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.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-01-22T11:33:46Z No. of bitstreams: 1 Marina Barbosa da Cruz Teixeira.pdf: 1277272 bytes, checksum: 02c1413f662fb4f6f924613af2d288d5 (MD5) / Made available in DSpace on 2018-01-22T11:33:46Z (GMT). No. of bitstreams: 1 Marina Barbosa da Cruz Teixeira.pdf: 1277272 bytes, checksum: 02c1413f662fb4f6f924613af2d288d5 (MD5) Previous issue date: 2017-12-19 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Museums are cultural and educational spaces which interact with different audiences and intensely with schools. The great influx of school audiences to museum institutions led researchers to investigate the specificities and the great educational potential of this relationship, with studies aimed at improving the didactic use of student visits, understanding learning processes, evaluating practices among other aspects. Otherwise, the expansion of actions that seek to induce Full-time Program of Education in Brazil, providing extended educational times and spaces, in a multidimensional process that takes into account the city as an educational territory (Leclerc; Moll, 2012) has valued the articulation between spaces of education non-formal and formal. A recent initiative was the implementation of the Program “Mais Cultura nas Escolas” (PMCE), signed between the Ministry of Education and the Ministry of Culture to promote actions that provide the bond between the pedagogical project of public schools and cultural experiences of local communities. In this context, the present research has the apprehension problem of the senses and meanings attributed by educators on the relation museum/school in the PMCE. Through qualitative research and having as a theoretical-methodological assumption the categories of Socio-Historical Psychology, semi-directed interviews were conducted with a teacher and the pedagogical coordinator of a school enrolled in the Program in the "Museum Education" and "Heritage Education" and with the educator of the partner museum, in the city of Porto Ferreira (SP). The analysis was done through the elaboration of pre-indicators, indicators and the Meaning Core (Aguiar and Ozella, 2006) that allowed us to understand that educators see the integration between museum and school as a way to promote equity and to qualify the experience of learning, making it more meaningful and enjoyable. In addition, they see this relationship as an innovation in teaching that breaks with traditional models, a way of valuing student subjectivity, an experience of enchantment and strengthening and building identities / Os museus são espaços culturais e educativos, que dialogam com diferentes públicos e de forma intensa com as escolas. A grande afluência de público escolar às instituições museais levou diversos pesquisadores a investigarem as especificidades e o grande potencial educativo dessa relação, com estudos que objetivam a melhoria do aproveitamento didático das visitas pelos alunos, a compreensão dos processos de aprendizagem, avaliação de práticas, entre outros aspectos. Por sua vez, a ampliação de ações que procuram induzir a Educação Integral no Brasil, no sentido de proporcionar tempos e espaços educativos ampliados, em um processo multidimensional e que leve em conta a cidade como território educativo (Leclerc; Moll, 2012) tem valorizado a articulação entre espaços de educação não-formal e formal. Uma iniciativa recente foi a implementação do “Programa Mais Cultura nas Escolas” (PMCE), firmado entre o Ministério da Educação e o Ministério da Cultura, para o fomento de ações que promovam o encontro entre o projeto pedagógico de escolas públicas e experiências culturais das comunidades locais. Neste contexto, a presente pesquisa tem como problema a apreensão dos sentidos e significados atribuídos por educadores sobre a relação museu/escola no PMCE. Por meio de pesquisa qualitativa e tendo como pressuposto teórico-metodológico as categorias da Psicologia Sócio-Histórica, foram realizadas entrevistas semidirigidas com um professor e o coordenador pedagógico de uma escola inscrita no Programa nos eixos “Educação Museal” e “Educação Patrimonial” e com o educador do Museu parceiro, na cidade de Porto Ferreira (SP). A análise foi feita através da elaboração de préindicadores, indicadores e Núcleos de Significação (Aguiar; Ozella, 2006) que nos permitiram apreender que os educadores veem a integração entre museu e escola como um caminho para promover equidade e para qualificar a experiência de aprendizagem, tornando-a mais significativa e prazerosa. Além disso, veem esta relação como uma inovação no ensino que rompe com modelos tradicionais, um modo de valorizar a subjetividade do aluno, uma experiência de encantamento e de fortalecimento e construção de identidades

19th century dime museums were a North American phenomenon that flourished in urban centres from the mid- to late-1800s. Named thusly due to their low admission cost, dime museums provided democratic entertainment that was promoted to all classes as affordable and respectable. The resulting facilities were crammed with art, artifacts, rarities, living human curiosities, theatre performances, menageries, and technological marvels. The exhibition Dr. Soanes’ Odditorium of Wonders strives to recapture the spirit and aesthetic of the dime museum to invoke wonder in the viewer and to combine art, artifacts, and oddities to provoke questions about the boundary between education and amusement. Both the academic and curatorial texts utilize a mix of methodological approaches appropriate to museology, art history and cultural history: theoretical research into historiographical issues concerning theories of display and spectacle; archival research and discourse analysis of historical documents, and material culture analysis (including the semiotics of display). / iv, 60 leaves : ill. ; 29 cm

In the years since the advent of the Black Lives Matter movement, American art museums have increased attempts to address the racial inequities that persist in the field. These inequities impact all aspects of museum work, not least of which education. Because museum educators are often seen as the conduit between museum collections and audiences, the work of implementing anti-racist programming often falls to them. However, the museum education field is majority White, and while there is a rich body of literature treating the adverse impacts of Whiteness on classroom teaching practices, very little exists on how Whiteness might manifest in gallery teaching practices specifically for White museum educators. Utilizing participatory action research, practitioner inquiry, and a White affinity group model, this qualitative study explores aspects of Whiteness that impact the gallery teaching practices of four White museum educators. Our research questions seek to understand better how Whiteness manifests in our teaching specifically in the context of single visit field trips, how those impacts might shift depending on the racial demographics of the groups we are teaching, what questions come for us as a White practitioner-researcher group dedicated to undermining Whiteness in our teaching, and how, if at all, does participation in such a study impact how we think about and implement anti-racist teaching in our practice. As per the research traditions guiding this study, I treated myself as a participant alongside three other White museum educators, and together as a practitioner inquiry group we co-generated our research questions and agreed to our research methods. These included the formation of a digital space in which we could communicate with each other, observations of our teaching, reflective writing responding to the observations, and conversations in the digital space based on these writings. This period of data generation was followed by interviews between myself and each participant as well as a focus group with all of us. Findings surfaced various avoidance techniques we each employed in our teaching to avoid race talk or push our anti-racist teaching more deeply. Our avoidance pointed to perceived tensions we felt between our trainings and the demands of anti-racist teaching, as well as the limitations of the single visit field trip model. Findings also surfaced anxiety when discussing Blackness in particular, as well as problematic assumptions about both White students and students of color we work with. Analysis of these findings provide insights into the ways art museum pedagogies in addition to critical emotional pedagogies might be deployed towards anti-racist teaching, as well as the emotional qualities of naming and dismantling Whiteness as White practitioners. While the findings are limited to the four museum educator participants and the specific contexts in which we work, this study points to ways we might begin to develop deeper understandings of how Whiteness might impact gallery teaching practices. More importantly, in the tradition of practitioner inquiry, this study raises important questions around how visitors of color experience Whiteness in museum education programs, how professional development might be reimagined for museum educators, as well as ways to rethink the traditional single visit field trip model to better accommodate anti-racist learning goals.

The purpose of the investigation was to collect information from ninety representative art museums in Europe and North America, with visits made to forty-five and a validated questionnaire sent to the others; to study their research-oriented publications as to contents; and to organize the data so that they would be of value to graduate art students. Although this information will be of value to scholars, undergraduate students, and museum personnel, the study was restricted to the graduate art student because some museum libraries restrict their facilities to this educational level.

Museums and schools evolved as the definition of the concept of education to describe a lifelong process of developing knowledge, skills, values and attitudes that take place not only in the classroom, but also in a variety of formal and informal contexts and settings. In order to fulfil and extend the potential of the partnership, museum educators and school teachers should be assisted to develop a comprehensive understanding of the nature of the museum-school collaboration. They should learn the difference between museums and classrooms. When the Botswana National Museum was established in 1968, the Botswana government aspired to avail information relating to Botswana customs, indigenous knowledge system and values to Botswana‘s future citizens, with the hope that the information and artefacts collected at the time would retell the story of Botswana to learners and the public alike. The Botswana National Museum, through its educational programmes, has the capability to help educate learners; make teaching and learning an exciting undertaking; and provide the opportunities for hands-on activities and interaction with real objects. In order to address the research question posed for this study, the researcher conducted open-ended interviews with a sample comprising 40 participants: 10 teachers, 10 learners, 10 museum employees and 10 curriculum developers. The data collected from the interviews were decoded and presented in narrative form. The responses were presented using three identified categories: the curriculum development process in Botswana; the typical learner activities in the classroom and in the Botswana National Museum; and collaboration between the Botswana National Museum and schools. The data analysis revealed that the curriculum development process in Botswana was exclusively done by curriculum developers. Learners, teachers and museum employees were not involved. The Botswana National Museum‘s education programmes are not familiar to all role-players. All role-players were positive regarding a possible collaboration with the Botswana National Museum. Generic and specific recommendations were put forward to this end. / Educational Studies / D. Ed. (Didactics)

University of Macau / Faculty of Education

Museums and schools evolved as the definition of the concept of education to describe a lifelong process of developing knowledge, skills, values and attitudes that take place not only in the classroom, but also in a variety of formal and informal contexts and settings. In order to fulfil and extend the potential of the partnership, museum educators and school teachers should be assisted to develop a comprehensive understanding of the nature of the museum-school collaboration. They should learn the difference between museums and classrooms. When the Botswana National Museum was established in 1968, the Botswana government aspired to avail information relating to Botswana customs, indigenous knowledge system and values to Botswana‘s future citizens, with the hope that the information and artefacts collected at the time would retell the story of Botswana to learners and the public alike. The Botswana National Museum, through its educational programmes, has the capability to help educate learners; make teaching and learning an exciting undertaking; and provide the opportunities for hands-on activities and interaction with real objects. In order to address the research question posed for this study, the researcher conducted open-ended interviews with a sample comprising 40 participants: 10 teachers, 10 learners, 10 museum employees and 10 curriculum developers. The data collected from the interviews were decoded and presented in narrative form. The responses were presented using three identified categories: the curriculum development process in Botswana; the typical learner activities in the classroom and in the Botswana National Museum; and collaboration between the Botswana National Museum and schools. The data analysis revealed that the curriculum development process in Botswana was exclusively done by curriculum developers. Learners, teachers and museum employees were not involved. The Botswana National Museum‘s education programmes are not familiar to all role-players. All role-players were positive regarding a possible collaboration with the Botswana National Museum. Generic and specific recommendations were put forward to this end. / Educational Studies / D. Ed. (Didactics)

This study seeks to answer the overarching question of how the use of a digitally delivered arts curriculum, including a virtual museum environment, affects teacher's perceptions of curriculum integration and whether they believe it is successful in the classroom. This study is based on the analysis of archival data collected during a pilot study that was conducted in the fall of 2016 and spring of 2017. This pilot study used a qualitative, descriptive approach and included the use of surveys, interviews, focus groups, and observations. The main focus of this study was on the experiences of a selection of educators who took part in the pilot study and summer training sessions to determine the successes and challenges they faced as they sought to the implement the experimental digitally delivered arts curriculum. The results of the study should improve the field's understanding of how virtual environments and technology can influence teacher experiences and perceptions of their potential value for learning as they continue to take hold in public schools worldwide.

Museums today provide learning-rich experiences and quality informational resources through both physical and virtual environments. This study examined a Holocaust Museum traveling exhibition, Life in Shadows: Hidden Children and the Holocaust that was on display at the Art Center of Battle Creek, Michigan in fall 2005. The purpose of this mixed methods study was to assess the informational value of a Holocaust Museum exhibition in its onsite vs. online format by converging quantitative and qualitative data. Participants in the study included six eighth grade language arts classes who viewed various combinations or scenarios of the onsite and online Life in Shadows. Using student responses to questions in an online exhibition survey, an analysis of variance was performed to determine which scenario visit promotes the greatest content learning. Using student responses to additional questions on the same survey, data were analyzed qualitatively to discover the impact on students of each scenario visit. By means of an emotional empathy test, data were analyzed to determine differences among student response according to scenario visit. A principal finding of the study (supporting Falk and Dierking's contextual model of learning) was that the use of the online exhibition provided a source of prior orientation and functioned as an advanced organizer for students who subsequently viewed the onsite exhibition. Students who viewed the online exhibition received higher topic assessment scores. Students in each scenario visit gave positive exhibition feedback and evidence of emotional empathy. Further longitudinal studies in museum informatics and Holocaust education involving a more diverse population are needed. Of particular importance would be research focusing on using museum exhibitions and Web-based technology in a compelling manner so that students can continue to hear the words of survivors who themselves bear witness and give voice to silenced victims. When perpetuity of access to informational resources is assured, future generations will continue to be connected to the primary documents of history and cultural heritage.