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1.
Drawing on observations of classroom art practice and visits to one museum and two galleries and on interviews with teachers and museum and gallery educators, this article examines the interactive relationship between school art education and museum and gallery visits. It studies: the ways primary teachers use such visits for art teaching purposes; and the reasons for the existing limitations in incorporating museum or gallery visits into school art education despite the wide acknowledgement of their educational value. The findings suggest the presence of two models of educational programmes which appear to influence differently the ‘three‐part unit’ of preliminary work, visit to the institution and follow‐up activities in the classroom.  相似文献   

2.
Abstract

This article begins with the argument that education has become an important site of activity in museums around the world. This development has been of crucial significance for South Africa where many new museums have come into being and where old museums are now taking new courses. The challenge that these museums are having to confront is how to deal with the question of their public education responsibilities with respect to issues such as race, identity, nation and nation-building. How does the museum tell its story in ways that are inclusive and at the same time critical? How these challenges play themselves out in a museum such as the District Six Museum is important to talk about. What this discussion about the District Six Museum reveals is how little attention is paid to forms of public education in institutions outside of the school in South Africa. It is significant that the museum, which has come to play such a significant role in the reimagination of South Africa and is assuming in the intentions of the new government such a pivotal role in teaching South Africans about their pasts, is understood so poorly. The article uses the District Six Museum example to look critically at what a new museum educational practice might consist of.  相似文献   

3.
In this article I examine Dewey's ambivalent attitude toward art museums — criticizing their existence as repositories for the rich, while exploring their educational potential — by analyzing Dewey's comments on museums in various texts, by relating his ideas to museum education theories and practice of the time, and by exploring his involvement with Albert Barnes and the Barnes Foundation. Specifically, I discuss how these men influenced each other and consider possible reasons for Dewey's involvement with a "capitalist collector" such as Barnes. This examination is placed within the broader context of Dewey's philosophy of art as experience. An analysis of these issues is especially relevant at the present time, given that museums are increasingly involved in K-12 education through outreach and professional development programs, in addition to school tours.  相似文献   

4.
In the last decades theories that emphasise visitors’experience as the key element in the process of meaning‐making have influenced art education in museums considerably. However, there is remarkably little evidence in practice that museums shape their exhibits and educational tools by the actual experiences of visitors. Because museum education is still too much knowledge‐based, people often do not come to understanding or engagement of thinking. This article demonstrates this inconsistency and its consequences based on visitors’conversations during a museum visit while looking at contemporary art. In order to engage visitors into their own thinking and create lasting experiences, the article also investigates Dewey's ideas about experienced‐based education and inquiry learning. The study especially shows that experiences felt as obstacles for interpretation are extremely suitable to stimulate, deepen and improve visitors’engagement in the inquiry cycle.  相似文献   

5.
Visits to museums and science centres are a part of most school science programs- but are they really learning experiences? By accompanying classes on visits and talking with the teachers and students during and after these visits, information has been gathered on the ways in which school groups currently use visits to two informal science learning settings in Sydney- a science education centre and a large museum. Comparison of the teacher and student behaviours on these visits with current views on good teaching/learning practice, reveals considerable anomalies. At the same time, reported studies of museum visitors suggest that family groups use museums for learning in ways which are quite different from the way most school groups do. Can these apparent mismatches be translated into a pathway for developing new approaches to learning in informal settings?  相似文献   

6.
Partnerships between informal learning environments and schools have been cited as an innovative, effective way for museums, galleries and schools to work together to enrich classroom curricula, support student success, and facilitate the utilisation of available community museum and cultural resources. This article reports on findings from a multi‐year, exploratory arts outreach programme for 31 elementary and secondary visual art educators from a rural school district in the American South. The outreach programme was conceived in partnership with faculty from the neighbouring university's art department, school of education and university art gallery. Utilising a partnership framework, the travelling exhibit was developed through a collaborative research relationship with the participating visual art educators. Findings from this programme indicate that travelling exhibits can be an effective mode of programme delivery for informal learning environments while also supporting the content needs for classroom arts educators if the programme stresses transformative partnerships across all invested parties.  相似文献   

7.
Learning through art in the museum is a Masters’ level module established in 2006 through collaboration between the School of Education at Roehampton University, London and Interpretation and Education staff at Tate Britain and Tate Modern. On completion of the module, participants were asked to reflect on how the experience had altered their perspectives on the collection and their strategies for teaching and learning in art and design. The aim of this article is to explore some of the themes that emerged from these interviews and from other dialogue between tutors and students on the module, themes that are then discussed within the wider context of museum and gallery education. The article concludes by reflecting on broader notions of knowledge and understanding in the context of museum and gallery education. It is argued that the juxtapositions of historical, modern and contemporary art that have been a distinctive feature of Tate's curatorial strategy since 2000 have shed fresh light on older works in the collection and provide opportunities for art educators to reappraise the emphasis currently placed upon the interpretation of modern and contemporary work. It is suggested that developing knowledge and understanding of art is partly about embracing notions of ambiguity and mystery: that engaging with multiple and shifting interpretations of artworks should play a more central role in art education and that part of the process of engaging with art is the experience of not knowing and not understanding.  相似文献   

8.
This paper focuses on museum and gallery education for adults in Dundee, Scotland. Dundee has recently experienced a shift from being mainly working class to an educational, cultural and tourist centre. Hence, an interesting field for the examination of the educational policies and practices of the city museums/galleries and the different fashions they receive and act upon wider developments in the museum world has emerged. Questions arising are how the new, open and accessible museum (and gallery) has changed the way education is constructed and offered in the museums in the city? What is the relationship of education with marketing and the new discourse of social inclusion and participation in museums and galleries? For example, one of the most pertinent findings was that, at least in Dundee, activity-based and individual learning has been over-valued, at the expense of a more social and dialogic educational experience that participants seemed to largely prefer and indeed propose as more meaningful to them. Although new ideas and participatory practices have improved attendance and the engagement of the local adult population, other issues, such as the new economic reality for museums and the close relationship of education with marketing are policies that were often treated with resistance, if not opposition, by the research participants.  相似文献   

9.
ABSTRACT

Art can provide a vehicle for animating learning. Teachers bring ideas to life through curriculum, while artists realize their ideas through images, often translating between forms, media and spaces. This paper describes the context, content and format of a residential Summer Arts Academy for gifted and talented middle and high school students, held on a university campus. In 2013, the theme of the visual art program at the Summer Arts Academy was animation, which linked to the summer exhibition at the local art museum. Collaborations among university faculty, public school teachers, community artists, and art museum and gallery staff have potential to animate learning for students, while stimulating additional forms of public engagement.  相似文献   

10.
The history of art and design education in Botswana has evolved in a unique way and reflects its British colonial history and post‐independence development. It has involved constant exchange and dialogue with other countries through the employment of teachers, teacher trainers and university lecturers from a variety of European, Asian and other African countries. This dialogue has continued as locally trained art teachers pursue their degrees overseas and return with new ideas and influences. At the same time, the development of local crafts for a global market and the inter‐cultural exchange in the visual arts outside the formal education system are thriving with the help of various organisations and the museum and gallery sector. This article will look more closely at the country context, the history and development of art education and the interrelationships that have evolved over the last two decades. It will show how students engage with the challenge of integrating their African heritage and changing traditions with their development as teachers and artists. It will also consider how closer links between the formal and informal art sectors might be mutually beneficial and demonstrate the potential for art and design to play a role in the social, economic and cultural development of the country.  相似文献   

11.
Within an emerging philosophy of contemporary gallery education, new pedagogies are required to meet the demands of looking at art, with increasingly varied constituent groups. Strategies that aim to empower young learners come from an ideological framework in which knowledge is negotiated and local significances are produced conversationally by learners and facilitators. Tension exists between the ideological position and the role of the gallery as ‘expert’: this conflict creates ambivalence towards the learner. The discourse of the ‘expert’ and the discourse of ‘local negotiation’ employ different pedagogic strategies, creating tension in the ways in which knowledge is reproduced for the visitor and participant. This article explores interrogatory pilot work with young people at Tate Modern. I use a hermeneutical approach to explore the interpretive roles of facilitator and participant when language‐based strategies are used to look at art. This research aims to construct a pedagogy that enables young people to learn about art in ways that take account of their situation as learners.  相似文献   

12.
Drawing on interviews with blind people, this paper examines both their exclusion from museums and galleries and their responses to the art educational provision that is specifically designed to remedy that marginalisation. Blind visitors’ responses to these educational projects were polarised; respondents were either highly critical or very enthusiastic. This paper begins by outlining the interviewees’ criticisms which included; education officers’ misconception of how touch facilitates learning and aesthetic response, a lack of educational progression and blind people's exclusion from mainstream events. I then ask why, given these problems, did other respondents reply so favourably, suggest that these high levels of satisfaction had little to do with museum provision but were in fact the result of social interaction and of rare inclusion within the sighted community. I argue that, ironically, this sense of inclusion is premised on blind visitors’ structural exclusion from art institutions. Finally, the article examines those visitors who, illicitly or otherwise, already experience some aspects of the museum in multisensory terms, but maintain that until museums’ and galleries’ ocularcentric orientation is reconfigured, there will be little possibility for these rogue visitors to develop their knowledge of art. Likewise, without institutional change, educational events for the blind will continue to be an inadequate supplement to a structure that is and remains inequitable.  相似文献   

13.
Ethnology museums have a troubled lineage as they are inheritors of a violent colonial legacy while being steeped in a positivist epistemology that seeks to order and categorize an otherwise disordered world. Educational research, similarly, is often predicated on realist knowledge principles as people are made objects to demonstrate their interactions to predict likely outcomes of various interventions. This article considers how an ethnology museum, the American Museum of Natural History (AMNH) in New York City, can be used as a learning site by student teachers as they experience reading a museum. Student teachers, having considered examples of postcolonial theory, use this scholarship to think through and critically read AMNH. The inquiry into how student teachers read AMNH as a pedagogical space is reframed, however, by multitext interjections offered by participants themselves. The study, then, is oriented around two principal areas: how student teachers can read an ethnology museum critically and how multitexts may work to address representational problems inherent in social science research, such as education.  相似文献   

14.
From the early 19th century until the most recent two decades, open‐space and satellite museums featuring anatomy and pathology collections (collectively referred to as “medical museums”) had leading roles in medical education. However, many factors have caused these roles to diminish dramatically in recent years. Chief among these are the great advances in information technology and web‐based learning that are currently at play in every level of medical training. Some medical schools have abandoned their museums while others have gradually given away their museums' contents to devote former museum space to new classrooms, lecture halls, and laboratories. These trends have accelerated as medical school enrollment has increased and as increasing interest in biological and biomedical research activities have caused medical schools to convert museum space into research facilities. A few medical schools, however, have considered the contents of their museums as irreplaceable resources for modern medicine and medical education and the space these occupy as great environments for independent and self‐directed learning. Consequently, some medical schools have updated their medical museums and equipped them with new technologies. The Anatomical Museum of Leiden University Medical Center in The Netherlands and the Medical Museum of Kawasaki Medical School in Kurashiki, Okayama, Japan, are two examples of such upgraded museums. Student surveys at Leiden University have indicated that all students (100%) found audio‐guided museum tours to be useful for learning and majorities of them found guided tours to be clinically relevant (87%). However, 69% of students felt that museum visits should be optional rather than compulsory within the medical training curriculum. Anat Sci Educ 3:249–253, 2010. © 2010 American Association of Anatomists.  相似文献   

15.
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16.
This a/r/tographic inquiry delves into questions about participatory art museum practice, specifically seeking to understand the nature of invitations to participate. Utilising drawings, writing and mapping of embodied participation, questions of how individuals are invited to participate in various locations and how these invitations inform the work of art museums that engage in participatory practice are considered. Conditions for participation, including familiarity, personalisation, enthusiasm, playfulness, narrative, uniqueness, sociability and listening, as well as anti‐invitations that contradict moves toward participation, are discussed in relation to examples from the study and scholarly writing. The purpose of this article is twofold: first, to share research about participatory practice in various locations and its implications for art museums, and second, to explore the potential of arts‐based research methodologies, particularly a/r/tography, for art museum education research.  相似文献   

17.
博物馆具有丰富的艺术资源，在高校完成艺术鉴赏教育中具有举足轻重的地位。利用博物馆资源，加强高校艺术鉴赏教育，对加强高校艺术鉴赏课程教育改革具有重要意义。  相似文献   

18.
The use of mobile devices is increasing rapidly as a potential tool for science teaching. In this study, five educators (three middle school teachers and two museum educators) used a mobile application that supported the development of a driving question. Previous studies have noted that teachers make little effort to connect learning experiences between classrooms and museums, and few studies have focused on creating connections between teachers and museum educators. In this study, teachers and museum educators created an investigation together by designing a driving question in conjunction with the research group before field trips. During field trips, students collected their own data using iPods or iPads to take pictures or record videos of the exhibits. When students returned to the school, they used the museum data with their peers as they tried to answer the driving question. After completing the field trips, five educators were interviewed to investigate their experiences with designing driving questions and using mobile devices. Besides supporting students in data collection during the field trip, using mobile devices helped teachers to get the museum back to the classroom. Designing the driving question supported museum educators and teachers to plan the field trip collaboratively.  相似文献   

19.
Informal science education institutions (ISEIs), such as museums, aquariums, and nature centers, offer more to teachers than just field trip destinations—they have the potential to provide ideas for pedagogy, as well as support deeper development of teachers’ science knowledge. Although there is extensive literature related to teacher/museum interactions within the context of the school field trip, there is limited research that examines other ways that such institutions might support classroom teachers. A growing number of studies, however, examine how incorporating such ideas of connections of ISEIs to pre-service teacher education might improve teacher perceptions and awareness. Pre-service elementary teachers enrolled in a science methods class participated in a semester-long assignment which required participation in their choice of activities and events (workshops, field trips, family day activities) conducted at local ISEIs. Students generally saw this embedded assignment as beneficial, despite the additional out-of-class time required for completion. Comparison of pre-/post-class responses suggested that teachers shifted their perceptions of ISEIs as first and foremost as places for field trips or hands-on experiences, to institutions that can help teachers with classroom science instruction. Although basic awareness of the existence of such opportunities was frequently cited, teachers also recognized these sites as places that could enhance their teaching, either by providing materials/resources for the classroom or by helping them learn (content and pedagogy) as teachers. Implications for practice, including the role of ISEIs in teacher preparation and indication, are also discussed.  相似文献   

20.
Recent policy on inclusion has had an impact on the development of museum galleries and related educational provision. Museums are used as learning organisations and, as such, need to consider how to create an inclusive environment. However, inclusive provision for people with learning difficulties in museums tends to be isolated and small scale, lacking the formal structure found within schools. While much can be learnt from the development and evaluation of practice in schools, there is little research or published literature that explores the inclusion of people with learning difficulties in museums. This article, by Hannah Shepherd, Exhibition Co‐ordinator at Freeman College in Sheffield, analyses an example of a specific exhibit within a gallery development. This example reflects an approach that uses guidance from the literature to create a more inclusive experience for visitors, particularly those with learning difficulties. A case is made for the use of consultation and partnership to develop inclusive museum provision.  相似文献   

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