Adult Education, Museums and Art Galleries - Animating Social, Cultural and Institutional Change

von: Darlene E. Clover, Kathy Sanford, Lorraine Bell, Kay Johnson

SensePublishers, 2016

ISBN: 9789463006873

Sprache: Englisch

269 Seiten, Download: 14992 KB

Format: PDF, auch als Online-Lesen

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Adult Education, Museums and Art Galleries - Animating Social, Cultural and Institutional Change

	TABLE OF CONTENTS	6
	INTRODUCTION	8
	CONTEXTUALISING THE COLLECTION: ANIMATING CONCERNS	8
	MUSEUMS: ILLUSION, REALITY AND POSSIBILITY	11
	ADULT EDUCATION AND LEARNING: CRITICAL PERSPECTIVES	12
	SECTION ONE: ACTIVISM, SUBVERSION AND RADICAL PRACTICE	14
	SECTION TWO: WOMEN IN CLOTHES: (RE)GENDERING PRACTICES AND PEDAGOGIES	16
	SECTION THREE: RE-IMAGINING, REPRESENTING, REMAKING	17
	SECTION FOUR: PERFORMING, INTERVENING, DECONSTRUCTING	19
	REFERENCES	21
	SECTION 1: ACTIVISM, SUBVERSION AND RADICAL PRACTICE	24
	1. SHUT UP AND BE QUIET! Icelandic Museums’ Promotion of Critical Public Pedagogy and the 2008 Financial Crisis	25
	INTRODUCTION	25
	CONCEPTUAL FRAMEWORK	26
	Critical Public Pedagogy	26
	Social Movement Learning	26
	DISPLAYING PROTEST AS PUBLIC PEDAGOGY	28
	Haltu Kjafti og Vertu Þæg (Shut Up and Be Quiet!)	28
	Segja Þessir Hlutir Söguna? (Do These Things Tell a Story?)	32
	DISCUSSION	33
	NOTE	35
	REFERENCES	35
	2. ST MUNGO MUSEUM OF RELIGIOUS LIFE AND ARTA: Space to Speak, Discuss and be Heard	37
	INTRODUCTION	37
	ST MUNGO AND NEUTRALITY	37
	CRITICAL, ISSUE-BASED ADULT EDUCATION PROGRAMMES	38
	FLEXIBILITY AND PLANNING	40
	Dealing with Sensitive Issues	42
	Safety and Respect	43
	SPONTANEITY	44
	Finding Commonalities	46
	FINAL THOUGHTS: TRAINING	46
	REFERENCES	47
	WEBSITES	47
	3. ADULT EDUCATION AND RADICAL MUSEOLOGY: The Role of the Museum as an Archive of the Commons	48
	INTRODUCTION	48
	THE ART WORLD	49
	Where Does Adult Education Fit into All of This?	50
	DOCUMENTARY AND THE SOCIAL TURN	51
	FINAL THOUGHTS	55
	REFERENCES	56
	VISUAL REFERENCES	58
	4. ART AND COMMITMENT: GALLERIES WITHOUT WALLS: Propositions	59
	INTRODUCTION	59
	THE EMO-ACTIVE TURN	60
	THE PRESENCE OF CHOICE	61
	RE – LEARN	62
	CRITICALITY	64
	DISFIGUREMENT	65
	DIFFERENTLY	67
	WALLS	69
	SHIFT	70
	REFERENCES	71
	5. THE VICTORIA AND ALBERT MUSEUM: A Subversive, Playful Pedagogy in Action	72
	INTRODUCTION	72
	AN IMPERIAL SPECTACLE	73
	AN EDUCATIONAL IMPERATIVE	74
	THE V&A IN ACTION: PEDAGOGY THROUGH EXHIBITION	75
	Inter-Disciplinarity and Blurring of Genres	75
	The Cast Courts	77
	The British Exhibition	77
	Exploring Democracy and Dangerous Knowledge	78
	CONCLUSION	81
	REFERENCES	81
	WEBSITES	82
	SECTION 2: WOMEN IN CLOTHES: (RE)GENDERING PRACTICES AND PEDAGOGIES	83
	6. KNOWING THEIR PLACE: Feminist and Gendered Understandings of Women Museum Adult Educators	84
	HISTORICAL GENDERED TERRAIN OF MUSEUMS	85
	WHAT ACADEMIC BACKGROUNDS AND KNOWLEDGE COUNT?	88
	Wither Feminism/Women?	88
	GENDERED TRAITS	88
	FEMINISM MEANS BIAS	89
	NON-PRACTISING FEMINISTS	90
	PLAYING WITH FIRE	90
	FEMINISM IN MOTION	91
	FINAL THOUGHTS	92
	REFERENCES	93
	7. DAUGHTERS OF JOY? A Feminist Analysis of the Narratives of Miss Laura’s Social Club	96
	INTRODUCTION	96
	OUR PERSONAL STORIES	97
	OLD TOWN WEST	98
	BACKGROUND	99
	PORTRAIT OF MISS LAURA’S SOCIAL CLUB	100
	THE MASTER NARRATIVES: MASTERFUL MADAMS	102
	Cathouse Cinderellas	103
	Elitism and the Queen of the Row	103
	CONCLUSIONS AND QUESTIONS	104
	REFERENCES	106
	8. RE-EDUCATING THE EDUCATORS: Re-Envisioning Digital Civics & Participative Learning Practicein Black Women’s Community-Led Heritage Projects	107
	INTRODUCTION: EDUCATION AS TRANSFORMATION	107
	ARRIVALS: CONSTRUCTING THE HERITAGE OF THE NORTH EAST	109
	REWRITING THE HERITAGE EDUCATION NARRATIVE	112
	Participation as a Learning Tool	113
	Transforming Learning Cultures	114
	Wider Learning Impact	115
	CONCLUSIONS: EDUCATING THE EDUCATORS	116
	ACKNOWLEDGEMENTS	117
	REFERENCES	118
	9. CONTEMPORARY ART AS PEDAGOGICAL CHALLENGE: Must Gender Remain an Obstacle in Portugal?	119
	INTRODUCTION	119
	REVOLUTION STARTS… AT HOME?	120
	MY STORY	121
	A CHANGE OF PARADIGM	122
	THE GARDEN	122
	FEMINISM AND INCLUSION AT CASA DA CERCA	123
	OBSTACLES	124
	TRYING TO OVERCOME	125
	GENDER AND EDUCATION IN THE MUSEUM	126
	FINAL WORDS	127
	NOTE	128
	REFERENCES	128
	WEBSITES	129
	10. PERFORMING AND ACTIVATING: Case Studies in Feminising and Decolonising the Gallery	130
	INTRODUCTION	130
	POSITIONALITY AND ETHNOBOTANY: BEING IN RELATION TO THE LAND	130
	THE ART GALLERY OF GREATER VICTORIA: TOWARDS A FEMINISED, DECOLONISED GALLERY	131
	TRANSNATIONAL FEMINIST ART EDUCATION	133
	PERFORMING FEMININITY	134
	ACTIVATING EMILY	137
	FINAL THOUGHTS	138
	REFERENCES	139
	WEBSITES	140
	SECTION 3: RE-IMAGINING, REPRESENTING, REMAKING	141
	11. DECOLONISING MUSEUM PEDAGOGIES: “Righting History” and Settler Education in the City of Vancouver	142
	INTRODUCTION	142
	SITUATING MYSELF	142
	COLONIALISM AND THE EDUCATION OF THE CANADIAN PUBLIC	143
	MUSEUMS, DECOLONISATION, AND PUBLIC PEDAGOGY	145
	MUSEUM POSSIBILITIES: ONE EXHBITION AND THREE LEARNING JOURNEYS	146
	FIRST JOURNEY: JANUARY 25, 2015	147
	The Museum of Vancouver (MOV)	147
	The Museum of Anthropology (MOA)	149
	SECOND JOURNEY: JUNE 7, 2015	149
	The Museum of Vancouver (MOV)	149
	THIRD JOURNEY: NOVEMBER 10, 2015	150
	The Musqueam Cultural Education Resource Centre and Gallery	150
	The Museum of Anthropology (MOA)	150
	The Museum of Vancouver (MOV)	151
	FINAL THOUGHTS	151
	REFERENCES	152
	12. FORMALLY INFORMAL: Confronting Race through Public Narratological Pedagogy in a Museum Space	154
	INTRODUCTION	154
	ADULT EDUCATION, MUSEUMS, AND NARRATIVES	155
	THE MUSEUM VISIT	158
	RESTORYING IDENTITY: CONNECTION	161
	AWARENESS	162
	OWNERSHIP	163
	CONCLUSIONS	163
	REFERENCES	164
	13. EXHIBITING DARK HERITAGE: Representations of Community Voice in the War Museum	166
	INTRODUCTION	166
	THE CHALLENGES OF THE WAR MUSEUM	167
	ADULT EDUCATION THROUGH DIALOGIC PRACTICE	168
	VETERAN VOICE AND THE WAR MUSEUM	170
	Bomber Command	170
	PEACE EXHIBITION	172
	FINAL THOUGHTS	174
	REFERENCES	175
	14. FROM NARRATION TO POÏESIS: The Local Museum as a Shared Space for Life-Based and Art-Based Learning	177
	INTRODUCTION	177
	BEYOND SELF-NARRATION: PARTICIPATIVE PROJECTS IN MUSEUMS	177
	THE LIFE(ST)ART PROJECT	179
	FROM KNOWLEDGE TO KNOWING, FROM ART TO TRANSFORMATION	180
	The Workshop: A Metaphorical Dispositive	180
	Authentic Experience	183
	Aesthetic Representation	184
	Intelligent Understanding	184
	Deliberate Action	184
	POÏESIS, BEYOND COMMONSENSE AND PURPOSE	185
	NOTE	186
	REFERENCES	186
	15. MU?A: Participative Museum Experiences and Adult Education	189
	LIMINALITY, FRONTIER CONTROL AND THE MUSEUM INSTITUTION	190
	A MUSEUM FOR WHOM?	192
	PARTICIPATIVE MUSEUMS, VISUAL LITERACY AND BEYOND	193
	The Art of Seeing	194
	PEOPLE: DIASPORAS, IDENTITIES AND MEMORIES	195
	BEYOND THE MUSEUM EXPERIENCE	197
	NOTE	198
	REFERENCES	198
	WEBSITES	199
	SECTION 4: PERFORMING, INTERVENING, DECONSTRUCTING	200
	16. CASTING LIGHT AND SHADOW: Reflections on a Non-Formal Adult Learning Course	201
	INTRODUCTION	201
	CONTEXTS AND DISCOURSES	202
	COURSE DESIGN, AIMS AND QUESTIONS	204
	AUTHORITY OF KNOWLEDGE AND THE PRACTICE OF DISCOMFORT	205
	AUDIENCE, FAMILIARITY AND EXCLUSION	206
	Learning Versus the Right Answer	207
	INFORMAL SPACE AND ART AS PEDAGOGUE	208
	DISCUSSION AND FINAL THOUGHTS	209
	REFERENCES	210
	17. THE OPPORTUNITIES AND RISKS OF COMMUNITY DOCENT TRAINING AS ADULT LEARNING: Love and Labor at the Jane Addams Hull-House Museum	212
	INTRODUCTION	212
	WHAT WAS LOVE AND LABOUR?	214
	The Jane Addams Hull-House Museum	214
	The Latino Union of Chicago and the Chicago Coalition of Household Workers	214
	Unfinished Business: Twenty-First Century Home Economics	215
	An Act of Love: Training Domestic Workers as Community Docents	216
	Key Aspects of Love and Labor Tour Curriculum	217
	Facilitating Love and Labor	217
	BEST PRACTICES FOR COMMUNITY ENGAGEMENT AS ADULT LEARNING	218
	Be Aware of and Responsive to Power Dynamics and Social Disparities	218
	Value Multiple Ways of Knowing	219
	Be Attentive to the New Knowledge That Is Created	220
	Practice Consistency	221
	CONCLUSION AND FINAL COMMENTS	221
	AUTHOR’S NOTE	222
	REFERENCES	223
	18. MUSEUM HACKING AS ADULT EDUCATION: Teachers Creating Disturbances and Embracing Dissonances	224
	INTRODUCTION	224
	ADULT EDUCATION AND CONSCIENTIZAÇÃO IN THE MUSEUM	225
	TWO TERRITORIES	226
	First Territory: The University of Victoria’s Summer Institute (SI)	226
	Second Territory: The Royal British Columbia Museum	227
	CREATING DISTUBANCES	228
	EMBRACING DISSONANCES	230
	An Intersection of Territories and Learners – A Common Ground for Critical Pedagogy	230
	NOW AND THEN: WHAT HAVE WE LEARNED?	233
	Teacher Educators’ Perspectives	233
	Museum Educators’ Perspectives	233
	CONCLUSIONS	234
	REFERENCES	235
	19. ADULT EDUCATION IN ART GALLERIES: Inhabiting Social Criticism and Change through Transformative Artistic Practices	237
	INTRODUCTION	237
	Contemporary Conceptions of Gallery Education	238
	ONTOLOGIES OF TRANSFORMATION	240
	The Person-Bound Ontology	240
	The Practice-Based Ontology	241
	‘INHABITING’ SOCIAL CRITICISM AND CHANGE	242
	Participative Art	243
	ADULT EDUCATION IN ART GALLERIES	244
	OPEN STUDIO	245
	CONCLUSIONS	247
	NOTE	248
	REFERENCES	248
	20. QR CODES: The Canary in the Coal Mine	250
	INTRODUCTION	250
	BACKGROUND	251
	ASSESSMENT FRAMEWORK	251
	EXPERIENCE-DRIVEN LEARNING	252
	MOTIVATED LEARNING	253
	ACTIVE LEARNING	253
	CONNECTED LEARNING	254
	EXAMPLES OF SUCCESS	254
	THE REALITIES OF IMPLEMENTATION	256
	APPEARANCES	256
	ANALYTICS	257
	INCREASED DISPLAY SPACE	257
	THE DISCONNECTS BETWEEN TECHNOLOGY AND PEDAGOGY	258
	MOVING FORWARD	260
	REFERENCES	261
	INDEX	263

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