As the Journal of Museum Education reaches its fifty-year publication milestone, this article traces the roots of the Museum Education Roundtable (MER) and the organization's resulting journal, both ...critical to professionalizing and shaping the field of museum education. Central to this publishing effort were the relationships amongst MER board members, editors, and authors, all working collectively to ensure that this publication allowed for new relationships to flourish between museum educators and their institutions, audiences, and other professionals. The responsibility for ensuring that this work shapes and impacts the field has been shared by generations of museum educators. The revolutionary challenge presented by the formation of MER and its publication continues today, as the JME continues to provide space to document legacies and endeavors to be a place that emerging professionals can use to reflect on new approaches, directions, and imperatives to continue strengthening the field of museum education.
The experience of the MUV – Museo della civiltà Villanoviana di Castenaso (BO) is an example of teaching history in an archaeological museum. It's complex because there aren't written sources, but ...archaeological, material, iconographic and architectural sources. An archaeological museum needs to explain immersively how people lived in the past, through objects, words, images and sounds. The visit to the museum must be configured as a storytelling, an experience that shows how history is deeply linked to the present: in museum the visitor "touches" the archaeological artifacts, which are the product of what history left us. Two different effects result: resonance, for which the exhibited object becomes the index fossil of a civilization; wonder, for which the evidence instills a feeling of uniqueness and amazement.
The article discusses the complexity of identity,the interdependence of social and cultural identity, andtheir relationship with museum education. The Authoremphasizes that an individual’s identity ...is shaped both bytheir membership in a social group and the internalizationof its cultural values. With respect to museums, institutionalemployment contributes to identity formation, whilecultural identity stems from museum narratives. The Authoranalyzes individual identity as a manifestation of cognitiveconservatism influenced by neurophysiological mechanisms.The Author argues that museum education can play a significantrole in transforming individual identity, especially by exposingindividuals to diverse perspectives and values. The researchindicating the potential for lasting changes in preferences asa result of educational activities is cited. The Author highlightsthe importance of social bonds formed within the museum,and suggests expanding the perspective of relational art toinclude the experiences of museum education. Furthermore,it is also emphasized that museum education initiatives shouldnot be viewed as tools for analyzing the museum institutionbut as opportunities for participants to express themselves andbuild connections with one another.
Non-depleting energy in the museum Bapoğlu Dümenci, Sırma Seda; Aral, Neriman; Gürsoy, Figen ...
Frontiers in psychology,
11/2023, Letnik:
14
Journal Article
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The present study aimed to uncover whether the renewable energy education carried out in a museum has an impact on awareness of renewable energy and the environment among children and their parents. ...The study was carried out with two groups of 65 children aged 6 years and their parents (
n
= 47). The findings revealed significant differences between the pretest and posttest in favor of the pretest and between pretest and follow-up test in favor of follow-up test, but there was no significant difference between posttest and follow-up test. We determined It was observed that the children had a considerable willingness to participate in the sessions and used the names of renewable energy sources in their follow-up drawings or their remarks on the drawings. Moreover, given the parents’ statements, we discovered that the children acquired considerable awareness of the environment and efficient energy consumption and became acting more consciously toward renewable energy sources.
Was passiert, wenn Besucher*innen von Kunstmuseen die Exponate der Ausstellungsräume fotografieren und die bildlichen Aufnahmen auf Social-Media-Plattformen neu kontextualisieren? Sarah Maria Ullrich ...zeigt anhand dichter ethnografischer Beschreibungen, dass diese vermeintlich banalen Praktiken im Kern eines vielschichtigen Spannungsfelds stehen, in dem sich nichts weniger als die Frage verhandelt, wie digitale Medien die moderne Museumserfahrung verändern. Sie illustriert, wie mediale Visualisierungstechniken als neue Formen des Widerstands im Kontext gesellschaftspolitischer Aushandlungsprozesse fungieren und damit nicht zuletzt auch die Deutungshoheit etablierter musealer Institutionen ins Wanken bringen.
In this paper, the current promotion of art therapy in museum development and the potential value of the combination of museum and art therapy on mental health are explored. Individuals who usually ...evade any treatment may experience art therapy in a museum setting as a release from their suppressed emotions. Furthermore, art therapy may enable them to discover how to express themselves, thereby reducing anxiety and promoting a sense of social belonging, which may be unattainable in other healing settings. Moreover, this literature review afforded us a preliminary understanding of issues in museum education and art therapy, which require further examination, including implications for China's museum art therapy in practice and future research directions.
The article discusses the consequences of participatory actions in a museum exemplified by the Find Art exhibition presented at the Muzeum Sztuki Lodz in 2017. It focuses on the transformative impact ...of participatory projects on museum culture and organizational structure. Museums have shifted from collection-driven entities to audience-oriented institutions, blurring lines between entertainment, education, and cultural heritage. The author highlights the changing paradigm of museums from old to new museology, critiquing power structures within museums. Based on the analysis of the Find Art exhibition the author argues that participatory projects reconfigure a museum institution, creating a Protean community of multi-functional collaborations that challenge conventional museum roles. He suggests a post-critical approach, defining a “distributed museum,” where networks of dependencies redefine the museum’s role beyond traditional boundaries. The author acknowledges the diverse contributions within the distributed museum, encompassing both formal and informal entities and addresses potential implications of exploitation within this dynamic community.
Tekst stanowi omówienie konsekwencji działań partycypacyjnych w muzeum na przykładzie wystawy Find Art w Muzeum Sztuki w Łodzi z 2017 roku. Autor skupia się na transformującym wpływie projektów partycypacyjnych na strukturę organizacyjną muzeum. Przemiana, jaką przeszły muzea – od instytucji opartych na kolekcjonowaniu do placówek skoncentrowanych na publiczności – zatarła granice między rozrywką, edukacją i dziedzictwem kulturowym. Autor zwraca uwagę na zmianę paradygmatu muzeum – ze starej muzeologii na nową muzeologię, będącą krytyką struktur władzy. Na podstawie analizy wystawy Find Art autor dowodzi, że projekty partycypacyjne rekonfigurują instytucję muzeum, tworząc proteuszową wspólnotę multifunkcjonalnej współpracy, która kwestionuje tradycyjne role w muzeum. Proponuje podejście postkrytyczne, definiując „rozproszone muzeum”, w którym sieci wzajemnych zależności redefiniują rolę muzeum poza tradycyjnymi jej granicami. Uznaje różnorodny udział w rozproszonym muzeum, obejmujący podmioty zarówno sformalizowane, jak i niesformalizowane; odnosi się także do potencjalnych konsekwencji wyzysku w tej dynamicznej społeczności.
•This paper investigates the concept of suzhi in the context of museum education in China.•Prior research mostly focused on the realisation of suzhi education in formal schooling.•Findings indicate ...that visitors and museum professionals buy into suzhi in museum practice.
Suzhi education, as a long-term promoted slogan, has been promulgated for over two decades by the Chinese government. There is a heated debate over its meaning, utilisation and evaluation, which is important in comprehending China's recent educational reform. The current discussion tends to concentrate on the politically and institutionally embodied educational reforms in school settings, whereas how the suzhi discourse informs and reshapes informal/non-formal educational settings like museums remains scarce. Drawing on these gaps, this paper presents a deconstruction of suzhi discourse in a major Chinese museum, by exploring how the promoted suzhi discourse has influenced the educational practices at cultural institutions. It further examines the practices and experiences of participants through the notion of suzhi. The study finds out that the museum practice is deeply affected by this notion and participants buy into the idea, fostering its impact across different life stages and generations in various ways.
The paper presents the research project implementedby the staff of the University of Silesia in Katowiceduring the Museum Power Exhibition at the National Museumin Krakow. The semiotic interpretation ...of the data amassedin FGIs and IGIs, these enriched with class observations, DeskResearch, as well as the analysis of purpose-created documents,allowed to fulfil the goal of the investigation. The interdepartmentalcooperation launched when educators becameExhibition’s curators was of the main interest to the researchers.These actions were considered as examples of the implementationof the ‘educational turn’ in Polish museology wheretendencies to clearly separate and differently evaluate curatorialand educational practices are distinctly visible. The analysisof the manners of extending fields of museum education byeducators-curators enabled the identification of a set of recommendationsfor initiating display projects implemented andco-created by the education department staff. In the presentationof the research results the focus has been put on threeareas in which the shift was observed: types of knowledgeorganizing thinking about the display; perception and applicationof educators’ competences; and shaping informal relationsand producing institutional trust. The paper speaks infavour of the necessity to take into account the experience andcompetences of the education department employees whencreating valuable exhibitions and consolidating good relationswith committed public.
