Muziejinė edukacija yra naujas ir daug dėmesio tiek Lietuvoje, tiek visame pasaulyje susilaukiantis reiškinys. Šiame bakalauro darbe pagrindinis dėmesys yra skiriamas Lietuvos (remiantis Kauno miesto muziejų pavyzdžiu) muziejų edukacinės veiklos tendencijoms, siekiant ištirti muziejinės edukacijos, kaip vienos iš šiuo metu daugiausiai dėmesio susilaukiančių muziejinės veiklos sričių, raidos, teorinę, praktinę ir metodologinę sritis. Šiandien, muziejinę edukaciją galima apibrėžti kaip mokymosi galimybę muziejaus aplinkoje, naudojant tam tikrus bendravimo su lankytojų auditorija būdus (edukacinės raiškos formos) ir mokymo metodus. Šiuolaikinės muziejinės edukacinės veiklos sampratos sklaidos atskaitos tašku Lietuvoje laikomi 1991 m., kai buvo perimta nauja muziejinės edukacijos samprata, susiformavusi pasaulyje XX a. pabaigoje. Didelis indėlis į muziejų edukacinės sampratos plėtotę įneštas į šią veiklą įsitraukus Atviros Lietuvos fondui, Lietuvos muziejų asociacijai ir 1997 m. prie jos įkurtai Švietimo sekcijai. Jų dėka pradedami rengti pirmieji seminarai, konferencijos, projektai, analizuojantys Lietuvos muziejų edukacinės veiklos plėtros galimybes. 1996 – 1999 m. Lietuvos muziejų edukacinės veiklos organizavimas pasižymi jos orientavimu į mokyklas. Laikotarpis nuo 2002 – 2003 m. iki 2009 m. taip pat sąlyginai pasižymi naujomis idėjomis. Prie tokių naujovių galima priskirti idėjų perimamumą iš Europos šalių muziejų, nuolat keliamą klausimą dėl edukacinės veiklos skalės... [toliau žr. visą tekstą] / Museum education is a new phenomenon that gains a lot of attention in Lithuania and worldwide as well. In this work the main focus is concentrated to the tendencies of the educational activities of Lithuanian museums (on the basis of the museums of Kaunas city). The main object - extend museum education as one of the most popular museum activity evolutionary, theoretical, practical and methodology researches fields. Today museum education we can to characterize that the learning opportunity in museum, using some special communication with museum visitors audience ways (education expression forms) and learning methods. The spread point of the conseption of the educational acitivies of modern museum in Lithuania is regarded to be the year of 1991 when a new museum conseption that formed worldwide in the end of XX century was applied. A significant contribution to the development of the educational conception of museums started after the Open Lithuania fund, the Association of Lithuania museums and finally the Education section, that was established in 1997, began to paricipate in this activity. Courtesy of them, the first seminars, conferences and projects have been arranged. They participate in analysing the possibilities of the development of educational activity of Lithuanian museums. During 1996 – 1999 that kind of educational activity of Lithuanian museums is focused on schools. The period between 2002 – 2003 and until 2009 is also considered as a period of new ideas... [to full text]

Muziejaus edukacinė veikla, kaip mokslinio tyrimo objektas, ypač Lietuvoje, yra dar labai mažai nagrinėta, taigi disertacinis muziejinės edukacijos tyrimas yra reikšmingas tolimesnei muziejinės edukacijos plėtrai. Tyrimui atlikti pasirinkta klasikinės grindžiamosios teorijos strategija, suteikianti tyrėjui galimybę, konceptualizuojant tyrimo duomenis, „iškelti“ teoriją, atskleidžiančią pagrindinį rūpestį ir paaiškinančią, kaip jis yra sprendžiamas. Tyrime taikyti duomenų rinkimo metodai (interviu, stebėjimas, neformalūs pokalbiai, virtualūs komentarai, rašinėliai, piešiniai, dokumentai) ir klasikinės grindžiamosios teorijos procedūrų taikymas padėjo atskleisti, kad pagrindinį rūpestį muziejinėje edukacijoje kelia nuobodulys. Nuobodulio problema muziejinėje edukacijoje yra sprendžiama nardinančiu interaktyvumu, kurio pagrindu ir suformuota grindžiamoji teorija: Nardinantis interaktyvumas muziejinėje edukacijoje. Šioje teorijoje yra atskleidžiami plūduriavimo ir pasinėrimo procesai, paaiškinantys šiuolaikinę muziejinę edukaciją. Plūduriavimą, kaip paviršinės muziejinės edukacijos procesą, atskleidžia nuobodulio rato įsukimas, kai sprendžiant nuobodulio problemą, siekiama išvengti nuobodulio aktyvinimu, kuris veda prie perdozavimo ir lemia grįžimą į pradinę nuobodulio būseną. Tuomet muziejaus lankytojas tarsi plūduriuoja muziejinės edukacijos paviršiuje, kas veda prie dalinio ir laikino nuobodulio problemos sprendimo bei skatina muziejaus lankytojus ateityje labiau vengti... [toliau žr. visą tekstą] / Museum education as the subject of scientific research has been little analyzed, especially in Lithuania, thus, the dissertation research on museum education is significant for further development of museum education. The strategy of classic grounded theory was selected for research. It provides the possibility to researcher to “emerge” the theory, which reveals the main concern and explains how it is solved, by conceptualizing the data of research. The data collection methods (interviews, observation, informal conversations, virtual comments, essays, drawings, documents), used in research, and application of procedures of classic grounded theory helped to reveal that the main concern in museum education is boredom. The problem of boredom in museum education is solved by submerging interactivity on the basis of which the grounded theory is formed: submerging interactivity in museum education. The processes of floating and immersing, which explain a modern museum education, are revealed in this theory. Floating as process of superficial museum education is disclosed by turning the wheel of boredom (when solving the boredom problem, it is sought to avoid boredom by activation, which leads to overdosing and results in return to initial condition of boredom). Then it seems that museum visitor floats on the surface of museum education, which leads to partial and temporal solving of boredom problem and promotes museum visitors to avoid museum even more in the future. Immersing... [to full text]

Museum education as the subject of scientific research has been little analyzed, especially in Lithuania, thus, the dissertation research on museum education is significant for further development of museum education. The strategy of classic grounded theory was selected for research. It provides the possibility to researcher to “emerge” the theory, which reveals the main concern and explains how it is solved, by conceptualizing the data of research. The data collection methods (interviews, observation, informal conversations, virtual comments, essays, drawings, documents), used in research, and application of procedures of classic grounded theory helped to reveal that the main concern in museum education is boredom. The problem of boredom in museum education is solved by submerging interactivity on the basis of which the grounded theory is formed: submerging interactivity in museum education. The processes of floating and immersing, which explain a modern museum education, are revealed in this theory. Floating as process of superficial museum education is disclosed by turning the wheel of boredom (when solving the boredom problem, it is sought to avoid boredom by activation, which leads to overdosing and results in return to initial condition of boredom). Then it seems that museum visitor floats on the surface of museum education, which leads to partial and temporal solving of boredom problem and promotes museum visitors to avoid museum even more in the future. Immersing... [to full text] / Muziejaus edukacinė veikla, kaip mokslinio tyrimo objektas, ypač Lietuvoje, yra dar labai mažai nagrinėta, taigi disertacinis muziejinės edukacijos tyrimas yra reikšmingas tolimesnei muziejinės edukacijos plėtrai. Tyrimui atlikti pasirinkta klasikinės grindžiamosios teorijos strategija, suteikianti tyrėjui galimybę, konceptualizuojant tyrimo duomenis, „iškelti“ teoriją, atskleidžiančią pagrindinį rūpestį ir paaiškinančią, kaip jis yra sprendžiamas. Tyrime taikyti duomenų rinkimo metodai (interviu, stebėjimas, neformalūs pokalbiai, virtualūs komentarai, rašinėliai, piešiniai, dokumentai) ir klasikinės grindžiamosios teorijos procedūrų taikymas padėjo atskleisti, kad pagrindinį rūpestį muziejinėje edukacijoje kelia nuobodulys. Nuobodulio problema muziejinėje edukacijoje yra sprendžiama nardinančiu interaktyvumu, kurio pagrindu ir suformuota grindžiamoji teorija: Nardinantis interaktyvumas muziejinėje edukacijoje. Šioje teorijoje yra atskleidžiami plūduriavimo ir pasinėrimo procesai, paaiškinantys šiuolaikinę muziejinę edukaciją. Plūduriavimą, kaip paviršinės muziejinės edukacijos procesą, atskleidžia nuobodulio rato įsukimas, kai sprendžiant nuobodulio problemą, siekiama išvengti nuobodulio aktyvinimu, kuris veda prie perdozavimo ir lemia grįžimą į pradinę nuobodulio būseną. Tuomet muziejaus lankytojas tarsi plūduriuoja muziejinės edukacijos paviršiuje, kas veda prie dalinio ir laikino nuobodulio problemos sprendimo bei skatina muziejaus lankytojus ateityje labiau vengti... [toliau žr. visą tekstą]

abstract: Art museums are institutions with a mission to not only preserve art and culture for the public, but to provide visitors with an educational experience. This qualitative case study includes three art museums in the Phoenix Metropolitan Area: a university art museum, a large public museum in Downtown Phoenix, and a contemporary art museum in the city of Scottsdale. This research study sought to identify the ways in which eight art museum employees from the education and administration departments identify their institutions as educational. Data was collected and analyzed through the methods of direct observations and field notes, one-on-one interviews, and photographs of educational programming. After examining these art museums and conducting eight interviews, a description of each observation is displayed using examples of photographs and field notes. Although findings suggest a variety of educational programs for a range of visitors in each institution, all three museums offered comparable programs, activities, and events. This research study revealed similar ideas, themes, and perspectives between art museum educators and administrators. Findings indicate the importance of collaboration between both museum departments in order to ensure the success of their museums. All eight participants in the study had a passion for art and art museums as well as visitor education. Additionally, participants had concurrent thoughts in their interviews regarding concepts of educational programming, cultural diversity approaches, art museum fundamental roles, and overall educational goals. / Dissertation/Thesis / Masters Thesis Art 2018

Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-10-06Bitstream added on 2014-06-13T19:48:48Z : No. of bitstreams: 1 selli_ph_me_ia.pdf: 4057389 bytes, checksum: c4566cfdf1823aeebe2a6d63aadb837a (MD5) / Universidade Estadual Paulista (UNESP) / Esta pesquisa parte de uma investigação sobre a relação entre crianças e museus na cidade de São Paulo para, a partir dos dados coletados, refletir sobre o acesso a museus e instituições culturais e a formação de público. Participaram da pesquisa crianças com cerca de nove anos de idade de quatro diferentes escolas da cidade de São Paulo, representantes da rede pública e particular. O instrumento de pesquisa envolveu um jogo, uma roda de conversa e um desenho. A partir das respostas das crianças pode-se averiguar se elas conhecem ou não essas instituições, se costumam frequentá-las e quem são os principais intermediadores dessa relação entre crianças e museus. As crianças também revelaram, através de diferentes tópicos, como percebem essas instituições e deram suas opiniões sobre acervo, finalidade e acesso ao museu. Dessa forma, se colocaram como público que são. A partir das falas das crianças, da contribuição de diversos autores e de outras pesquisas (Almeida, A. M.; Barbosa, A. M.; Botelho, I.; Bourdieu, P.; Falk, J.; Flores, C.; Ganzer, A.; Grinspum, D.; Hood, M.; Meneses, U. B.; Leite, M. I.; Santos, M. C.; Studart, D. e outros) pudemos refletir sobre as representações de museu que permeiam o universo infantil e sobre o acesso desta parcela da população aos bens culturais. As falas das crianças serviram, portanto, como ponto de partida para pensar um museu mais aberto e participativo para todos / This research begins with an investigation about the relationship between children and museums in the city of Sao Paulo, in order to reflect upon museum and cultural institutions accessibility as well as generation of audience. Children taking part in this research were about 9 years old and attending 4 different schools, both private and public. The research instrument comprised a game, a debate and a drawing. From de children‟s answers we can verify if they know or if they don‟t know the museum, if they tend to frequent that and who the main intermediaries are in this relationship between children and museums. Children still reveal, through different topics, how they perceive those institutions and they gave their opinion about collection, purpose and access to the museum. From the children‟s speech, as well as many authors‟ contribution and other surveys (Almeida, A. M.; Barbosa, A. M.; Botelho, I.; Bourdieu, P.; Falk, J.; Flores, C.; Ganzer, A.; Grinspum, D.; Hood, M.; Meneses, U. B.; Leite, M. I.; Santos, M. C.; Studart, D. and others), we were able to reflect upon the museum‟s representations that permeate the child's universe and about this portion of the population‟s access to cultural heritage. The children‟s speech was, therefore, a starting point to envision a more open and participatory museum for all

Orientador: Rejane Galvão Coutinho / Banca: Luiza Helena da Silva Christov / Banca: Denise Grinspum / Resumo: Esta pesquisa parte de uma investigação sobre a relação entre crianças e museus na cidade de São Paulo para, a partir dos dados coletados, refletir sobre o acesso a museus e instituições culturais e a formação de público. Participaram da pesquisa crianças com cerca de nove anos de idade de quatro diferentes escolas da cidade de São Paulo, representantes da rede pública e particular. O instrumento de pesquisa envolveu um jogo, uma roda de conversa e um desenho. A partir das respostas das crianças pode-se averiguar se elas conhecem ou não essas instituições, se costumam frequentá-las e quem são os principais intermediadores dessa relação entre crianças e museus. As crianças também revelaram, através de diferentes tópicos, como percebem essas instituições e deram suas opiniões sobre acervo, finalidade e acesso ao museu. Dessa forma, se colocaram como público que são. A partir das falas das crianças, da contribuição de diversos autores e de outras pesquisas (Almeida, A. M.; Barbosa, A. M.; Botelho, I.; Bourdieu, P.; Falk, J.; Flores, C.; Ganzer, A.; Grinspum, D.; Hood, M.; Meneses, U. B.; Leite, M. I.; Santos, M. C.; Studart, D. e outros) pudemos refletir sobre as representações de museu que permeiam o universo infantil e sobre o acesso desta parcela da população aos bens culturais. As falas das crianças serviram, portanto, como ponto de partida para pensar um museu mais aberto e participativo para todos / Abstract: This research begins with an investigation about the relationship between children and museums in the city of Sao Paulo, in order to reflect upon museum and cultural institutions accessibility as well as generation of audience. Children taking part in this research were about 9 years old and attending 4 different schools, both private and public. The research instrument comprised a game, a debate and a drawing. From de children‟s answers we can verify if they know or if they don‟t know the museum, if they tend to frequent that and who the main intermediaries are in this relationship between children and museums. Children still reveal, through different topics, how they perceive those institutions and they gave their opinion about collection, purpose and access to the museum. From the children‟s speech, as well as many authors‟ contribution and other surveys (Almeida, A. M.; Barbosa, A. M.; Botelho, I.; Bourdieu, P.; Falk, J.; Flores, C.; Ganzer, A.; Grinspum, D.; Hood, M.; Meneses, U. B.; Leite, M. I.; Santos, M. C.; Studart, D. and others), we were able to reflect upon the museum‟s representations that permeate the child's universe and about this portion of the population‟s access to cultural heritage. The children‟s speech was, therefore, a starting point to envision a more open and participatory museum for all / Mestre

abstract: The purpose of this study was to investigate critical literacy practices in two prehistoric exhibits in a natural history museum. Bourdieu's habitus and Bakhtin's dialogism served as theoretical frames to collect and analyze data. Data were collected and triangulated using field notes, interview transcriptions, archives, and other data sources to critically scrutinize textual meaning and participant responses. Spradley's (1979) domain analysis was used to sort and categorize data in the early stage. Glaser and Strauss's (1967) constant comparative method was used to code data. My major findings were that museum texts within this context represent embedded beliefs and values that were interwoven with curators` habitus, tastes and capital, as well as institutional policies. The texts in the two Hohokam exhibits endorse a certain viewpoint of learning. Teachers and the public were not aware of the communicative role that the museum played in the society. In addition, museum literacy/ies were still practiced in a fundamental way as current practices in the classroom, which may not support the development of critical literacy. In conclusion, the very goal for critical museum literacy is to help students and teachers develop intellectual strategies to read the word and the world in informal learning environments. / Dissertation/Thesis / Ph.D. Curriculum and Instruction 2013

abstract: The general field of interest of this study was art education in the context of art museums in the United States. The vehicle of a mixed method, descriptive research design was used to investigate whether museum educator and curator participants had tendencies to use personal or communal approaches (Barrett, 2000) to teaching art interpretation to adult visitors. While the personal approach to art interpretation focused on individuals' responses to artworks, the communal approach emphasized the community of art scholars' shared understandings of artworks. Understanding the communities of practice of the participants was integral to the discovery of meaning in the study's findings. Wenger (1998) introduced the theory of community of practice to explain how individuals, who are united in a particular context, shared similar perspectives, learned socially from each other, and gained a sense of identity through their routines and interactions. The study examined how museum educators' and curators' separate communities of practice influenced their members' teaching approaches through the development of distinct teacher personae. Teacher personae reflected the educational values and priorities of museum educators' and curators' communities of practice. And, teacher personae had tendencies to adopt personal or communal approaches to art interpretation. / Dissertation/Thesis / Doctoral Dissertation Curriculum and Instruction 2014

Doctor of Education / Department of Educational Leadership / Gerald D. Bailey / The purpose of this study was to create a handbook for school and museum educators to support their development of curriculum materials that provide meaningful access to diverse learners. The handbook was developed using the research and development methodology (R&D) developed by Borg and Gall (1989). The steps in the R&D cycle used in this study included: (1) Research analysis and proof of concept; a proof of concept consisted of interviews with three national experts in the areas of accessibility, education, and museum education to determine the need for the resource. (2) Product planning and design; information was gathered through a literature review, curriculum materials derived from a collaborative partnership between Kansas State University and the Negro Leagues Baseball Museum were used as examples. (3) Product development; a prototype of the handbook was created. (4) Preliminary field test; the handbook was evaluated by five national leaders in the fields of education, accessibility, and museum education. (5) Product revision; revisions were made based on feedback from the preliminary field test. (6) Main field test; seven potential users from the areas of education and museum education reviewed the handbook. (7) Operational product revision; feedback from the main field test was used for final revisions. Conclusions: 1. There was a need for a resource to assist professionals in the design of curriculum materials that were accessible to diverse learners in both the school and museum setting. 2. The handbook was useful to both intended audiences. Museum educators found the handbook expanded their thinking to include cognitive accessibility. School educators reported the handbook increased their skills in designing learning activities for diverse learners. 3. The handbook provided specific instructions in the applications of differentiated instruction and universal design to curriculum developed for museums. 4. Physical accessibility was accepted as an important concern for museum educators. This awareness provided a useful bridge to cognitive accessibility. 5. Cognitive accessibility was accepted as an important concern for school educators. The handbook increased their skills in reaching diverse learners. 6. Both museum and school educators appreciated the technology resources that prompted reviewers’ expanded thinking.

As a museum educator who embraces social education and reflects on the postmodern condition, I found working within a traditional museum context to present challenges. As a result, I conducted an action research project focusing on ways to improve my own practice and affect change based on my engagement with visual culture discourse and the docents I teach. Having chosen action research, I implemented various teaching approaches and collected data over the course of several months. These data collection methods included interviews, museum documents, observational notes, recorded teaching practice, and daily journal entries. Narrative analysis was then used to interpret the collected data, specifically focusing how participants, including myself, make sense out of our experiences and how we value them.