heritage & creative learning framework (by anna hansen)
Post on 26-Jan-2015
Embed Size (px)
DESCRIPTIONThis presentation has been uploaded with the permission of Anna Hansen, MD of NCK (www.nckultur.org). It presents her work on the Generic Learning Outcomes and Generic Social Outcomes to provide models for planning and evaluating museum learning.
- 1. The Relevant Museum Heritage and Creative Learning Framework
2. What happens today? . . 1. The project Implementing HLO 2. The important museum - the museum as an arena for learning 3. The relevant museum > The museums function in society - policy, Generic Social Outcomes (GSO) > Key competences (EU & OECD) 4. A museum relevant for the individual > The visitor in focus - who is the visitor? > Generic Learning Outcomes (GLO) 5. Evaluation 6. Heritage and Creative Learning > Framework > What have we learned and how do we proceed? 3. The project . . Aim: 1. Increase the social and economic effects of heritage learning by developing practices that deal with learning and competence processes. 2. Develop tools and terminologies which can be used to evaluate the positive effects of heritage learning. 4. Your part of the project . . From the project plan: The purpose is in addition to implement HLO-method in the Nordic-Baltic countries by establishing six centres for HLO. The centres will not only implement the method in their own organisation but will also become centres in their own countries with responsibility for spreading HLO- method. In Lithuania the centre will be for the Baltic area. The project manager visits the Lithuanian Open Air Museum. The project manager works as a consultant in order to set up the museum to be capable of teaching the specific target group of adults accompanied by children based on the principles of HLO. 5. . . Final seminar in stersund with participation of all partners. In the seminars the project results discussed. Each partner afterwards receives advice on how to continue teaching at their own institutions based on the HLO-method and instructions for continuing the work with specific target groups. Dissamination -By using the method for five years after the project has ended -Through networks Your part of the project 6. . . An ambitious project plan needs a pragmatic approach: > workshop (ongoing!) > include HLO in your work with adults accompanied by children > share your results to the project partners meeting 13th of November in stersund > end seminar in stersund, fall 2014 > have fun! Your part of the project 7. What are we doing here? . . But besides the project, why are we here? > We want to be important! > We want to make a difference! - in society and for all people. 8. What are you doing here? . . What are your expectations? What do you know about the Key competences? How do you feel about them? What do you know about Generic Learning Outcomes (GLO)? How do you feel about GLO? 9. The relevant museum . . How can we describe the relevant museum? > How does the personnel feel about working there? > What does the museum look like? > Who visits the museum? Why do they visit? > How does the visitor feel when he or she arrives? > How does the visitor feel when he or she leaves? > What do people say about the relevant museum? 10. Learning is a process of active engagement with experience. It is what people do when they want to make sense of the world. It may involve increase in or deepening of skills, knowledge, understanding, values, feelings, attitudes and the capacity to reflect. Effective learning leads to change, development and the desire to learn more. Campaign for Learning, UK What is learning? . . 11. A constructual perception of knowledge . . Knowledge is constructed and is therefore not an image of reality. The hypothesis is that everything that is observed by reality stands in relation to the person observing. A perception of knowledge which demands us to start from the individual person. 12. Heritage Learning . . Heritage learning: > When culture heritage is used in the learning process. > Cultural heritage is an integrated part of the learning process but not necessarily an objective: Lerning through heritage not only about heritage! 13. Cultural heritage as the raw material . . We can see cultural heritage as the raw material, from which different things can be produced: - Empathy in time and space - Critical thinking - Knowledge about the past and past events - Enjoyment of discovery - Social interaction - Willingness to learn and other things 14. . . What makes heritage learning different from other types of learning? - Lifelong learning - Informal or non-formal learning - Lifewide learning - Often but not always authentic objects or documents Cultural heritage Learning 15. Non-formal learning . . It is difficult to identify a moment that can be regarded as an end-point in learning and therefore an appropriate moment for measuring this learning. It is not appropriate for organisations to be prescriptive about levels of learning achievement, as users have their own criteria for what counts as successful (museums, archives and libraries do not expect to have to fail their users). Eilean Hooper-Greenhill, 2004 16. Two big questions . . What can people gain from being a part of the museum? In what way is what we do relevant to others? 17. But? . . How do we know that we do what we say we do? Do we have a clue really? 18. Heritage and creative learning framework . . Generic Learning Outcomes Specific Learning Outcomes Generic Social Outcomes Key competences Current policy 19. Heritage and creative learning framework . . The framework helps us to do the things we really want to do (and what we think we do) and at the same time giving us a language to articulate our importance. It helps us to strengthen our relevance in the society and to be persuasive when we talk to the society about our importance. 20. Social relevance 21. Social relevance . . What museum functions are socially relevant/relevant to society? What functions is the museum supposed to have according to society? 22. Social relevance . . develop the human capacity to participate in cultural life, critically evaluate, take and make creative use of the information society needs people with great imagination developed through critical thinking, intuition, logic and aesthetic sense. young people without feeling any connection with their cultural traditions, risking a loss of identity with their community, the environment, the people and even his own identity From Guidelines for Alternation of the Lithuanian Cultural Policy 23. Social relevant . . any state-sponsored cultural project must also have an educational component strengthen the cultural education of the mass media Access to culture and cultural differences in the activity of the population is directly related to the lack of social cohesion and quality of life differences From Guidelines for Alternation of the Lithuanian Cultural Policy 24. Social relevant . . Is the society in a broad sense aware of the museum as a physical arena and a meeting point for learning processes. When people speak about learning do they talk about museums? When they talk about an active ageing do they talk about museums? 25. Social relevance . . How do we mention that we are relevant to the society? How do we mention our learning activities? 26. Activity objectives . . Maybe like this: > 14 school programs > 3 reports > 8 exhibitions > 6 lectures > 2 conferences 27. Quantitative objectives . . Or like this: The museum was open for 328 days and had 193 589 visitors - 1081 persons/families had an annual pass. 737 guided tours were given, 405 to schools and nursery schools. Four temporary exhibitions were shown and two of them had been produced by us. The collection grew with 458 new objects, 37 500 photos, 736 books and 12 metres of archival material. 28. Social relevance . . It sounds grandiose and good but does it make us more socially relevant? What difference does it make for the society? In what way do we effect the visitors and their contact with the archive? What is most relevant from a social perspective: that 1081 persons were visiting the archive or that 57 of them were inspired? What difference are we actually doing in the society? 29. Generic Social Outcomes (GSO) . . Two objectives: Retrive specific information on the results of our work towards the civil society. Show and explain the impact and the effects in a local context. Firmly anchored in the policies. 30. Generic Social Outcomes (GSO) . . It improves the ways we work with the civil society. We learn what we can offer the civil society. We learn what the civil society want from us. Helps us to acquire and retain needful grants. Helps us build strong and useful partnerships. Helps us to contribute to the culture heritage sector and organizations in the local community. Helps us to make the efforts count when national and regional decision makers discuss how social problems can be solved. Learn more: www.inspiringlearningforall.gov.uk 31. Generic Social Outcomes (GSO) . . Strengthening Public Life includes the following elements -Building the capacity of community and voluntary groups -Providing safe, inclusive and trusted public spaces -Improving the responsiveness of services to the needs of the local community Stronger & Safer Communities includes the following elements: -Improving group and inter-group dialogue and understanding -Supporting cultural diversity and identity -Encouraging familial ties and relationships Health & Well Being includes the following elements: -Encouraging healthy lifestyles and contributing to mental and physical well being -Supporting care and recovery -Supporting older people to live independent lives -Helping children and young people to enjoy life and make a positive contribution 32. Generic Social Outcomes (GSO) . . Are you working towards these objectives, consciously or unconsciously? Are these objectives part of the museums mission? Do you want to work more with these objectives? 33. What do society want? . . To be per