Wednesday, March 21, 2012

The Serious Side of Play
Lessons learned from the book: Play, by Dr. Stuart Brown

Janet Petitpas, Senior Associate, London


George Bernard Shaw said, “We don’t stop playing because we grow old, we grow old because we stop playing,” and Dr. Stuart Brown is in full agreement. Dr. Brown’s recent book, Play: How it Shapes the Brain, Opens the Imagination, and Invigorates the Soul, supports the idea that play is central to our being human and necessary in order to be creative, productive and happy members of our communities.



Dr. Brown is a medical doctor, psychiatrist, clinical researcher and the founder of the National Institute for Play as well as the producer of a three-part PBS series, The Promise of Play, and has appeared on NPR and in the New York Times Magazine.

In the book, Dr. Brown highlights play through biological evolution and gives examples of how play makes the brain more adaptable and smarter. He also give examples of how fun, purposeful play is important in developing social and emotional intelligences in addition to sharpening skills needed for everyday survival even in animals. He gives evidence of the correlation between brain size and the amount of play in different animals and play seems to be one of the most advanced methods nature has invented to allow a complex brain to create itself.

One of the most compelling stories in the book is that of the hiring managers at the jet propulsion labs in California. As their top engineers were retiring they were hiring young hot-shots who had done well in the best engineering programs, but found that many of these engineers couldn’t solve complex problems as well as the older generation. The human resources folks began a study of why this was and conducted a vast number of interviews in order to determine factors that differed between the older engineers and the younger ones to improve their hiring decisions. What they found was that both the older and younger engineers who excelled at solving complex problems were those who worked with their hands in their childhoods – the ones who took radios and clocks apart, built tree-houses, and had an understanding about how things worked in a three-dimensional environment.

One of the types of play highlighted is that of physical play, including being able to play with, manipulate, and alter real materials in your hands, which connects to powerful areas of learning and creativity in the brain.



Other observations highlighted in the book include the study of animals that partake in differing amounts of play. Animal and human play researchers have found that animals that stop playing exhibit more compulsive, rigid and purpose-driven behavior whereas beings that include play throughout their lives are more open to change, exhibit sustained curiosity and are better able to incorporate new information.

Play is frequently used to provide relief when struggling with a big idea or when interacting with others where conflict may be present. A joke at the right time can relax and open people to being able to communicate and listen to another when that might not have been possible without a playful ice breaker. Group play encourages creativity and creates bonds, which is why corporations hold brainstorming sessions and off-site team-building days.

Dr. Brown makes the case that not only does play help our brains to function better, but that there is evidence that play increases our immune strength. Not only is play key to adaptation and survival but it is our culture: our music, art, sports, dance and festivals.

As the knowledge economy is overtaken by the creative economy, play becomes crucial as our brain’s ability to innovate is linked to play. Work can be play, as almost anything can be play if a playful attitude is present. As James Michener wrote:
“The master in the art of living makes little distinction between his work and his play, his labor and his leisure, his mind and his body, his information and his recreation, his love and his religion. He hardly knows which is which. He simply pursues his vision of excellence at whatever he does, leaving others to decide whether he is working or playing. To him, he’s always going both. “



What part can Museums take in encouraging play for all? Museums of all types have the ability to encourage play in visitors of all ages. Children’s museums can create playful environments that parents and grandparent can engage in and all Museums can find ways of allowing visitors to manipulate real things with their hands and experience with their whole bodies. Some of the tips Dr. Brown suggests lend themselves particularly well to the Museum environment:

1. Connect to an individual’s play history. When interviewing adults about play in their childhood, many quote the opportunity to make something with their hands, using specific toys such as dolls, blocks and Lincoln logs and engaging with drama. Museums can encourage these connections by providing manipulative toys that allow generations to talk about their play histories while also providing things like costumes in adult sizes.

2. Expose your visitors to play. Create opportunities for visitors to slow down, sit quietly and listen, pick up a ball or sit on the floor with a child.

3. Give permission to play. Create an environment in the Museum where play feels welcome, un-judged, and people are given the opportunity to laugh at themselves in a safe place.

4. But also give permission to skip play if it’s uncomfortable for anyone.

5. Be active. Museums can creatively present so many ideas and objects through innovative means and can include movement. One of my favorite programs at the Tate Britain was in conjunction with an exhibit of Francis Bacon paintings. They had a movement program called “bend it like Bacon,” which invited visitors to mock the sometimes very strange positions of models in the paintings.

6. Create a safe environment. Free your visitors from the fear that they might fail or look silly when playing. Staff can model play and put visitors at lease and areas where visitors might make funny faces or do something silly might have some privacy walls.

Dr. Seuss’ was an individual who never stopped playing or encouraging play in others through his many books. In honor of his birthday last month here is one of his quotes: “I like nonsense, it wakes up the brain cells. Fantasy is a necessary ingredient in living. It’s a way of looking at life through the wrong end of a telescope. Which is what I do, and that enables you to laugh at life’s realities.” I think Dr. Brown couldn’t agree more.

Click HERE to hear Dr. Stuart Brown talk about play on TED.

Friday, January 27, 2012

Me in 3D: Live Science Research in a Museum Setting
Janet Petitpas, Senior Associate, London


The new identity exhibit at the Science Museum in London, Who am I?, includes a gallery called Live Science in which real scientists come into the Museum to carry out their research using Museum visitors as volunteers.



The current partnership is called “me in 3D” and involves having one’s face photographed by a three-dimensional camera. The study is in partnership with the National Health Service, the Great Ormond Street Hospital for Children, and the Institute for Child Health in which they are hoping to record the differences in facial shape in order to help improve facial reconstruction surgery. While much is known about the bones of the face, little is known about what makes a face the shape it is and about the skin and muscles that make up our faces. By having more information about our faces, researchers will have greater opportunities to plan and perform the best facial surgery they can in the future.



I went and had my face scanned this week and it was a quick and easy process given that the area was not very crowded. Visitors must sign a release form, which is the most time-consuming part of the process, and then remove any earrings or other metal from their head, put on a paper cap and get ready for your close-up! Apparently nine lenses are used, but all of this is accomplished through what seems like one photo as all photos are taken simultaneously.

Once your photo is taken you get a slip with a copy of your release and a sticker with your number on it. There are computers located in the area in which you can access and manipulate your image - I assumed I could go home and access my image from home, but that doesn't seem to be the case. It would certainly be an improvement if you could also access your image at home with your personal access number, but it was satisfying to feel like part of a bigger project that might benefit children and adults in the future.

How are you using live science or resources in your community to link science to your visitors?

Wednesday, December 7, 2011

Up in the Canopy, the Treetop walk at Kew Gardens

Janet Petitpas, Senior Associate, London



In 2008, Kew Gardens opened The Rhizotron and Xstrata Treetop Walkway on International Biodiversity Day. The Treetop walkway is a series of paths and platforms 18 meters (59 feet) up in the air, allowing garden visitors to walk about the tree canopy. At a cost of £3 million, it was designed by Marks Barfield Architects, the firm who also designed the London Eye.

The experience starts underground as visitors enter a crack in the ground to explore an exhibit about the natural world beneath the trees. In this dark space, a mechanical system of cogs and wheels animates different creatures that live under the soil and highlights the relationship between tree roots and micro-organisms. There is no signage but there are video screens showing these micro-organisms and there is something very compelling about the mechanical and industrial aesthetic of the space. Along the flooring is a row of stained glass, which adds color and magic to the exhibit.


The walkway itself was a challenge for designers to install as they were trying to get as close as possible to the tree canopy while also protecting the root system below. In order to protect the trees, a radar survey was taken so that the structure could be placed in a way that would not damage the trees between major roots. In addition, traditional concrete footings were replaced by shallower steel grills so that the smaller, fibrous roots would not be harmed. Each support is tied together but custom-made welded grills.



I usually visit the garden with my children and they always insist on doing the walkway. The elevator has never worked, but we always enjoy the climb and the children especially like the donor element at the top. Visitors can slide a coin into one of three slots and listen as the money clinks through the structure down to a collection box below.



It is a big thrill to be up so high and we are always taken in by the stunning views and the slight vertigo we experience as you can see down to the ground through the flooring of the walkway. The signage is very simple and we do always read it – the signs are brass plaques in relief with one interesting sentence about tree biology. However, we rarely talk about the trees while we are up there and more could be done to draw our attention to the trees while we are up so high.



Once back at the bottom, there is an overturned tree that has been sculpted so that the “circulation system” of the tree is exposed. There are always lots of children climbing on the tree and we always look at the exhibit because as we have become much more interested in learning about trees through experiencing the walkway. It is inspiring to be up so high and be reminded of the beauty of our surroundings when we can really take them in!


Have you experienced a treetop walkway or treetop canopy exhibit elsewhere? Let us know your thoughts about being up in the trees.

Monday, October 17, 2011

Adventure Playgrounds: Putting ADVENTURE in the Playground
Part 3 in a 3 part series

Janet Petitpas, Senior Associate, London.



There are concerns afloat about whether or not playgrounds have gotten too safe and sterile. A summer New York Times article addressed this issue and discussed how playgrounds and parks that offer some risk-taking can be places that encourage children to address their fears and have the opportunity to conquer them. Have adventure playgrounds in London found the right balance?

My observation is that some have worked hard to create environments that are unique and interesting, but that most are staying away from any actual danger or risk. Here, the words “health and safety” only need to be uttered and any risk is squashed out of any idea involving children or presentation to the public in which someone will have to take responsibility for any potential injury. That said, there are a quite a few public places where children and families can have a big adventure, but public playgrounds don’t necessarily seem to be those place.

Adventure playgrounds in London do seem to be succeeding in creating spaces that are unique and different from “off the shelf” playground equipment. In researching the best adventure playgrounds in London (and awards are given annually), several rise to the top. Two of the most highly ranked include:


The Charlie Chaplain Adventure Playground, and


The Kilburn Grange Adventure Playground

Like playgrounds in the United States, the Adventure Playgrounds in London have many goals. Along with the desire to provide imaginative and fun places for children to create their own play and environments, the playgrounds are also seeking to meet universal design and green building standards. Construction materials are often re-claimed and climbers need to offer ramps and alternative ways for children with different abilities to interact with the activities. Sometimes these goals conflict, but all are important to the community and can force interesting and novel solutions.


A lovely way to use re-claimed materials at the Kilburn Grange Adventure Playground.


Many of the adventure playgrounds in London serve children in need and are part of housing projects (the Glamis Adventure Playground is associated with the Tower Hamlets). These larger organizations, along with the local council, supply needed funds as the operations of adventure playgrounds is expensive. Cost seems to be the most limiting factor in providing risk – providing supervision and reviewing safety concerns are staff-intensive endeavors and high cost. As a result, these Adventure Playgrounds have limited hours (after-school and weekends) but provide staff to help and offer more complex opportunities for building and fort/den making.
Glamis Adventure Playground.

So where are these bigger adventures occurring and how are they financed? Across Europe and the United Kingdom both for-profit and non-profit outdoor centers are giving children and families access to scarier adventures.



One of these is the “Go Ape” series of parks in the United Kingdom.

With 27 centers throughout the UK, Go Ape parks are located in forests with tree-top wires, crossings (using ladders, walkways, bridges and tunnels made of wood, rope and super-strong wire) and zip wires all taking place in tree-tops. Attendees are required to attend a safety briefing and training and instructors can be found throughout. It’s not in-expensive with three hour sessions costing £30 per adult ($47) and £20 ($31) per child.



I must admit that the most adventurous museum experience I have seen was at the Tate Modern in 2006/2007. Artist Carsten Höller installated enormous five story steel slides within the turbine gallery. The longest slide was 182 feet long with Holler claiming that slides can help combat mental health problems and viewed the installation as a “playground for the body and the brain.” The slides could be enjoyed as a participant or a voyeur as the top sides were transparent. During the run of the exhibition, children of all ages could be found leaving their adult concerns behind as the experienced the thrill of feeling like a child again and experiencing an activity that made one feel like they were taking a big risk.



The slides were not necessarily for children. Only people taller than two feet and 35 inches could go in the small slides and visitors had to be at least four feet 55 inches to ride the tall slides. Free timed tickets were available for the tallest slides with the smaller sides offering rides on a first come, first served basis.

Safety did remain a concern and the Tate brought in an expert from Germany to check the weldings and screws. Holler reported that the inspector had a great time for half the day! The slides attracted more than 500,000 visitors with the gallery reporting only five injuries.

In conclusion, Adventure Playgrounds in London provide much needed access to outdoor space and spaces that children can create themselves, but increasingly these spaces must limit the interactivity and staff-intensity of their offerings due to cost constraints. The private marketplace is providing adventurous outdoor play spaces for those who can afford to pay for them and some institutions are choosing to take risks to offer visitors of all ages opportunities to take risks and have an adventure.

Let us know what your museum has been doing to provide visitors with some adventure and/or what adventurous experiences you’ve seen recently in the world!

Wednesday, October 5, 2011

What Does it Take to Nurture a Successful Human Being and Can Museums Help?

Janet Petitpas, Senior Associate, London


A recent article in the New York Times profiles the Riverdale Country School and its head, Dominic Randolph, as he and his prestigious private school aim to graduate students that demonstrate strong character. As part of Randolph’s exploration of character, he engaged with Martin Seligman (one of the founders of the Positive Psychology movement) and David Levin (superintendent of the KIPP schools in New York City) on the topic of developing character as part of the education system.

Seligman recently co-authored a book called “Character Strengths and Virtues: A Handbook and Classification,” which outlines 24 character strengths that reach across cultures. These include traits like bravery, citizenship, fairness, wisdom and integrity as well as love, humor, zest, self-regulation and gratitude. They found that a cultivation of these strengths represents a reliable path to a life that is not just happy but also meaningful and fulfilling.

Levin discovered that of his graduates that went to college or university, those that stayed on through graduation were not the students with the highest IQ, but the students who showed the highest character strengths. Added to the mix was the work of graduate student Angela Duckworth, whose research showed that measures of self-control are a more reliable predictors of grade-point average than IQ. But she found that outstanding achievement was accomplished by people who combined passion with unswerving dedication, a combination that she terms “grit.”

Duckworth, Randolph and Levin condensed their lists down to a final list of strengths that they believe are likely to predict life satisfaction and high achievement: zest, grit, self-control, social intelligence, gratitude, optimism and curiosity.

Some of the changes in their schools have been the abolishment of AP classes and standard tests and include systems to train their students in standard curriculum of math and language, but also in perseverance and empathy. Students receive grades and assessments on their academic work but also on their character. Messages about behavior and values permeate the school day and are included in assemblies and explicit talk about character strengths are incorporated into every lesson.

These schools are also working with parents to help them understand that their children may need some hardships in life to overcome in order to establish their own “grit.” The struggle to pull oneself through a crisis, to come to terms with your own shortcomings and to labor to overcome them is what is missing at many academically excellent schools and many of the everyday lives of American youth.

Museums are well positioned to assist in building character traits in visitors of all ages. Some ways of doing this include:
• Helping to develop a sense of empathy through diverse programming and exhibitions, as well as presentations that tell individual stories;
• Building persistence through programs and exhibits that encourage visitors to create something, test it, tinker with it, and try again;
• Developing and encouraging passion in individuals through engagement with meaningful problems to be solved and beautiful objects;
• Inspiring curiosity and creativity through interactions with valued cultural objects with opportunities to take apart, create, explore;
• Setting up situations in which visitors can work together socially while problem solving.

Any other ideas about how Museums can help nurture happy, productive and high-performing citizens?