Orientador: Maria Margaret Lopes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociencias / Made available in DSpace on 2018-08-13T07:38:58Z (GMT). No. of bitstreams: 1 Seibel-Machado_MariaIloni_D.pdf: 4061892 bytes, checksum: 19f32e958ea711c0c3a55f55ed4f5c21 (MD5) Previous issue date: 2009 / Resumo: Esta tese tem por objetivo explicitar as abordagens pedagógicas e o papel do setor educativo nos museus, a partir da análise de literatura que trata de educação em museus, incluindo teses e dissertações defendidas entre 1987 e 2006 no Rio de Janeiro e em São Paulo. Parte do pressuposto de que a prática educativa é uma prática intencionalizada e, como tal, atende a interesses e cumpre objetivos específicos voltados para determinados públicos - de acordo com o contexto e momento histórico em questão. Inicialmente busca situar o setor educativo em diferentes momentos da história dos museus, onde aparece como um setor específico criado para atender o público escolar sobremaneira. As funções que lhe foram atribuídas se traduzem em ações e atividades que acabam se tornando a "marca registrada" da atuação do setor educativo em diferentes tipos de museus, que é referenciada em princípios político-pedagógicos que tendem a corresponder àqueles que informam o sistema de ensino e a ideologia dominante nos diferentes momentos históricos - na maioria das vezes não explicitados. Apresenta um panorama geral das teses e dissertações selecionadas com informações sobre as instituições em que foram defendidas, bem como a formação dos autores, os temas abordados, os objetivos propostos, a metodologia de pesquisa e os referenciais teóricos que orientam os estudos. Examina alguns desses trabalhos que, entre outros aspectos, referem-se à questão pedagógica e ao papel do setor educativo, com o intuito de explicitar as abordagens pedagógicas e identificar contribuições e lacunas. Deste modo, foi possível rever a experiência de coordenar o processo de estruturação do setor educativo do Museu da Vida, e formular novas questões e reflexões, sinalizando possibilidades e limites desse setor para desenvolver, no museu de ciências, uma prática educativa transformadora. / Abstract: This thesis aims to bring up pedagogic approaches as well as the role of educative division in museums, coming from the analysis of the literature around education in museums, including thesis and dissertations presented between 1987 and 2006 in Rio de Janeiro and São Paulo. It comes from the presuppose that educative practice is intentionalized, and, thus, lives up to interests and also intends for specific aims which are focused on some audiences - according to context and historical moment in question. Initially, it aims to situate the educative area in different moments of museums history, where appears as a specific place created to supply the scholar people overall. Functions them attributed stand for actions and activities which becomes the hallmark of educative area in different kinds of museums, referenced on political-pedagogic principles, tending to correspond to whose that inform system of learning and main ideology throughout various historical moments - most of times non-explicit ones. It features a general overview on thesis and dissertations selected with information about institutions where them were presented, as well as authors' formation, selected themes, proposed objectives, research methodology and theory references that guide studies. Some of those works which, among others, refers to pedagogical issue are looked over in order to makes visible pedagogical approaches, as well as identify gaps and contributions. This way, it was possible to coordinate process of educative building of Museu da Vida and thus formulate new questions and thinking, in order to develop a transforming educative practice in science museum. / Doutorado / Doutor em Ciências

This thesis discusses the relatively new approach of art education, by paralleling it to Marxist ideology on art. The Dallas Arts District is one example of a city where museum art education is in conflict: being adopted more vigorously by some and with less acceptance by others. In order to provide a glimpse into the museum ideology of downtown Dallas, previous schools of thought regarding the role of curators and the introduction of educators into museums will be detailed, as well as conflicts between these two factions. The following questions will be addressed: Is museum art education truly a movement which strives to infuse the American culture with a greater appreciation of art? Is there a link to overcoming Marx's key issue of class? How is the movement affecting the Dallas Arts District and to what extent is museum art education being utilized within this forum? Is the emphasis toward museum art education greater in Dallas than in other large cities across the United States, and if so, how has that affected the cities' patrons?

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.

Science education has maintained a longstanding goal of enhancing societal interest, values, and understandings of science. Despite a series of public education reforms and efforts by scientific researchers, scientific literacy and passion remain sparse across the American public. In fact, many students demonstrate a lack of interest in the sciences as early as first grade, with major drop-offs occurring by the age of 14. This is further exacerbated for youth of color, as science is deeply rooted in pervasive and institutionalized racism. When accessible, out-of-school science experiences are uniquely positioned to promote youth agency, leverage students’ current values, and challenge structural inequities. Therefore, this work sought to highlight the narratives of three young science learners who identify as youth of color and graduated from an eight-year-long museum science program. A narrative inquiry was implemented, guided by Critical Race Theory and Cultural Learning Pathways as frameworks. Data from semi-structured interviews, questionnaires, and drawings provided insight into the students’ orientations towards science and the development of those orientations. The study took place during the Covid-19 outbreak. Implications of the pandemic on the study are discussed. Findings from the study suggest that students positively identify with science and feel at home in The Museum. It was also noticed, however, that the students maintained ideologies consistent with Western perspectives. Recommendations include creating homeplaces, making out-of-school learning more easily accessible, and creating justice-centered curricula.

Bibliography: pages 107-117. / The following thesis focuses on the relationship between archaeologists, museologists and the broader community, in terms of educational programmes. It consists of a case-study comprising an educational project based on theoretical ideas of People's Archaeology as influenced by theories of Freirean education. The process of the educational project is illustrated through the description of interviews and workshops. The case-study indicates that there is a gap between academic and community percpetions of the role of archaeology and museums. Results from interpretations indicate that much more research emphasising the constitution, situation and perceptions of specific communities, especially those which have previously been marginalised by broader society, is needed in order to improve the educational services which museums and archaeologists offer to the community.

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In North America, art museums have rendered services to elementary schools since the early 1900s. Although the scope and number of these services have expanded in the past several decades, the nature of the art museum-elementary school collaborative relationship can be problematic, and even counterproductive to the enhancement of quality of art education. There are some crucial issues related to the nature of and factors underlying collaboration among elementary schools and art museums, that need to be carefully considered in order for these efforts to be successful and fruitful. Since the relationship between attitudes and behavior is reciprocal, the attitudes of art museum educators in regard to art museum-elementary school collaboration are crucial to the quality and effectiveness of any collaborative endeavors and directly impact art museums' contribution to elementary art education. Therefore, this study explores art museum educators' attitudes in regard to art museum-elementary school collaboration. The present investigation is the only study of its kind in Canada to date. From the fall of 1997 to the spring of 1998, I conducted a survey of art museum educators in the province of British Columbia, Canada as well as interviews involving nine informants working in two art museums. Moreover, in order to meaningfully interpret the interview data, I observed the informants' daily routines in these galleries and collected documents related to the two study sites. This mixed method design was used to study BC art museum educators' attitudes in regard to art museum-elementary school collaboration relative to six specific issues: 1) models of art museum/gallery-school collaboration; 2) pedagogy and methods of art museum/gallery programs for elementary schools; 3) art museum/gallery programs and resources for elementary school teachers; 4) elementary school teacher participation in school-oriented art museum education; 5) content of art museum/gallery programs for elementary schools; and 6) linkage of art museum/gallery school programs and elementary school curricula. The results of this study suggest important implications to the future of collaborative endeavors bringing together elementary schools and art museums by highlighting issues related to the dynamics of the art museum educator - elementary school teacher relationships, professional knowledge and expertise, and curriculum links that strongly impact on such partnerships. They also provide guidance for future related research.

In North America, art museums have rendered services to elementary schools since the early 1900s. Although the scope and number of these services have expanded in the past several decades, the nature of the art museum-elementary school collaborative relationship can be problematic, and even counterproductive to the enhancement of quality of art education. There are some crucial issues related to the nature of and factors underlying collaboration among elementary schools and art museums, that need to be carefully considered in order for these efforts to be successful and fruitful. Since the relationship between attitudes and behavior is reciprocal, the attitudes of art museum educators in regard to art museum-elementary school collaboration are crucial to the quality and effectiveness of any collaborative endeavors and directly impact art museums' contribution to elementary art education. Therefore, this study explores art museum educators' attitudes in regard to art museum-elementary school collaboration. The present investigation is the only study of its kind in Canada to date. From the fall of 1997 to the spring of 1998, I conducted a survey of art museum educators in the province of British Columbia, Canada as well as interviews involving nine informants working in two art museums. Moreover, in order to meaningfully interpret the interview data, I observed the informants' daily routines in these galleries and collected documents related to the two study sites. This mixed method design was used to study BC art museum educators' attitudes in regard to art museum-elementary school collaboration relative to six specific issues: 1) models of art museum/gallery-school collaboration; 2) pedagogy and methods of art museum/gallery programs for elementary schools; 3) art museum/gallery programs and resources for elementary school teachers; 4) elementary school teacher participation in school-oriented art museum education; 5) content of art museum/gallery programs for elementary schools; and 6) linkage of art museum/gallery school programs and elementary school curricula. The results of this study suggest important implications to the future of collaborative endeavors bringing together elementary schools and art museums by highlighting issues related to the dynamics of the art museum educator - elementary school teacher relationships, professional knowledge and expertise, and curriculum links that strongly impact on such partnerships. They also provide guidance for future related research. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

This study traced the evolution of experiential education in American history museums from 1787 to 2007. Because of a decline in attendance, museum educators need to identify best practices to draw and retain audiences. I used 16 museology and history journals, books, and archives of museums prominent for using the method. I also interviewed 15 museum educators who employ experiential learning, one master interpreter of the National Park Service, and an independent museum exhibit developer. Experiential education involves doing with hands touching physical materials. Four minor questions concerned antecedents of experiential learning, reasons to invest in the method, the influence of social context, and cultural pluralism. Next is a review of the theorists whose works support experiential learning: Dewey, Piaget, Vygotsky, Lewin, Bruner, Eisner, Hein, and David Kolb plus master parks interpreter Freeman Tilden. The 8 characteristics they support include prior experiences, physical action, interaction with the environment, use of the senses, emotion, social relationships, and personal meaning. Other sections are manifestation of experiential learning, transformation of history museums, and cultural pluralism in history museums. The research design is descriptive, and the procedure, document analysis and structured interview. Findings are divided by decades after the first 120 years. Social context, examples of experiential learning, and multicultural activities are detailed. Then findings are discussed by patterns of delivery: sensory experiences, actions as diversion and performance, outreach of traveling trunks and of organized activity, crafts as handwork and as skills, role-playing, simulation, hands-on museum work, and minor patterns. The decline of involvement of citizens in the civic and cultural life of the community has adversely affected history museums. Experiential learning can stop this trend and transform museum work, as open-air museums and the National Park Service have demonstrated. In the future history museums may include technology, a more diverse audience, and adults in its experiential educational plans to thrive. Further research is needed on evaluation, finances, and small museums.

The purpose of the study was to (1) identify pedagogical touring competencies needed by volunteer docents in art museums, (2) catalog the competency statements into major competency categories, (3) validate the list of competency statements, and (4) compare priority designations awarded each statement by the individuals within the two major subgroups: museum staff and volunteer docents. In conclusion, many of the needs represented by the highest ranking competencies in each category are seldom addressed in the traditional volunteer docent training program. This study showed that abilities to help the child feel comfortable in the museum and combinations of abilities to help the docent make judgments regarding the presentation of the material require attention and, at the very least , special training. It is recommended that training personnel in art museums identify the needs of volunteer trainees and design training programs less on traditional guidelines and more on the specific needs appropriate to the task.