<p>The purpose of this thesis is to analyze how museums, seen as heterotopic places where time and space act simultaneously, can, with the help of museum educators and guides, integrate the foreign citizens in Sweden. The analysis is done with the help of three institutions: The Vasa Museum, the Royal Armory and The Great Synagogue in Stockholm.</p><p>The author of the thesis argues that recruiting trained personnel with foreign roots by museums would help significantly in the creation of a sense of collective identity and belonging among those citizens who are just adapting to the country. Through the use of Swedish, in conjunction with their mother tongue, as well as analogies, an important contribution can be attained in their integration.</p><p>In this work, concepts such as the accent, are treated in a categorical manner, as the author, with the assistance of other researchers, concluded that the accent should not influence the perception of the intellectual and work capability of a professional museum educator/guide.</p><p>History represents another key element in this thesis, as it discusses the way to find a new narrative form to channel history and refer to it, thus sharing historical roots with these new immigrants in Sweden.</p>

The purpose of this thesis is to analyze how museums, seen as heterotopic places where time and space act simultaneously, can, with the help of museum educators and guides, integrate the foreign citizens in Sweden. The analysis is done with the help of three institutions: The Vasa Museum, the Royal Armory and The Great Synagogue in Stockholm. The author of the thesis argues that recruiting trained personnel with foreign roots by museums would help significantly in the creation of a sense of collective identity and belonging among those citizens who are just adapting to the country. Through the use of Swedish, in conjunction with their mother tongue, as well as analogies, an important contribution can be attained in their integration. In this work, concepts such as the accent, are treated in a categorical manner, as the author, with the assistance of other researchers, concluded that the accent should not influence the perception of the intellectual and work capability of a professional museum educator/guide. History represents another key element in this thesis, as it discusses the way to find a new narrative form to channel history and refer to it, thus sharing historical roots with these new immigrants in Sweden.

This thesis is intended to contribute to development of communicative frames of reference for museum education. Inspired by the philosopher John Dewey it seeks for new perspectives of the research problem – museum education and experience. The understanding of museum education is based on research literature about museum education, two empirical studies and theoretical interpretations. Some of the conclusions points towards museum education being an interdisciplinary knowledge area in progress that is insufficiently scientifically investigated. Experience is here understood as transaction between people and context – processes of trying and undergoing and can include or correspond to education, “Bildung” and learning. Museum educators describe museum education in many various ways in my questionnaire. The material ground, surroundings and their own actions are three of the dimensions. Their intentions or purposes are the fourth and with Dewey we can name this dimension “consequences of museum education”. The fifth dimension consists of metaphors about the educators own role in the museum, like “the bridge”. Furthermore, my study about young peoples´ experiences in relation to an exhibition highlights the visitor perspective. For them the exhibition created many important questions and thoughts and they were much affected by the pictures in the exhibit. They appreciated being active together, to have joint engagement and to take standpoints in the workshops. To some degree they reached a conjoint communicated experience. Communication is at the core of museum education. From theoretical readings, research literature and empirical results the context of museum education get three crucial and overlapping meanings. One is the meaning or aspect as environment – a prerequisite for the visitors’ transactions and experiences. The second is context as circumstances – the situation. A third aspect of context, that will be more and more important in a globalized world, can be named continuity or connectedness. All three meanings have something to do with space, place and time and can also be discovered in Dewey’s extensive text production.

This report is a case study of the presentation of craft at the Renwick Gallery, the craft museum of the Smithsonian American Art Museum (SAAM). The Renwick, founded in 1976, is a curatorial department of SAAM, focusing in modern and contemporary American craft. Through an examination of the museum’s galleries and exhibitions, interviews with staff, and an analysis of educational programming, this thesis explores how the Renwick defines craft implicitly and explicitly. Giving a context for this study is a history of the Renwick Gallery, as well as history of craft and its definitions. With these histories as background, the ways that the Renwick, and thus its visitors, understand craft is explored. The qualities specific to craft in the literature and manifest at the Renwick are examined in order to determine how they influence the presentation of craft at the Renwick. / text

This thesis is a qualitative case study of a 5th grade field trip program at the Georgia Museum of Art in Athens, Georgia. The value – educational, social, and otherwise – of direct experiences with artworks in the museum setting has been demonstrated in numerous studies (Adams & Sibille, 2005; Burchenal & Grohe, 2007; Burchenal & Lasser, 2007; Henry, 1992; Hubard, 2007), and the single-visit field trip program has been a staple of educational programming at many art museums across the United States. However, much of the recent literature in art education focuses on the benefits of multiple-visit field trip programming (Burchenal & Grohe, 2007; Burchenal & Lasser, 2007), in effect “abandoning” the single-visit program. Given that the single-visit field trip remains a standard in the field, this study sought to explore the ways museum educators can maximize the value of the one-shot field trip model in art museums. Through observations of a 5th grade class on their field trip to the Georgia Museum of Art, interviews with program stakeholders (including museum educators, museum director, the school art teacher, and program donor), and collecting the students’ perspective through written questionnaires, this study revealed insight into the one-visit field trip. An analysis of the various issues and perspectives involved with this type of programming substantiated the hypothesis that there is valuable information to be learned from looking closer at the single-visit program. The findings suggest that by situating itself authentically in its own community, the art museum can make single-visit field trip programs more relevant to students’ lives by employing culturally responsive teaching practices. / text

The increase in the Latino population, and specifically the Mexican-American population, in the United States demonstrates the need for meaningful multicultural museum education to, for, and about this demographic. This exploratory case study investigates the educational programming in the National Museum of Mexican Art in Chicago, Illinois and Mexic-Arte Museum in Austin, Texas through observations of programs and curricular documents and interviews and seeks to identify characteristics of effective multicultural art education related to this cultural group. While highlighting Mexican and Mexican-American art and artists serves as the primary content of program curricula, museum educators at these institutions aim for education that is socially conscious and meaningful. The author of this study argues that effective multicultural museum programming has the potential to positively impact program participants on an educational, personal, and societal level. / text

This study documents an experience in which a small group of cognitively and developmentally disabled adults expressed their personal goals and views related to art museum visits. A review of literature related to disability studies, museum access and inclusive programs, art therapy, and person-centered thinking provide background and context. Case study and qualitative interviews are used as methodologies to support an investigation of the use of person-centered thinking in the implementation of art museum programming for the study participants. Person-centered thinking is considered and assessed as an approach to structuring meaningful collaborations between visitors with disabilities and art museums. Data collected in the forms of visual and written response, observation, and documentation of interviews inform the findings, discussion, and analysis of the study's research goals. The resulting case study may be used by museums to structure visits with similar groups. This study contributes to a growing body of knowledge pertaining to how museums can best collaborate with disabled populations to create inclusive programs.

Through a qualitative case study this research examines the needs of three generalist high school teachers in relation to arts integration, writing, critical thinking, and the art museum website. The study also examines the perspectives of art museum educators in relation to how museum websites can be used to support teaching the writing process in the school classroom. Arts integration and the museum website are analyzed in depth through literature review and in-depth semi structured interviews. This research aims to present a model for collaborative website design where the museum website is designed around classroom teachers' curricular needs.

Since hitting mass markets in the 1920s, refrigerators have occupied a lovable corner not just in American kitchens but also in American culture. The story of humankind has always been the story of food, around which we congregate, negotiate power, and explore methods of control. As the U.S. transitioned to industrial, mechanical convenience in the twentieth century, refrigerators replaced hearths as household communication centers, and it has become commonplace to decorate refrigerator surfaces with photographs, keepsakes, lists, and other items of visual culture. As meaningful, expressive arrangements, the curatorial dimensions of such displays have called for their investigation. From January to June of 2013, the Other White Cube Project studied the cultural phenomenon by collecting photographs and questionnaires online at theotherwhitecube.com. From 200 submissions, the project connected activities at home with institutional roles at large. The educational effort performed post-museum theory, in which audiences and institutions share power, build community, and promote awareness. By equating museums with everyday spaces, curators with everyday people, and art with everyday objects, the Other White Cube Project approached three keys to learning in art museums - comfort, relevance, and readability. The project also examined the aesthetic, social, and practical barometers that direct daily choices, which shape consciousness and subsequent interactions with space. In that sense, everyone is a curator - of some kind and of some place.

Muziejinė edukacija Lietuvoje sėkmingai vykdoma jau dešimt metų. Aiškiai matyti Lietuvos nacionalinio ir Lietuvos dailės muziejų efektyvumas, darbo kokybė ir pasiekimai edukacijos srityje. Šių muziejų veikla orientuota į edukaciją, kuri atitinka pasaulines muziejų tendencijas. Akcentuodami jos svarbą visuomenėje ir naudodami edukacinės veiklos formas, šie muziejai sprendžia augančios kartos auklėjimo ir lavinimo klausimus bei neformalaus ugdymo uždavinius. Kurdami naujas metodikas ir programas, pritaikytas skirtingoms lankytojų grupėms, realizuoja svarbiausias muziejų edukacijos funkcijas. Lietuvos nacionalinis ir Lietuvos dailės muziejai kryptingai formuoja savo edukacinės veiklos turinius, kurie atitinka jų apibrėžtas misijas ir strategijas. Edukacinė veikla kasmet tampa nacionaliniuose muziejuose vis platesnė ir įdomesnė. Šie muziejai gali įtakoti kitų muziejų dukacinę veiklą bei būti jiems efektyvaus mokymosi būdo modelio pavyzdziu. Lietuvos nacionalinio muziejaus edukacinės programos yra istorinio pobūdžio. Jų tematika susieta su Lietuvos istorija ir etnine kultūra. Akivaizdu,kad pasitelkus edukacines programas stengiamasi perteikti žmogiškąsias vertybes, stiprinti tautinį tapatumą.. Lietuvos dailės muziejus,pasitelkdamas sukauptų meno kūrinių siužetus, tematikas, realizuoja muziejinės edukacijos tikslus,sėkmingai kūria ir pritaiko skirtingoms lankytojų grupėms naujas metodikas ir programas. Nors Lietuvos nacionalinio ir Lietuvos dailės muziejų vertybių rinkiniai... [toliau žr. visą tekstą] / The museum-based education is being successfully implemented in Lithuania for ten years already. The effect, high quality and achievements of the activities of Lithuanian National Museum and Lithuanian Art Museum in the sphere of education are evident. The activities of the said Museums are oriented to education that conforms to the trends usual for world museums. Stressing its importance for the society and using various forms of educative activities, the Museums settle various problems of education and training of the young generation as well as solve tasks of informal education. In course of developing new methods and programmes, they implement the principal functions of the museum-based education. Lithuanian National Museum and Lithuanian Art Museum purposefully form the contents of their educative activities that conform to their determined missions and strategies. The educative activities at national museums becomes more wide and interesting annually. The educational programmes of Lithuanian National Museum are the ones of historical character. They are bound with Lithuanian history and ethnic culture. It is evident that they are helpful in conveying the human values and strengthening the national identity. Lithuanian Art Museum implements the goals of the museum-based education using the stocks of its artistic works, successfully develops new methods and programmes applying them for various groups of visitors. Although the collections and expositions of values disposed... [to full text]