TRAINING AND PROFESSIONAL DEVELOPMENT PROGRAMMES FOR MUSEUM AND GALLERY EDUCATORS TO SUPPORT THE DELIVERY OF LIFELONG LEARNING - Engage
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TRAINING AND PROFESSIONAL DEVELOPMENT
PROGRAMMES FOR MUSEUM AND
GALLERY EDUCATORS TO SUPPORT THE DELIVERY
OF LIFELONG LEARNINGtraining needs
Acknowledgements
This publication is second in a series of three reports from Collect & Share, a three-year
partnership project supported by the European Community. Collect & Share aims to collect
examples of good practice in lifelong learning work with disadvantaged adults in museums
and galleries across Europe, and to share this information and expertise through a search-
able website, training for practitioners, research, reports and international conferences.
The Collect & Share group who worked on the topics of this publication includes:
Claude Fourteau Musée du Louvre Kirsten Gibbs engage Margarida Ruas Gil
Costa APOREM Margherita Sani IBC Regione Emilia Romagna Jane Thompson
NIACE Cristina Da Milano and Martina de Luca ECCOM Venetia Scott and
Orlagh Woods Collect & Share
Special thanks to Alex Hitchins engage
Translators: Claude Fourteau / French and Ute Marxreiter / German
For full details about the project, partners and how to join the network visit
www.collectandshare.eu.com
We would appreciate feedback on this publication and on Collect & Share in general.
For comments or to order further copies, please email info@collectandshare.eu.com
[ 02 ]changing roles of museum and gallery educators: a european overview
Changing Roles of Museum and
Gallery Educators: A European Overview
Public museums and galleries were established in the 18th century as educational institu-
tions, yet the role of the museum educator is a relatively new profession in the museum
sector. For a long time, caring for and exhibiting historical objects or artefacts was regar-
ded as sufficient to carry out the educational function of museums: the objects were seen
as intrinsically educational. In some European countries, focus on the collections (caring /
protecting / restoring) was at the expense of the message, the teaching and the inspira-
tion that those collections could offer to contemporary audiences. Preserving the objects
was seen as more important than learning from them. This imbalance is gradually being
redressed, to a greater or lesser extent, in all European countries and is, in many cases,
1
supported by public policies which support access, encourage ‘cultural democratisation,’
and promote the right to culture. To a certain extent, this is changing the role of art muse-
ums and galleries, which, increasingly, are being encouraged to act as ‘agents of social
change’ or, as places for the reconciliation and integration of differences, as is already the
2
case in the UK and the Netherlands.
As a consequence of these major changes in the perception of the social role of muse-
ums, of the increasing emphasis on the audience, and of the growing interest in the
characteristics and learning styles of the different target groups, the museum education
profession is facing new challenges and is itself undergoing significant development.
These are reflected in the different job titles used in different European countries, indicat-
[ 03 ]training needs
ing that the profession is diverse and that its status is still When describing the competencies of the museum
in progress. educator, however, systems from all countries, although
Over the last twenty years there has been an effort, by different, refer to four phases of work involved in project
many countries, to describe professions in terms of com- and programme planning in the profession:
3
petencies. To some extent, this follows the EU Directive
1 Preparatory phase
of 1992 which tried to establish a system of mutual recog-
Involves the analysis of the context / Background
nition and acknowledgement of qualifications throughout
research (into the collections / into the audience / SWOT
Europe, and to allow mobility of workers and professionals
4 analysis) / Networking with other organisations / Plan-
within the European labour market. As far as the profes-
ning events with reference to existing formal training
sion of museum / gallery educator is concerned, it is pos-
5
sible to refer to the ICOM tree of competencies, which 2 Design and planning phase
breaks down competencies according to different areas Involving two aspects – First an organisational aspect:
of museum work (general / management / public program- financial planning / Identifying the target audience /
ming / collections management / care), rather than asso- Scheduling; and a second content- led aspect, which
ciating them with particular professional roles. In the UK, involves the structuring of activities in terms of learning
after the government had introduced National Vocational objectives and outcomes / Deciding on delivery / Commu-
Qualifications (NVQs) and Scottish Vocational Qualifica- nication methods / The production of didactic materials
tions (SVQs) as part of its drive to improve skills and offer
3 Delivery phase
flexible opportunities for people employed in museums,
galleries and heritage organisations to learn and develop 4 Evaluation phase
6
at work, CHNTO (Cultural Heritage National Training Involves reviewing the project / Measuring learning
Organisation) undertook to describe museum qualifica- outcomes against set targets / Researching user
tions in terms of competencies. This has also been done satisfaction
7
in other European countries, and has usually resulted
in a detailed list of tasks which people should be able
to perform.
[ 04 ]changing roles of museum and gallery educators: a european overview
This same structure is reflected in the tasks that Collect Designing and delivering programmes for adults or dis-
& Share considers necessary for museum and gallery advantaged groups of users is, in some ways, similar to
educators to be able to carry out in order to support the planning educational activities for more conventional
delivery of lifelong learning programmes. These include: and frequent user groups e. g. school pupils. However, it
is frequently more challenging, because lifelong learners
> Contributing to the interpretative strategy for their
are less predictable in their needs and expectations than
organisation
school parties: they may be resistant to the idea of ‘learn-
> Devising, developing and evaluating an education
ing’ in a museum or gallery seeing it as an extension of
and learning strategy for their organisation
school; they may be concerned that they do not have the
> Identifying current and potential users and under-
background knowledge to participate in a learning acti-
standing their diverse needs
vity in a gallery or museum; they may have an antipathy
> Working in partnership with user groups and their
or even hostility towards the works on show. Working with
representatives
them requires more flexibility, a higher degree of innova-
> Devising and planning innovative educational
tion in the programmes offered and the ability to listen
programmes and activities that recognise the diverse
and to incorporate their suggestions into future educa-
needs of new and different audiences 8
tional planning. As a matter of good practice, it should
> Commissioning and producing educational and re-
also involve establishing active partnerships with poten-
source materials to meet the needs of diverse audiences
tial users from non-traditional groups or with the asso-
> Providing opportunities for people to explore ideas
ciations that represent their interests (e. g. community
and develop understanding relevant to their needs
groups or youth organisations etc.).
and interests
Throughout Europe, with the exception of a few coun-
> Providing opportunities for new and different audi-
tries, museum and gallery education concentrates on deli-
ences to represent and develop their specific cultural
vering programmes to schools. The area of lifelong learn-
concerns
ing is, therefore, a new one, where a lot can be done to
> Creating learning environments that are accessible
establish benchmarks for good practice, circulate ideas
and user- friendly
and experiences, create opportunities for professional
> Evaluating the impact of learning activities on users
[ 05 ]training needs
growth and favour a process of integration of a profes- 6 www.chnto.co.uk/qualifications/nvqs.html
sional community – that of museum educators – which 7 In Italy, this task has been undertaken by some regions, in
particular Lombardy and Emilia Romagna, within a wider context
often laments the lack of an identity and of a forum for to improve quality in museums. See www.lombardiacultura.it/
public debate. doc/allegatoB_dgr_riconoscimento.doc
In France, see also the repertory of competencies for the cultural
sector developed by Art + Université + Culture within the framework
of the Leonardo funded project CORTEX (1997-2001) www.cortex-
culturemploi.com
1 In France, a foundational text is the ‘mission statement’ given by Also, Ministere de la culture et de la communication, delega
André Malraux to his Ministry for Cultural Affairs in 1959: ‘to make
tion aux arts plastiques: Médiateurs pour l’art contemporain:
the major artistic achievements of humanity accessible [...] to the
répertoire des competences. La documentation francaise/5, 2000.
greatest possible number of the French.’ In the United Kingdom, a key
text is the Arts Council policy document, Glory of the Garden, 1984. 8 See Collect & Share Good Practice 2005 and some of the
unpublished documents developed within the project in 2004 –
2 For the UK, there are numerous government papers on the subject, C. Pestana: Overview of Lifelong Learning in Museums
including: Department for Culture, Media and Sport, Centres for
in Portugal.
Social Change: Museums, Galleries and Archives for All, Policy
R. Haapalainen: Lifelong Learning in Museums in Finland.
Guidance on Social Inclusion for DCMS funded and local Authority
www.collectandshare.eu.com
Museums, Galleries and Archives in England. May 2000.
C. Joyeux: Lifelong Learning in Museums in France.
www.culture.gov.uk/heritage/social_change.html
DCMS: Libraries, Museums, Galleries and Archives for All:
Co-operating Across the Sectors to Tackle Social Exclusion.
January 2001.
For the Netherlands, see the cultural policy document: Culture as
Confrontation 2001-2004. http://www.minocw.nl/english_oud/
internat/english/index.htm
3 In the discussion that occurred in the 1980s in the UK, competence
was approached as ‘the ability to do a particular activity to a pre-
scribed standard’ (Working Group on Vocational Qualifications
1986). UDACE (Unit for the Development of Continuing Adult
Education) proclaimed that ‘competence is concerned with what
people can do rather than what they know. ’
4 This refers to Council Directive 92 / 51 / EEC of 18 June 1992
on a second general system for the recognition of professional
education and training to supplement Directive 89 / 48 / EEC.
Visit http://europa.eu.int/comm/internal_market/qualifications/
general-system_en.htm
5 http://museumstudies.si.edu/ICOM-ICTOP/index.htm
[ 06 ]european experiences
European Experiences: Current Training
and Professional Development for Museum
and Gallery Educators in Lifelong Learning
General context
The notion of lifelong learning in museums is quite a recent development in many parts
of Europe. Since the introduction of organised educational activities, museums have been
viewed as an educational site for children, due to the intellectual and social benefits that
museum visits can provide. However, because of the increasing importance attributed to
adult education by contemporary societies as a way of helping to create a sense of belong-
ing and to promote cultural citizenship, art museums and galleries have started to develop
educational activities intended for the adult population.
Although museums are generally considered to be places where informal learning takes
1
place, they do not exclude more formal educational activities. The distinction between
the two is usually established according to the following criteria which define formal
education.
> Presence of a form of assessment and / or certification
> Learning is directed and not self- driven
> Learning fits into a scheme or a curriculum
[ 07 ]training needs
Another definition stresses the difference between formal, museums in particular. In many countries lifelong learning
non-formal and informal learning. practice seems to have anticipated a statutory approach
in its development, while in others the need for such acti-
> Formal learning happens in a formal educational
vities is not strongly perceived.
context and implies the award of a qualification at the end
Another crucial issue is museum educators’ training
of the learning process. Formal education should incor-
and access to the profession. In most European countries
porate all learning styles and modes of communication,
most art museum and gallery educators enter the profes-
including informal approaches
sion with a lack of specific training in Museum Education.
> Non-formal learning is a structured and organised form
There is a strong need, therefore, for museum and gallery
of learning, which does not imply the award of a qualifica-
staff to have access to continuous training and education
tion at the end of the learning process
if they are to respond effectively to diverse groups of visi-
> Informal learning happens in the context of family,
tors and ways of learning.
social and civic life, but not necessarily on purpose
The kind of learning which takes place in art museums Training needs analysis
and galleries is normally considered to be non-formal or
This section analyses the training needs which emerged
informal, although there are many activities which can
from questionnaires collected by Collect & Share and from
be defined as formal learning ones, such as: university
some work conducted by partners in their respective coun-
teaching, professional training, training of volunteers,
tries. It looks closely at projects in three countries – UK,
internship programmes, teacher training.
France and Italy – and provides an insight into the situation
in the Netherlands, Finland, Sweden and Slovenia.
European experiences
Collect & Share partners in each country provided infor-
The situation in Europe, with regards lifelong learning acti- mation about the training needs of museum educators
vities in museums, differs according to the various national and cultural mediators dealing with disadvantaged adult
approaches, both from theoretical and practical perspec- audiences and publics with specific reference to the
tives. This is reflected, for example, in the different legisla- following issues:
tive contexts regarding lifelong learning in general and
[ 08 ]european experiences
Job Titles A first element to consider is whether the profes- educator’ or ‘educational curator’, sometimes ‘head of
sion is clearly referred to by a specific job title or not. This, education’ or ‘head of public services,’ the latter highlight-
in fact can tell us something both about the recognition ing a more significant role of the person in the process
the professional enjoys at institutional level and about the of decision making within the institution.
activities or areas he / she covers. In some cases the edu-
Professional development The typical professional back-
cational function is carried out, but there is no person ex-
ground of museum educators is based on a BA, MA, or
clusively dedicated to it, therefore no permanent post in
the equivalent, in Art History or a specialised area in Art
the staff to which a job title is associated, which could in-
Education. Only a few have pedagogical training or have
dicate a rather weak status of the profession. In others,
been given an insight into such fields as social studies,
and depending on the size of the museums, the richness
public policies on culture, history of museums, education
of titles points to a high segmentation of the public and
sciences, visitor studies etc. The usual career track is
to a variety of tasks, and mirrors a well developed and
through years of apprenticeship and informal mentoring
‘mature’ stage of the profession. In the UK, for instance,
within the work place.
job titles used include:
How people enter the profession Most commonly, people
Head of Learning and Interpretation / Head of Gallery
enter the profession because they have a general interest
Interpretation and Evaluation / Head of Access, Social
in art or education, rather than a specific career interest
Inclusion and Community Development / New Audiences
in gallery education. Most employees in the field are
Programme Developer (Young People / Cultural Diversity) /
women. Employers do not demand a degree in museum
Formal Learning Programme Developer / Outreach Officer /
or gallery education since this qualification does not
Education and Audience Developer
widely exist; they usually ask for previous experience in
They indicate that many dimensions have been added to a art education, knowledge of art or history, or relevant
traditionally educational or public oriented function, most experience of working with schools or community groups.
importantly: evaluation, outreach, social inclusion, audi- However, in practice, the profession is learned on the
ence development, etc. In most European countries, how- job. In some cases, institutions offer short courses for
ever, the profession is referred to as ‘museum / gallery museum professionals, including museum educators.
[ 09 ]training needs
Case studies: United Kingdom, France, Italy In 1998, the Department for Culture, Media and Sport
(DCMS) – the lead government body for museums and
United Kingdom When considering lifelong learning pro- 2
galleries – carried out a comprehensive spending review.
vision in UK museums and galleries, it is worth bearing
As part of this review it identified four central themes for
in mind some of the elements that have characterised the
the department: the promotion of access for the many
country’s cultural policy over the last 8 – 10 years:
not the few / the pursuit of excellence and innovation / the
> The long lasting commitment of government nurturing of educational opportunity / and the fostering
to education of the creative industries. It stated that museums ‘are
> Government interest in supporting and about objects and for people.’ It also explicitly stated that
encouraging creativity ‘museums should promote education through formal
> Government interest in supporting projects that and informal learning and by providing opportunities for
use museums and other cultural institutions as lifelong learning ’.
centres of social change, to foster active citizenship The DCMS review put public service at the heart of the
> A highly developed expertise in adult learning, work that museums do. This was the first time that
open learning and distance learning the educational and social role of museums had been so
> An acknowledgment of the impact of new clearly recognised by government. The review acknow-
technologies which offer a significant expansion ledged that care and management of collections was not,
of distance learning provision in the cultural field in itself, enough: collections and services, managed on
> Some financial investment in education, behalf of the public, do not exist for their own sake; they
access and educational projects in museums exist for a purpose, and that purpose is primarily defined
by the way in which people use and interact with them,
In 1997, a Labour government came to power in Britain
either now or in the future.
with a manifesto commitment to education, outlining a
Soon after the 1997 general election, the DCMS also
clear commitment to drawing people back into the learn-
established a Creative Industries Task Force to support
ing cycle and with the intention of devoting resources
growth in the creative industries, a sector which has
to disadvantaged sections of the population.
been proven to grow twice as fast as the economy as a
whole. This commitment to education and educational
[ 10 ]european experiences provision has been paired with a substantial increase in professional development are virtually non-existent. 86% funding, from the Heritage Lottery Fund and the Educa- of those working directly with the public claim to have had tion Challenge Fund among others. no directly relevant training and 84 % call for the develop- What were the outcomes of these joint efforts, in ment of short courses at regional level. terms of growth and development of the profession, and The engage report highlights the insufficient number of the training provided to support it in its new, challen- of accredited training courses in the UK (only 3 accre- ging tasks? Two main sources of information available dited courses are directly relevant to gallery educators), on the subject are David Anderson’s A Common Wealth: although the existence of the Department of Museum Museums and Learning in the United Kingdom, 1999. A Studies at the University of Leicester, with its various report for the DCMS; and Diversifying the Gallery Edu- courses on museum education, sets an example of good cation Workforce, 2003. Published by engage. practice and represents a benchmark for other training Both reports identify a profession – that of museum edu- provisions. It emerges in the engage report that 88 % of cator – which is relatively new. In the engage report, 71 % gallery educators would welcome further training. of the respondents (189 people) claim to have been in- Although the situation in the UK may be more advanced volved in gallery education for between 1 and 10 years, than in other countries, and benefits from a context which with 23 % (62 people) being in the profession for over supports staff development in museums and the growth 10 years. It is, however, a growing profession in terms of of educational activities, there is still a lot to do. Museum numbers. In 1996, Anderson quotes the existence of 755 professionals must be better equipped to face the many specialised education posts in 375 UK museums: double new challenges in their profession, including that of inter- the number estimated in the early 1980s. There has also preting diverse arts and cultural forms and delivering edu- been an increase in the number of educational activities cational services to a wide range of non-traditional audi- and services provided. Both pieces of research highlight ences (e. g. adults / young people / the socially excluded) the limited value placed on staff development or training with the number of older adults predicted to increase programmes aimed at museum educators. substantially in the next decade. As far as training before entering the profession goes, What is not in question is the need for museums to previous research undertaken by engage shows that for widen and improve such services, in order to justify their the large majority of respondents, pre-entry training and own existence. To quote David Anderson: ‘Museums have [ 11 ]
training needs
to invest in their future. They can no longer take their > The ‘right to culture’ was incorporated in the 1945 Con-
future for granted. Their survival as a sector and their effec- stitution, and in 1959 France was the first country to create
tiveness as educational institutions, depends as crucially an autonomous Ministry of Culture, the first minister being
upon their investment in their public as it does upon the André Malraux, who from the very beginning posited the
preservation and development of their collections.’ democratisation of culture as the central issue.
In terms of the workforce required for such a challenge,
The continuity of cultural policy in France is reflected in
to quote Anderson again: ‘The future for museum develop-
certain recurrent themes: the insistence on support for
ment lies not in isolated specialisms, but in core teams of
culture as a non-market good, the ambition to reduce
highly trained and experienced staff, able to work flexibly
inequalities of access so as to ensure the effective exer-
on a variety of multidisciplinary museum projects …
cise of citizenship by all, the concern with social cohe-
Museum education specialists, like others who manage a
sion and so on.
museum wide function, have four main responsibilities:
The development of public policy over the last 50 years
the development of an institutional policy and plan for the
has drawn on an equally long history of trial and experi-
specialism / leading by example the practice of the special-
ment, of success and failure, of research and change – the
ism / drawing on the latest research / training and guiding
theatre, in particular, playing a leading role in the process,
others who will deliver the service / and monitoring and
the museums coming later to the idea of education as a
evaluating the range and quality of the provision.’
process intended to bridge the gap between the public
For these reasons improved training is required to pre-
and works of art.
pare a skilled workforce for the future of UK museums.
The result of this early development of what was, for a
France The situation in France differs from that generally long time, only another example of ‘French exceptionalism,’
occurring in other European countries, as a consequence is a specific vocabulary, different from that employed – in
of the state’s long-standing and sustained commitment to accordance with the usage of international bodies – in
culture, which has resulted, in this centralised country, most European countries.
in a political vision of culture as a public service and as a Thus, ‘life-long learning in museums’ and ‘adult educa-
3
dimension of government. Public intervention in the field tion’ are not terms current in France. Interventions and
has substantially increased in the second half of the twen- activities directed to school groups are described as
tieth century, and is characterised by the following features: « éducatif », and those directed to adults as « culturel ».
[ 12 ]european experiences
« Education » and « enseignement » (teaching) are restric- With the long-standing availability of data and analytic
ted to the activities of the national education system, of frameworks, museums have been unable to ignore the
which the museums are no longer a part, and the latter issues raised by the question of the public. Research has
4
have their own specific language for referring to their uni- also flourished within the universities, the CNRS etc.
que kind of learning. The terminology of « médiation cul- Several major museums have established their own visitor
turelle » won during the Nineties over those of « animation » studies departments, and a hundred others have imple-
(1970s) or « développement culturel » (1980s) – without mented the visitor survey programme developed by the
5
however becoming entirely settled, or necessarily leading Direction des Musées de France.
in practice to the recognition of a distinct professional role.
> The Act on Museums, legislation approved in January
> The level of state support for culture in France is one of 2002, puts the public at the heart of the museums’ role
the highest in Western countries: the budget of the Minis- and requires all ‘museums of France’ to establish an edu-
try of Culture today represents 1 % of government spend- cation department (« service culturel »).
ing, and this is more than matched by funding from regional
Such education departments have indeed multiplied and
and local authorities. Museums in particular have bene-
developed over the last two decades. In the larger muse-
fited over the last three decades from a continuous series
ums they play an important role, being responsible for a
of ‘grands travaux,’ or major architectural projects, widely
very diverse range of activities. Some of these activities
distributed over the country, and seem to be under less
involve face-to-face interaction with visitors in front of ex-
pressure to raise their own funds than their counterparts
hibits; others involve project design or visitor research.
in the rest of Europe.
In fact, this vast field covers a number of professional spe-
> The quantity of research in the sociology of culture
cialisations, requiring very different skills and qualifica-
(in the narrow sense): the Ministry of Culture has had
tions, which look at visitors and publics in very different
a research department since the 1960s, notable for the
ways. It is rare that an education department has a single,
organisation of decennial surveys on ‘the cultural prac-
unified view of its mission, torn as it is between a certain
tices of the French,’ and for the commissioning from
curatorial conception of discourse on the works and an
Pierre Bourdieu of his research ‘The Love of Art:
acute awareness of the necessity of democratisation. It
European Art Museums and their Public’ (1966).
could be said that in France the divide between excellence
[ 13 ]training needs
and equity, between the creative and the popular, has not Recruitment: the various modes of entry into the profes-
yet found a common ground or point of balance – a situa- sion depend on the status of the institution, which may be
tion that threatens to leave the field free to a conception national or local. The main problem for graduates of the
of cultural marketing purely quantitative in inspiration. new university courses is that the job market offers few op-
Yet in many cases it is the shortage of educators (« per- portunities, except at local level, where the local authority
sonnel culturel ») that is the greatest brake on progress occupational structure includes the post of « médiateur, »
in the museum. to which entry is by restricted public competition. In the
The appointment of the traditional lecturer-guides (« con- recently reformed national civil service structure, « média-
férenciers de musée ») is subject to strict qualification re- teurs » appear graded as ‘technicians and engineers in cul-
quirements. Their training, however, to the extent that it tural services.’ A somewhat ambiguous recognition, and
is restricted to art history, has prepared most of them for posts are, in any case, rare.
a scholarly transmission of knowledge – either to school In-service training for museum professionals is the res-
7
groups or to the already informed visitor – rather than for ponsibility of a number of bodies and modules on museum
museum education understood as mediation or interpre- education and visitor policy are gradually becoming more
tation, whose requirements are often multidisciplinary in widely available. And finally – and this is an important ad-
nature and reflect the consideration for a more inclusive vance – the principle of ‘ validation of knowledge acquired
8
and collaborative approach. The title in relation with the through experience ’ now allows professional skills gained
skills profile and the training of this museum educator is in this way to be recognised with formal qualifications.
« médiateur culturel ».
6 Italy Although the lifelong learning debate is fairly new,
Pre-entry training : over the last ten years, opportunities
the importance of lifelong learning in the development of
for pre-entry training in museum education have increased
a new society has already been recognised at almost
considerably. More than a hundred university courses have 9
every level. As far as museums are concerned, however,
been developed in cultural management, mediation and
the thinking behind lifelong learning is still at an embry-
communication, including bachelor’s and master’s degrees
onic stage. In order to understand the idiosyncrasy of the
in the ‘design and implementation of education projects,’
Italian situation there are some elements regarding the
while courses in museology offer specialised modules on
country’s cultural and educational policies that must be
such topics as museum mediation.
taken into account:
[ 14 ]european experiences
> Museums, galleries and cultural sites belong to, and carried out that investigate not only the demographic
are managed by, different institutions and consequently, profile of audiences, but also their motivation. There is
there is a lack of a homogeneous cultural policy. Recent still insufficient analysis of non-visitors.
legislative changes, despite giving the State responsibi-
One of the initial consequences of this situation is that,
lity for preserving and conserving cultural heritage, and
from an institution’s perspective, the role of museums as
giving shared responsibility to the State and local autho-
agents of lifelong learning is still not clearly recognised;
rities for activities linked to the, so-called, ‘valorizzazione’
although there are some significant exceptions, such as
(enhancement / valorization) have not yet succeeded in 10
the Regione Siciliana. The same can be said for training
resolving this issue.
opportunities, directed at museum educators, that deal
> The Italian word ‘valorizzazione’ is quite ambiguous,
specifically with adult visitors: there are still very few ini-
referring both to economic development and to social
tiatives which address the issue of lifelong learning and
issues, such as enlargement of cultural access and
its need for a particular pedagogy with distinct tools and
participation.
methodologies. Nevertheless, there are signs that the
> Only since 1996, the European Year for Adult Educa-
situation is improving: of the museum education training
tion, has the expression ‘lifelong learning’ been included
provided by universities and local authorities, some is
in Italian legislation, specifically within the law 62 / 2000,
already devoted to adult education; there are also prac-
which affirms that the Italian Republic will support the
tical initiatives that have been developed by some art
provision of culture and education throughout the
museums and galleries which seem to have anticipated
different stages of a person’s life.
the theoretical discussion and the institutional interest
> The education field is currently undergoing impor-
in lifelong learning.
tant changes at all levels. In the past few years, training
To conclude, it can be said that the Italian situation is
courses for new museum education professionals have
characterised by a growing interest in the development of
been introduced; the quality of these initiatives varies
strategies favouring access and public engagement within
hugely, however.
the mainstream process of the democratisation of culture.
> Educational activities developed by museums and
The problem, however, is that this goal is currently being
galleries are still mainly directed at children.
approached via two conflicting strategies which generate
> Only recently have research and visitor studies been
[ 15 ]training needs
confusion at an institutional level: in fact, the process of students of non-Dutch origin. (The Reinwardt Academy
‘valorizzazione’ is carried on through activities clearly offers an International Masters Degree Programme in
focusing on the economic aspect, while at the same time Museology, comprising eight modules, one of which is
a great emphasis is placed on the importance of educa- dedicated to Museum Communication: Education.) In
tional activities as a privileged means to achieve cultural addition to this, the NMV wishes to develop, within the
access. Intercultural Museum Programmes project, a system of
grants that make it possible to offer additional training
An insight into the situation in other European (and internships) in museum work to graduates of non-
countries: Denmark, Finland, Slovenia, Sweden and Dutch origin.
the Netherlands Analysis of the circumstances in Denmark, Finland, Slo-
venia and Sweden reveal similarities with the situation in
Research in the Netherlands reveals a situation similar to
Italy. Priority in terms of educational activities is given to
many other European countries, with education still not
children, and the overall picture of educational provision
at the core of the museum mission and the profession of
is rather patchy. In Sweden, very few museums have edu-
the educator in a museum or gallery not fully enhanced.
cation policies or policy documents, however, there are
However, there is evidence of a new approach which devo-
some interesting initiatives involving people with disabili-
tes greater attention to the profile of museum educators
ties and immigrants studying Swedish as a second lan-
and to the role they can play in contemporary multicultu-
guage. Nevertheless, there is still much more that could
ral societies.
be developed. In Finland, only the larger museums are
The National Museum Association (NMV) Policy Plan
able to carry out regular programmes for special adult
2001 – 2004, states that: ‘The museum of the future is high-
groups, e. g. unemployed, senior citizens or people with
ly dependent upon the content of degree programmes fol-
disabilities, but most of the time this happens sporadi-
lowed by museum staff. The NMV wishes, therefore, to be
cally. In Slovenia, there is a section for museum educa-
closely involved in the development of career profiles and
tors within the Slovenian Museums Association, which
programmes of study, so that theory and practice (and the
is fairly active and organises seminars and workshops
practice of the future) adequately concur with each other.’
for its members.
The NMV is working with the Reinwardt Academie of
Amsterdam to develop the appeal of its programme for
[ 16 ]In all of these countries the profession is, largely, lear- 9 Rapporto ISFOL 2003 « Apprendere da adulti »: lifelong
learning is also becoming very important in the strategic
ned on the job and through informal mentoring in the
development of human resources.
workplace. The opportunity to develop professional skills
10 The Department for Cultural Heritage, Environment
comes by attending conferences and seminars or short and Lifelong Learning of the Regione Siciliana consid-
ers the role of museums, galleries and libraries as a crucial
courses offered by the Museums Associations in the re-
one in order to achieve this goal.
spective countries.
1 See M. Sani (ed.) Musei e Lifelong Learning. Esperienze
educative rivolte agli adulti nei musei europei, I.B.A.C.N.:
Bologna, Italy. 2004.
2 The DCMS Departmental Spending Review and Response:
A New Cultural Framework, 1998. www.culture.gov.uk
3 In the French version of this paper, lifelong learning
is translated, depending on context, by « action culturelle, »
« formation du public » and « médiation; » education by
« culture; » education department by « service culturel; »
and educator by « médiateur. »
4 CNRS: National Center for Scientific Research.
5 L. Mironer: Cent musées à la rencontre du public. France
Edition, 2001.
6 See E. Caillet and M. van Praët: Musées et expositions,
Métiers et formations. AFAA, 2002.
7 Such as the Direction des Musees de France, the
Institut national du Patrimoine, the Centre national de la
fonction publique territoriale, the Office de cooperation et
d’information museographiques, etc. The National Center
for distant learning (CNED) provides an e.learning MA.
8 Loi de modernisation sociale, 2002 / formation
professionnelle / validation des acquis de l’expérience
[ 17 ]training needs
Issues and Implications Raised by
this Overview for the Training
of Museum and Gallery Educators
The role of lifelong learning in contemporary society is important and ambitious. Life-
long learning in museums highlights some particular issues, which also emerged during
a recent EMF workshop on this subject (Council of Europe, 2004) – held in Bertinoro in
1
October 2004. Lifelong learning in museums can contribute towards:
> Combating social exclusion
> Promoting active citizenship
> Supporting personal development
> Promoting innovation
> Providing opportunities for everyone
However, all of those involved in this work need to be much clearer about what it is they
are being asked to do. The incidence and causes of social exclusion, for example, are
not sufficiently well understood and there needs to be more collaboration across different
agencies and providers. This is something that museum and gallery workers should not
be addressing in isolation. The same can be said for responses that involve active citizen-
ship or educational initiatives with non-traditional adult learners designed to increase
opportunities for everyone.
[ 18 ]issues and implications
Serious consultation and on-going collaboration with non- and galleries. From the outset, it has been supported by
traditional users and learners must be central to innovative background research on the role of museum educators
practice. Evaluation exercises need to be qualitative, not and, specifically, on the training they need to tackle new
simply quantitative. Social inclusion cannot be engineered tasks and new audiences. The outcomes of our work can
but programmes aimed at socially-excluded groups should be summarised by two main questions addressed during
do so in ways that respect their rights to participate in and the project:
benefit from public museums and galleries, which as citi-
> Who are museum educators and how do they relate
zens they own.
to adult audiences?
Whilst an increasing importance is attributed to lifelong
> In what ways do adult audiences differ from other
learning in general, and, more specifically, to lifelong lear-
users in a museum context?
ning in museums, there is evidently a lack of training oppor-
tunities for museum educators dealing with the adult pub- Education officers in museums perceive their role as lying
lic. This is a serious state of affairs if we compare it to the somewhere between the director, the curator and the pu-
emphasis and expectations increasingly placed on the cul- blic with their main task being to facilitate the encounter
tural and educational role of museums in contemporary between people and artworks. They try to act as audience
societies, as places where informal learning takes place advocates, but are often frustrated because of the lack of
and where adults may feel more comfortable than in for- recognition they receive from within their own institution.
mal educational settings. Education is, indisputably, a core mission of museums, yet
There is, therefore, a great need for adequate training when developing exhibitions or other initiatives, educators
opportunities, in order to create fully fledged education are seldom involved with the major decision-making pro-
professionals within the museum staff. It is the only way cess, and their professional input is often missing.
museums have to express their full potential as sites of Specific training for the work is sparse and education
social change and social development. officers can often feel like adult learners themselves, given
the highly experimental content of some educational pro-
Collect & Share The Collect & Share project acts as a net-
jects. They can feel lonely and isolated, as opportunities
work through which to collect and disseminate good
to exchange views with peers are scarce and there is no
practice in learning and education for adults in museums
[ 19 ]training needs
public forum for debate, where educators are able to re- Moreover, since such projects are so specifically tailored
flect on their own activities beyond individual workshops to the needs and characteristics of specific groups, and
and events. are so highly influenced by their input, it is often the case
As we have commented earlier, museums have traditio- that adult educational activities tend to be one-off events
nally invested in educational activities for school children. that are rarely repeated. It is difficult, therefore, to sum-
But addressing the needs and interests of adults will re- marise or conceptualise such unique learning and social
quire a change in the usual patterns of conveying messages events into general operational principles, or to draw out
and the breaking down of habitual educational barriers. of these experiences common trends and similarities for
In dealing with adults, museum educators feel that lear- further planning, not to mention the difficulties of assess-
ning activities are not as clearly goal-oriented as those ing learning.
targeting children. When participating in an educational To summarise, the emerging training needs of museum
activity in a museum, adults often have their own agenda. and gallery educators with regard to lifelong learning are:
They are often in search of different ways of looking at
> Promoting the role and the educational activities
things and aim to discover hidden potential within them-
undertaken within an institution, to gain status for the
selves. Being more aware of this when organising activi-
work and to be more actively and significantly involved
ties for adults, museum educators realise they have to
in the decision making process, the devising of the
give them room to express their needs and wishes in an
museum’s overall strategy, the design of exhibitions
open, independent and minimally controlled context.
and events
This involves seeking alternatives to didactic methodolo-
> Developing creativity, improving flexibility
gies and predetermined content, and trying to create a
> Networking with external partners, audiences
context where learning takes place in an interactive and
in a partnership relationship, with peers
involving way.
> Gaining a greater insight into adult pedagogy
Facing such challenges, there is little wonder that
> Communicating with adult audiences with
museum educators spend much more time designing and
new, innovative approaches and techniques
planning educational activities for adults, than those for
> Developing programmes for self-directed learning
school children.
[ 20 ]issues and implications > Documenting the projects effectively, both in relation to further dissemination and networking activity and as a means for reflective evaluation > Evaluating learning in adults > Managing change In addition to these needs, which can be addressed through in-service training, there is another and even more crucial factor to fully enhance the role of museum / gallery educators and cultural mediators and to widen the educa- tional potential of cultural institutions. It concerns the recognition of a higher status of museum / gallery educa- tors, resulting in their being more actively involved in the decision making process at strategic level, in their early involvement or consultation in all of the museum activities addressed to the public, in particular the display of the collections and in the planning and the design of exhibi- tions. This, however, can only be achieved through advo- cacy at decision making levels. 1 See www.collectandshare.eu.com for the full report of the EMF workshop. [ 21 ]
training needs
Some Recommendations in Relation to Training
Needs for Educators Working with Adults
Training for educators working in museums and galleries should equip them to:
Focus on learners Innovations concerned with outreach and access should start and
proceed in relation to the needs and to the material and cultural circumstances of
learners, rather than the needs and requirements of institutions. Outreach, contact
outside of the museum or gallery, needs to be taken seriously as the first and most
important point of contact with non-traditional learners.
Focus on the activity How does the knowledge of the art and collections connect to the
lived experience of learners? Dialogue and interactive teaching methods – concerned
with developing creativity, problem-solving, critical thinking and tolerant and reflective
attitudes – are much more likely to enhance learning than didactic transmission. Infor-
mation-giving should respond to participants with different amounts of prior know-
ledge. Some of the conventions and rituals of museum and gallery settings may need
to be modified and diversified in order to welcome new participants.
Focus on partnership Recognise that widening participation to include non-traditional
audiences is common to the concerns of both learning and culture. Working in partner-
ship with educational providers, as well as with the communities and associations that
represent the interests of learners, is the best way to respond positively to learners’
[ 22 ]recommendations needs and interests. Working in partnership should include the development of shared staff training and the deve- lopment of opportunities across institutional boundaries. Focus on equal opportunities and empowerment Equal opportunities and respect for diversity and difference should be at the centre of the museum’s work. Regular consultation, dialogue and collaboration should take place with the representatives of excluded groups. Focus on research and development Training support for museum educators should aim to ensure that staff are as knowledgeable and rigorous about participants as they are about their exhibits and collections. [ 23 ]
les besoins en formation des mediateurs culturels
APOREM Portugal Partenaires
EAEA Belgique
engage Royaume-Uni
EMF Europe
IBC Regione Emilia Romagna Italie
Louisiana Museum of Modern Art / Education Centre Danemark
Kulturrådet Statens Kulturråd Suède
Kiasma, Museum of Contemporary Art Finlande
Musée du Louvre France
Moderna Galerija Ljubljana Slovénie
NIACE Royaume-Uni
Collect & Share s’est constitué à partir du partenariat d’un groupe de musées,
d’associations pour l’éducation des adultes et d’administrations culturelles
représentant dix pays européens, coordonnés par engage, à Londres. Financé par
le programme Socrates / Grundtvig de la Commission Européenne destiné à la
formation des adultes tout au long de la vie, ce projet porte sur l’éducation dans
les musées, avec une attention particulière à l’égard des groupes défavorisés
ou exclus. La création et la réalisation du projet Collect & Share n’auraient pas été
possibles sans le soutien et l’engagement des institutions partenaires.
[ 24 ]LA FORMATION INITIALE ET CONTINUE
DES MEDIATEURS DE MUSEES
DANS UNE PERSPECTIVE DE DEVELOPPEMENT
DE L’ACTION CULTURELLEles besoins en formation des mediateurs culturels
Remerciements
Cette publication, la seconde d’une série de trois comptes rendus de travaux, a été rédi-
gée par Collect & Share, un projet financé par la Commission européenne au titre du
programme Socrates/Grundtvig 4. Collect & Share a pour objectif de recueillir dans les
musées d’art européens des exemples de référence dans le domaine de la formation
du public, avec une attention particulière à l’égard des groupes défavorisés, et de par-
tager cette information et cette expertise au moyen d’un site Internet, de formations,
d’analyses et de séminaires professionnels.
Les membres de Collect & Share qui ont travaillé tout particulièrement sur les sujets
de cette publication sont:
Claude Fourteau Musée du Louvre Kirsten Gibbs engage Margarida Ruas Gil
Costa APOREM Margherita Sani IBC Regione Emilia Romagna Jane Thompson
NIACE Cristina Da Milano and Martina de Luca ECCOM Venetia Scott and
Orlagh Woods Collect & Share
Traduction Version française Claude Fourteau
Pour en savoir plus sur le projet ou commander des exemplaires de cette publication,
visitez le site web: www.collectandshare.eu.com
Pour donner votre opinion sur le projet ou introduire votre propre étude de cas, appelez:
info@collectandshare.eu.com
[ 26 ]changements de role pour les mediateurs des services culturels: un panorama europeen
Changements de rôle pour les médiateurs
des services culturels: un panorama européen
Bien que les musées publics aient été créés au XVIIIè siècle en tant qu’institutions à visée
éducative, le rôle « d’éducateur de musée » n’a donné naissance que récemment à une
profession nouvelle; les musées ont longtemps considéré, en effet, que la conservation
et l’exposition d’objets historiques ou d’artefacts suffisaient pour remplir leur fonction
éducative: les objets étaient perçus comme éducatifs par eux-mêmes. Dans certains pays
européens l’accent mis sur les collections (sur leur soin / leur protection / leur restaura-
tion) l’a emporté sur le message, l’enseignement, l’inspiration que ces collections pouvai-
ent offrir au public contemporain. Conserver les oeuvres était considéré comme plus im-
portant qu’apprendre d’elles. Ce déséquilibre est graduellement redressé, dans une plus
ou moins grande mesure, dans tous les pays européens, souvent avec l’appui de politiques
1
publiques qui soutiennent l’accès pour tous, encouragent la « démocratisation culturelle »
et promeuvent le droit à la culture.
A un certain point, les musées d’art voient leur rôle modifié, encouragés qu’ils sont à
devenir des « agents de changement social, » des lieux de rapprochement et d’intégration
2
des différences, comme cela est déjà le cas au Royaume-Uni ou aux Pays-Bas.
Conséquence de ces changements majeurs survenus dans la perception du rôle social
des musées, de l’importance croissante accordée au public et de l’intérêt grandissant
porté aux caractéristiques et aux modes d’apprentissage de différents groupes cibles:
[ 27 ]les besoins en formation des mediateurs culturels
6
le métier de médiateur culturel est confronté à de nou- métiers du patrimoine (CHNTO) entreprit de décrire les
veaux enjeux et connaît lui-même d’importantes évo- qualifications dans les musées en termes de compétences.
lutions. Celles-ci se reflètent dans la diversité des noms Le même projet a été entrepris dans plusieurs pays euro-
7
utilisés pour désigner cet emploi, aussi bien entre pays péens et a résulté généralement en une liste détaillée des
européens qu’au niveau national, diversité qui indique tâches que les personnes devaient être aptes à remplir.
bien que la profession est multiforme et que son Néanmoins, lorsqu’il s’est agi de décrire les compétences
statut et son positionnement sont encore en cours de d’un médiateur de musée, les différents pays, bien qu’ils
développement. soient régis par des systèmes différents, font tous référence
Au cours des vingt dernières années, un effort a été fait, à quatre phases de travail constitutives de la conduite d’un
dans de nombreux pays, pour décrire les professions en projet et d’un programme culturel:
3
termes de compétences, suivant en cela la directive eu-
1 La phase préparatoire
ropéenne de 1992 qui tentait d’établir un système de re-
Comprend l’analyse du contexte / une étude du milieu
connaissance mutuelle et d’habilitation des qualifications
(portant sur les collections / le public / l’analyse des
au niveau européen afin de permettre la mobilité profes-
4 forces et faiblesses, des risques et opportunités) / la
sionnelle à l’intérieur du marché du travail en Europe.
mise en réseau avec d’autres organismes / la planifica-
En ce qui concerne la profession de médiateur de musée
tion d’activités en liaison avec la formation formelle, etc.
l’on peut se référer à l’arbre de compétences établi par
5
l’ICOM qui ventile les compétences selon les différents 2 La phase de conception et de planification
secteurs de travail dans les musées (administration / Comprend deux aspects: le premier, organisationnel,
gestion / programmation / conservation) plutôt que de inclut le plan de financement / l’identification du public
les associer à des rôles professionnels particuliers. Au cible / l’agenda prévisionnel; le second, centré sur les
Royaume-Uni, le gouvernement ayant introduit un réper- contenus, comprend la structuration des activités en ter-
toire des qualifications professionnelles, au niveau natio- mes d’objectifs d’apprentissage ou de résultats / le choix
nal et en Ecosse, dans l’effort d’améliorer les compéten- des méthodes de mise en oeuvre et des modes de com-
ces et d’offrir aux personnes employées dans les musées munication / la production de matériel pédagogique, etc.
et le patrimoine des facilités d’apprentissage et de déve-
loppement, L’Institut national de la formation pour les
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