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1.
ELANA KALISHER 《Curator: The Museum Journal》1998,41(1):13-35
In accordance with the Rehabilitation Act of 1973 and with the Americans with Disabilities Act of 1990, museums serve their deaf visitors by offering assistance through accessibility programs designed specifically to provide access to the museum, its collections, and/or information in an exhibition or program that would otherwise be unattainable by a person with a disability. Accessibility provisions such as signed tours, TTYs, and subtitled audio information have helped deaf people experience and enjoy museums. While these programs and provisions are necessary museum services, they do not acknowledge the view of many Deaf people—that they are not disabled but rather members of a community that does not hear. Nor do accessibility programs generally include programs on the shared traditions, values, and language that make up the culture of the Deaf community. This paper seeks to introduce museum professionals to the Deaf cultural community and Deaf cultural exhibitions that celebrate the history, achievements, and tradition of Deaf people; it offers steps to follow in planning such exhibitions and provides some examples. 相似文献
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A survey of museums in the United States sought to identify evidence of broad impact on the organisational culture and practices of museums in their relatioships with indiginous peoples as a result of the passage of the Native American Graves Protection and Repatriation Act 1990 (NAGPRA). NAGPRA establishes a process for the repatriation of human remains and other specified items held in museum collections to Native Americans who can prove they are lineal descendants or members of tribes which are culturally affiliated with identified items covered by the legislation. Effective repatriation programs are characterised by: * a genuine belief in the primary rights of indigenous people in the management of their cultural material presently held in museum collections; * a commitment to greater collaboration between the museum and indigenous people in the management of scientific research and public programs pertaining to items of indigenous cultural heritage; * practices which are indicative of an organisational culture which acts in ways which go beyond the minimum requirements of the legislation. Our research shows that museums are engaging in consultation with indigenous people in the management of collections of indigenous cultural heritage, and that this engagement is influencing conservation strategies. Museums espouse goals which promote external consultation, the involvement of indigenous people in their activities, respect for the cultural goals of indigenous people and a commitment to increasing public awareness of indigenous cultural heritage and social issues. However, only in the areas where NAGPRA has mandated it should happen—collections of human remains and secret/sacred material—is there evidence of communication and consultation, commitment of resources and sharing of authority with indigenous people consistent with the outcomes intended under NAGPRA. 相似文献
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Jessica J. Luke Jill Stein Cheryl Kessler Lynn D. Dierking 《Curator: The Museum Journal》2007,50(4):417-434
Many museums offer specialized programs for young people during out‐of‐school time, yet the consequences of such programs are not well documented. This article explores the potential utility of borrowing a conceptual framework from the youth development literature as a tool for assessment. The authors map findings from three studies of museum youth programs onto the youth development framework as an exercise in understanding the extent to which this model may be useful in developing museum youth programs. Results from this preliminary analysis demonstrate that the framework could serve as a viable tool for program design, and could offer a clear, grounded framework with common language for articulating program impacts often known intuitively and/or anecdotally but not formalized. 相似文献
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Abstract This article describes Project ASTER III (Active Science Teaching Encourages Reform), a science professional development program for early elementary teachers, which is based on the premise that people learn best by doing. Very few professional development programs focus on early childhood teacher development and how best to integrate informal science centers into teaching. In ASTER III, development teams—consisting of university scientists, science educators, K‐3 teachers, and educators from a hands‐on science museum—developed 5E lesson plans aligned with the Ohio Academic Content Standards and the National Science Education Standards in conjunction with the museum’s exhibits. This study explores the impact of the ASTER III model on teacher perceptions about the role and effect informal science museum visits have on subsequent teaching and student learning. 相似文献
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Previous Possessions, New Obligations was launched by Museums Australia Inc. in 1993, the International Year for the World's Indigenous People, as a policy framework to guide the development of relationships between museums in Australia and Indigenous Australians. The policy was based on consultation with Indigenous people to develop protocols, policies and procedures for more sensitive collection management and for including Indigenous people in research and public programs; and to address issues of governance. It expressed the values that would underpin new relationships between museums in Australia and Indigenous Australians. An evaluation of the policy was conducted in 2000 in a collaboration between the Australian Museum Audience Research Centre, Sydney, and Museums Australia Inc., Canberra. The evaluation found that the policy had substantially met its goals, particularly in establishing the primary rights of Indigenous people to control their cultural material in museum collections. However, a range of substantially new issues emerged which require new policy responses and initiatives. 相似文献
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Following passage of the Americans with Disabilities Act of 1990 (ADA), many museums improved the accessibility of their facilities. Even so, individuals with disabilities still lag behind in participation and engagement in museum experiences. Universal Design for Learning (UDL) provides an alternate model for the design of museum programs and exhibit spaces, one that is more aligned to progressive concepts of disability, providing not only physical access but also access to engagement in learning. In this article we argue that UDL has the potential to substantially improve the design of informal learning environments. Through two illustrative examples, we describe how the UDL design guidelines can be used to improve the probability that engagement will occur as individuals interact with exhibits, programs, and people in museums. 相似文献
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张旎 《自然科学博物馆研究》2016,1(4):53-60
儿童博物馆在过去二十年间由于种种原因,并没有在中国发展起来。一些相关的基本问题:“什么是儿童博物馆？儿童博物馆展示什么？为什么需要儿童博物馆？”在中国并不为大众熟悉,也没有受到太多博物馆专业领域人士的关注。本文将从影响儿童博物馆的理论及研究,儿童博物馆与其它场馆的区别,儿童博物馆的教育内容等几个方面来介绍儿童博物馆的核心教育理念。以期通过本文能够把儿童博物馆的精髓呈现出来,让更多的人了解并关注儿童博物馆,为中国儿童教育方式的发展提供一些参考。 相似文献
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Alan R. Emery 《Curator: The Museum Journal》2001,44(1):69-82
Abstract This article describes a process initiated in 1983, at the Canadian Museum of Nature (CMN), which was based on the premise that a responsible natural history museum should assist society in shaping its collective future. The museum predicted that if it were able to help people understand themselves and their relationship to the natural world, the museum would again be seen as valuable to society, and thus would be supported in its efforts. The CMN therefore began to integrate its collections, scholarship, discovery, public programming, and public exhibits into broad, institution‐wide programs focused on the needs and interests of society. These programs enabled the museum to engage its visitors in “guided conversations” in which the museum provided the content, drawing on the research and communication strengths of the museum, while the audience, representing society, set the context. This guided conversation empowered the public to make informed decisions and to influence the museum and its work. CMN also designed exhibit formats that allowed the visiting public to contact industry and government decision‐makers with their opinions. The article describes the museum's evolution through several stages of increasing internal and external integration, ultimately using a managerial matrix to form project teams, with discipline‐based professionals focused on the interests and needs of society. Drawing on audience participation, the CMN reset its programming and offered advice and counsel to government and industry. The museum also took the first steps to include the traditional knowledge of indigenous peoples as an additional source of wisdom about the natural world. Financial and other support grew rapidly, effectively demonstrating a successful programmatic feedback loop helping society to shape its future using the museum as an information source and communication tool. The effort was terminated before the integration was completed, but nonetheless, CMN demonstrated that is possible to achieve a programmatic feedback loop that includes collections, science, exhibits, the general public and both government and industry decision‐makers. 相似文献
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C. Kurt Dewhurst Diana Baird N'Diaye Marsha MacDowell 《Curator: The Museum Journal》2014,57(4):455-472
Today there is a growing global awareness of the need to address issues related to the safeguarding and use of both tangible and intangible heritage. By engaging with communities in the documentation of local cultures—especially their folklife, or in other words, their traditional intangible cultural heritage—museums can create collections that will serve as foundations for museum research, exhibitions, and programs that have more resonance with and relevance for those communities. Interactions of these kinds—in particular those of the Smithsonian's Center for Folklife and Cultural Heritage and the Michigan State University Museum, home of the Michigan Traditional Arts Program, as well as collaborations between the Smithsonian Folklife Festival and the Great Lakes Folk Festival, and other programs around the world—have served as important platforms for public discourse about a variety of issues and have produced programs and exhibitions both at home and around the world. 相似文献
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The Education Department at the Museum of the Rockies and the Kellogg Center for Adult Learning Research at Montana State University conducted a national study of adult museum programs from 1996–1999. A total of 508 adult program participants, 75 instructors, and 143 planners of adult programs in museums were interviewed either via telephone or in person. The study sought to answer three questions: (1) From participants' perspectives, what constitutes an excellent museum program for adults? (2) What teaching strategies are employed in successful and innovative museum programs? and (3) Does the informal learning environment of a museum offer anything unique to the adult learning experience? This research effort is one example of how university museums advance our understanding of informal education theory and its application to practice. 相似文献
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《Curator: The Museum Journal》2017,60(3):351-364
Multiple reasons shape how young people and families choose to participate in informal learning programs at museums and other settings. Youth interest is likely a factor, but so might be geographic proximity, institutional affiliation, household income, and race/ethnicity. We examined the relative impact of these factors through a comparative study of two art programs; one a small, neighborhood‐based organization focused on art and STEM, and the other a program in a well‐established art museum. The smaller program tended to draw youth from closer geographic proximity. Interest in art drove attendance at both programs, but institutional membership was also important. Demographic factors also were a factor, and race/ethnicity was more strongly associated with program placement than household income. We discuss the importance of better understanding of such factors as museums and other programs continue to grow as important sites for learning. 相似文献
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我国博物馆数量最大的观众群体是青少年学生。加强对这一群体的调查研究,有利于博物馆承担社会教育职能,促进博物馆教育与学校教育的有效衔接,是探索构建具有均等性、广覆盖的博物馆青少年教育项目长效发展良性机制的前提。本文通过随机调查问卷的方法,对青少年学生、教师、家长进行博物馆教育需求调查,并根据统计结果分析了博物馆青少年教育项目开发的必要性以及博物馆在馆校结合开发青少年教育项目过程中具有的积极作用。 相似文献
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在当今社会,博物馆为提升全民素质起到越来越重要的作用。为了更好地发挥博物馆的社会教育功能,博物馆馆员在教育活动设计或者展览设计的过程中有必要了解观众的参观需求以及参观偏好。因此,为了体现“以观众为中心”的工作理念,作者从“观众”的视角,对一次博物馆的参观体验进行观察和反思。本次探索发现,由于观众自身所处的社会文化背景的差异,他们面对同一件展品有着不同的关注点和兴趣点。这种差异性提醒博物馆馆员在与观众进行互动的过程中,需要了解观众的不同需求和不同偏好。并且,这种参观视角的多样性也为博物馆的教育工作提供了创意的源泉。 相似文献
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Joy Davis 《Curator: The Museum Journal》2005,48(4):427-438
Abstract This paper reflects on the changes confronting educators involved in museum professional development, drawing on the experience gained in working with a wide range of learners, instructors and content issues through the Cultural Resource Management Program at the University of Victoria in British Columbia. Reflecting the society as a whole, professional education programs are called to respond to the needs of learners, and to institutional priorities for competency development and instructional design and delivery issues. Given the near‐universal pressures on museums and educational institutions, it is hoped that these impressions and perspectives are of broad relevance to a range of academic and professional museum studies programs across Canada and beyond. 相似文献
16.
The language people use to talk about something can constrain as well as facilitate understanding. This essay explores the lessons learned through a study of how people talked about music to examine what it can mean for museums and museum experiences. The study itself had people talk about their interest, background, and ways of engaging with music, then listen to random cuts of preselected music to talk about what they were hearing. Several themes emerged from the study, suggesting there are clusters to ways in which people frame their experiences of music, which extend to how people might understand the museum experience and what museums might do to make that experience more relevant. 相似文献
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Edith Doron 《Curator: The Museum Journal》2009,52(2):169-182
Abstract Describing actual museum‐wide events developed for the culturally charged arena of the Brooklyn Children's Museum, this article explores the philosophical and pedagogical double binds that have brought multiculturalism to a political impasse. Museums have strived to be valued resources in an increasingly diverse society. In aspiring to broaden their audience base, their work has shifted from developing educational policies that are “object‐centered” to those that are “community‐centered” — a change of strategy affecting everything from programs to exhibit design. Children's museums — distinct (if not marginalized) from the serious work of the traditional art or ethnographic or natural history museum — know and indeed say in their very name — “children's museum” — that they are for the sake of someone and not about something. They have always already been attuned to the visitor at the threshold. 相似文献
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《Curator: The Museum Journal》2017,60(1):23-31
A group of 25 multi‐generational, multi‐racial museum professionals met in January 2016 for a 3‐day dialogue about museums and race. They concurred that forming alliances among museum practitioners of all races and ethnic backgrounds is a critical step in dismantling the persistent and pervasive presence of structural racism in museums. This article asserts that there are both demographic and ethical imperatives for close examination of all aspects of museums’ programs, their staffs and boards, the publics they serve, and the organizations that exist because of them. It provides an introduction to the vocabulary and attendant systems of white privilege, oppression, and intersectionality, offers concrete suggestions for people of all backgrounds to join forces, and ends with a call to action to bring racial awareness and action to the forefront in our institutions, our communities, and our nation. 相似文献
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Museums are ideal institutions for the development of volunteer programs. A museum's commitments to education and research and to expansion of learning, as well as its physical resources, offer potentially attractive forms of involvement for various segments of the population. We discuss aspects of a long‐established, self‐funded resident volunteer program that integrates the resources of a museum's field station with seasonal staffing needs, resulting in economic benefits to the museum and educational and career‐advancement benefits to volunteers. The practices used to bring together these objectives are discussed, with the goal of providing an example for museum administrators so they might better appreciate the potential diversity of volunteer programs as methods of broadening museums' roles in society. 相似文献