June, I go back to Ohio to volunteer for 10 days to help about 1200 young men learn about how Government and Civics work (or at least, *supposed* to work). And between this and the previous paragraph is why I say that the flexibility of my job is the best part about it. It allows me to still do things I love and care about.
And as a fellow volunteer who has an organization that I love to help, I wanted to thank all the volunteers for your tireless devotion to Associates. I know it’s a cliché and you’ve heard it a billion times, but we TRULY couldn’t do it without you!
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Where Am I?
By Janet Hewitt, Guest Blogger
Last time I checked the Smithsonian did not have a hockey museum, or a winter sports museum of any kind. Admittedly, there is a superb sports wing in the National Museum of African American History and Culture, but the owner of these skates was Canadian. So I think we can rule NMAAHC out.
So where do these banged-up hockey skates reside today? They are definitely in one of the Smithsonian museums, but having said that, this one might be a bit tricky.
The original owner of the skates was professional hockey legend Gordie Howe. He was born in Floral, Saskatchewan, on March 31, 1928, just before the start of the Great Depression in America. He was one of nine children. At age 15, he was invited to the New York Rangers training camp but delayed signing with a team for a few more years.
Howe played his first 25 seasons with the Detroit Red Wings. He led Detroit to four Stanley Cup championships. He also won the National Hockey League (NHL) Hart Memorial Trophy for most valuable player 6 times. The Red Wings retired his number-9 jersey on March 12, 1972.
Known as Mr. Hockey, Howe is the second highest NHL goal scorer of all time. His 801 total is second only to Wayne Gretzky’s 894. He led the NHL in scoring six times and was inducted into the Hockey Hall of Fame in 1972.
Howe was known for being physical in a sport where even today, front teeth appear to be optional. The term “Gordie Howe Hat Trick” echoed that fighting spirit, as it stands for a goal, an assist and a fight, all in the same game.
Beloved by American and Canadian hockey fans alike, Howe won special mention from no less a sports fan than President Barack Obama. In a speech before the Canadian House of Commons on June 29, 2016, Obama said, “[A]s Americans, we, too, celebrate the life of Mr. Hockey himself, the late, great Gordie Howe.”
So where can you find Mr. Hockey’s skates today?
Hint One: Howe’s skates are in a large wooden display case near another case that displays Althea Gibson’s first Wimbledon trophy for singles from 1957. The African American tennis great won back-to-back singles titles in England during her groundbreaking career.
Hint Two: The skates are on display in a large hall with high ceilings where a 4-foot tall robot named Pepper stands ready to answer questions from museum visitors. (At least, that is, when the government is not shut down. Pepper might be talking to itself by now, more than a month into the government shutdown.)
That’s all the hints for now. Good luck.
ANSWERS TO LAST ISSUE’S Where Am I?
The 2011 photo of Michelle Obama with professional hockey players from the Chicago Blackhawks and Washington Capitals can be found in the National Museum of the American Indian. The photo taken on the South Lawn of the White House is displayed as part of the exhibit called “Americans.”
