Viewing and Discussion Series Manual
For Librarians and Scholars
America’s Music: A Film History of Our Popular Music from Blues to Bluegrass to Broadway
A project of the Tribeca Film Institute
in partnership with
The American Library Association Public Programs Office
Tribeca Flashpoint
and The Society for American Music
Made possible by a major grant from
The National Endowment for the Humanities: Exploring the Human Endeavor
Table of Contents
About This Manual ……………………………………………………………….............1
Acknowledgments………………………………………………………..…………..…...2
Introduction……………………………………………………………………………….3
Part I: Planning Guide
SECTION A: PLANNING THE SERIES
Why Have a Viewing and Discussion Series.......................................................................5
Introduction………………………………………………………………………………..6
Start at the Beginning...........................................................................................................6
1. Determine the need and interest
2. Determine the goal of your series
3. Define your target audience
4. Form a planning committee
5. Recruit community partners
6. Select the day/date/time for your programs
7. Develop an action plan
8. Prepare the budget
9. Plan the evaluation process
Choosing a Scholar………………………………………………………………………..9
Program Guide…………………………………………………………………………...10
What You Need to Host a Series………………………………………………………...10
1. Materials
2. Audio-visual equipment
3. Staff support
4. Meeting space
5. The audience -- sign ‘em up!
At the Programs………………………………………………………………………….11
1. Format/agenda
2. What to bring to the programs.
Ancillary Programs and Special Events/Exhibits………………………………………..13
Hosting Another Series…………………………………………………………………..13
SECTION B: GUIDELINES FOR SCHOLARS
Introduction………………………………………………………………………………14
Responsibilities…………………………………………………………………………..14
Qualifications…………………………………………………………………………….15
Program Guide…………………………………………………………………………...15
SECTION C: PROMOTION
Introduction………………………………………………………………………………16
Getting Started………………………………………………………………………...... 16
Defining Your Target Audience……………………………………………………........16
Choosing Your Communication Methods……………………………………………… 17
1. Public Relations/Publicity
· Contacting local media
· Using the Web and social media
2. Direct marketing
3. Personal contact
4. Advertising
Putting It All Together…………………………………………………………………...21
Sample Promotional Materials…………………………………………………………...22
1. Sample letter to community groups
2. Sample media alert
3. Sample press release
4. Sample public service announcements (PSAs)
5. Sponsor and funder credits
6. Project fact sheet
SECTION D: ADMINISTRATIVE DOCUMENTS
For Librarians and Administrators……………………………………………………….29
Getting it done -- a checklist
Promotion calendar
Guidelines for film screenings
Letter of agreement with scholar
Sample scholar introduction
Program profile (one for each of the six programs)
Final report
For Partners………………………………………………………………………………41
Evaluation form
For Scholars……………………………………………………………………………...42
Evaluation form
Guidelines for providing biographical information
For Participants…………………………………………………………………………..45
Program evaluation form
Final evaluation form
Part II: Program Guide
A. Introduction to America’s Music…………………………………………………….49
B. Overview of Structure and Materials……………………………………………….. 52
C. Guide to the Films……………………………………………………………………54
D. Program Introductory Essays……………………………………………………….. 63
E. Sample Discussion Points……………………………………………………………81
F. Humanities Themes………………………………………………………………….86
G. Ancillary Programs and Activities…………………………………………………. 91
H. Resources…………………………………………………………………….………94
1. Additional Documentary Films………………………………………………….94
2. Bibliography……………………………………………………………………102
3. Discography…………………………………………………………………….106
4. Online Resources……………………………………………………………….112
About This Manual
This manual for librarians and scholars provides information about developing a local Viewing and Discussion series using resources selected and organized by the Tribeca Film Institute and the American Library Association Public Programs Office with funding from the National Endowment for the Humanities.
(Please note: Historically, the principal audience for Tribeca Film Institute’s viewing and discussion programs has been public libraries. Recently, a number of other kinds of nonprofit organizations have also participated in the programs, among them college libraries, arts organizations and museums. For the sake of simplicity, we will use the terms “libraries” and “librarians” in this manual to encompass all the various participating organizations and their administrators.)
The Manual has two main parts:
Part I: The Planning Guide includes the introduction and sections on planning the series, guidelines for scholars, promotion, and administrative documents.
Part II: The Program Guide is designed specifically for those who are offering the America’s Music program. It includes a guide to the films (including recommended selections for program screenings), sample discussion points, ideas for additional programs and activities, and other recommended resources (films, books, recordings, online resources, etc.).
Acknowledgments
The Tribeca Film Institute is pleased to acknowledge the institutions and individuals who have played important roles in the planning, development and implementation of this Viewing and Discussion series.
We are grateful to the American Library Association Public Programs Office for sharing its “Let’s Talk About It” reading and discussion model, which has been freely adapted for this Viewing and Discussion series. Additionally, we thank them for the use of several of their forms and checklists which have been borrowed for this manual, and for their work in preparation for the National Workshop.
We also gratefully acknowledge the work of those responsible for creating the America’s Music program:
· Academic Advisors: Professors Juan Flores (New York University), Krin Gabbard (Columbia University), Bill C. Malone (Tulane University), Charles McGovern (College of William and Mary), Guthrie Ramsey (University of Pennsylvania), and Rachel Rubin (University of Massachusetts)
· Content Curators: Debra Franco and Jeanne Houck
· Library Consultants: Sally Mason-Robinson, Frannie Ashburn, Tim Grimes, Eli Neiburger, and Gary Handman
Finally, a special thanks to:
· Tom Phelps, former Director of Public Programs, National Endowment for the Humanities
· Kathleen Mulvaney, Senior Program Officer, Public Programs, National Endowment for the Humanities
· Susan Brandehoff, The American Library Association Public Programs Office
· Eileen Newman, Director, Community Engagement, Tribeca Film Institute
· Holly Kang, Project Manager for America’s Music, Tribeca Film Institute
· Marianna Whitmer, Executive Director, the Society for American Music
Tim Gunn, Project Director
Beth Janson, Executive Director, Tribeca Film Institute
Introduction
A Viewing and Discussion series consists of six weekly programs of lectures, film screenings, readings, and discussions held in libraries and other nonprofits for public audiences and led by scholars (college/university professors who are experts and enthusiasts in the series subjects). The programs help participants see important subjects as a series of interlocking stories and points of view, drawn into conjunction through historical events like war, through the influence of technology and science on people’s lives, or by an examination of American culture and history through an examination of its popular music. Through the lens of humanities scholarship, libraries offer their communities an opportunity for deeper reflection on the complexities of historical, sociological, political, and cultural themes while promoting the use of library collections and services.
Libraries and Public Programming
"Democracy demands wisdom and vision in its citizens" is a saying long attributed to Thomas Jefferson and is quoted in the National Foundation on the Arts and Humanities Act of 1965. Public libraries in their role as "diffusers of knowledge among the citizenry of the community in which they exist" (Charles Frankel) provide access to excellent collections of materials, but "in order that citizens glean wisdom and vision from these vast, assembled collections, librarians must encourage their use and their interpretation. It is not enough to select and organize materials, librarians must as well aid in an educational enterprise that promotes understanding." (Thomas Phelps in Rubin, Rhea: Humanities Programming, Neal-Schuman, 1997, p. ix)
Since 1978, the National Endowment for the Humanities, state humanities councils, foundations, libraries and other nonprofit organizations have established partnerships that have brought humanities programming to hundreds of thousands of American citizens in communities nationwide. "Programmatic activities give ordinary citizens the opportunity to share experiences, emotions, and ideas with those who have already studied and with others who want to learn. It is clear that from such sharing new ideas emerge. And it is more clear that ideas make a positive difference in the lives of people." (Phelps/Rubin, p. x)
Public programming offers something for everyone. For librarians there is the satisfaction of being a catalyst for meaningful discussion and exchange of ideas. Patrons are very grateful for this opportunity and they say so. One librarian reported that her experience with public programming was "the most satisfying thing I've done in my many years as a professional librarian. The patrons were so pleased and grateful and they made me feel wonderful for providing this experience."
Program scholars experience all the benefits of teaching without having tests to prepare, papers to grade, and students who are in class only because they have to be. Public program "students" are there because they want to be—and they come to "class" prepared to discuss the content (they do their homework). These participants bring a life experience to their examination of texts and films that is far different from that of the typical college-age student, and scholars often find their own scholarship enhanced as a result of these contacts. Dr. Peter Makuck (East Carolina University, Greenville, North Carolina) expressed delight with his experience by saying, "These participants were enthusiastic, friendly, bright, and didn't need to be prodded into discussion. As a teacher, you long for, but rarely have, such charged group participation. Our librarian did the lion's share of the behind-the-scenes, and I risk sounding sentimental, but it was reassuring to realize that there are such good people at work in our community."
And participants have it all. As one woman said following a Voices and Visions reading, viewing, and discussion series on modern American poetry, "I read poetry I would never have tackled on my own, we had a wonderful scholar who made poetry come alive, and I talked with interesting people from my own community about ideas that are important to all of us, and I did it all for free at my very own public library!"
The Viewing and Discussion program is based on the recognition that film is a particularly effective entry into serious thought, discussion, and further reading and/or viewing, especially for the intended audience of non-traditional, out-of-school adult learners. The films provide a dramatic springboard for group discussion of key social and political themes of this century; participants will turn naturally to additional books and films after taking part in the programs. For everyone involved there is the fun, excitement, and challenge of reading, viewing films, learning, sharing thoughts, and talking about important issues and ideas.
Program Model
The Viewing and Discussion series provides an easy-to-follow model for offering public programming in the library setting. A series consists of six weekly programs of viewing films curated on the project’s specific subject (see Part II, Program Guide, Introduction to America’s Music). This Viewing and Discussion project has enhanced and expanded public programming by selecting and developing the material content that a library needs to offer a series:
· DVD copies of the series films
· access to downloadable online essays by project scholars
· posters and other publicity materials, also downloadable online
In addition, this manual provides details about planning and implementing such a series. Libraries also have access to online support from national project staff and from experienced colleagues around the country.
To host a series, a library need only have a meeting area, equipment to screen films, and—most importantly—an audience. The library is responsible for identifying and working with a scholar/discussion facilitator and with local partners (organizations, agencies, and groups whose constituents have a special interest in the series subject). The library will need funds to purchase materials and to provide an honorarium and travel expenses (if necessary) for the scholar. Part I: Planning Guide of this manual provides additional information and tips to help libraries plan, publicize, and implement a series.
SECTION A: PLANNING THE SERIES
Why Have a Viewing And Discussion Series?
We humanize what is going on in the world and in ourselves only by speaking of it, and in the course of speaking of it, we learn to be human. Hannah Arendt, Men in Dark Times
Well-conducted discussion is action. Discussion is growth, clarification, self-discovery, change, understanding and any combination of these and other ‘events’. Richard A. Lewis, Discussing the Humanities
The long history of successful viewing and discussion series in libraries is a based largely on their offering something for everyone who takes part. Listed below are some of these advantages. You will experience others as well, so enjoy!
Tune in to WIII-FM (What Is In It For Me?)
For libraries:
· builds social capital for the library: image shaping, community building, showcasing the public library’s role as a vital community cultural center
· program format and project procedures have been proven workable
· program materials (DVDs, etc.) are of excellent quality
· scholar/discussion leaders/experts are identified for the library
· establishes or enhances community partnerships
· encourages use of library's collection
For scholars:
· a receptive audience who seek lifelong learning experiences
· no tests or papers to grade
· potential to have their own scholarship informed by interaction with people whose long and varied life experience is much different from that of the usual college students
For participants:
· equivalent of a free college course
· user-friendly atmosphere of the library, open forum for discussion
· free access to additional materials in varied formats on the series topics
· meet and talk with other people interested in the same subjects
· interaction with humanities scholar as informed guide and discussion facilitator
Thanks to Frannie Ashburn
(former Director, North Carolina Center for the Book)
for sharing this list.
Introduction
Tribeca Film Institute has selected and developed the materials you'll need to host a series: the films, the essays (to be downloaded from the Tribeca Film Institute website, www.tribecafilminstitute.org/americasmusic/, and photocopied for participants) and publicity materials. You will identify your audience, provide the meeting space and equipment to screen the films, engage a scholar/discussion facilitator, and publicize the series.
Remember: Careful planning = Success
Planning helps you define what constitutes success for your project and what steps are necessary to achieve this success. Planning will answer the questions:
· What is the purpose of hosting the series in your library?
· What audiences do you want to reach?
· How will you go about reaching your goals?
· How will you evaluate the results?
When you decide what outcome you want, you can plan how to achieve it. Much of the work for a Viewing and Discussion series is done up front—and this manual provides step-by-step information to help you do that planning. Once the programs begin, they develop a life of their own and run week-by-week with little additional work on your part. It is essential that all partners work together to understand how to achieve the common purpose. Good planning helps you to avoid misunderstandings, duplication of effort, and wasted resources.
Public discussion programs are partnerships and everyone has an important role to play. Viewing and Discussion materials (films and text) will be the content of your programs and your scholar will lead the group in exploring these materials. You as the library coordinator will keep everything running smoothly so that the participants can do their job, which is to give thoughtful consideration to the ideas and information that they are discussing.