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OLD QUESTIONS,
NEW ANSWERS:
quality criteria for museum education
Proceedings of the
ICOM CECA '11 Conference
Zagreb, September 16 - 21, 2011
Zagreb, 2012
editor co-editors The views and findings as expressed in the contributions to this publication are those of the individual autors and their respective organizations and do not necessarily correspond with the editor's.
Copyright of texts:
© with the authors
Copyright of images, graphs and tables:
© as indicated or, if not stated separately, with the authors
Published by: ICOM Croatia, www.icom-croatia.hr
Cover design: Irena Mihalinec (Formalin dizajn, www.formalindizajn.hr)
Photograps on the cover: Grgur Žuko
Proof reading: Lada Laura
Prepress & print: Denona Ltd.
Printed in Croatia
A CIP catalogue record for this book is available from the National and University Library in Zagreb under 812947
ISBN 978-953-99476-1-1
3
CONTENTS
PREFACE .............................................................................................................................................7
Željka JELAVI
WHY MUSEUM EDUCATORS?
George E. HEIN
EDUCATION OF MUSEUM AND HERITAGE EDUCATORS IN CROATIA:
HISTORY, ORGANISATION, QUALITY
Žarka VUJI \ Darko BABI
TOWARDS TEACHING AND RESEARCHING MUSEUM PEDAGOGY
AT FACULTY OF EDUCATION, UNIVERSITY OF LJUBLJANA
.................................27
Metoda KEMPERL \ Rajka BRAUN SOVA
LAYING THE FOUNDATIONS FOR HERITAGE EDUCATION TRAINING .............33
John STEVENSON
STANDARDS AND QUALITY CRITERIA: INTERNATIONAL PERSPECTIVE TOWARDS AN INTERNATIONAL CECA MUSEUM EDUCATION CHARTER ....43
Nicole GESCHÉ-KONING
PROPOSING A PROCESS FOR BEST PRACTICE IN EDUCATION
AND CULTURAL ACTION PROGRAMS
Marie-Clarté O'NEILL \ Colette DUFRESNE-TASSE
CHARACTERISTICS AND QUALITY CRITERIA FOR
MUSEUM EDUCATION
Collective text from CECA- Brasil, 2011
SPEAKING, HEARING AND TRANSLATING ONE HUNDRED
LANGUAGES IN MUSEUMS
Elee S. KIRK
HERITAGE EDUCATION IN MUSEUMS AND THEIR UNIVERSAL
ACCESSIBILITY. RESEARCH-EVALUATION OF EDUCATIONAL
PROGRAMMES AND DEFINITION OF QUALITY STANDARDS
...............................81
Sofía MARÍN CEPEDA \ Olaia FONTAL MERILLAS
4 ICOM CECA ANNUAL CONFERENCE SEPTEMBER 16 - 21, 2011
QUALITY HERITAGE EDUCATION TO PROMOTE LIFELONG
LEARNING
Janine SPRÜNKER \ Glo`ria MUNILLA
PHILOSOPHIES OF INTERPRETATION
Daniel Winfree PAPUGA
LEARNING ABOUT MEANING MAKING IN MUSEUMS
Željka MIKLOŠEVI \ Denis DETLING
PASSION AND PROFESSION:
GUIDING THE PUBLIC THROUGH DUTCH MUSEUMS
OVER A CENTURY (2010)
Melissa DE VREEDE
HOW TO INVOLVE ALL THE MUSEUM STAFF
IN THE EDUCATIONAL ROLE?
Mila Milene CHIOVATTO \ Maria Stella SILVA
MEASURING GENERIC LEARNING OUTCOMES IN THE NETHERLANDS:
A PILOT STUDY
Jan SAS \ Ruben SMIT
ADULT MUSEUM EDUCATION STUDIES IN MULTI-PROFESSIONAL
GROUPS IN FINLAND
Leena TORNBERG
RESEARCH ON DEVELOPMENT OF MUSEUM EDUCATION
EVALUATION CHECKLISTS FOCUSED ON GARDNER'S FIVE MINDS
FOR THE FUTURE
Kwang Sun AHN
MUSEAL ITINERARY: CULTURAL AND PEDAGOGIC DYNAMIC
........................167
Antigone MOUCHTOURIS
PERCEPTUAL PROCESSES IN MUSEUM EDUCATION RESEARCH
ON THE DEAF COMMUNITY AND POSSIBLE APPLICATION IN
HEARING ENVIRONMENTS
Sara PÉREZ LÓPEZ
THE USE OF AUDIO GUIDES IN MUSEUMS
Hana GOTTESDIENER \ Jean-Christophe VILATTE
HOW DO MUSEUM PROGRAMS ACHIEVE PARENTAL INVOLVEMENT ........191
Kadriye TEZCAN-AKMEHMET
5
CONTENTS
CHALLENGES & OPPORTUNITIES IN MUSEUM DEVELOPMENT - A HISTORIC-SOCIOLOGICAL PERSPECTIVE: CHINA VERSUS JAPAN ..........203
Li WANG
GETTING OUT FROM UNDER THE E-WORD
Gail ROMANO
SETTING NEW STANDARDS IN MUSEUM EDUCATION THROUGH
COMMUNITY COLLABORATIONS
Myriam SPRINGUEL
CAPACITY BUILDING AND SKILLS SHARING:
DISSEMINATING 'GOOD' MUSEUM EDUCATION PRACTICE
.............................227
Caroline LANG
"HANDS-ON" ACTIVITIES IN AN ART GALLERY:
HOW EDUCATIONAL THEY ARE?
Olga BAIRD
SERVING LOCALLY GROWN: THE SMITHSONIAN AMERICAN
ART MUSEUM'S EXPERIMENT WITH GOING LOCAL
Tierney K. SNEERINGER
EDUCATION AND THE COOPERATIVE METHOD AT MUSEU
HISTÓRICO E PEDAGÓGICO ÍNDIA VANUÍRE
Marilia Xavier CURY
HOW BIG WAS THE TUNA IN OUR MUSEUM? - THE FIRST
DIDACTIC EXHIBITION OF DUBROVNIK NATURAL HISTORY MUSEUM ......258
Katarina
IVANIŠIN KARDUM \ Marija
CRNEVI \ Marijana CUKROV
SCHOOL PROJECT:
HOW PUPILS PERCEIVE THEIR SITUATION TODAY
Christine BREHM
MUSEUM EDUCATION - MERE PLAY OR SOMETHING MORE?
......................269
Renata BREZINŠAK
EDUCATION PROGRAMME FOR A MULTIRACIAL SOCIETY
..............................278
Hazlini HARUN
THE ROLE OF MUSEUMS IN THE DEMOCRATIZATION OF SOCIETY,
WITH SPECIAL REFERENCE TO THE ZAGREB CITY MUSEUM
..........................284
Vesna LEINER
6 ICOM CECA ANNUAL CONFERENCE SEPTEMBER 16 - 21, 2011
THE RESISTANCE MEMORIAL, SÃO PAULO, BRAZIL:
PATRIMONIALIZATION AND MUSEALIZATION OF
A PLACE OF MEMORY
Carlos Beltrão do VALLE \ Marília Xavier CURY
OUR EYES SHOULD TRAIN OUR HEARTS
Rakel PÉTURSDÓTTIR
INTERSECTIONS - DANCE, MUSIC AND VISUAL ART
INTERMEDIA EDUCATIONAL PROGRAM AT THE MUSEUM
OF MODERN AND CONTEMPORARY ART
Milica ĹILAS
NO LONGER JUST AN OPTICAL ILLUSION
Litza JUHASZ
FROM ENTHUSIASTIC IDEAS TO THE REALIZATION OF HIGH QUALITY PROGRAMMES - EDUCATIONAL ACTIVITIES IN THE
GALLERY OF MATICA SRPSKA
Snežana MIŠI / Aleksandra STEFANOV
RETURN TO NATURE:
OLD OR NEW QUESTIONS - OLD GOOD ANSWERS
Marian ÍŽ
EDUCATION ACTIVITIES IN THE CROATIAN MUSEUM OF NAI
¨VE ART
........335
Mira FRANCETI MALI
CONFERENCE PROGRAM
7
Dear readers,
in your hands are the Proceedings of the ICOM CECA 2011, part of excep- tional papers from the Annual Conference held from September 16-21, 2011, at the Mimara Museum in Zagreb. The title "Old questions, new answers: Quality criteria for museum education" was challenging enough to gather
150 participants from 46 countries.
The aim of the Conference was to consider issues for quality criteria ad- dressing various aspects of museum education - from museum staff edu- cation and the educational role of museums to carrying out programs for various visitors. Papers within the Conference were divided into groups according to topics, namely as research contributions, short reports with innovative ideas and practices in the "Market of Ideas" panel, posters, free presentations and video presentations. The Conference in Zagreb saw two novelties: the first were pre-conference workshops - one of which focused on working with visitors and was led by Gina Koutsika from the Imperial War Museum in London while the other focused on family programs accompanying exhibitions - best prac- tice examples led by Susan Nichols from the Smithsonian American Art Museum and Renwick Gallery in Washington. The workshops were envis- aged as part of the program of mutual education and exchange of knowl- edge between CECA members and were free of charge for all participants. The other novelty was live streaming of the CECA Conference on Septem- ber 20, 2011. The fact that this was the first live streaming of an ICOM conference makes use even prouder. Apart from the Croatian National ICOM Committee, the CECA Conference was co-organized by the Ethnographic Museum and the Mimara Museum, while the financial support was given by the Ministry of Culture of the Republic of Croatia, the Zagreb Department for Education, Culture and
Sports as well as the Zagreb Tourist Board.
Credits for a successfully organized conference also go to the organizing Authors who have responded to the invitation of the editorial board have approached the basic conference topic from various standpoints - as mu- seum practice professionals, as heritage explorers and museologists from the academic community or teachers providing education for work in mu- seums and with museum visitors. Croatia, and George Hein, longtime ICOM CECA member, the Proceedings also consist of 38 papers analyzing and describing all that can contribute
PREFACE
8 ICOM CECA ANNUAL CONFERENCE SEPTEMBER 16 - 21, 2011 to the improvement of quality in the field of education for museum educa- tion, i.e. the work of museum professionals in general, working with visi- tors of different groups, developing cooperation between museums and the local communities as well as between different museums. I believe that differences in approach and presented examples of practice and re- search analyzes published in these Proceedings will certainly be inspiring for many ICOM CECA members as well as for all other museum profes- sionals on the way of achieving high standards in museum education. While preparing this volume, for practical and financial reasons, it was de- cided that all authors be asked to submit their texts in English with sum- maries in French and Spanish. Therefore, the editorial board declines any responsibility in this regard. Last but not least I would like to thank Renata 9
WHY MUSEUM
EDUCATORS?
George E. HEIN
Lesley University, Boston, USA
I am honored once again to address the annual ICOM/CECA conference. leagues and staff in Croatia and in CECA who have worked hard to plan and organize this meeting. This year is the 30th anniversary of my first attendance at a CECA meeting, so I want to share with you a brief history of what I have learned from my work with museums and from my col- leagues at CECA about the value of museum education, and then talk briefly about where I think we should focus today in promoting museum education. If there's any doubt about how I would answer the question I pose in the title of this talk, I assure you I believe strongly that museum educators are essential if museums are to carry out their public mission in a democratic world. What follows is my explication of why I believe this. It is significant that CECA, one of the first committees organized when ICOM was founded in 1946,did not call itself "Committee for Education," but chose "Committee for Education and Cultural Action." I'm not certain what the original members of the committee had in mind by adding those two words "cultural action," but for me they assert that education is a so- cial function and that the role of education is intimately associated with the aims of education.Fordemocratic societies, that aim is to empower peo- ple to support and sustain democracy. Over the thirty years that I've been an active member of CECA, I've come to realize increasingly how significant the inclusion of social cultural ac- tion is for any educational theory. When I first joined CECA in 1981, the discussions at our meetings were mostly about organization of education departments,educational methods,and a few papers about visitor studies as a means of finding out what visitors had learned. Ten years later, at the CECA meeting in Jerusalem, Israel, there was more interest in educational 10
WHY MUSEUM EDUCATORS?
theory. I presented a paper on constructivism (Hein, 1992) that was main- ly focused on the pedagogic component of progressive education, on the need to recognize personal and social meaning making and the implica- tions of those concepts for museum education. I expanded on that in 1994 in Cuenca, Ecuador, developing the grid with four quadrants that includes constructivism as the combination of active learning and personally con- structed knowledge (Hein, 1998). Over the next decade, CECA meetings increasingly included discussion of the social, cultural action components of education: how to deal with new audiences, how to acknowledge the immigrant communities that make up larger fractions of members' popu- lations, and how to address issues of sustainability, social justice and similartopics. In 2003, at the meeting in Cuenca, Mexico I first introduced a conception of education as a social political activity, based on my newly acquired knowledge of Dewey's writings (Hein, 2006). This was followed in Reykjavik in 2009 by a description of several examples of democratic forms of museum education. My contributions were not unique, but they reflect a trend in our increas- ing awareness of the social role that museums do and can play in society. Today, I want to focus on this socio-political component of progressive edu- cation theory.
My argument in outline is as follows:
1. Museums are above all educational institutions: objects and mate-
rial culture require interpretation: there is no intrinsic meaning outside of a socio-cultural context. 1
2. Educators are essential for developing and interpreting both exhibi-
tions and programs.
3. Education includes theories of learning and knowledge and applica-
tion of practical components; successful education requires both understanding theory and knowledge of practice.
4. Education also necessarily includes a moral/political aim, a pur-
pose: why do we educate? The process of education is never neutral.
It needs to be "progressive"
2 in democracies, based on progressive political theory.
5. Therefore, three essential components museum educators need to
consider are: understanding educational theory, practical experi- ence, and acknowledging a social/political purpose for education. In actual practice, museums have embraced a wide range of attitudes to- wards education. For purpose of discussion, we can differentiate three approaches. One possible attitude is a view that education is a secondary,quotesdbs_dbs19.pdfusesText_25
[PDF] OLD QUESTIONS, NEW ANSWERS: - ICOM CECA