Museum pedagogy in the system of preschool education and upbringing
Bibliographic description:
Bezrukova, M.I. Museum pedagogy in the system of preschool education and upbringing / M.I. Bezrukova, N.N. Volkova. — Text: direct // Education and upbringing. — 2020. — No. 3 (18). — P. 9-11. — URL: https://moluch.ru/th/4/archive/94/3351/ (date of access: 10.10.2020).
Museum pedagogy has recently become very popular in the system of preschool education and upbringing. Many books have appeared on this topic, and museum programs are being created.
The concept of “museum pedagogy” arose in the early 80s, it was borrowed from German terminology. What does the word "museum" mean? A museum is “an institution engaged in collecting, studying, storing and exhibiting objects - monuments of natural history, material and spiritual culture, as well as educational and popularization activities.” (Ozhegov’s Explanatory Dictionary).
Does a modern child need a museum, and how does it affect his cognitive and speech development? Modern children live in the era of the development of information technology, they are curious, inquisitive, actively exploring the world around them through a computer, but it does not give a full understanding of the objects and phenomena of the surrounding reality and does not contribute to the speech development of preschool children. And here the main means of developing the cognitive sphere of a preschooler is the museum, organized in a preschool educational institution within the framework of museum pedagogy. A museum in a kindergarten, according to N. A. Ryzhova, is “an interactive educational space in which a child can act independently, taking into account his own interests and capabilities,” examine objects of his own choosing, draw conclusions, and reflect his own observations in speech. , impressions, communicate with peers about what they saw [7].
I hear and forget.
I see and I remember.
I do and comprehend.
This expression, which is attributed to Confucius, can be an epigraph to museum pedagogy, since it contains the most important principle of this direction of educational activity. Museum pedagogy calls for letting the child manipulate objects himself, extract information from them, and draw his own conclusions. In practice, the child is involved in an active cognitive process, the process of acquiring “knowledge through hands” is underway. The acquired knowledge becomes the personal acquisition of each child. In a museum, a child gets acquainted with new, unfamiliar objects that he has never seen before. This expands his horizons and ideas about the world around him.
Museum pedagogical activities can be carried out not only in a museum environment, but also in a kindergarten, school, additional education institutions, at home, on the street, etc.
Kindergartens create their own museums, of course they are small, and are called “mini museums.” They have gained great popularity and now in almost every preschool institution mini-museums are an integral part of the developmental environment.
Objectives of the mini-museum:
‒ Expanding the horizons of preschoolers.
‒ Enrichment of the subject-development environment of preschool educational institutions.
‒ Enrichment of the educational space with new forms.
‒ Development of cognitive abilities and cognitive activity.
‒ Development of creative and logical thinking.
‒ Formation of design and research skills.
‒ Formation of ideas about the museum in preschoolers. [5.14]
“Principles of creating a mini-museum:
‒ The principle of integration - a mini-museum must take into account the content of the educational program of the preschool educational institution and help in the implementation of its general objectives and the objectives of individual educational areas.
‒ The principle of activity and interactivity - a mini-museum should provide students with the opportunity to realize themselves in various types of children's activities (use exhibits in role-playing games, create crafts and include them in the general exhibition, etc.).
‒ The principle of conformity to nature - a mini-museum should be created taking into account the psychophysiological characteristics of children of different ages and provide conditions for unleashing the creative potential of each child.
‒ The principle of scientificity - the exhibits presented must reliably reflect the theme of the mini-museum, explain various processes and phenomena within the framework of the chosen topic in a scientific and at the same time language accessible to the child.
‒ The principle of humanization and partnership - a mini-museum must offer conditions for the comprehensive development of a child, encouraging his initiative, creative activity within the framework of subject-subject relations in the “adult-child”, “child-child” system.
‒ The principle of cultural conformity - a mini-museum should be focused on introducing children to world culture and universal human values through the development of values and norms of national culture in the course of direct educational activities in the museum space.
‒ The principle of dynamism and variability - the exhibitions of the mini-museum must be constantly supplemented and updated, taking into account the age characteristics of the children in the group.
‒ The principle of diversity is filling a mini-museum with exhibits that are different in form, content, size, reflecting the historical, natural and cultural diversity of the surrounding world.
“The principle of the regional component - a mini-museum should include the organization of work with children to familiarize them with the cultural heritage of the region, as well as the culture of other peoples, which contributes to the development of tolerance and the formation of a sense of patriotism.” [12]
The theme of mini-museums can be different. These can be art galleries, folklore huts, upper rooms; it can be a mini-museum of one or different toys, vehicles, watches, buttons, magnets, etc.
Why do children go to a mini-museum with great desire? In an ordinary museum, a child is only a passive contemplator, but here he is a co-author, the creator of the exhibition. He knows that much in this museum was made by his hands, by the hands of his parents, fathers, mothers, grandmothers, grandfathers. Each mini-museum is a joint work of the teacher, parents and students. Here he is allowed to rearrange the exhibits, pick them up, examine them, that is, touch history. The teacher’s task is to teach the child to recognize the hidden meaning in objects—exhibits of a mini-museum. Having studied and used the methods of museum pedagogy, the teacher will be a guide for children into the world of discovery.
A mini-museum in a kindergarten is not just the organization of expositions or exhibitions, but various forms of activity, including searching and collecting materials, holding holidays and leisure activities, research and design activities.
Museum pedagogy makes it easier for a child to immerse himself in the world of traditional culture, historical and artistic heritage, and helps to comprehend the depth and beauty of Russian culture. The mini-museum holds thematic classes dedicated to memorable dates and events, helping to instill in children a sense of love for the natural and cultural values of their native land, a sense of patriotism, and attachment to their small and large Motherland. It is important in a child to develop a sense of beauty, the ability to feel and understand the beauty of the world around him, to develop the ability to have his own opinion, to express his judgment. Educational activities within the framework of museum pedagogy are an effective means of developing a child’s mental activity; they contribute to the progress of certain aspects of creative thinking - originality and complexity; children operate with images more freely.
Activities with the exhibit and in the exposition are the main way for children to gain knowledge, which occurs in free form, or in joint activities, or independently. When planning, you can include individual museum exhibits in any lesson, or, conversely, conduct a lesson based on a museum exhibit. For example, when composing a descriptive story, you can also use museum exhibits from a preschool educational institution museum or a mini-museum of any group.
Involving parents in participating in the creation of mini-museums in preschool educational institutions is an indicator of effective cooperation between teachers and families of pupils, as a result: parents are gradually moving from observers of the pedagogical process to the position of initiators and active participants.
Thus, museum-pedagogical work in kindergarten is a symbiosis of the creative activity of all participants in the pedagogical process. It is aimed at familiarization with the surrounding world, familiarization with the system of universal human values, enrichment of aesthetic ideas and the formation of artistic taste.
Museum pedagogy should serve the integrated development, education of patriotism, citizenship and spirituality of preschool children. Today, the national memory is returning to us, they must teach children to have a new attitude towards traditions, in which the people left everything valuable that was in the past.
Literature:
- Lashkina N. Children in the museum / N. Lashkina - Preschool education, 2005, No. 2. p. 72
- Morozova A. N. Museum pedagogy: From the experience of methodological work / Ed. A. N. Morozova, O. V. Melnikova. - M.: TC Sfera, 2006.
- Nesterenko N. Mini-museums in preschool educational institutions / N. Nesterenko - Obruch, No. 6, 2000. pp. 30–31.
- Popova I. A. On the dialogue between museum and family pedagogy in the practice of additional education for preschool children / I. A. Popova - Preschool Education Management, 2006, No. 5. p.84.
- Ryzhova N. A. Mini-museum in kindergarten / N. A. Ryzhova, L. V. Loginova, A. I. Danyukova - M.: Linka - Press, 2008.
- Ryzhova N. A. Developmental environment of kindergarten / N. A. Ryzhova - M.: Linka - Press, 2003.
- Ryzhova N. A. Our home is Nature. A manual on environmental education for preschool children. M: Linka-Press, 2004.
- Stolyarov B. Pedagogical activities of the museum / B. Stolyarov - Preschool education, 2002, No. 11. p. 66
- Tikhonova O.G. For preschoolers about museum culture: A methodological guide for educators, preschool teachers and parents / O.G. Tikhonova. - M.: ARKTI, 2006.
- Trunova M. Secrets of museum pedagogy / M. Trunova - Preschool education, 2006, No. 4. p.38
- Tsepina T. Museum in kindergarten / T. Tsepina - Preschool education, 2007, No. 5. p. 124.
- Chumalova T. Basic principles of museum pedagogy / T. Chumalova - Preschool education, 2008, No. 3.
- Chumalova T. Museum pedagogy for preschoolers / T. Chumalova - Preschool education, 2007, No. 10. pp. 44–50.
- Chumalova T. Historical knowledge and museum / T. Chumalova - Preschool education, 2008, No. 5. p. 61
Key terms
(automatically generated)
: museum pedagogy, child, kindergarten, museum, environment, educational activity, pedagogical process, subject, creative activity, exhibit.
Museum pedagogy as an innovative pedagogical technology.
GKOU SKOSHI No. 52.
Self-education topic:
"Museum pedagogy as an innovative pedagogical technology."
Prepared by:
Sheremet I.I.
Moscow 2020
The role of museums in preserving the historical and cultural heritage of mankind can hardly be overestimated. Their collections contain priceless monuments of history, culture and art. Museums are guardians of social memory, giving us the opportunity to study the past, reflect on the present and look into the future. The enormous cultural potential of museum collections contains great opportunities for education and upbringing. The museum today is increasingly becoming not only a cultural, but also an educational space. One of the most important areas of museum work is museum pedagogy. Museum pedagogy arises as a natural result of integration processes that have covered the spheres of education, science and culture, as well as the development of cultural and educational activities of museums in different countries of the world. Museum pedagogy is a new integrative field that includes a scientific and methodological discipline and practical activities that combine the efforts of a museum worker and a museum teacher. Museum pedagogy is interdisciplinary in nature; it is closely related to such disciplines as museology, art history, history, psychology, and local history, offering a qualitatively new level of mastering culture and art based on the museum collection. Museum pedagogy, as an integrative and qualitatively new field of educational activity, can be considered as an innovative pedagogical technology. The experience of educational activities of museums in England and the USA, where programs for different categories of museum visitors were first developed, was of great importance for the formation of museum pedagogy. Museum educational activities in Germany were not as active as in England and the USA, but it was in Germany that the foundations of museum pedagogy were laid by individual museum enthusiasts, among whom A. Lichtwark, director of the Hamburg Art Museum, occupies a special place. Through his practical work, he greatly contributed to the spread of educational work in the field of art; he was convinced that the museum, like the school, is a place of learning. Embodying the slogan “Art into life” as director of the museum, A. Lichtvark sought to rid the museum of routine with all his multifaceted activities. He created amateur painting and drawing courses, the “Society of Hamburg Friends of Art,” a collection of teaching aids, and regularly held exhibitions of modern painting and children’s creativity in his museum. A. Lichtwart was the first to formulate ideas about the educational purpose of the museum and proposed a new approach to the visitor as a participant in the dialogue. By putting into practice the method of “museum dialogues,” he for the first time substantiated the role of an intermediary who helps the visitor communicate with art, developing the ability to see and enjoy works of art. Along with A. Lichtvart, Professor of the University of Munich K. Voll had a great influence on the development of art education. Being a supporter of the idea of the intrinsic value of an artistic monument, he believed that the purpose of teaching art was “systematic exercise of the eye.” Voll proposed to structure the learning process in such a way that people “don’t stop thinking while looking at works of art” and independently, analyzing their visual images, learn to find and distinguish the features of different styles and the handwriting of the masters. With his works, K. Voll laid the foundations for visual scientific thinking. G. Kershensteiner developed the concept of museum exhibition pedagogy. In his work “The Theory of Education,” Kerschensteiner substantiated the need to organize the activities of German museums according to pedagogical principles and outlined ways to achieve this goal. The concept of G. Kerschensteiner is based on the following idea: “The organization of a museum that wants to educate and educate children through knowledge is nothing more than a curriculum - a design, only here the design works not as in schools with the shadows of objects, but with the objects themselves.” From the early 1920s to the 1930s in Germany, problems of interaction between museums and schools came to the fore. Their solution is being handled by the Central Institute of Education and Training in Berlin, which united talented teachers L. Pallat, D. Richter, G. Freudenthal. They contributed to the creation of pedagogical departments in museums and the introduction of museum teacher positions into their structure. German scientists, studying the pedagogical capabilities of the museum, laid the foundations for ideas about the developmental nature of the museum environment, and developed technologies for various types of pedagogical classes based on the museum. In Russia, the first step in the history of the formation of museum pedagogy was taken by domestic scientists and public figures. on one's own. The very emergence of the pedagogical activity of museums was an initiative of the educational authorities of St. Petersburg, where in 1865 the Pedagogical Museum was formed, which acted as a public, scientific and educational center developing topical issues of pedagogical science. The pedagogical department of the museum united the creative efforts of such prominent teachers as N. A. Korf, D. D. Semenov, P. F. Lesgaft, P. F. Kapterev, L. N. Modzalevsky, A. N. Ostrogorsky, I. I. Palson, P. G. Redkin, K. K. Saint-Hilaire, etc. The department had clubs for teachers and parents. The greatest scientists and teachers of that time: I.M. Sechenov, N.M. Przhevalsky, S.M. Solovyov, N.H. Wessel and others held public lectures in the museum for schoolchildren and future teachers. The presentation of the activities of the Russian Pedagogical Museum at the World Exhibition of 1875 in Paris served as the impetus for a radical change in views on the educational functions of the museum throughout the world. The educational activities of museums in Russia continue to develop in the 19th-20th centuries. based on the ideas of domestic scientists and museum workers, as well as German theorists and museum practitioners. In Russia in the first half of the twentieth century, A. V. Lunacharsky, P. A. Florensky, F. Schmidt, N. I. Romanov, N. F. Fedorov, A. V. Bakushinsky dealt with theoretical issues of educational activities of domestic museums. A. Bakushinsky made a special contribution to museum pedagogy. At the turn of the 1910-1920s. he defined and scientifically substantiated the importance of art in the spiritual, intellectual and aesthetic development of a child, the priority types of artistic activity for each age, the relationship between the processes of aesthetic perception and various forms of creativity in the development of personality. Considering work in the museum as a pedagogical process, A. Bakushinsky proceeded from strict adherence to the age specificity of the viewer, in whom he saw not an “object of influence,” but first of all a partner. Sharply opposing the illustrative approach to viewing works of art, he argued for the need for an act of empathy in the process of perception. Sharing the position of A. Lichtwart that teaching art in a museum is primarily the development of artistic perception, in his practical activities Bakushinsky pays special attention to the methodology of conducting excursions. He outlined it in his widely known work “Museum and Aesthetic Excursions” (1919). Bakushinsky's merit lies in the fact that he was the first in Russia to comprehend the conceptual approach to the artistic development of a child through the means of museum and school environments, making an attempt to combine professional art criticism and pedagogical practice. Considering work in the museum as a pedagogical process, A. Bakushinsky proceeded from strict adherence to the age specificity of the viewer, in whom he saw not an “object of influence”, but first of all a partner. Sharply opposing the illustrative approach to viewing works of art, he argued for the need for an act of empathy in the process of perception, believing “that if a work of art is a symbol that expresses the creative action of the artist, then it should awaken such a creative action in the viewer. Hence the deepest social value and significance of art and its creative experience” [4. P. 23]. In the works and activities of Bakushinsky, the main forms of artistic education were outlined: school, additional and museum, as well as methods of their systematic interaction aimed at nurturing the “culture of a creative personality.” A new direction in determining the content of the educational function of the museum environment was the activity of the problem group “Museum and Education”, organized as a research team under the Ministry of Education of the USSR in the 1980s. One of the authors of a scientific publication of this group on the problems of museum pedagogy emphasized: “If the essence of a museum is not the transfer of knowledge, then museum pedagogy cannot be built as pure didactics, because this is only one auxiliary facet of museum educational activities. First of all, we should talk about the categories of value consciousness, about the semiotics of things and the phenomenology of space, about the dramaturgy of the cultural-historical dialogue unfolding in the museum, and only then about the specific forms of communication and activity in which the dialogue can be embodied. And, in particular, about the necessary “knowledge” addressed to the visitor’s intellect, but designed to provide the experience of a value experience that captures his entire personality” [1. P. 19]. At the same time, in the largest domestic museums (Russian Museum, Hermitage, Tretyakov Gallery, Pushkin State Museum of Fine Arts, State Historical Museum) there was an active accumulation of experimental experience on the basis of circle, club and other forms of work. Museum pedagogy, like pedagogy in general, is aimed at the tasks of education and personal development. The museum-pedagogical process is a unified and dynamic system of components defined by pedagogical categories (upbringing, development, education, training). Museum pedagogy operates with the same concepts and categories and is subject to the same laws as general pedagogy. Therefore, considering the forms, methods, principles and means of museum pedagogy, we can also highlight the technologies of museum pedagogy. Moreover, museum pedagogy itself can be considered as an innovative pedagogical technology. In modern pedagogy there is no unambiguous understanding of the concept of “educational technology”. Today there are more than 300 definitions of educational technologies from various authors. Some authors (M.V. Clarin, V.M. Monakhov, etc.) understand pedagogical technology as a set of attitudes that determine the forms, methods and means of achieving a pedagogical goal. In the definitions of others (S. M. Vishnyakova, E. V. Shirshov, etc.), pedagogical technology appears as a certain set of technological procedures that ensure reproducibility and guaranteed results. An important attribute of educational technologies, according to these authors, is the measurability and reproducibility of results. In technologized systems, something is not declared if it cannot be measured and reproduced in practice. Any teaching technology must satisfy the main methodological requirements, such as: conceptuality, consistency, controllability, efficiency, and reproducibility. The problem of distinguishing technology and methodology is still quite controversial. Some scientists consider technology a form of implementation of a technique, others believe that the concept of technology is broader than a technique. According to V.I. Zagvyazinsky, both technology and methodology are systematic, but ideal technology has a strictly defined system of instructions that are guaranteed to lead to the goal. The methodology provides for diversity and variability in the ways of implementing theoretical principles, and therefore does not imply a guarantee of achieving the goal, i.e. Even an ideal technique does not have high instrumentality. V.I. Zagvyazinsky warns us against excessive technologization of the educational process: “The general idea of the reproducibility of educational procedures, extended to the entire educational process, leads to the idea that it can become independent of the “living” teacher. In this case, the teacher is considered as a passive executor of the “branded” didactic project. This is an extreme expression of “technocratic thinking”, which can cause serious harm to learning and lead to its dehumanization.” Modern museum pedagogy uses various forms, methods and technologies. Thus, M. Yu. Yukhnevich classifies the following ten as the basic forms of cultural and educational activities of the museum: excursion, lecture, consultation, scientific readings (conferences, sessions, meetings), club (circle, studio), competition (Olympiad, quiz), meeting with an interesting person, concert (literary evening, theatrical performance, film show), holiday, historical game. One of the most popular innovative technologies today is the museum pedagogical program. The museum pedagogical program, combining two blocks - “school in the educational space of the museum” and “museum pedagogy in the school” - is also a model for implementing innovative educational practice of the museum. This model opens up the possibility of the most effective interaction between the museum and the school, as it creates the prerequisites for the formation of a museum-pedagogical educational field within the framework of the school teaching and learning process. The museum pedagogical program involves creative interaction between museum and school teachers. It makes it possible to enrich such traditional forms of educational activities as lectures, excursions, didactic exhibitions, seminars with new content, and to include modern videos and multimedia technologies in the educational process. Providing gradual and consistent development of personality, museum pedagogical programs are the basis for modeling the system of interaction between the museum and the education system. In this case, the development of the program is determined by the purpose of creating the program and its objectives; address of the program (what audience it is intended for); content of the program; forms, means and methodological techniques proposed for the implementation of the program; timing of the program; effectiveness and performance assessment. Only in this case, the programs, providing step-by-step and consistent development of the individual, serve as a justification for the innovative educational practice of the museum. As an example of innovative technology in museum pedagogy, one can cite the State Russian Museum’s “Hello, Museum” program. It meets all the necessary above-mentioned criteria for manufacturability. Conceptually, it is based on the works of theorists and practitioners of museum pedagogy: A. Likhtvark and A. Bakushinsky. It is an integral part of one of the leading areas of scientific work of the Russian Museum, “Russian art in the context of world artistic culture.” The goal of the program is the formation of students’ national self-awareness and their readiness for an equal dialogue with the cultures of different peoples, which involves mastering the cultural heritage, first of all, of their country. The implementation of the program by educational institutions is provided with an educational and methodological complex (programs of academic disciplines and methodological recommendations for them, slide manuals, video programs) and a system of methodological analysis of the progress of the experiment, followed by an annual final conference of experimental teachers to exchange experience. Within the framework of the program, a sequence of successive links of dialogue has developed: museum - educational institution - museum. The implementation of the program involves the use of the most modern information and audiovisual technologies. The “Hello, Museum!” program, which was clear evidence of the modern museum’s awareness of its social responsibility and role in the harmonization of social relations, became a source of pedagogical innovation. Thanks to the systematic construction, the typology of setting and solving pedagogical problems, and the variability of application modules, the program “Hello, Museum!” gave the museum's cooperation with educational institutions a mutually beneficial, dynamic, flexible and systematic analysis. The Russian Museum has developed a scientifically verified system for introducing diagnostics and analyzing the effectiveness of experimental work. The first domestic multi-level museum-pedagogical program “Hello, Museum”, developed on the principles of interdisciplinarity, systematicity and continuity, according to B. A. Stolyarov, “became a model for implementing the interaction of the art museum and the education system at all its levels - from kindergarten to university - and the basis of innovative educational practice in this area." A multilevel museum-pedagogical program “Hello, Museum!”, Developed with the purpose of the productive interaction of art museums in Russia with a system of education on all its steps- preschool, school and higher, was embodied by many years of experience in the activities of Russian and other domestic and foreign museums in the field of aesthetic education and art education. Realized today in more than twenty regions of Russia, it has become a basic element of a number of concepts and the basis of the system of aesthetic education of the Russian Museum, awarded the State Prize of the Russian Federation in the field of literature and art in 2003. The program is based on the installation for perception as a process of continuous contact with the outside world. This installation allows the child to form a prediction about the museum as a part of the environment, as well as about the visual arts as a necessary component of a person’s full -fledged attitude to the world. Literature 1. 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