ORANGE COUNTY MUSEUM OF ART Docent Handbook

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TABLE OF CONTENTS

MUSEUM MISSION AND OVERVIEW…………………………………………………………..2 SCHOOL AND TOUR PROGRAMS OVERVIEW…………………………………..…………..5 TOUR PROGRAM GOALS…………………………………………………………..……………7 OPEN ENGAGEMENT…….…………………………………………………………..…………..8 DOCENT PROCEDURES………..……………………………………………..……..………….9 DOCENT COUNCIL BYLAWS……………………………………………………………….....11 DOCENT TOURING AND SCHEDULING PROCEDURES…………..……………………..17 TOUR CAPTAIN TOOLS………..…………………………………………………………….....20 TEACHER GUIDELINES………….………………………………………………....................22 CHAPERONE GUIDELINES………..……………………………………………….................24 LIBRARY GUIDELINES…………………………………………………………………………..26 SAFETY GUIDELINES………………………………………………………………....………...27 TOUR OBSERVATION FORM…………………………………………………………………..30

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ORANGE COUNTY MUSEUM OF ART Museum Mission To enrich a diverse and changing community through modern and contemporary art. Museum Vision Create a new paradigm of interactive dialogue between art and the public. The Orange County Museum of Art is the premier visual arts organization in Orange County, California, serving a population of nearly three million residents in one of the fastest-growing metropolitan areas in the country. Critically acclaimed exhibitions such as Mary Heilmann: To Be Someone, Birth of the Cool: Art Design, and Culture at Midcentury, and Alexander Calder and Contemporary Art: Form, Balance, Joy draw more than 60,000 visitors annually. Some 15,000 children and adults participate in award winning education programs. The museum's collection comprises nearly 2,500 objects, with a concentration on the art of California from the mid 20th century to present. Originally incorporated in 1918 as the Laguna Beach Art Association, the museum grew, expanded its facilities in Laguna Beach, Newport Beach and Costa Mesa into nationally recognized programs, and in 1996 took the name Orange County Museum of Art. The museum is especially noted for organizing important exhibitions of contemporary art, including the first surveys of Vija Celmins (1980), Chris Burden (1988), and Tony Cragg (1990), as well as major exhibitions of work by Lari Pittman (1983), Gunther Forg (1989), Charles Ray (1990), Guillermo Kuitca (1992), Bill Viola (1997), Inigo Manglano-Ovalle (2003), Catherine Opie (2006), and Mary Heilmann (2007). Thematic exhibitions of contemporary art have ranged from Objectives: The New Sculpture (1990) which presented the work of Grenville Davey, Katharina Fritsch, Robert Gober, Jeff Koons, Annette Lemieux, Juan Munoz, Julian Opie, and Haim Steinbach to Girls' Night Out (2003), which presented work by Eija-Liisa Ahtila, Elina Brotherus, Dorit Cypis, Rineke Dijkstra, Katy Grannan, Sarah Jones, Kelly Nipper, Daniela Rossell, Shirana Shahbazi, and Salla Tykka. In 1984, the Museum launched the California Biennial, which has grown to become the premier exhibition for emerging artists in the state and has become internationally recognized as an important contribution to the art world. The 2008 California Biennial was the largest and most ambitious to date, including works by over fifty artists and 24 off-site presentations. Many of the past California Biennials artists have gone on to receive international recognition including Tony Berlant, Mike Kelley, Ed Moses, Mindy Shapero, Kori Newkirk, Yoshua Okon, Kaz Oshiro, Mark Bradford, Mario Ybarra Jr., Walead Beshty, Sterling Ruby, Amy Franceschini, Amanda Ross-Ho, Karl Haendel, and Ruben Ochoa. In addition to its significant contributions to the field of contemporary art, the museum has also organized and hosted important exhibitions of modern art and design such as Edvard Munch: Expressionist Paintings, 1900-1940 (1983), The Interpretive Link: Abstract Surrealism into Abstract Expressionism: Works on Paper, 1938-1948 (1986), The Figurative Fifties: New York Figurative Expressionism (1988), Edward Hopper: Selections from the Whitney Museum of American Art (1991), American Modern, 1925-1940: Design for a New Age (2001), Light Screens: The Leaded Glass of Frank Lloyd Wright (2003), and Birth of the Cool: Art Design, and Culture at Midcentury (2007).

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MUSEUM INFORMATION

Orange County Museum of Art 850 San Clemente Drive Newport Beach, CA 92660 Main Museum: (949) 759-1122 Main Fax: (949) 759-5623 Fax for tour requests: (949) 999-2602 Email: info@ocma.net Please contact Ursula to reserve a meeting space Ursula Cyga ucyga@ocma.net 949.759.1122 x200

EDUCATION STAFF

Director of Education and Public Programs Lisa Silagyi 949.759.1122 x218 lsilagyi@ocma.net School and Tour Programs Manager Jenni Stenson 949.759.1122 x217 jstenson@ocma.net Family and Public Programs Manager Kelly Bishop 949.759.1122 x 248 kbishop@ocma.net Tour and Studio Programs Assistant Dorothy McClelland 949.759.1122 x204 dmcclelland@ocma.net

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ORANGE COUNTY MUSEUM OF ART Education Imperative To engage and enliven our community with innovative programs. Education Initiatives:

1) Deliver visual arts education to K-12 students in Orange County 2) Create opportunities everyday for families to experience art together. 3) Inspire adults with lively arts and culture programs throughout the day and evening.

Department Overview The three main areas of the Education and Public Programs Department and its programs are: School and Tours Programs

• Tours and training of gallery educators (docents and interns) • Teacher professional development • Curriculum development and delivery of print and on-line publications

Public and Interpretive Programs Public lectures, artist talks, panel discussions and symposia After hours programs, film and video screenings and other special events Print and web-based gallery guides and interpretive materials

Family and Community Programs

• Second Sundays Education Goals For the Visitor Experience

1) Think about art in new ways 2) Fun and entertaining 3) Inspire curiosity and encourage creativity 4) Create a sense of belonging 5) Relevant and responsive to the community

The education department depends on visitor evaluations to evaluate how we are meeting our outlined goals. Below are questions we use to evaluate the visitor’s experience. Questions to Evaluate Visitor Experience

1) Think about art in new ways

a. I thought about art in new ways. 2) Fun and entertaining

a. I had fun at the museum. 3) Inspire curiosity and encourage creativity

a. This program inspired curiosity. b. This program encouraged creativity.

4) Create sense of belonging a. This program made me feel more comfortable attending/visiting museums. b. This program created a sense of belonging.

5) Relevant and responsive to the community a. This program is relevant and responsive to visitors.

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Orange County Museum of Art School and Tour Programs Overview

OCMA’s School and Tour programs aim to inspire a sense of creativity, inquiry, and imagination in people of all ages through meaningful museum experiences. School and Tour Programs consist of: Gallery Opportunities Exhibition Tours: School and public tours are designed to engage visitors in making discoveries about works of art through guided looking and inquiry. Visitors are encouraged to use their own observations to actively construct meaning, make connections, and explore ideas about art and culture. Tours are conducted by OCMA’s corps of gallery educators who have all completed a rigorous training program. open engagement: open engagement allows visitors to experience OCMA’s exhibitions in a low-risk, informal way. Educators stationed throughout the galleries engage visitors in informal conversations and answer questions about the works on view. open engagement provides a personalized museum-going experience, empowers visitors to make meaning, and creates a more accessible and relevant way of exploring the art. Self-Guided Visits Groups of all ages are able to schedule a self-guided visit when the galleries are open to the public, allowing them to explore the exhibition at their own pace. Elementary and High School Programs Pre-Visit Activities: Pre-Visit activities are standards-based lesson plans that teachers may use in their classroom to help prepare students for their museum experience. Each pre-visit activity comes with a PowerPoint of artworks from the exhibition, discussion questions, writing activities, and art projects. Students learn vocabulary and conceptual ideas that they can use again during their museum visit. Exhibition Tours: School tours are designed to engage students in making discoveries about works of art through guided looking and inquiry. Students are encouraged to use their own observations to actively construct meaning, make connections, and explore ideas about art and culture. Hands-on Studio Process: Students (grades 2-8) have the opportunity to create their own work of art in our studio classroom. These projects reinforce key concepts taught in the museum galleries and encourage students to experiment with art materials and exercise their imaginations. Art and Music: This collaborative program with the Philharmonic Society of Orange County offers high school students a guided tour of the museum exhibitions and a one-hour live music performance. This program changes yearly according to the museum exhibitions. Teacher Resources Curriculum Materials: OCMA offers classroom curriculum materials that connect our collection and exhibitions to core subject areas and allow teachers to incorporate the visual arts into their lesson planning. All of our curriculum materials support interdisciplinary learning and state learning standards. Professional Development: OCMA offers professional development opportunities for teachers to deepen their understanding of modern and contemporary art and to impart this knowledge to their students.

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School and Tour Programs Overview cont.

Student fieldtrips to the museum form a central component of the School and Tour Programs, and provide an interactive first-hand experience with art for students of all ages and socioeconomic backgrounds. OCMA’s School and Tour Programs annually serve over 6,000 K-12 and College students throughout Orange County’s 27 districts. Nearly 60 percent of K-12 students come from schools receiving Title 1 funding.

School and Tour Partnerships

OCMA has fostered partnerships with local schools and school districts to create a memorable and meaningful art experience for local students. Partner schools receive priority in scheduling their Tour and Studio Process, free family passes for each student, and a $100 transportation reimbursement. HBCSD – Huntington Beach City School District HBCSD has partnered with OCMA since 2009, annually bringing all of their fourth-graders, approximately 800 students, to the museum every spring. N-MUSD – Newport-Mesa Unified School District N-MUSD has partnered with OCMA since 2007, bringing over 2,000 of their fourth-grade students every fall to the museum. OCEAA – Orange County Educational Arts Academy OCEAA is a charter school in Santa Ana that brings all of their 2nd-8th graders, approximately 450 students, twice a year to view the latest exhibition. OCEAA has had a fruitful partnership with OCMA since it was piloted in 2006. OCHSA – Orange County High School of the Arts OCHSA, a visual and performing arts high school in Orange County, annually brings all of their visual arts students, approximately 220 students, since the partnership began in 2006. Harbor Day – Harbor Day School Harbor Day, a private school in Corona del Mar, brings 200 students from various grades to visit OCMA’s galleries for an extended museum experience led by Education staff. OCMA staff and an exhibition artist visit the school site after the gallery visit for a hands-on experience. This partnership was piloted in 2011. OCMA Partnership Guidelines Prior to Annual Visits (8-12 weeks in advance of 1st partnership visits)

− Meeting with Education staff to discuss upcoming exhibitions, any feedback from last year’s visits, scheduling procedure for upcoming visits, and any changes made to programming they should be aware of.

− Get arts calendar for the upcoming year, so OCMA staff can attend Site Visits

− Annual site visit with interns working on the partnership to see teachers in action Post-Visit Follow Up

− Each partner will receive a packet with the following: o Highlights of evaluation, questions to ponder based upon evaluation o Thank you note from staff o Photos from student visits o Lesson plans for hands on and pre-visit o Numerical info about student visits

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SCHOOL AND TOUR PROGRAM GOALS

The Orange County Museum of Art seeks to create a new paradigm of interactive dialogue between art and the public.

TOUR PROGRAM GOALS

The Tour Programs supports this vision by:

• Creating opportunities for stimulating and participatory experiences that explore the art and ideas of our time

• Offering a platform for museum visitors to express and share their ideas • Celebrating the diversity of visitors’ voices by validating their meaning-making over a single

authoritarian voice • Experimenting with modes of engaging museum audiences and expanding their ideas of what a

museum experience can be

A gallery educator facilitates meaningful encounters with the collection by: • Creating a space of engagement with art, making visitors feel welcome and at ease • Asking open-ended questions to initiate discussion and further exploration • Inspiring looking to learn • Extending visitor understanding • Teaching concepts and ideas that visitor can draw from to look further independently • Meeting each visitor where they are

The Tour Program is guided by the belief that it is rewarding to spend time with works of art; that inquiry leads to discovery; and that well-researched and selective information and making connections between artworks deepens understanding.

STUDIO PROCESS GOALS The Studio Programs supports this vision by:

• Providing a safe, inclusive and democratic setting where participants feel comfortable to experiment, take risks, think creatively, and explore uncertainty and ambiguity.

• Placing the visitor at the center of open-ended, process-oriented art making experiences that allow them to exercise their creativity and imagination.

• Investigating exhibiting artists’ creative process and then using those discoveries to inform students’ own artistic process from the ground up - brainstorming ideas, exploring new materials, experimenting with new techniques, testing new ideas and ultimately creating a work of art, and reflecting on the experience.

A studio teacher facilitates memorable art-making experiences by:

• Teaching with open-ended directions, allowing each student the opportunity to discover their creativity and think like an artist. Students have the chance to explore and experiment with different materials and processes and are also offered opportunity for reflection and meaning-making.

• Encouraging participants to articulate their ideas, perspectives, and opinions through dialogue. • Providing ample time and room for imagination, play, and reflection. • Modeling the creative process through their teaching and art-making.

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New Touring Program: open engagement Experience OCMA's exhibitions in a whole new way. Share your voice, your ideas, and your interpretations about the works on view. Educators will be in the galleries to engage in informal conversations and to answer questions. Outline of Goals for the Pilot

• ENGAGEMENT: Personalize the museum-going experience by offering opportunities for visitors to participate by sharing ideas and asking questions.

• EMPOWERMENT: Validate and celebrate visitors’ meaning-making (over the sometimes singular authoritarian voice of the gallery wall label or a lecture-based tour). Expand their idea of what a museum experience can be. Leave visitors with the desire and tools to learn more.

• RESPONSIVENESS: Make museum content more accessible and relevant by helping visitors make links and connections to the art by being responsive to their comments and inquiries

Considerations for Approaching Visitors in the Gallery

• Before approaching a visitor or group, take a moment to observe them to try to determine the motivation(s) for their visit and best approach.

• Each approach should be personalized for the individual. Educator John Falk has outlined five experience types for museum visitors. You can use his categories as a catalyst to think about what different visitors seek from their experience and how you can engage them. These are fluid categories and the same person can be motivated by different things at each visit. We have nearly 50% repeat visitors for our Second Sunday programs, so many visitors may have already seen the exhibition and may have different motivations than a first time visitor.

1. Explorers–motivated by personal curiosity (i.e. browsers)

2. Facilitators–motivated by other people and their needs (i.e. a parent bringing a child)

3. Experience-Seekers–motivated by the desire to see and experience a place (i.e. tourists)

4. Professional/Hobbyists–motivated by specific knowledge-related goals (i.e. a scholar researching a specific topic)

5. Rechargers–motivated by a desire for a contemplative or restorative experience

• Think about what information (where they’re from?, is this their first visit?, why they came?, etc.) you may need from the visitor to help craft a meaningful engagement. Please be selective about the questions you ask of the visitor at the start of your interaction. Use their answers to determine how to tailor your approach.

• Gauge the visitor’s level of interest and be aware of when it is time to move on to another visitor or

group.

• You do not need to know everything about all of the works in your zone. Your role is both facilitator and resource. If you don’t know the answer to a visitor’s question, admit that you don’t know. If you know resources where they may be able to find the answer, share them. If a visitor wants to look at a work you are unfamiliar with, go explore it with them.

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DOCENT PROCEDURES STATUS The Docent Council recognizes six categories of service requirements. Please refer to Article III of the 2006 Docent Bylaws for details. Each year before the fall tour season starts, Docents will choose a day of the week they wish to commit to for the rest of the year. Every two months they will be asked by their Day Mentor to list the dates that they are not available for tours. Docents are responsible for providing scheduling information in a timely manner. If unable to attend an assigned tour, the docent is responsible for finding a substitute. Email contacts may be found in the docent roster. When a docent arranges for a substitute, he or she must inform the Tour Captain, the Day Mentor and Tour and Studio Programs Assistant. In the event of an emergency (less than 24 hrs notice), the Day Mentor and Tour and Studio Programs Assistant must be called. TRAINING COURSE The docent training program features instruction in education philosophy, interpretation strategies, and touring techniques, as well as lectures in modern and contemporary art. Participants explore a variety of ways to lead visitors – the general public, families, teens, and elementary school students – through our wide-ranging exhibitions. CONTINUING EDUCATION Additional training will be required each time exhibitions change and will consist of a lecture by the curator, thematic tour training by the Continuing Education Committee and School and Tour Programs Department, and discussion among the docents. These meetings will also be a chance for docents to share concerns and information with the group. WALKTHROUGHS Docents who have provided availability for the upcoming exhibition are eligible for the initial curator-led tour of new exhibits by email invitation only and must RSVP to reserve a place. Non-touring docents are not eligible for the initial curator-led tour but are eligible for other curatorial or staff-coordinated tours offered during the evening. An advance RSVP is required as space is limited. Docent Doings will publish the evening walk-through dates to the general membership. Curator-led tours for Gallery Educators will not be published in Docent Doings. Instead, the Vice President of Education will send the email invitations to the Gallery Educators, collect the RSVPs and advise the Education Department on the number participating in the walk-through. GALLERY EDUCATOR Docents who provide tours, as well as our volunteer interns, are conferred with the status of gallery educator. This term is used to describe someone who teaches in the galleries. TOURING HOURS If a docent offers availability for a scheduled tour (T-F from 10:00am-12:00pm), the docent will be credited two hours. If a docent offers availability for a public tour (Th, Sat, or Sunday at 1:00pm), the docent will be credited two hours. If a docent offers availability for open engagement (Second Sunday from 2:00-3:30pm), the docent will be credited three hours. For all other purposes, if a docent is asked to step in to provide a one hour tour to a group scheduled through the Education Department, the docent will be credited two hours. For these tours, the docent is responsible for reporting the number of hours that he/she should be credited to the scheduling chair. OBSERVATIONS 1. Trainees will be observed during training sessions to test the effectiveness of training and look for areas to improve. 2. Gallery educators will participate in a biennial review with an Education staff member and Peer Docent. This review will consist of a tour observation, follow-up discussion with the School and Tour Programs Department, and written evaluation. Observation Forms for tours are available to all docents in their handbooks. Please review to understand docent expectations.

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3. The School and Tour Programs Department will tour the galleries with gallery educators from time to time to spot check training needs. 4. Gallery educators should know that teachers and other representatives of visitors' groups will be asked to evaluate programs. 5. Gallery educators are encouraged to participate in peer review to help each other grow. 6. Gallery educators are encouraged to make suggestions about training or to express needs or areas of confusion. The School and Tour Programs Department will be able to work with docents on problem areas and make suggestions to their mentor. 7. A file will be kept on each docent and is available to the assignee. It will contain copies of observations, scheduling info, etc.

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Camille and Eric Durand Docent Council Bylaws ARTICLE I – NAME This organization will be known as the Camille and Eric Durand Docent Council of the Orange County Museum of Art (OCMA), hereafter referred to as the Docent Council. Members will be called Docents. The Docent Council will be governed by these By-laws and will not conflict with the By-laws of OCMA. ARTICLE II – PURPOSE The Camille and Eric Docent Durand Docent Council is a volunteer, dues-paying organization whose purpose is to support and amplify the functions of OCMA in the community. Working with the Education Department, the Docent Council provides meaningful educational experiences that engage diverse audiences in observation and discovery of works of art exhibited by the Museum. Docents exemplify the importance of intellectual curiosity by participating in training, recruitment, professional development and group activities. ARTICLE III – MEMBERSHIP The Docent Council recognizes six categories of service requirements. Section 1. Categories a. Trainee: a non-voting Docent-in-training who fulfills the following requirements: 1. Meets with Docent Training Chair(s) and an Education Department representative, and is accepted into Trainee status. 2. Fulfills all training requirements. 3. Becomes a Museum member and pays all Trainee fees. 4. Is encouraged to attend Docent Council meetings. 5. Is evaluated by Education Department for acceptance into Docent Council. b. Provisional: a voting Docent-in-training who fulfills the following requirements: 1. Has graduated from the Docent training program. 2. Maintains Museum membership. 3. Pays Docent dues according to Article III, Section 3. 4. Commits one year of service after completing the Docent training program. 5. Contributes 100 hours or more of service each year including: Tours: 60 hours Continuing Education: 16 hours Briefings: Attends exhibition briefings and walk-throughs General Meetings: 14 hours (7 – 9 meetings) Mentor and/or Day meetings: 6 hours Docent Tours Observation: 4 hours 6. Is evaluated during the year by their docent trainers and Education Department staff to determine whether or not Active Docent status is appropriate. 7. Finds tour substitutes if an emergency situation arises. c. Active: a voting Docent who fulfills the following requirements: 1. Has completed the Provisional year. 2. Maintains Museum membership. 3. Pays Docent dues according to Article III, Section 3. 4. Commits as an Active member for a minimum of two years. 5. Contributes 100 hours or more of service each year including: Tours: 60 hours Continuing Education: 16 hours Briefings: Attends exhibition briefings and walk-throughs General Meetings: 14 hours (7 – 9 meetings) 6. Follows all Docent Council Standing Rules, Tour and Scheduling Procedures. 7. Finds tour substitutes if an emergency situation arises. 8. Is observed every other year by a member of the Docent Council Observation Committee and Education Department staff.

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d. Supporting: a voting Docent who has served as an Active member for at least five years, who requests in writing Supporting status, and who fulfills the following requirements: 1. Maintains Museum membership. 2. Pays Docent dues according to Article III, Section 3. 3. Contributes 60 hours or more of service per year, including: Tours: 12 hours Continuing Education: As related to tour schedule Briefings: As related to tour schedule General Meetings: 12 hours (6 – 9 meetings) 4. Follows all Docent Council Standing Rules, Tour and Scheduling Procedures. 5. Finds tour substitutes if an emergency situation arises 6. Is observed every other year by a member of the Docent Council Observation Committee and Education Department staff. e. Sustaining: a voting Docent who has served as an Active or Supporting member for at least seven years and who requests in writing Sustaining status, and who fulfills the following requirements: 1. Maintains Museum membership. 2. Pays Docent dues according to Article III, Section 3. 3. Is encouraged to tour and to participate in elective activities and Docent affairs. 4. Follows all Docent Council Standing Rules, Tour and Scheduling Procedures. 5. If touring, finds tour substitutes if an emergency situation arises. 6. If touring, is observed every other year by a member of the Docent Council Observation Committee and Education Department staff. f. Emeritus: a non-voting Docent who is recognized at the discretion of the Docent Council Board. The Emeritus Docent has served as an active member of the Docent Council for a minimum of ten (10) years and has contributed outstanding service to the Docent Council, the Museum and/or the arts community, and who fulfills the following requirements: 1. Maintains Museum membership. 2. Is not required to pay Docent Council dues. Section 2. Change in Membership Status a. A member may resign by writing to the Docent Council‘s Membership Chair. b. The Council may require a probationary period or the resignation of a docent member for repeated failure to meet Docent requirements as set forth in the Bylaws, Standing Rules and Tour and Scheduling Procedures. c. Upon written request to the Docent Council‘s Membership Chair, a leave of absence may be given to an Active Docent who is a member of the Museum in good standing and has paid docent dues, but who cannot meet the requirements as specified in Section 1, C. d. Upon application, a former Docent who resigned in good standing may be reinstated at the Board’s discretion. e. To receive a five year recognition award, a docent must serve in an active capacity for five full years. Docents will receive additional recognition awards at five year intervals if during that period they have met the requirements for supporting docent status. f. Docents who formerly have served OCMA and would like to resume active touring service as docents will be obliged to meet the following requirements to be reinstated:

• Docents desiring to resume OCMA services as an active docent after an absence of more than two (2) years will be required to participate in the art history segment of the Docent Training program

• Docents desiring to resume OCMA services as an active docent after an absence of five (5) or more years will be required to participate in the full course of docent training, including art history and techniques.

• A mentor will be offered and encouraged for all returning docents, but will be assigned to any returning docent who has been absent from OCMA for two (2) or more years.

• Special arrangements may be made for returning docents, upon evaluation by Training and Education Department staffs.

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Section 3. Financial Obligations a. The Docent Council Fiscal year will begin on July 1 and ends on June 30 of the following year. b. Docent dues are paid between May 1 and June 30. c. Dues are delinquent after July 1. d. Failure to pay dues on or before August 31 will result in loss of docent membership and privileges. e. Dues are non-refundable. ARTICLE IV – BOARD The governing body of the Docent Council is the Docent Council Board composed of elected Officers, Standing Committee Chairs and Special Appointees. Any Active, Supporting or Sustaining member, or provisional docent, upon the recommendation of their trainer(s), is eligible for election or appointment to the Docent Council Board. The Board members will attend all Board meetings or notify the President of their absence. A member of the Education staff of the Museum may be in attendance at all Board meetings. The Board will be elected annually at the May General Council meeting and installed in June. Section 1. Officers PRESIDENT: Presides at all Board and Council meetings, presides at the Docent Council Executive Committee meetings, represents the Council on the OCMA Board of Trustees and other committees as required by the OCMA Board of Trustees. Oversees the Council monies and shall appoint additional Committee Chairs as needed with approval of the Board. The President is a member of all Docent Council committees and for all other functions, or appoints a Docent Council member to represent her/him. The Board may grant the President an abbreviated touring schedule VICE PRESIDENT, Programs: Assumes the duties of the President in her/his absence; Works with the Education Department in planning Council programs; Reviews the plans for Council field trips with Committee Chair(s)and oversees Field Trips, Hospitality, Historian and Newsletter Chairs and the Parliamentarian. VICE PRESIDENT, Education: Works with the Education Department to coordinate programs related to the development and enhancement of docent touring skills; Coordinates with related Committees: Continuing Education, Day Mentors, Observation, and Training. VICE PRESIDENT, Membership: Coordinates activities related to the well being of docents, including the recruitment of new docents, monitoring and communicating the status of current docents, and working with Education department to publish the Roster. Oversees the Recruitment Chair and the Scheduling Chair. SECRETARY: Records and retains minutes at all Council and Board meetings; After President’s approval, distributes minutes to Board members for any changes; Handles general correspondence. TREASURER: Collects Council dues and maintains a record thereof; Deposits all funds in the name of the Docent Council in depositories designated by the Docent Council Board; Makes payments authorized within the Docent Council budget; Keeps an account of receipts and disbursements; Submits a report of receipts and disbursements at each regular Board meeting;

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Prepares the Docent Council budget in conjunction with the Education Department and Budget Committee in the first quarter of each year; Submits the proposed budget for Docent Board approval in March of each year; Submits the approved budget to the Education Department to be in included with the Museum’s budget no later than March 15 of each year; At the final meeting of the docent fiscal year, treasurer submits the year-end annual report. Section 2.Committees: Education, Administration, and Programs Education Chairs: CONTINUING EDUCATION: Works with the Education Department to provide educational programs for the Docent Council. DAY MENTORS: Meets with Education Department staff to discuss approaches to new exhibitions; Coordinates informal gatherings corresponding to each new exhibition to facilitate discussions and address concerns; Coordinates with their day’s docents to produce an availability schedule in Excel format every two months and submits the form to the Tour and Studio Programs Assistant; actively connects with their day’s Provisional docents, ensuring they follow procedures and routines; initiates discussion with docents who are not meeting their commitments OBSERVATION: Works with Education Department to evaluate at least 50% of the touring Docents each year. Establishes a committee to assist in conducting observations. First-year Docents and Docents returning from a leave will be observed during their first year. TRAINING: Meets with prospective docents in conjunction with the Education Department to conduct interviews and explain the requirements and obligations of the training program. Works with the Education staff to determine the final selection of the training class from those interviewed. Works with the Education Department to establish the training syllabus and to train prospective docents. Acts as a mentor to those in the training program. Attends information meeting(s) for prospective trainees prior to training as well as trainee graduation. The Board may grant the Training Chair an abbreviated touring schedule. From time to time, the training position(s) may be temporarily suspended by the Education Department and Docent Council Board as deemed necessary. Membership Chairs: RECRUITMENT: Acts as a liaison between potential new trainees and the Membership Committee prior to the start of a new training program. SCHEDULING: Collects, compiles, maintains, and makes available a record of all volunteer hours of Docent Council members. Program Chairs: FIELD TRIPS: Plans and organizes Docent Council field trips to galleries, museums, artist studios, collector’s homes, etc. Works in conjunction with OCMA’s Education Staff to select destinations. HISTORIAN: Maintains a photographic record of activities of the Docent Council functions as well as any pertinent paper records of activities. HOSPITALITY COORDINATOR: Plans hospitality at offsite events for Docent Council functions and hospitality for General Council meetings.

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NEWSLETTER: Produces and distributes the Docent Council newsletter PARLIAMENTARIAN: Guides the Board members at all Board and General meetings in accordance with Robert’s Rules of Order; Initiates changes to the By-laws and Standing Rules; Serves as advisor to the Nominating Committee. Section 3. Annual Reports Each Officer, and Committee Chair will maintain an up-to-date procedure notebook and submit an annual report to the President and Education Department. A written report will be submitted at the last Board meeting, but no later than July 1st. Section 4. Term of Office The term of each Officer and Committee Chair will be one year, not to exceed two consecutive years in the same position. The President with approval of the Board has the right to extend an Officer’s or Committee Chair’s term under special circumstances. Section 5. Vacancies If a vacancy occurs in any position, the President with approval of the Board may appoint a voting member to fill the unexpired term. ARTICLE V – SPECIAL COMMITTEES Section 1. Nominating a. Consists of the Parliamentarian as advisor and nine members elected at the February General Council meeting. Five members will be nominated and approved at the Board meeting and four members, plus an alternate will be nominated from the floor at the General Council meeting. b. The Nominating Committee Chair will be selected from and by the nine members at the first meeting. c. Presents the Officer and the Committee Chair slate for Board approval at the April General Council meeting. d. Chair announces the approved Slate of Officers at the April General Council meeting and asks for nominations from the floor. The General Council will vote on the proposed Slate of Officers at the May meeting. Section 2. Executive Committee comprised of no less than six nor more than ten members, only two of whom may be non-Board members, selected by the President with recommendations from museum staff; Committee meetings held on an as needed basis, at the discretion of the Council president; Committee has power to make and pass motions without approval of the Docent Council Board. Section 3. Budget a. Comprised of the president, treasurer, vice presidents and Education Department staff. b. Meets on annual basis in the first quarter of each year. c. Advises the Treasurer of financial needs that may be considered in budget preparation. Section 4.Additional Committee Chairs Additional Committee Chairs may be appointed by the President and approved by the Board if the need arises during a term. ARTICLE VI – MEETINGS Section 1. Board meetings will be held every month. 1.a. Executive Committee meetings held on an as needed basis, at the discretion of the Council president. Section 2. Docent Council meetings will be held each month except July, August and December. Section 3. Special meetings may be called by the President or upon request of one-half of the voting Council membership.

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Section 4. One-third of the voting members present at a General Council meeting and who are eligible to vote constitute a quorum at the meeting. Without a quorum, no motions may be carried. Section 5. Each Board position will have one vote. A simple majority is required to conduct Council business. Section 6. The most recent Robert’s Rules of Order will govern all proceedings of the Docent Council. ARTICLE VII – NOMINATIONS AND ELECTIONS Section 1. The Nominating Committee will submit a slate of Officers for election and recommended Committee Chairs at the April General Council meeting. Section 2. Nominations for elected Officers and recommended Committee Chairs may be made from the floor at the April meeting or by written ballot prior to the May meeting with prior consent of the person nominated. Section 3. The election will be held in May and installation of officers will take place in June. ARTICLE VIII – AMENDMENT OF BY -LAWS With one month’s notice, these By-laws may be amended by written ballot or at any General Council meeting with a two-thirds majority vote of the votes cast. Refer to Article III, Section 1 for definition of voting members.

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DOCENT TOURING & SCHEDULING PROCEDURES

School tours are scheduled Tuesday-Friday at 10:00 and 11:00 AM. Public Tours are offered Thursday, Saturday and Sunday at 1:00 PM. Tours can be scheduled outside of this time and are considered Special Tour Requests. The School and Tour Programs Manager will send an email to all docents to fill Special Tour Requests. Day Mentor The Day Mentor is committed to being a leader, support person, and organizer of his/her day. There are five Day Mentors: Tuesday, Wednesday, Thursday, Friday, and Weekend. The Day Mentor is an experienced docent who is a great communicator, self motivated, and personally rewarded by building community within their group and, as a result, the entire Docent Council. • Meets with Education Department staff to discuss approaches and touring rotations for new exhibitions • The Day Mentor plans informal gatherings corresponding to each new exhibition opening for their day

docents and interns (who tour on their given day) • Actively connects with his/her day’s Provisional Docents to ensure they are on board with touring

procedures and routines. • Actively addresses docent issues, inconsistencies, and problems. Initiates discussion with docents who

have questions or who are not meeting commitments. • The Day Mentor is responsible for coordinating with his/her day’s docents to produce an availability form

every two months. Once each docent’s availability has been compiled, this is given to the Tour and Studio Programs Assistant two weeks before the beginning of the proceeding two months. For example, a schedule for July-August is submitted by June 15.

• The Tour and Studio Programs Assistant determines the Tour Captain; the Public Tour Docent; and who will tour each day. This schedule is posted on ocmatours.net for the touring docents.

DAY MENTOR SCHEDULING PROCEDURES 1. Plan a gathering for your day at least once per exhibition rotation. This enables docents to meet new members, socialize, discuss touring procedures and express concerns. Day groups are encouraged to invite interns to brainstorming events. 2. In September of each year, the Tour and Studio Programs Assistant will work with Day Mentors to define a schedule for collecting availability 3. The Tour and Studio Programs Assistant will distribute availability forms to Day Mentors, so that they can collect availability from day docents. A notice to submit availability will be included in Docent Updates. 4. Day Mentors will place a T in all available dates or an X in all days when docents are unavailable. Once compiled, Day Mentors will submit their day’s docent availability to Tour and Studio Programs Assistant. 5. The Tour and Studio Programs Assistant assigns available day docents to public tours, school tours, and Tour Captain duties. 7. The completed tour schedule is sent to Day Mentors who email schedules to: a. Each docent on your day. b. Scheduling Chair DOCENT AVAILABILITY Docent Availability Forms will be distributed according to the following timeline: Availability for September/October will be collected in August Availability for November/December will be collected in September Availability for January/February will be collected in November Availability for March/April will be collected in January Availability for May/June will be collected in March Availability for July/August will be collected in May

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TOURING PROCEDURES

The tour captain is a crucial link between the school, the museum, and the gallery educators. The tour captain’s role is to act as an OCMA ambassador to the teachers visiting the museum. Please review the revised Tour Captain guidelines, as well as tools for tour captains including a new phone script, and follow-up email. Tour Captain (TC) BEFORE THE TOUR • The tour captain name is indicated in all capital letters on the tour schedule posted on ocmatours.net • The tour captain is a crucial communication link between the school, the museum, and the other gallery educators. It is the tour captain’s responsibility to contact the school 1-2 weeks in advance of their trip to the museum. Contact by phone using the “Tour Captain Phone Script.” Please follow up with a detailed email to each of the teachers outlining the schedule and expectations of their trip to the museum. •Immediately notify the Tour and Studio Programs Assistant (949.759.1122x204) of any tour cancellation or changes to the tour schedule. • Email or phone scheduled gallery educators one week before the tour, and tell them about the classes coming to the museum including age, school, how many students, grade level, exhibition, and any student special needs or curricular concerns. If there is no tour, please release gallery educators. • Remind gallery educators to be there at least 15 minutes before the tour is to begin. • If there are not enough gallery educators to adequately cover the tour (creating groups of 10 students or less), contact the Tour and Studio Programs Assistant (949.759.1122x204). THE DAY OF THE TOUR BEFORE THE CLASS ARRIVES • The Tour Captain meets with gallery educators prior to the tour to establish tour flow and other

logistical concerns. • The Tour Captain should send one of the gallery educators to check the galleries to be sure

everything is in place and working. WHEN THE CLASS ARRIVES • When a class arrives for a tour, the Tour Captain greets them and directs the class to the gallery tour or the hands-on art project. Tell the teacher about the plan for their visit and lets them know that the tour will begin promptly at 10:00am. • The Tour Captain helps the teacher divide the class into as many groups as there are Touring Docents. (This can also be done by the teacher in advance of arrival at the museum) • The Tour Captain gathers the chaperones to thank them for their service and remind them of museum rules and their responsibilities during the tour. ►Gallery Educator

• Be prepared to tour. You should receive a call or email one week prior to the touring date. If you do not hear from your Tour Captain, you should call them. In the event you cannot reach your Tour Captain, call the Tour and Studio Programs Assistant. If you are unable to attend an assigned tour, you are responsible for finding a substitute. You can find email contacts on the docent and intern rosters. When you arrange for a substitute, inform the Tour Captain and the Tour and Studio Programs Assistant.

• On the day of the tour, the Gallery Educator arrives at the Museum at least 15 minutes before the scheduled start time of the tour.

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• Make sure the pieces you wish to tour have not been removed or replaced.

►Gallery Educator for Public Tours (PT) • Public Tours are advertised to the public and are an important aspect of our Public Programs. • Arrive 15 minutes before tour and inform desk of your arrival. • Make sure the pieces you wish to tour have not been removed or replaced. • Visit the galleries and inform visitors you will be leading a public tour at the designated time. • Make sure you sign in and out on the sign-in sheet, plus note how many people were on your

tour. Keeping accurate attendance numbers are critical for our education program grant requests.

• If no one requests a tour, you may leave 20 minutes after the scheduled tour time. Be sure to sign the sign-in sheet to receive credit for being there.

• If you cannot make your tour, find a substitute. When you find a substitute for your tour, please contact the Tour and Studio Programs Assistant.

• Public tours are offered on Thursday, Saturday, and Sunday at 1:00PM.

►Gallery Educator for open engagement • open engagement is a new way for visitors to experience OCMA’s exhibitions through informal

conversations with gallery educators in the galleries. It is offered during OCMA’s Second Sunday programs and lasts 90 minutes.

• Before approaching a visitor or group, take a moment to observe them to try to determine the motivation(s) for their visit and best approach. Your approach should be personalized for each visitor.

• Gauge the visitor’s level of interest and be aware of when it is time to move on to another visitor or group

• Make museum content more accessible and relevant by helping visitors make links and connections to the art by being responsive to their comments and inquiries. Leave visitors with the desire and tools to learn more.

• Be sure to sign the sign-in sheet to receive credit for being there. • If you are unable to keep your commitment to open engagement, you must find a substitute.

When you find a substitute for the program, please contact the Tour and Studio Programs Assistant.

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TOUR CAPTAIN PHONE SCRIPT

This script is provided to give you guidelines for your tour confirmation phone call. Please adapt as necessary for your conversation. □ Please call your contact teacher two weeks before scheduled tour. □ Try to call all contact numbers. □ It is okay if you cannot reach the teacher in person. Feel free to leave a message. □ Always follow up with a detailed email to the teacher. □ Call the Tour and Studio Programs Assistant at (949) 759-1122 ext. 204 if you have any questions or concerns. CONFIRMATION OF DATE, TIMES AND NUMBER OF STUDENTS. CURRICULUM RELATED INQUIRIES. □ My notes indicate that we are touring the following exhibition:____________. □ Have you seen the exhibition? Do you have any questions about what is on display? □ Are you studying something right now that we might be able to make connections to? □ Do your students have any special needs (language or developmental) that the gallery educators should be aware of? □ Have you received the pre-visit activity? Will you have a chance to review the material with your students? WHAT THEY WILL SEE. □ The gallery visit will last approximately 50 minutes. The Hands-on art activity, if applicable, will last approximately 50 minutes. □ OCMA gallery tours focus on a limited number of carefully selected works of art. Prolonged looking encourages thoughtful interpretation and responses. ROLE OF THE CHAPERONES. □ The Museum requires at least one chaperone for every ten students. □ Ask them to distribute the chaperone guidelines that are included in their confirmation packet to all chaperones. □ Chaperones must remain with the group for the duration of the tour and be in charge of monitoring student behavior. Please, no cell phone use inside the museum. BEFORE ARRIVING AT THE MUSEUM. □ Review museum rules with students. □ Provide name tags for each student. □ If there are any changes, please contact the Tour and Studio Programs Assistant as soon as possible by calling (949) 759-1122 ext. 204. WHEN YOU ARRIVE AT THE MUSEUM. □ Buses may drop off students in front of the museum. □ Wait outside the main entrance to the museum. □ The Tour Captain will meet you and help to divide students into groups according to the number of gallery educators. □ If possible, please leave all backpacks, lunches and jackets on the bus. AFTER THE TOUR. □ No school groups are allowed in the Museum Store. □ OCMA does not have a picnic area. Schools can have lunch at Irvine Terrace Park (Evita Drive and Seadrift Drive, Newport Beach) or Corona del Mar Main Beach (Jasmine Avenue and Ocean Boulevard, Newport Beach). Schools that stop at Corona del Mar Main Beach should call ahead for availability and parking fees.

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TOUR CAPTAIN FOLLOW-UP EMAIL Dear Teacher Name: This is a follow-up message to the one I left on your school voicemail today. As the Tour Captain for your visit to the Orange County Museum of Art on date of tour, from 10 AM to 12 noon, I would like to welcome you and your students to the museum! I would also like to review the following details in order to make your visit as successful as possible: You have scheduled number of students grade level students to tour exhibition title and participate in a studio process (if applicable). If the number of students has changed significantly, or if we have the incorrect grade level, please contact the Tour and Studio Programs Assistant at 949-759-1122, x204 right away. You will want to arrive at 9:50 AM. Your will be greeted upon arrival and students will be directed to the gallery tour or the studio process. I will meet you and help to divide students into groups according to the number of gallery educators. You will need one chaperone for every 10 students = total # of students divided by 10 chaperones total. However, if you can arrange for # of groups touring chaperones, that would be even better as we will have # of groups touring in the museum. It is the chaperones' main responsibility to make sure that the students follow museum guidelines by staying in groups and not touching the artwork. Each student needs a name tag. This makes it much easier for us to engage the students when discussing the art. Please divide your students into groups ahead of time. We have #of gallery educators, so you will need # groups of # students. As much as possible create groups with a mixture of boys and girls. Please review the "do not touch the art" rule and other museum rules and etiquette as outlined in your confirmation packet, including no food, water bottles, cameras or backpacks in the museum. The confirmation packet also contains a pre-visit materials about exhibition title which will be good preparation for your students if you have a chance to review it with them. Also, please let me know if your students have any special needs (language, development, etc.), so our gallery educators can best prepare for your students. Please let me know that you received this message and if you plan to cover the pre-visit activity. We look forward to meeting you and your students and to sharing a fun and enlightening time at the museum. Sincerely, Your Name, Tour Captain for Date of tour

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Teacher Guidelines (distributed to all teachers who visit the museum) The Education Department of the Orange County Museum of Art wants to ensure your museum visit is a rewarding experience. You are scheduled for a two hour visit including an interactive gallery tour and post-tour hands-on art project. Please take a few moments to review the following materials. If you have any questions or concerns, please call the Tour and Studio Programs Assistant at (949) 759-1122 x 204. ____________________________________________________________________________ Your Confirmation Letter

Please verify the number of students listed on your confirmation letter. If that number changes, please contact the Tour and Studio Programs Assistant at (949) 759-1122 x 204. If you have any students with special needs, please contact the Tour and Studio Programs Assistant so we can adapt our program offerings.

Pre-Visit Lesson Prior to your visit you will receive an email containing an interdisciplinary pre-visit PowerPoint lesson to help prepare your students for what they will experience during their museum visit. Please adapt the lesson to your classroom needs and complete with your students prior to their visit. Museum Preview Present your confirmation letter to admissions staff to receive FREE admission prior to your scheduled museum visit. This is your opportunity to review the current exhibition for any works you would like our gallery educators to highlight or exclude from your students’ tour. Phone Confirmation One week before your museum visit, a gallery educator will contact you to confirm your tour. Please reply to their call or e-mail. The confirmation of your museum visit is critical.

Museum Rules Please review these rules with your students prior to your visit:

1. No touching the artwork. It is important to remind students to look with their eyes and to refrain from touching or pointing. The artworks in the museum are fragile and survive only because of constant care. Please cooperate with our guards and gallery educators and resist the temptation to touch.

2. Food, drinks and gum are not allowed at the museum. 3. Cell phones and portable electronics must be turned off during tours and the post-tour

hands-on art project. 4. Cameras and backpacks are not allowed in the galleries. No photography is permitted inside

the museum. Please leave cameras and backpacks at the Admissions Desk during your tour. 5. Do not take students into the museum store. No students under 18 are allowed in the

museum store. Chaperones One adult is required for every 10 students. The chaperone is required to stay with the group during the entire tour and is responsible for disciplining students within their group. Please distribute the attached chaperone guidelines to all chaperones visiting the museum. Next Page ➨

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Arrival Please arrive 10 minutes prior to your scheduled tour. Your bus will be greeted upon arrival and students will be directed to the gallery tour or the post-tour hands-on art project. If you are running late, please notify the Tour and Studio Programs Assistant at (949) 759-1122 x 204. Name Tags Please provide each student with a name tag. Our tours are interactive and dependent on students’ responses. Tours run best when gallery educators can call on students by name during their tour. After Your Tour Your group can arrange to view the galleries on a self-guided basis. Self-guided groups must be chaperoned and follow museum rules. Please arrange for this when you book your tour. There is no space at the museum for group lunches. Schools can have lunch at Irvine Terrace Park (Evita Drive and Seadrift Drive, Newport Beach) or Corona del Mar Main Beach (Jasmine Avenue and Ocean Boulevard, Newport Beach). Schools that stop at Corona del Mar Main Beach should call ahead for availability and parking fees. Tour Evaluation Please fill out the Tour Evaluation included in your confirmation packet. The evaluation takes 10 minutes and provides us with important information to make your next visit more rewarding. __________________________________________________________________________________

Directions 405 South: Connect to the 73 South and exit Jamboree Road. Turn right on Jamboree. Continue on Jamboree and turn left onto Santa Barbara Drive, then turn left on San Clemente Drive. Take an immediate left into the parking lot. 405 North: Exit Jamboree Road and go left. Continue on Jamboree and turn left onto Santa Barbara Drive, then turn left on San Clemente Drive. Take an immediate left into the parking lot. PCH South: Turn left at Jamboree Rd. Turn right at Santa Barbara. Turn left onto San Clemente Dr. Take an immediate left into the parking lot. PCH North: Turn right at Jamboree Rd. Turn right at Santa Barbara. Turn left onto San Clemente Dr. Take an immediate left into the parking lot. Orange County Museum of Art 850 San Clemente Dr. Newport Beach, CA 92660

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TEACHERS: PLEASE DISTRIBUTE THIS SHEET TO ALL ADULTS WHO WILL BE ACCOMPANYING YOUR GROUP ON THEIR TOUR IN ADVANCE OF YOUR VISIT TO THE MUSEUM. If you have any questions, please call 949.759.1122 x204.

Chaperone’s Guide to a Visit to OCMA

Thank you for being a parent chaperone on your child’s upcoming trip to OCMA! We’re looking forward to seeing you and hope that you have a rewarding experience at the museum. In order to ensure the best possible experience for you and your child’s class, please adhere to the following museum and chaperone guidelines:

• Your attention during the tour is appreciated. Please remain with your tour group for the duration of the tour and help keep students together, both at individual tour stops and during the walks between works of art.

• Expect that tour guides will ask students questions and emphasize interactive discussion rather

than deliver a lecture or stream of facts about the art. • Please keep in mind that due to logistical constraints not all tour groups will see exactly the

same works of art and due to schedule constraints tour groups will focus on 4-6 works of art during their gallery tour.

• You help determine the behavior of your group. The students that you accompany will model

your behavior in the museum. Please be sure to lead by example so that their visit will be as smooth as possible.

• In case of an emergency, please take the student in distress to the admissions desk or contact

the nearest security officer. • Please stay mindful of the museum rules and enforce them with students in your group. They

are designed to ensure the safety of visitors and the artworks on display: o No touching of the artworks. o No touching or leaning on the gallery walls. o Please stand approximately 18 inches from the artwork; please be mindful of this

distance when pointing as well. o No cell-phone conversations in the galleries. o No backpacks or large bags are allowed in the museum. Please leave them on the bus

or in your car. o No food, drink, or gum is allowed in the museum. o No crayons, pens, or other art materials are permitted in the galleries. Only pencils

may be used. o No running, pushing, yelling, or roughhousing in the museum.

We hope that you enjoy your time at the museum. Thank you—see you soon!

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LIBRARY GUIDELINES

The purpose of the library is to provide information on the museum’s permanent collection and its programs. This is a reference library and not a lending library. This means all library materials must be used in the museum and may not be taken from the museum. If you need to take something home, make copies on the copy machine, which has been provided for this purpose in the library. The library is currently split between the Community Room and the Education Intern office (next to the Studio Classroom) Artists’ files are in the four drawer file cabinets to your right as you enter the library in the Education intern office. Folders containing a wide variety of information are filed alphabetically. IMPORTANT: When removing artist file, use “Out” card so file may be properly returned. Artists whose work is in the Museum’s permanent collection are indicated by a red or blue dot on the label. Artist monographs are shelved on the tiers of shelves along the side and back wall alphabetically by the artists’ name in the Education Intern Office. Exhibition catalogs for group shows can be found in the Community Room. These catalogs are shelved alphabetically by city where museum is located and name of museum. The library is open during the hours the offices are open, Monday through Friday, 9:00 a.m. to 5:00 p.m.; however, before coming to use the library check with Ursula at 949-759-1122, ext. 200 to make sure the Community Room or Education Intern Office are not in use.

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GENERAL EMERGENCY/DISASTER EVACUATION PROCEDURES

When you hear the fire/evacuation alarm, or are told to leave the building:

• Remain calm – reassure others. • Leave quickly, but safely. • Take with you: your car keys, purse and/or briefcase. Do not attempt to take large or heavy objects. • The highest-ranking member of the education department shall be responsible for ensuring that all

volunteers evacuate the area. In addition, every volunteer should check that all others in the workspace are leaving as instructed.

• As you exit the building, quickly check nearby restrooms, offices, galleries, etc. for any one who might need assistance.

• Accompany and assist any handicapped person. • Shut all doors behind you as you exit the building (closed doors can slow the spread of fire, smoke and

water). • Proceed as quickly as possible, but in an orderly manner. Do not push or shove. • Once out of the building, move away from the building. • Go to the most convenient Assembly Area. • For the Museum Galleries and Education Center: the preferred Assembly Area for staff is the street

access steps in the center of the parking lot, and Visitors are directed to the low end of the from lot and away from the building.

• Meet with other members of the Education Department, but remain in the Assembly Area. Wait for further instructions.

• Do no talk to the press or anyone else who is not a staff member. The Director and/or the Director of Communications are the only staff members to speak to the press.

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EARTHQUAKE PROCEDURES

Even in a severe earthquake, much can be done to prevent or minimize injuries, and/or damage the Museum’s collection and property. If you are inside a building during an earthquake, stay inside.

• Remain calm – reassure others. • Be prepared for aftershocks. • Dive under a table or desk, or move to an inside corner away from windows. • Watch for falling objects. Grab anything handy (coat, newspaper, cardboard box, etc.) to shield your

head and face from falling debris and splintering glass. • Stay away from windows, mirrors, overhead fixtures, filing cabinets, bookcases and electrical

equipment. • Do not rush outside.

If you are outside during an earthquake, stay outside.

• Remain calm – reassure others. • Be prepared for aftershocks. • Move to an open area away from buildings, walls, trees, lampposts, and power lines. • If forced to be near a building, wall, tree, lamppost, or power line watch for falling objects.

After an earthquake:

• Remain calm – reassure others. • Wait for instructions from Security. • If evacuation is ordered, proceed to Assembly Area (see Facilities Map), and wait for further

instructions. • If someone is injured, immediately notify Security. Do not move seriously injured persons, unless they

are in obvious and/or immediate danger from fire, falling objects, collapsing building, etc. • When evacuating the building: open doors carefully; watch for falling objects; do not use matches or

lighters; avoid using Museum telephones. • Be prepared to fill out a Change of Condition, Damage, or Loss Report form if there was any damage to

the Museum’s collection or property; and an Accident Report Form if any person was injured. • Turn in all completed Forms to Security as soon as possible. • Remain on-site until Security dismisses you.

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ILLNESS OR INJURY PROCEDURES

Some illnesses or injuries are of a minor nature and can be handled by First Aid. In the event of an illness or injury:

• Do not overreact. Remain calm – reassure others. • Immediately report incident to any Museum Staff person, who will contact Security. • Security will dispatch a trained officer, with first aid supplies, who will render the minimum first aid

necessary and determine what additional treatment is required (i.e. call Paramedics). • Unless it is a life-threatening situation, do not attempt to render any first aid yourself before Security

personnel arrive. • Do not attempt to move a person who has fallen and appears to be in pain. Try to make them

comfortable, but do not move them. Security will provide a blanket or covering. • Avoid unnecessary conversation with, or about, the ill or injured person or persons. Unnecessary

conversation might increase the person’s distress or fear, and thereby contribute to the medical shock. Limit your communication to quiet reassurances, but also try to determine by talking with the sufferer and/or observation, whether the injury or illness is serious. If in doubt, Security will call the Paramedics.

• Under no circumstances should a Museum employee, Tour Guide, or Volunteer discuss the possible cause of an accident or any conditions which may have contributed to the cause, nor any information about insurance, with members of the public.

• Be prepared to fill out an Accident Report Form or Witness Statement Form. • Turn in all completed Forms to Security as soon as possible. • Remain on-site until Security dismisses you.