The museum and the school are two complementary institutions within the system of cultural heritage care. The Knight’s Hall in Brežice Castle is used here as an example for qualitative research on ...cultural heritage interpretation. The research focused on scientific art-historical information as the basis for cultural messaging. The analysis of the museum interpretation included a printed Knight’s Hall guidebook, as well as hall-related information boards and digital information, while the analysis of the school interpretation included an art history exam catalogue and an art history textbook. The research revealed a minor difference in the interpretation of the Baroque wall paintings, specifically with regard to the ceiling of the hall. At the museum, the ceiling is interpreted as a part of the wall painting, not, however, as its highlight.
Since Bourdieu, it has been argued that art appreciation requires "knowledge". The focus of this qualitative study was to examine art appreciation as a learned competence by exploring two different ...groups of museum visitors: art specialists and art non-specialists. The research was conducted at Moderna galerija in Ljubljana. Twenty-three adults were recruited and accompanied during their visit to the museum. Participants were requested to "think out loud", which meant to talk about what they saw, thought, and felt about the artworks. There was a short interview conducted with each participant before entering the museum to gain insight into their art-related and museum-visiting experience. The analysis of the data revealed that some processes of art appreciation were similar within the two groups. Both art specialists and art non- specialists interact with museum objects physically and intellectually; they see contents and formal qualities as a whole; they respond emotionally to artworks; appreciation includes their personal experience; they search museum interpretation/information for their understanding. Some noticeable differences were found. Art specialists respond to artworks with more understanding and are willing to put more effort into art appreciation, whereas art non-specialists respond with less understanding and put less effort into art appreciation. This paper focuses on the differences between the two groups; reflective and spontaneous appreciation of art, objective and subjective appreciation of art and the effort put into art appreciation. The paper ends with a discussion of the implications of the study for the teaching of art and museum education. (DIPF/Orig.).
U članku se razmatraju načini na koje se znanje o umjetničkim djelima prenosi posjetiteljima putem tekstualnih interpretacija u umjetničkim muzejima. Teorijski koncepti oslanjaju se na istraživanja u ...polju muzejske edukacije. U istraživanju se primjenjuje kvalitativna metodologija, a podaci se prikupljaju metodom studije slučaja za koju je poslužila Strossmayerova galerija starih majstora u Zagrebu. U sklopu muzejske djelatnosti Galerija je izradila mrežni vodič namijenjen širokom krugu posjetitelja za korištenje unutar galerijskog prostora prilikom promatranja umjetničkih djela. Drugi izvor znanja o umjetničkim djelima je tiskani katalog koji sadrži pregled remek-djela iz zbirki Galerije. Analitički pristup podrazumijeva podrobnu analizu diskursa oba oblika galerijskog interpretacijskog materijala i njihovu komparativnu analizu. Utvrđeno je da se didaktička konceptualizacija muzejske interpretacije temelji na razlikovnom pristupu prenošenju znanja. Uspostavlja se odnos između proizvodnje i širenja znanja s jedne strane, zatim odnosa prema posjetitelju s druge strane. Sličnosti i razlike odnose se na sadržaj i format kataloga i vodiča. Didaktička konceptualizacija vodiča temelji se više na vizualnom diskursu i diskursu uključivosti/isključivosti koji se određuje u odnosu na povijesno-umjetničke informacije i uspostavljeni autoritet Galerije.
Muzej in šola sta komplementarni ustanovi v sistemu skrbi za kulturno dediščino. Na primeru Viteške dvorane v gradu Brežice smo kvalitativno preučevali interpretacijo kulturne dediščine. Pri tem smo ...se osredinili na znanstvene, umetnostnozgodovinske informacije kot podlago za kulturno sporočilo. V analizo muzejske interpretacije smo vključili tiskani vodnik po dvorani, informativne panoje m digitalne informacije o dvorani; v analizo šolske interpretacije pa predmetni izpitni katalog za umetnostno zgodovino in učbenik za umetnostno zgodovino. Raziskava je pokazala na manjšo razliko pri interpretaciji baročne poslikave, in sicer pri stropu dvorane. V muzeju je strop interpretiran kot del poslikave, ne pa kot njen vrhunec.
V prispevku je predstavljena kvalitativna empirična raziskava o odnosu starejših odraslih do sodobne likovne umetnosti, ki je bila opravljena z analizo odzivov na razstavo del umetnika Jožeta Baršija ...v Muzeju sodobne umetnosti v Ljubljani spomladi 2013. Izpeljani sta bili dve fokusni skupini – pred ogledom razstave in po njem, ko so starejši prišli v neposreden stik z umetnikom in njegovimi deli. Rezultati kažejo na odnos starejših odraslih do sodobne (slovenske) likovne umetnosti in potencial ustrezno zasnovanega izobraževanja pri razvoju zmožnosti za doživljanje in estetsko presojanje likovnih del. Analiza, ki je temeljila predvsem na teoriji kulturnega kapitala in na s tem povezanem konceptu estetske kompetence, teoriji izobraževalnih potreb starejših in teoriji likovne umetnosti, je pokazala na pomen družbenega in kulturnega konteksta. Avtorica raziskave ugotavlja, da mora izobraževanje starejših na področju sodobne likovne umetnosti ponuditi starejšim odraslim več raznolikih možnosti, pri čemer imajo muzeji kot družbene institucije posebno vlogo. Če z izobraževanjem zgolj sledimo že razvitim potrebam (osebnim zanimanjem) starejših odraslih, jih v doživljanje sodobne likovne umetnosti ne privabimo.
The inclusion of museums, galleries and cultural and natural heritage in school curricula and the high number of school visits to heritage institutions prove that museum pedagogy has a very important ...place in educational practise. The same cannot be said for educational theory, as there is a lack of research in the field of museums and education. Museum pedagogy is an interdisciplinary science that combines multiple theoretical and methodological approaches.
Bračun Sova analyses the structure of scientific information, which forms the basis for the interpretation of cultural heritage, through a case study of the Knights’ Hall in Brežice Castle in Slovenia. The author finds that the interpretation of the Hall of Knights is based on art historical information, with the results showing that attention is unevenly distributed, and more attention is paid to the Baroque motif of the four elements. The key finding is that in the museum we see the ceiling as part of the painting, but not as the highlight of the painting.
Authors Brajčić and Kuščević examine the museum as a space for non-formal and informal study and analyse the indicators of engagement by visitors, students of the Faculty of Arts at the University of Split. The research proves that the perception of the role of the museum among students has recently diverged and raises new questions about the need for further research in the field of student engagement in educational options. In her article, the author Govekar Okoliš examines various educational museum activities, using the example of the Slovenian School Museum on a sample of students from the Faculty of Arts at the University of Ljubljana. The results of the research show that lessons from the past as a pedagogical activity constitute an effective, lively, and active way to learn about the history of teaching for a group of university students.
An important topic in the field of mentoring is the article by author Kisovar Ivanda, who points out the potential of excellent mentors offered by museums, regardless of educational level. In the article, the author explores the views of teachers, museum educators and curators on the forms of mentoring in the process of personalising primary education in Croatian primary schools. Based on the research findings, the author proves the positive attitude of teachers, museum educators and curators towards mentoring through cooperation with educational institutions and cultural communities.
Kiurski points to the pedagogical value of museums, especially museum theatre. He introduces it as an interpretive tool, presents the theoretical framework, the sources of development, the use of theatre in museums in the twentieth and twenty-first centuries. The focus is on the twentieth century. Special attention is paid to the actual use of creative theatre in selected Serbian museums (Matica Srpska Gallery, Paul Beljanski Memorial Collection, Museum of the City of Belgrade, National Museum Kikinda, Museum of Vojvodina, and Jevrem Grujić House), highlighting its role as a pedagogical model in work with children and young people.
The authors Kozjek Varl, Duh and Herzog prove that successful didactic approaches, such as the aesthetic transfer method, can be used in the museum environment with equal success. They present a study of the successful results of using the aesthetic transfer method in an authentic space, the Art Gallery of Maribor, to explore contemporary visual art. The study was conducted through a case study with a group of students aged 12-14 years.
The role of museums in relation to interculturality is highlighted by Lӧseke, who explores how museums engage in transcultural museum education. In the article, the author presents the main findings of the evaluation of three educational projects at the Museum of Islamic Art in Berlin: 'Multaka', 'Tamam' and 'Objects in Transfer'. Drawing on the case of Islamic heritage in a culturally diverse Berlin setting, the author draws attention to the cooperative, inclusive and participatory relationship between museums and their audiences. The authors Milutinović and Selaković deal with current topics, i.e., epidemics, from the point of view of the online learning tools offered by museum websites. They also examine the content from the pedagogical point of view, focusing on museums in the Republic of Serbia. The data obtained show that museums offer authentic online learning paths that appeal to users of all ages. However, a deeper analysis of the research results showed that the museums' online learning content is focused on conveying museum information. The study therefore concludes that the museums’ online content is best suited for a group of students or adults who can more easily foster their own initiative and internal motivation for interest, learning and exploration of individual topics, or for those who have enough prior knowledge to understand the museum content.
In her contribution, the authors Zadravec and Miklošević examines the role of museums from the perspective of teachers at grammar schools and vocational high schools. In particular, to what extent both are committed to active visits and excursions with students and what kind of cooperation they would like to see. The results show that there are differences between teachers in grammar schools and those in vocational high schools, especially in terms of increased willingness to collaborate with museums, collaboration with each other and curriculum design.
The international contributions in the thematic issue represent an important scientific contribution not only in the field of museum pedagogy, but also in the field of general education. This is constantly influenced by social change, so that, as the researchers emphasise, it is important to constantly investigate, both on large, representative samples and on smaller samples or individual cases.
One of the important positions of the last curricular reform in Slovenia, which included systemic issues of education (White Paper on Education, 2011) and curricula for compulsory subjects in primary ...school, is the fact that Slovenia has been integrated into Europe, and thus education should also include the development of core European competences. One such competence is cultural awareness and expression, which until now has been an issue more in the context of cultural policies than school policies in Slovenia. The purpose of the present article is to critically analyse the curricular reform of art education (i.e., visual art education), through which, in terms of certain components of the competence of cultural awareness and expression, it is foreseen that the student will gain a knowledge of art, develop an ability to experience works of art and develop a creative attitude towards art and heritage. Because the starting point and goal of curricular change is the curriculum, our analysis is derived from curriculum theories, and not from the art theories and pedagogical theories that have predominantly framed previous attempts at curriculum analysis. Critical consideration of the curricular reform of art education in primary school in terms of certain components of the competence of cultural awareness and expression was undertaken by comparing curricula in the field of aesthetic education. We compared art education with music education and literature within the Slovenian language curriculum. Qualitative analysis showed that, despite the reform, the curriculum for arts education does not realize selected components of the competence of cultural awareness and expression, largely due to the curriculum's conceptual structure. Art education is centred principally on art-making activities, with an obvious neglect of appreciation. The integration of arts subjects at school, as proposed by the White Paper, is therefore not possible, due to the existing model of art education. From a practical point of view, the analysis also raised the question of the knowledge and competences of teachers. (DIPF/Orig.).
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