Cultural and educational activities of the art museum. Report on the scientific activities of the museum II scientific methodological and educational activities of museums

Mass educational work of museums is the most important element of museum communication aimed at the formation of a harmoniously developed, socially active personality, its spiritual, moral, aesthetic education, deepening awareness and education. The museum audience is gradually expanding, its average educational and cultural level is increasing, and the requirements for museums are growing and becoming more complex. This area is inextricably linked with other areas of museum activity. The specificity of MIP is associated with the use of historical evidence and original monuments. THE PRINCIPLE OF OBJECTIVENESS ensures the propaganda of historical knowledge, its evidence, and emotionally helps “EDUCATION WITH HISTORY.” An important component of this work is to educate visitors to museum culture, respect for historical and cultural monuments, human labor, awareness of aesthetic values, and preservation of them for posterity. Introducing to museum culture also means understanding the peculiarities of the museum form of communication, the ability to navigate the museum, choosing the most interesting and useful. An important element of this work is museum pedagogy - a scientific discipline that studies museum forms of communication, the nature of the use of museum funds, in the transmission and perception of information from a pedagogical point of view. Its subject is problems associated with the content, methods and forms of pedagogical influence of museums, with the peculiarities of this influence on different categories of the population, as well as with determining the place of the museum in the system of educational institutions; Museum pedagogy studies: the patterns of the museum-pedagogical process, their use in practice, and possibilities for increasing efficiency. The specificity of the pedagogical impact of museums on different social and age groups of the museum audience substantiates the need for a differentiated approach to museum visitors; generalizes the experience of educational and educational activities of museums of different PROFILES, TYPES, TYPES and on the basis of this, modern museum pedagogical recommendations are developed; The most rational forms and methods of modern work of museums with other institutions are also identified, and the development of museums in terms of the implementation of pedagogical opportunities is predicted. The element of ACTIVATION of the processes of PERSONALITY FORMATION, its creative abilities, and life position is also important here. One of the tasks of museum pedagogy is to create PREREQUISITES and CONDITIONS for activating museum visitors; improving their contacts with the MP, organizing the perception of the information embedded in them - incl. including in the field of EXCURSION METHODOLOGY, CONDUCTING MUSEUM LESSONS, ORGANIZING INDEPENDENT WORK IN SCIENTIFIC AND METHODOLOGICAL OFFICES. The organization of museum pedagogical events, their management, the identification and implementation of new forms is based on STUDYING the interests of VISITORS and their perception of museum information. Particular attention is paid to youth. An important task of museum pedagogy is to improve the qualifications of museum workers, teaching staff involved in working in museums, and to train future museum personnel in universities. This also includes the methodology and practice of organizing and planning education and educational work. Museum pedagogy creates a system of measures to establish close contacts with other institutions: everyone who is interested in the work of museums - concluding contracts, developing special programs, various forms and types of information, etc. Large museums often create special departments for scientific propaganda and museum pedagogy , about tour guides, historians, sociologists, etc.

The forms and methods of educational, educational, educational work of museums are diverse. The most common FORM is EXCURSIONS to expositions and exhibitions, non-museum historical and cultural monuments, etc. This traditional form is supplemented by LECTURES, THEMED EVENINGS, WORK OF CIRCLES AND CLUBS based on interests, etc. But the creative use of these forms does not lead to erasing the specifics of museums; the foundation remains the FOUNDATION MK of museums. The massive work of museums contributes to the solution of problems of an educational nature and the wise use of free time.

Basic concepts of excursion work - excursion, excursion method, guide.

EXCURSION is a collective inspection of a museum or non-museum object, carried out on an intended topic and a special route under the guidance of a specialist guide for educational, educational, educational purposes. Two concepts of excursion are included here (an excursion as a group of people who came to view a museum or outside a museum object, and an excursion as a type of scientific and pedagogical work, consisting in the development and implementation of a system for displaying a museum exposition, exhibition, or non-museum object). Excursion groups are very diverse; a differentiated approach to them is important. Excursions differ in theme and purpose, varying based on the composition of the group, its wishes and familiarity with museum culture. Their common feature is a single methodological basis, that is, excursions are conducted on the basis of the EXCURSION METHOD. An essential feature of the excursion method is DIRECT COMMUNICATION between the guide and the group who came to explore the museum. During the excursion, educational and educational tasks are carried out. The EXCURSION METHOD is based on VISUAL PERCEPTION, direct observation. There is an aphorism: “Looking does not mean seeing,” but an important element of EM is to teach “seeing,” i.e. consider ME as a whole and its individual elements, identify their essential features and the information contained in them. Visual perception is enhanced by MOTOR movement along a certain route, in which the object is visible from different sides, at different distances. VERBAL COMMENT plays an important role in the excursion. The substantive clarity of ME underlies the formation of specific ideas. The thematic nature of ME requires logic, consistency of presentation, and promotes the formation of concepts and the assimilation of generalizations and conclusions. The authenticity and reliability of the ME is determined by the emotionality of perception, the emergence of a feeling of empathy, and involvement in the events and phenomena reflected by the ME. The combination of rational and emotional elements, which increases the volume of perceived information and the activation of emotional and mental processes, is a feature of the museum method. The properties of an excursion - collectivity, unity of purpose, the opportunity to exchange opinions, common experiences enrich the excursion participant, create. increase emotional mood, contributes to the perception and assimilation of what is seen and heard.

Mastering the excursion method is a mandatory requirement for a tour guide or museum teacher. He must understand pedagogy, psychology, and museology. Empathy, the ability to analyze and interpret a topic is the common task of the joint work of the guide and the group. Their interaction is a prerequisite for the success of the excursion. It is necessary to take into account the level of understanding, rise and fall of interest during the excursion. It is important to make each member of the tour feel that upon entering the museum, he has entered a special world of historical sources and relics. The guide's speech culture is important, good diction, grammatical correctness, expressiveness and certain artistry, the ability to change tempo, use pauses; the word in the tour is combined with facial expressions, with a hand gesture, with a pointer; spectator perception organized with the help of a gesture can shorten the verbal description of the MP. The guide must also be proficient in artistic expression and use historical events and biographies of historical figures in verbal reconstruction. What matters is the culture of behavior and appearance of the guide himself. An excursion is a lot of physical activity; the guide needs both good eyesight and a certain amount of endurance.

CLASSIFICATION OF HISTORICAL EXCURSIONS depends on the purpose: the choice of objects and display techniques. EXCURSIONS differ in LOCATION and OBJECTS OF DISPLAY, NATURE OF THE TOPIC, PURPOSE, COMPOSITION OF EXCURSION GROUPS.

By location and objects of display. Most Excursions inside the museum building are common - around expositions, exhibitions, etc.; excursions are also conducted outside the museum building around MONUMENTS (history, culture, architecture). There are COMPLEX excursions that combine these elements in different forms; the basic complex of excursions is usually supplemented by a demonstration of monuments located in natural conditions. This enriches the excursion; the tourist gets the opportunity to admire an architectural monument that cannot be included in the excursion, and to experience the events at the place where it took place.

By the nature of the topic. The simplest (but not the clearest, since every excursion has its own theme) division of excursions is SURVEY AND THEMATIC.

Sightseeing tours give a general idea of ​​the museum; topics may vary. Sightseeing tours usually include information on the HISTORY of the museum.

THEMATIC or PROFILE excursions are divided into:

CROSS-CUT on topics covering a number of historical periods or halls, most often constituting the main core problems of the exhibition; they most successfully highlight the patterns of historical development;

NARROW THEMATIC, based on individual historical periods or events. They give a description of a historical period, one of the sides of the historical process, the life activity of a specific historical person, quantity, etc.

SPECIALIZED excursions use exhibition materials to highlight topics and problems of other disciplines of different profiles: excursion topics, art history branches of material and spiritual culture; the literary, historical background of historical literary works, their heroes - such excursions increase the scale of the museum’s activities; attract a new contingent of visitors. It is possible to conduct CYCLES of excursions related to specific issues and intended for a PERMANENT group of visitors. Cycles of excursions contribute to in-depth study of exhibition topics, increasing work efficiency.

For the intended purpose. Excursions are: SCIENTIFIC AND EDUCATIONAL (GENERAL EDUCATION) (NPOE) and EDUCATIONAL (UE). NPOE are intended for education, the rise of culture, are a form of leisure, and can be overview, cross-cutting, or narrowly thematic - but their HIGH LEVEL must always be ensured. UEs serve mainly school and lyceum students, university and college students in accordance with their programs for DEPTHING AND SYSTEMATIZING the completed and elaborating NEW educational material, which requires a thorough familiarity with educational programs and teaching aids; The main type of such excursions is EXCURSION-LESSON. It is held in the exhibition hall under the guidance of a teacher who uses museum methodology in combination with lesson techniques (questioning, repetition of material, etc.). In this regard, historical and local history museums have great opportunities. Educational excursions include METHODOLOGICAL EXCURSIONS for museum workers in order to IMPROVE their qualifications, as well as for students, graduate students - specialists in museum studies, practical workers of excursion and tourism organizations, they are also useful for teachers.

The guide must take into account the composition of excursion groups, which differ in age, socio-professional and national composition, educational level, place of residence, and must know the peculiarities of the psychology of an adult, teenager, and preschooler. For tourists, sightseeing and end-to-end excursions on the history of the city, region, and the general theme of the museum are preferred. Excursions in the visitors’ native language provide direct contact with visitors and the ability to quickly respond to their questions. If the excursion is conducted with a translator, then the latter has SPECIAL requirements: brevity, accuracy of descriptions and wording, special expressiveness. Mixed groups need a short sightseeing tour followed by an independent tour of the museum; In some museums, independent inspection is not allowed, and in memorial museums this form of work is the main one.

When preparing an excursion, it is divided into a number of stages:

Defining the topic, familiarizing yourself with its content, mastering the minimum literature on the topic of the museum excursion, orienting yourself in the historical content of the topic allows you to determine the TARGET setting of the excursion, focus, objectives, nature (overview, comprehensive, etc.), purpose (UE, NPOE, etc. .d.).

Drawing up a multi-step excursion plan; study of literature and sources on the topic; careful study of the exhibition, structure of excursions, highlighting topics, subtopics, establishing their order, route (4% of objects on display - EM). WRITTEN DETAILED EXCURSION PLAN, clarification of the structure: route, composition of demonstration exhibits, use of texts, logical transitions and conclusions; specifying the content of the final conversation and the method of conducting it. The plan is TESTED in practice. Only after a series of excursions are its strengths and weaknesses revealed. Based on the detailed plan, a final document is drawn up - METHODOLOGICAL DEVELOPMENT OF THE EXCURSION (MD), which includes: the name of the halls, subtopics, complexes; the group stops at the objects of display, time to examine them; disclosure of historical content, texts of conclusions during the excursion. Methodological instructions can be in the form of a free presentation of the content of the excursion and the methodology for its implementation with great depth of coverage of theoretical and methodological problems. The MR is accompanied by a bibliography, reference material, extracts from documents and literature.

THE BASIC TECHNIQUE OF CONDUCTING EXCURSIONS IS DEMONSTRATIONAL. A purposeful display of an exposition, hall, complex, exhibit should teach to see, to identify, on the basis of visual perception, the essential features of the object and its content. The guide combines the display with motor techniques (especially varied during non-museum displays): walking along a route associated with the event covered in the excursion; perception of the contour of the monument by hand movement; consideration in close proximity or in the distance, etc. The guide's word helps to see the object as a whole, to direct attention to its essential details, connections between exhibits. The guide provides information that cannot be obtained from direct spectator perception, talks about the history of the exhibited MP, the historical event he is witnessing, about the life of the person whose materials are included in the exhibition; this can be facilitated by reading a QUOTE - LEADING TEXT, an excerpt from a work of fiction, an excerpt from a presented document. As a result of familiarization with the excursion topic, a brief and precise formulation of the theoretical position or conclusion is given. Each tourist should feel that the guide’s speech relates to him, especially in groups of heterogeneous composition. DM has a number of options, differing in the degree of activation of the group. The excursion can have a NARRATORY CHARACTER, the tourist is attracted to the examination of the exposition by a word, a story from the guide. Great activity is generated by the method of conversation in the form of QUESTIONS AND ANSWERS (DIALOGUE), which in museum literature is called the HEURISTIC METHOD (from the Greek “EUREKA” - “found”, found the correct answer). The system of leading questions activates group members when revealing the content of the topic. The greatest activity is caused by RECEPTION OF TASKS; after an introductory conversation in which the tasks of the work are set, excursion participants receive colorful individual plans or small-group tasks in ORAL or WRITTEN FORM, the complexity of which depends on the preparedness of the group. You can simply choose the most interesting exhibit in a given room and indicate the reasons for its choice; a more difficult task is to give examples of different types of MP covering the same topic; reveal the contents of any complex. Completed tasks are discussed collectively and sometimes discussed. This technique teaches independence, promotes the development of one’s own opinions and judgments, and the ability to defend one’s opinion. A GAME MOMENT can also be included in the excursion; After familiarizing yourself with the topic, you are asked to imagine yourself as a participant in the events reflected in the ME, depict it in their faces, and quickly find certain exhibits.

The use of various techniques depends on the nature and purpose of the excursion. Sightseeing tours correspond to a narrative technique used for any group of adults. The heuristic technique is used in educational excursions, in working with teenagers and children; for those who have already been to the museum before, it is advisable to use homework. The game moment is indispensable when working with primary schoolchildren and preschoolers. In practice, the techniques may be intertwined. In museum practice, there is a museum technique that goes beyond the excursion method - LECTURE-ILLUSTRATIVE, in which the role of the presenter prevails, exhibits are used as illustrations as needed. The technique is effective for illuminating complex theoretical problems. The leader of such a group is called not a guide, but a LECTURER. Compared to a conventional lecture with illustrations using TCO, the advantage in this case is the direct encounter with the original. Sometimes the disclosure of a topic requires the introduction of additional visual materials into the excursion, mainly NVM, for which there is a so-called TOUR GUIDE PORTFOLIO. It is most often used for non-museum tours; can be shown, for example, a plan of a city, a monument, photographs of participants in events, images of the object in question in different periods, etc.

Each excursion consists of three parts:

Introductory conversation (WB);

The main part of the excursion;

Closing conversation.

In an educational excursion, a special stage can be considered the sequential elaboration of the content. The purpose of the introductory conversation is to establish contact between the guide and the audience. The conversation includes getting to know the group, finding out its composition, interests and specific requests, which is especially important in the absence of preliminary information about the group; brief information about the museum, definition of tasks, topics of excursions, order of its conduct; instructions on the rules of conduct in the museum.

The excursion is divided into elements, each of which ends with a conclusion. At the end, a general conclusion is given. The transition from one topic to another, from one exhibit to another must be justified LOGICALLY or EMOTIONALLY. When moving to the thematic display hall, you should first of all indicate the general appearance of the hall, draw attention to the exhibits of increased attractiveness; when the natural interest in the new is satisfied, it is not difficult to direct and focus attention on individual fuel and energy complexes, exhibits, and on the disclosure of the topic at hand. This technique is applicable to the demonstration of the exhibition complex: first a general idea of ​​it, then a display of individual exhibits. Alternating techniques relieves fatigue and maintains the level of attention. The equipment placed in the ME can also be used during the excursion: tourists listen (for 1-2 minutes) to tape recordings of participants in events, for example, those not related to the content of the ME, active MODELS, MOVIE TV INSTALLATIONS, etc. are turned on. The guide must master the technique of conducting an excursion and choose the best point for viewing a museum or non-museum object; arrange the group, organize the TRANSITION from hall to hall or along the city streets; use a pointer correctly, etc. In the case of PHONE RECORDING used in an excursion, the guide, while listening, points to the mentioned exhibits, then answers questions. Audio recordings during excursions are used mainly in monument museums and memorial museums, where individual inspection of the ME is not allowed. The excursion ends with a FINAL CONVERSATION, in which the group’s impressions of what they saw are clarified, recommendations are given for deepening the information received, etc.

The bulk of people who come to the museum are unorganized “singles” or family groups; many of them prefer to independently examine the ME. They are offered brief informational and instructional messages at the entrance to the museum, in each hall, in particular explaining the orientation system in the museum, as well as the names and numbering of exhibition topics and fuel and energy complex. The rooms offer individual or group consultations. It is useful for visitors to be given a short text leaflet that recommends routes for exploring the ME on their own. “Unorganized” visitors are greatly assisted by technical means - sound speakers used by visitors independently and tape recorders with headphones. The excursion can be supplemented with a visit to the non-museum complex of monuments.

Specific forms of excursion include discussion of the excursion:

initial audition - acceptance of the excursion - testing it;

control listening, mutual listening by museum staff of excursions on the same topic;

educational excursions, which are conducted in the presence of guides and teachers to exchange experiences. The audition usually ends with a review of the excursion and an exchange of opinions. Among other forms, a prominent place in the mass work of museums is occupied by MUSEUM LESSONS and INDIVIDUAL WRITTEN TASKS (IWT), which are used as an element of work with schoolchildren, but can sometimes be used in work with other categories of the population. The methodology for developing lessons for schoolchildren is of great importance. The lesson is organized for students to acquire knowledge on a specific topic or consolidate the material covered. Their effectiveness is determined by the specific museum interpretation of phenomena and processes. A lesson in a museum activates both weak and strong students. The following IPDs are given: description, sketch of VIs, characteristics of their purpose, style, manufacturing techniques, evolution of forms and techniques; identification, based on a comparative analysis of MP, of the nature of life of different peoples and segments of the population, the interconnectedness of working conditions and lifestyles; interpretation of AI, components and rituals; analysis and critical assessment of PIs, their inclusion in the general historical context; reading NVM: diagrams, maps, diagrams, statistical data and using them to characterize certain periods; development trends and sketches and critical analysis of the fuel and energy complex. The most effective tasks are those that allow you to reproduce the STEPS OF THE COGNITIVE PROCESS; they help in comparison, highlighting the general and specific, essential and secondary, recognizing patterns and connections. The result can be student reports in front of the class, reports at conferences, summarizing lessons, and essays. Such types of work can be successfully used in the museum by museum workers and teachers. CIRCLES and CLUBS at museums (especially the first one) play a big role in museum work.

A circle is a small group (usually children or teenagers) united by interests and working under the guidance of a museum educator. Historical circles study specific historical events, the history of an object, the biography of an outstanding person, using MP and ME, making reports on them at circle meetings.

Museum collections (numismatic, archaeological, branches of cultural materials, ethnographic, etc.) are studied by SOURCES studies clubs. Members of the circles participate in museum expeditions and become familiar with the methods and techniques of museum work. In artistic and technical circles, enthusiasts using MK make models, engage in drawing, modeling, and various areas of decorative and applied arts. The MUSEUM SCIENCE club trains young tour guides around the museum and the city, pathfinders-collectors who participate in historical, everyday life, military-historical and other expeditions of the museum or organize independent collections with the subsequent transfer of materials to the museum. Cognitive elements in the circles are combined with artistic sketches and illustrations of the museum theme; exhibitions on historical topics are being prepared; Certain techniques for defining and describing MP are discussed, the design of the school museum is being designed, etc. Sometimes there may be clubs for adults - such as seminars. Sometimes circles are engaged in the production of MPs characteristic of the folk crafts of the region.

The CLUB is an amateur public organization whose members are united by common interests in the field of science, culture, and profession. Club members establish the most convenient form of organization (division into sections, creation of club circles, etc.). The activities of the club are usually managed by the CLUB COUNCIL. Section reports are accepted at the general meeting. The club is attractive because it satisfies the interests of everyone individually and provides the opportunity for free communication with people who have the same interests. Councils of museum clubs are focused on professional experimentation with the participation of young people. There are three groups of MUSEUM CLUBS:

Clubs with a broad general educational program (for example: “Club of Young Local Historians”, “Historical Club”).

Clubs dedicated to individual current topics of history and modernity (military-patriotic clubs).

Clubs for young museum experts introduce them to the methodology and participation in the practical work of the museum.

With the help of the museum, clubs for adult amateurs and veteran museum visitors: record workers, numismatists, and philatelic collectors unite and offer communication based on their interests. The museum provides premises, equipment, professional advice, and helps with literature; provides permanent passes to museums; booklets, etc. A notable form is MUSEUM OLYMPIADS and COMPETITIONS (for example, for young historians and museum experts), the tasks of which are usually based on museum materials. Participants of the Olympiad must describe this or that event, phenomenon, characterize the interior and present the results of their work to the jury members orally or in writing. The winner must not only reveal the topic, but also answer questions, defend an opinion in a discussion, written or oral presentation. Olympiads and competitions contribute to the acquisition of knowledge, the ability to think independently, and involve participants in the work of the museum.

Lectures and theme evenings play a big role. These are common forms that reach a large audience. At lectures held by the museum, MP demonstrations are widely used. Lectures may be accompanied by transparencies and photographs, and a kind of “correspondence excursion” through the museum halls is conducted. The description and characteristics of the MP are included in the verbal story. Unlike excursions, the content of which is limited by the framework of the ME, exhibitions of lectures are more diverse and wider. One of the objectives of the museum’s lecture work is to promote historical and cultural monuments, to treat them with care and respect, and to popularize knowledge. Sometimes lectures are held in CYCLES (by subscription) in a certain museum environment (meetings with interesting people, “Meeting with the original”, “Evening of one exhibit”, etc.).

SCIENTIFIC AUXILIARY OFFICES AT MUSEUMS are specially equipped premises equipped with DUPLICATES (doublets) MP, PI and NVM models, layouts, historical maps and diagrams, etc., used by students, members of circles and clubs; as well as possible themes of museum excursions - additions to the exhibition. You are allowed to pick up the material, leaf through it, and conduct consultations. Sometimes COMPLEX SCIENTIFIC, EDUCATIONAL and EDUCATIONAL MASS EVENTS are held with the tasks of popularization, propaganda, and recreation. Their characteristic appearance: an “open day” with advertising of the museum and free entry. Mobile forms of work also play a role - traveling museums, exhibitions using PMP, traveling photo exhibitions based on documentary photographs and reproductions of MP. Sometimes there are holographic exhibitions. For mobile forms, specially equipped buses (museum buses) or carriages are convenient. Scientific and popular science works of museums, catalogues, propaganda through radio, TV, advertising and reference publications play a role in the popularization of museums and the work of museums. Popularization is facilitated by publications and oral presentations devoted to various aspects of the museum’s activities. Museum magazines, collections, conference materials, guides to expositions and exhibitions, which reveal the NK ME, its historical content, information about the halls, the history of the MC.

UNIVERSAL guides are available to the widest segment of visitors. The assimilation and retention of museum materials in memory is helped and facilitated by the methodological and technical design of the guidebook text, clear division, the use of different fonts, correspondence to the halls and fuel and energy complex, clear route diagrams, colorful illustrations with general views of the fuel and energy complex halls and individual exhibits.

Catalog guides provide a description of all exhibits in the order of their location or by type of exhibit. They are especially useful for museum exhibitions; plans of the layout of the halls, indicating routes, placed at the entrance, also help, especially in open-air museums and museum-reserves. Advertising boards are used at the entrance to the museum. The traditional form of advertising is the museum poster - a colorful or graphic poster combines an image with text, representing the image of the museum's exposition, the exhibition as a whole. The poster contains reference information: opening hours, topics of excursions, the procedure for registering for them, etc. The effectiveness of a poster is facilitated by its artistic design, size, color scheme, composition, and combination of fonts. The content of posters is updated, but some elements of it are usually STABLE - for example, the museum logo, which is important when placing the poster on general billboards. In memory of the museum, BOOKLETS are published - illustrated folding brochures, in which information about the museum is given in the briefest form and the most interesting halls and exhibits are advertised. Booklets dedicated to MK are in great demand. Based on the museum's sketches, SIGNS AND SOUVENIRS can be PRODUCED that embody the symbol or content. The same is true for the image of the museum on postcards, envelopes, stamps, calendars, etc. Direct advertising is invitation tickets to museum events. Systematic, diverse, constantly updated information and advertising built on a scientific basis is an important part of the museum’s work. This is often carried out by special propaganda departments, which keep statistical records of events, their types, quantity (per year, quarter, month), the participation of museum employees, and their attendance. All documentation is preserved and, upon expiration, is handed over to the museum’s archives. Copies are also useful for further work.

Nowadays, people's interest in such cultural and educational institutions as museums is increasing. The younger generation is attracted to visit museums, interesting exhibitions and excursions are held. Exhibitions are the main platform for interaction between the museum and the public. It is by the developed exhibition program that visitors most often judge the success or failure of a museum. Nowadays, the leisure function of visiting museums is increasing. Disconnection from the everyday bustle, the emergence of a special mental mood when communicating with the highest achievements of culture - this is where the importance of museum exhibitions for maintaining a person’s spiritual health is manifested. A clearly formulated exhibition policy and properly structured exhibition are the key to success, and the methodology for organizing and holding a museum exhibition is in demand and relevant.

Purpose work is to analyze the organization's methodology and develop its own program of interaction between the school and the museum.

Tasks works:

1. give an idea about the museum, the history of its development;

2. define the terms culture, education, cultural and educational activities.

3. talk about the aesthetic education of a person when visiting a museum exhibition;

4. give an example of a museum exhibition in Tula and the Tula region;

5. develop your own program for interaction between the school and the museum.

Object of study– cultural and educational activities.

Subject of study- museum as a cultural and educational institution

This course work is rather aimed at students studying at the Faculty of Culture and at people engaged in teaching activities.

The novelty of the work lies in the fact that in the second chapter a program of interaction between an educational institution and the museum of the Tula region has been drawn up, which proposes the use of methods of various modern technologies to carry out successful work. The work also provides examples of museum exhibitions of some museums in the city of Tula.

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The most noble and educated people set up such museums, or offices, near the burial places of their ancient ancestors, and thus such centers were also places of funeral ceremonies.

Museums were very important centers of the intellectual life of our ancestors. The competitiveness inherent in the culture of Ancient Greece left its mark on the nature and forms of activities of the intellectual elite: as a rule, these were disputes among philosophers, competitions in oratory, competitions of poets, musicians, and athletes.

Along with such centers of secular intellectual life, collections were also collected in the treasuries of ancient Greek temples. As you know, offering sacrifices to the gods was an integral element of cult in the ancient Greek religion. Over time, ancient Greek sacrifices were replaced by symbolic objects similar to ancient natural objects, for example: clay, bronze, silver, gold objects depicting vines, trees, various animals and plants, as well as humans. Special items not used in everyday life began to be made for the deity, which were kept in the Temple. They were statues and vases. However, the treasuries of the temples dedicated to Apollo, Athena, and Artemis had a more diverse composition.

During economically and politically difficult periods, treasuries in churches were considered as a kind of “banks”: they played the role of the public treasury. Also in ancient temples were kept the bones of giant animals, known in our time as fossils.

At the initial stage of the creation and social existence of monuments in Roman culture, there was a clearly defined connection with the Greek tradition, i.e. the functional continuity of the existence of a thing was preserved. In Roman culture, the proportion of objects related to the nature and culture of the conquered countries in temple collections increased.

When put on public display, these realities helped awaken people's curiosity.

The Renaissance, at the turn of the late Middle Ages and modern times, is significant for the emergence of the first proto-museum institutions.

The formation of the museum as a sociocultural institution took place in conditions of deep interest in the ancient heritage as a standard.

Significant factors stimulating the emergence and further development of museums were also geographical discoveries that introduced Europeans to other diverse cultures and traditions.

The first museums were founded on private collections of secular and spiritual rulers. Such collections were dominated by such exhibits as weapons, portraits of outstanding military leaders, i.e. items related in particular to war.

Such collections (weapon rooms, pantheons of glory, collections of military weapons, etc.) laid the foundation for the subsequent emergence of specific museums, as well as the difference and diversity of museums in the modern world.

The first museum in Russia was openedin the era of Peter I. Opening the first Russian museum in 1917, he defined the goal: “I want people to look and learn.”

Nowadays, there is a classification of museums. Let's consider the classification of museums.

Classification of museums– this is their grouping according to characteristics essential for the organization and development of the museum network and for the implementation of museum activities. Modern museology consists of several museum classification systems:by scale of activity(central, regional, local museums);by type of ownership(state, departmental, public, private museums);on an administrative-territorial basis(territorial, regional, city, district, etc.).

In addition, there is a classification by type . In accordance with this classification, museums are divided intoresearch, educational, educational.

Research museumsmost often created at scientific institutions. The formation of funds and their study (i.e., he primarily performs scientific documentation, security and research functions) is the main thing in his work. Such a museum may not have exhibition space at all, not organize exhibitions, or hold exhibitions.

Educational museums are aimed at solving, first of all, the educational function. As a rule, they are created at schools, universities and other educational institutions, sometimes at departments. School, university and other museums form collections that help acquire the necessary skills in the educational process, as well as help in the implementation of educational programs and pedagogical methods. But educational museums are often classified as closed museums: their exhibitions are available to a limited number of visitors.

Educational museums(mass museums) are aimed at visitors of all ages, social groups, etc. The main thing in its activities is organizing work with visitors (through exhibitions, organizing access for researchers to the museum’s collections, conducting recreational work, etc.). The activities of an educational museum, as a rule, are associated with the implementation of the entire variety of social functions of a modern museum. It is these museums that are fully public (publicly accessible) museums.

Based on the above, we can conclude that museums have contributed to awakening public interest in the past. The realities of exotic nature and “alien” cultures presented in their collections testified to the diversity of the world and opened up prospects for its study with the help of museum exhibits.

1.2 Concept and main forms of cultural and educational activities and their characteristics

In the work of a modern teacher, cultural and educational activities acquire particular importance, the purpose of which is to instill in schoolchildren respect for the cultural values ​​of the city, region, country; love for beauty; developing skills of exemplary behavior and a friendly attitude towards everything around you. This activity helps to enrich the emotional sphere of the individual and his sensory experience; increases the cognitive activity of students; influences the knowledge of the moral side of the world around us.

Culture (from lat cultura, from the verb colo, colere - cultivation, later - upbringing, education, development, reverence) - a concept that has a huge number of meanings in various areas of human activity. Culture is the subject of studyphilosophy , cultural studies , stories , art history , linguistics (ethnolinguistics),political science , ethnology , psychology , economy , pedagogy and etc.

Basically, culture is understood as human activity in its most varied manifestations, including all forms and methods of human self-expression and self-knowledge, and the accumulation of skills and abilities by humans in general.

Culture is a set of sustainable forms of human activity, without which it cannot be reproduced, and therefore cannot exist.

Education - transmission, distributionknowledge And culture , as well as the system of educational activities and institutions in any state

Cultural and educational activities- This is an integral part of the teacher’s activity. It introduces parents to various branches of pedagogy and psychology, and students to the basics of self-education, popularizes and explains the results of the latest psychological and pedagogical research, and creates the need for psychological and pedagogical knowledge and the desire to use it in both parents and children.

Cultural and educational activities are of a humanistic, cultural and developmental nature. It includes the following features:

Developmental;

Information and educational;

Cultural and creative, etc.

There are various forms of cultural and educational activities. This is an excursion, lecture, consultation, scientific readings (conferences, sessions, meetings), a club (club, studio), competition (Olympiad, quiz), meeting with an interesting person, concert (literary evening, theatrical performance, film show), holiday, historical a game.

Each of these forms can be described using a number of stable characteristics, some of which are considered basic, and some are considered additional.

Main characteristics of forms.

1.Excursion is an example of one of those traditional forms with which the formation of the cultural and educational activities of the museum began. One of its main features is dynamism, and in this sense, the excursion falls into a very small group of museum forms that require movement from the visitor. This is an example of a group form: individual excursions are an exception. In recent years, a modern version of excursion service has appeared in our museums - an autoguide. Having received headphones, a museum visitor has the opportunity to listen to an individual excursion, but this excursion is outside of communication, outside of collective experience, and is something incomplete.

The excursion mainly satisfies the audience’s need for knowledge and assumes, despite the naturalness and need to use techniques for activating tourists, passive behavior of the audience.

2.Lecture belongs to the traditional ones, and is one of the earliest forms in terms of appearance. In many museums, lectures began to be used as a form of communication with audiences earlier than tours. Museum lectures, satisfying the need for knowledge, were a noticeable fact of public life and usually took place in front of large crowds of people. This was explained, first of all, by the fact that they were read by outstanding scientists.

Over time, museum lectures have lost the significance of the form, which had such a wide public resonance. They began to be read mainly by museum staff, but as a result, perhaps, they benefited from the point of view of their museum quality. The use of a museum object as an attribute has become an important requirement for a lecture.

3. Another basic form, also quite traditional for a museum, consultation - practically the only one that has an individual character (whether we are talking about consultations in the exhibition or in the scientific departments of the museum). This form never had a significant spread, although it did not disappear from the museum. It seems that it is very promising due to the trend of increasing individual visitors in museums, viewing the exhibition without a guide.

4.Scientific readings (conferences, sessions, meetings) are also among the classical, traditional forms that arose during the formation of the cultural and educational activities of the museum. They are a means of “publication” and discussion by a group of competent persons of the results of research conducted by museum staff, a way of establishing and developing contacts with the scientific community.

The basic forms listed above involve mainly passive audience participation. However, among the traditional forms there are also those that are aimed at involving people in active activities. This is a club, a circle, a studio. Audience activity is their common feature, but this quality manifests itself in these forms with varying degrees of intensity.

5 .In the club (we do not mean those that are more reminiscent of a lecture hall) it is most clearly expressed. Club as a center for communication between people united by a common interest, it carries out its activities mainly through self-organization.

Seminars are often organized based on exhibitions.

Unlike a club, a circle most often brings together a small group of children who work under the guidance of a museum employee. The circle introduces teenagers and young people to museum work. In historical circles, they study historical events and biographies of figures to whom the museum is dedicated; in artistic and technical circles, they learn the basics of modeling, engage in decorative and applied arts; in museum studies, they prepare themselves for the role of researchers or tour guides.

Traditionally, the term studio is most often used in art museums. This form, close to a circle, provides for the aesthetic development of children or adults and is aimed at developing the skills of artistic creativity and craftsmanship.

6.Competitions, Olympiads, quizzes,related to the theme of the museum, also refer to those forms of cultural and educational activities that are a means of identifying the activity of the audience, uniting experts and introducing them to the work of the museum. These competitions are organized in such a way as to bring visitors as close as possible to museum collections: tasks require not only knowledge of facts, but also exhibitions, monuments, and certain types of historical sources. The jury evaluates the participants’ ability to prove their point of view and lead a discussion. Typically, such competitions are organized for a youth audience, as part of work with the school.

7 Let us now move on to forms that are more focused on meeting people's needs for recreation, rest, and reasonable entertainment.These, of course, include the following:meeting an interesting person.

8 .The needs for recreation are also met by such forms as a concert, a literary evening, a theatrical performance, and a film screening. Like most basic forms, they are primarilyconcerts and literary evenings,were part of turn-of-the-century museum life.

9 . The term appears holiday, which has not been used before. Moreover, we are talking about very heterogeneous phenomena, differing from each other not only in plot, but in methods of organization. The new term holiday consolidated something common that became inherent in all these actions. Community and novelty lie in the informal atmosphere of festivity. The special feature of the holiday is that it seems to push the boundaries of the museum, because the spiritual traditions of the people, craftsmanship, rites and rituals, and national art acquire museum significance. The holiday serves to preserve and revive them.

The theoretical and methodological part of cultural and educational activities is museum pedagogy. She creates new methods and programs for working with visitors.

Thus, a museum model is gradually being formed, which can be called educational. It is based on an attitude towards the museum as an institution that is democratic in nature and educational in orientation, designed to be a means of reforming schools and at the same time part of a unified system of out-of-school education. This position gave rise to the terms cultural and educational work, which were used for the emerging direction of working with audiences.

1.3 Aesthetic education of the individual when visiting a museum exhibition

Museum pedagogy is a scientific discipline based on the experience of museology, pedagogy and psychology, considering the museum as an educational system. The field of museum pedagogy includes all types of contacts between the museum and the audience, a variety of ways of addressing a person as a participant in the process of museum communication. Museum pedagogy begins when the effect of a meeting between a museum and a person occurs (or is expected).

The role of the museum in aesthetic education is determined by its specific capabilities as an institution that performs two main interrelated social functions - documenting objective processes and phenomena in nature and social life on the basis of authentic monuments, as well as education and upbringing. To carry out these functions, the museum has such means of influence as a museum object and a museum environment.

The originals included in the museum collection have scientific, historical, cultural and aesthetic significance.

The aesthetic qualities of a museum object are often manifested in its external features (shape, texture, color), but its aesthetic value is determined, first of all, by the historical and cultural context. It is the context that shapes the attitude towards an object as beautiful or ugly, low or high, comic or tragic. In context, a museum object fully acquires its aesthetic value. Using various means to reveal the historical context of a museum object in an exhibition, it is possible to influence aesthetic tastes, views and ideals, i.e. on the aesthetic consciousness of the visitor.

However, not only museum objects, but also the museum environment itself (museum building, exhibition, complex of historical and architectural monuments, territory), which appears to the visitor as a kind of cultural space, potentially, i.e. subject to the appropriate level of architectural and artistic solutions, it is aesthetically significant and educational. The aesthetic function of museum information is consistently expressed in the exhibition, in its figurative design.

It is significant that both the museum object and the museum environment have significant potential for emotional impact. Everyday objects, having become elements of the exposition image of a museum exhibition, acquire the meaning of a symbol of a certain era, phenomena, events. Acting as a carrier of emotional and figurative information, the exhibition can have an impact on the development of imaginative thinking. The fusion of rational and emotional components in perception, as shown by the results of sociological research, largely determines the attractiveness of museums for all categories of visitors, including the youngest, as well as the effectiveness of their impact.

The main direction of aesthetic education through museum means is the widest introduction of children, adolescents, and youth to cultural heritage, which is defined as “the totality of cultural values ​​inherited from the past to humanity.” , updating and including them in the value system of new generations so that modern people can “master the culture of the past in all its integrity and multidimensionality, feel like a part of a continuous cultural creative process” .

The goal of aesthetic education through museum means is the education of a holistic, harmoniously developed personality, who has formed a value-oriented attitude towards the historical and cultural heritage.

The first task is the active introduction of the younger generation to museum values, the formation in children, adolescents, and youth of a sustainable need for communication with historical and cultural heritage.

The second task is the formation of aesthetic tastes, needs, views and ideals, i.e. - aesthetic consciousness of the individual. The ability to feel, experience, emotionally capture the beauty and other aesthetic qualities of phenomena in reality and art" .

The third task is the development of the emotional sphere of personality, imagination and fantasy, and the ability for creative activity. As noted by the famous philosopher E.V. Ilyenkov, imagination is that “most precious ability that constitutes a necessary moment of a creative human relationship to the world around us” .

The fourth task is the formation of the historical consciousness of the individual. By historical consciousness we mean a person’s awareness of his position in social time and space, his connection with the past, present and future. According to academician M.A. Barga, “historical consciousness is a spiritual bridge leading a person from the past to the future” .

The fifth task is a condition for the implementation of aesthetic education. Nurturing the museum culture of visitors, teaching the language of the museum.

Museum culture is determined by such measurable characteristics as the frequency of visiting museum exhibitions, the purposefulness of visiting the museum and viewing the exhibition, accessing various sources of information about the museum at the preliminary stage or during the inspection, the ability to navigate the museum environment, and viewing the exhibition display.

Chapter 2. M methodology for preparing and organizing a museum exhibition

1. Museums of Tula and the Tula region.

In Tula and the Tula region there is a wide variety of museums, such as: Tula Kremlin Museum , museum-estate Yasnaya Polyana,Tula State Museum of Weapons , Museum "Tula Samovars" , Museum and Exhibition Center "Tula Antiquities" , Museum "Necropolis of the Demidovs" , Filimonovskaya Toy Museum,House-Museum of V.V. Veresaeva , Memorial Museum of N.I. Beloborodov , Museum of P.N. Krylov , State Military-Historical and Natural Museum-Reserve “Kulikovo Field” and much more.

Let's take a closer look at some of the city's museums.

The Tula Kremlin has existed for more than five centuries. Built at the beginning of the 16th century, it provided reliable protection against raids by nomads for a long time. The Kremlin has 9 towers, four of them with gates: Spasskaya, Odoevskaya, Nikitskaya, Ivanovskaya, Ivanovo Gate Tower, Na Cellar, Water Gate, Naugolnaya and Pyatnitskaya.

The Kremlin is a “city within a city.” Almost the entire population, both military and civilian, lived in the fortress. The first street of Tula was located in the Kremlin and was called Bolshaya Kremlevskaya.

There are two cathedrals on the territory of the Kremlin. The Assumption Cathedral in the Baroque style was built in 1766 and the Epiphany Cathedral, built in 1855-1862 in memory of the Tula soldiers who died in the Patriotic War of 1812. Currently, the Epiphany Cathedral houses the Museum of Weapons.

The Tula Kremlin Museum is a state museum, very often students from different schools in the city visit this museum, and guests from other cities also come.

State Museum of Weapons. New Museum, "Helmet".

In 1996, by decree of the Government of the Russian Federation, the museum received state status. At the same time, a decision was made to build a new building for it. This was dictated not only by the desire to vacate the iconic building, but also by the need to expand the exhibition space, since in recent years the museum’s collection has been significantly expanded with modern weapons. The museum regularly hosts modern exhibitions demonstrating the museum’s unique collections and dedicated to the most important events in Russian history.The new museum complex has two conference rooms, a library with a reading room, and a cafeteria.

State Military-Historical and Natural Museum-Reserve "Kulikovo Field".

The State Military-Historical and Natural Museum-Reserve "Kulikovo Field" was created in October 1996. The museum is located on the site of the Battle of Kulikovo, which took place on September 8, 1380, and includes the site of the battle with the adjacent territory. The Kulikovo Pole Nature Reserve is located in the southeast of the Tula region, it occupies a section of the landscape in the upper reaches of the Don.
In the vastness of the reserve, fauna and flora close to pristine ones have been preserved. A great many architectural and archaeological monuments are concentrated there. Some of them have been preserved from the time of the Battle of Kulikovo, and are vivid evidence of Russia’s rich historical past. The victory of the Russian people in the Battle of Kulikovo is reflected in the museum’s exhibitions, memorial monuments and

obelisks.

This museum is one of the most popular museums in the city, students often go on excursions, this museum also cooperates with one of the local schools, and museum lessons are held in the museum.This cooperation helps to instill patriotism in schoolchildren, pride in their famous native land; schoolchildren learn from the museum-reserve workers many new interesting facts about the history of the Kulikovo field and the battle itself.

2.2. Extracurricular activity (excursion).

The development of children's artistic creativity is the main task facing the teacher throughout the entire period of the child's formation. One of the main goals is to reveal a child’s creativity, because children are little explorers who discover the world around them with surprise and joy. I believe that introducing children to museums of this type occupies a special place in a child’s life, and also does not give us forget about Russian folklore. Solomennikova O.A. noted in one of her projects: “A necessary condition for building a modern system of aesthetic education and the development of an individual’s aesthetic culture is the use of folk art in pedagogical work with children.”

Researchers of folk art note that it has pronounced features, traditionality, the collective nature of creativity, the high perfection of language, humanity, connection with the surrounding life. I believe that if a person is not interested in the creativity of his people, does not study their history, then he cannot to be fully considered a citizen of his Fatherland. Many national traditions are closely connected with what the people live at the present time, and with what they lived before, therefore, considering the works of masters of the past, we look into the history of folk applied art of multinational Russia. The Tula region has long been famous for its craftsmen and artisans. Far beyond its borders people admired the products of blacksmiths, accordion makers, samovar makers, wood carvers and potters working with clay.

The revival, preservation and development of traditional folk culture, folk arts and crafts is a priority in the cultural life of the Tula region. To preserve and develop the craft of one of the oldest toys in our homeland (according to some sources, it is about 700 years old) -Filimonovskaya - one of the most important tasks of the craftsmen of the Tula region. The Filimonovskaya toy is a work of folk art, strong in its images, colors, boldness and originality of design, simplicity and skillful use of material, which instills in children a sense of pride in the masters of their small homeland. Folk arts and crafts play a major role in the labor education of schoolchildren.

Folk art has a deep ideological influence on children and raises themes of great civic content. It helps to look at familiar things and phenomena in a new way, to see the beauty of the world around us. Thus, working in this direction not only gives me the opportunity to help students come into contact with decorative and applied arts - to hold the products of folk craftsmen in their hands, but also helps schoolchildren master the secrets of craftsmanship, find new original combinations of traditions and styles with a modern plastic solution to the image, corresponding to the aesthetics of our days.

I decided to organize an event (excursion) with the Filimonov Toy Museum in the city of Tula. This event plan is aimed at 5th grade students.

Excursion “Filimonovskaya toy”, Tula region, Odoev.

Purpose of the event:

Introducing children to the best examples of folk arts and crafts: the Filimonov toy.

Objectives of the event:

To convey in an accessible form the history of the talented Russian people who create fabulous images;

Reveal the technology for creating toys;

Show the variety of types of toys;

To teach to analyze the symbolism of the painting of the Filimonov toy, to correctly use the basiccolors fishing;

Development of perception, imagination, sense of beauty, harmony, national identity, creative abilities;

Forming an interest in the history and culture of one’s people.

Equipment:

Product samples, template set

Computer, presentation.

For the successful conduct of the excursion and for the purpose of interest, preparatory work was carried out. Previously, a week before the excursion, the children are invited to listen to a short lecture about the toy and some students independently prepared stories about the Filimonov toy (Appendix A) and visit the photo gallery (Appendix B), after which the students will receive brochures about the museum (Appendix C).

Progress of the event

1. Message about the topic of the event.

Near Filimonovskaya village

Blue forest, hills, slope

They make a toy out of clay

And they are still painting.

Yes, from red ordinary clay

Suddenly appear

Hares, conics, peacocks

And the soldiers are the color of the army.

Teacher. Our Motherland has long been famous for its craftsmen and its deeds. Wherever we are, we will meet miracles everywhere - craftsmen who know how to transform natural materials into amazing creations.Guys, you've probably already guessed what we'll be talking about today? Yes, today we will talk about toys and crafts... But not about ordinary toys, but about folk ones.

2. Org. moment

What types of folk toys did we get acquainted with in art lessons?

(Dymkovo, Filimonov, Kargopol)

3. The guide talks about the history of the toy, its creation, and different types of toys.

4 .Students attend Master Class and some of them make toys themselves.

5 . Quiz game . Now each team will take a card (Appendix D), which depicts images of a clay toy. You must think and tell what each image symbolizes in the life of the ancient Slavs. These images are the embodiment of pagan beliefs that conceal the mythology of life in ancient pre-Christian forms of Slavic cult. (Let's remember them).

1st team. The female figurine personifies the great goddess “Nature”. The feminine principle carried the sign of good forces: Mother - nurse, Spring, Kupava, Bereginya, Lada, etc. Domozhirikha - here is a list of names and meanings that people endowed with a clay female figure. This image is a continuation of the race of all living things. The bear, one of the leading characters in folk tales, foreshadowed the awakening of nature and was a symbol of power. Deer - depicted a successful marriage, warmth and fertility.

2nd team. The horse was considered a servant of the Sun. Harnessed, he carried the sun god across the sky and brought his grace to people. The horse in the art of pagan Rus' had a protective meaning and occupied an important place in fertility magic. It symbolized both the cult of the sun and water. In folk art, a horse is time, light, heroic strength. Birds are a sign of the resurrection of nature, the awakening of the earth, dawn, a good harvest, a happy family. They are messengers of the Mother Goddess - the earth and obligatory companions of female images. The cow symbolized vigorous strength, fertility and power.

Teacher . All these stories reflected the naive faith of the peasant in good and evil, the poetic animation of the forces of nature on which human well-being, happiness and prosperity depended. When creating these images, the main task of the master is not to convey to the toy the characteristics of a particular bird, horse, or person, but to strive to convey the features of that natural phenomenon that he perceived in his metaphorical - mythological knowledge of the world. The horse is the sun, the woman is the Mother of the earth. The unity of man and nature, the basis of cultural tradition.

6 . Summarizing what was learned in the lesson (answering questions)

1. Where did the Filimonov toy craft originate?
2. Why is the toy called Filimonovskaya?
3. Features of the Filimonov toy?
4. What colors are traditional when painting toys?
5. How affectionately the Filimonovites call theircolors ?
6. What symbols are found in Filimonov toys?
7. The progress of painting in the Filimonov toy.

7 .The final stage.

Teacher: We have become acquainted with only a small part of the great Russian heritage that our ancestors left us.

- Ancient crafts flourish thanks to the work and creativity of new masters, and the secrets of old masters are carefully kept and passed on from generation to generation - and the thread connecting us with distant ancestors is not broken. The works created by our people are stored in museums, shown at exhibitions and continue to make ourlife is brighter and more beautiful. Maybe one of you will also become a master and his toys will also give people beauty and joy to adults and children.

Conclusion

The museum can be considered today as the state of mind of society at the present time, and it is the museum that needs to direct all efforts to restore the lost culture, which is so lacking in the modern world.

The essence of a museum is to be a mediator between society and its culture, between the culture of the past and the culture of the present, and not the specific content of museum activities, determined by the social order of the time.

Understanding the enormous possibilities of education and “education through history” led to the realization of the active participation of teachers themselves and their students in research. How to preserve this unique material for contemporaries and descendants, how to use the result of search activity to develop knowledge, skills, and value orientations, how to use it to develop the creative abilities of students, to instill in them respect for the culture and history of their native land? A museum is a worthy place for storage, use, popularization, exhibition, and study of the results of search and local history activities.

In a museum, a person gets the opportunity to take a fresh look at things that are familiar to him, to receive useful information with pleasure, there is no need to memorize and consolidate the acquired knowledge, and museums also play a big role in the cultural and educational aspect.

Thus, the work of the school together with the museum is also supported by a regional component. This is how the pedagogical idea about the development of spiritual needs is realized, the level necessary for awareness, comprehension, and assimilation of cultural values ​​is achieved.

List of sources used

1. Barg M. A Epochs and ideas: the formation of historicism. - M., 2001.

2. Gnedovsky M.B., Dukelsky V.Yu. Museum communication as a subject of museological research // Museum Affairs. Vol. 21. Museum - culture - society. M., 1992

1. Ilyenkov E.V. Art and ideal. - M., 2000.
2. Cultural and educational activities of museums: Collection of works. IPRICT. M., 2002
3. Kuchmaeva I.K. Cultural heritage: modern problems. - M., 2005.
4. Museum and school. Sat. scientific Proceedings M., 2004
5. Nagorsky N. Museum pedagogy and museum-pedagogical space // Pedagogy. - 2005. - No. 5.
6. Nosik B.M. “Art Crafts”, M., “Planet”, 2001
7. Podlasy I.P. Pedagogy: Textbook. for universities / I.P. Podlasy. - Book 2 - M.: Vlados, 2004
8. Prutchenkov A. Museum pedagogy // Education of schoolchildren. - 2002. - No. 5.
9. Yukhnevich M.Yu. “I’ll take you to the museum,” a textbook on museum pedagogy. M., 2001
10. http://www.inmsk.ru/news_culture
11. http://www.filimonovo-museum.ru/
    12. http://www.e-osnova.ru/PDF/osnova_9_39_10987.pdf

Museum studies. Education of the younger generation in the museum: theory, methodology, practice. - M., 2001. - P. 11

Kagan M.S. Aesthetic and artistic education in a developed socialist society. - L., 1998. - P. 14

One of the most important functions of the museum - educational - is carried out through cultural and educational work.

The educational activities of our museum are diverse in the forms of organization and implementation. The forms of this work can be divided into main categories: traditional (excursions, lectures) and public events.

A museum excursion is a “collective examination of a museum by visitors united in excursion groups.” The museum hosts sightseeing, thematic and educational excursions.

Sightseeing tours are conducted throughout the museum's exposition and are aimed at familiarizing visitors with the museum in general. The sightseeing tour is of a general educational nature.

Thematic excursions that are held in the museum are distinguished by a clear thematic definition in chronology and content; they are devoted to a specific issue. Therefore, they are not held throughout the museum, but based on materials from one of the halls or a specific section of the exhibition. Thematic excursions are educational in nature. The museum’s guides have compiled and conducted the following excursions: “Living Memory of the Day”, “The Unasked for War Has Come to Our Land”, “Valozhynshchyna Today”, “The Hour and We”, “Living Memory” and others.

Educational excursions are intended to expand the knowledge that students received according to the curriculum at the lyceum, and to flesh it out on the basis of authentic monuments - museum objects. These are excursions on history (theme “Great Patriotic War”), on the course “Man. Society. State” (theme “Man in the system of market relations”), etc.

Educational excursions are very diverse in their form. These include lessons-excursions conducted at the exhibition by a guide or the teacher himself, and excursions-seminars with presentations by listeners.

The development of excursions in our museum is carried out by students from the group of guides. The main source of excursion content is the exhibition and museum objects.

The construction of a museum excursion route is based on three principles - chronological, thematic, thematic-chronological.

For example, the route of a sightseeing tour is based on a chronological principle, while the route of a thematic and educational excursion is built on a thematic principle.

the purpose of the excursion, the significance of its topic, the main issues that are revealed during the excursion are called. In conclusion, general conclusions are given

on the topic of the excursion.

In addition to excursions, our museum holds lectures. They differ from excursions in the purpose and presentation of material. The main goal of a museum lecture is to convey theoretical material to the audience, illustrating it with museum objects. Lectures under the general title were successfully held “I know what I would like only here...”

- “Architecture of Valozhynshchyny”,

- “Memories of the history and culture of the city of Valozhyn”,

- “Educational regulations of the city of Valozhyn”,

- “The ancient heritage of the city.”

The most diverse and multifaceted in terms of their form are mass educational events. These are evenings dedicated to a specific topic or any events, dates, anniversaries, meetings with interesting people, quizzes, performances. So, throughout 2008-2009. The following events took place at our museum: round table “And it’s scary to remember, and you can’t forget”, courage lesson “Memory of the Heart”, historical quiz “Fight for Belarus”, oral magazine “Leafing through the pages of the wartime”, literary and musical composition “On the Roads of War”, literary lounge “In Memory people forever” and others.

Fund work

The collections of our museum consist of the main and scientific-auxiliary funds. All materials stored and exhibited in the museum constitute the museum's fund.

The most valuable and important part of the museum collections in quantitative and qualitative terms is fixed assets. This includes only genuine historical and cultural monuments that have the status of a museum item. This

Exhibited in the museum and real archaeological materials obtained as a result of excavations, as well as random finds: tools, product samples, weapons, household items and clothing, numismatic materials: coins, seals. Weapons from the Great Patriotic War (bayonets, shells, shell casings and rifle casings, etc.) are of great interest to museum visitors.

Available written museum items of the following types: handwritten and printed institutional and personal materials (certificates, certificates, letters, memories, certificates, party, Komsomol, trade union cards), periodicals and non-periodical publications, books, leaflets. In the funds of our museum there are personal testimonies “Ausweis, a Red Army book from the war,

Fine Museum objects are works of decorative and applied art: graphics, paintings, sculptures, posters, etc., photographs. Among the audio recordings, the museum stores audio cassettes with memories of veterans of the Great Patriotic War, and documentaries about the war.

In addition to the main thing, the museum has auxiliary a fund that is a complex combination of various materials that do not have the status of a museum item. These are materials produced by the museum for exhibition and propaganda work.

Legal documents in the museum are acts of receipt, acts of issue, and books of receipts.

Accounting pursues two goals: ensuring the safety of the object itself and its scientific protection, that is, ensuring the safety of existing information about

The Samara City Public Museum was originally conceived as “an institution that would be formed for the purpose of the mental and moral development of society” 1 7 . By the preparatory commission, which was created by the Samara City Duma to develop proposals for the anniversary of the reign of Alexander the Second, the Museum was recognized as an institution that also met the needs of Samara society.

The same report of the Preparatory Commission emphasized that museums are one of the most effective means of public education and are recognized as one of the best ways to impart necessary and useful knowledge to the masses.

Therefore, the Samara Museum was considered not just as a repository of aesthetic and scientific samples and technical experience, but first of all, the Museum and museum collection was considered as a primary source of knowledge, used for education and satisfying curiosity. That is, as the Preparatory Commission determined, the Samara Museum was supposed to “have an educational character and at the same time serve as a means of studying the Samara region in relation to natural, agricultural, industrial, technical, historical and archaeological.” 18

These goals of a cultural and educational nature were reflected in the projects of P.V. Alabin in 1880 and 1886. In the project of 1886, these goals were revealed much wider and deeper. As already mentioned, the Samara City Public Museum had the so-called. “special goal” - “visual acquaintance with the Samara region in relation to: anthropological, historical, geographical, with its living and plant world, agriculture and industry (factory, craft, factory, handicraft).” In addition, the Museum was given the task of “developing aesthetic taste in its visitors not only with the exhibited works of art, but also with samples and models of existing and invented tools and those that serve to facilitate labor.” 19

Therefore, we can say that the main activity of the Samara Museum was primarily cultural and educational activity, and the collection, the formation of which the Museum was engaged in throughout its existence, was the means of this activity. The main method of cultural and educational activities of the Samara Museum was the exhibition of museum objects.

Naturally, the cultural and educational activities of museums are not limited to the exhibition of museum objects.

It should be mentioned that on November 15, 1886 (two days after the official opening of the Samara City Public Museum) the “Draft of the normal charter of provincial zemstvo natural history museums, developed by the St. Petersburg Society of Naturalists” was published, which contained the tasks and main activities of natural history museums.

The scientific objectives of the Museum, which consisted of the natural history study of the region and the dissemination of relevant knowledge among the local population, were achieved:

• 
  through scientific research in geology, mineralogy, zoology and other sciences; the results of research (collections of soils, ores, minerals, minerals, maps, plans, terrain models, etc.) were placed in the museum.

• 
  “introducing the public visually to the objects of the museum”;

• 
  "public readings";

• 
  “printing and distributing cheap brochures about museum objects “and in general on the natural history of the region.”

• 
  “possible assistance in resolving various agricultural issues”;

• 
  “the same assistance in resolving issues related to the industry of the region”;

• 
  “resolving issues related to the public school (supplying zemstvo schools with local natural history collections, organizing excursions with rural teachers to familiarize them with the local flora, fauna, rocks, soils).” 20

All types of cultural and educational activities of the Samara City Public Museum can be judged mainly only by the reports that were issued by the administration before 1914.

It is obvious that the tasks of cultural and educational activities began to be solved by the Samara Museum only from the time it opened for visits.

The official opening of the Museum took place in May 1899 - 13 years after its founding and 19 years after the collection began to be formed. “After the completion of the work on arranging the collection.... on the day of the Holy Trinity (May 24, 1899), after the prayer service,” the Museum was opened. 2 1

The administration published detailed lists of all museum visitors. Moreover, information about visits appears only in reports from 1900 to 1914.

The part of the report where information about visitors was printed had a certain structure: the total number of visitors was named, then the number of local paid and the number of visiting paid visitors, then the total number of free visitors. In addition, a special list of free visitors was printed. It should be noted here that the number of free visitors far exceeded the number of paid ones (for example, in the reports for 1904, 1099 and 721, respectively, in the report for 1905 - 1511 and 699).

On average, the museum was visited by 2-3 thousand people a year (from 4,978 people in 1903 to 2,240 in 1905).

As for the special lists of free visitors, only students were listed. Every year the Museum was visited by students of the First and Second Women's Gymnasiums, students of the Gymnasium N.A. Khardina. and students of the Kharitonov Sisters’ Gymnasium, students of the Samara Real School, students of the Diocesan School, as well as students of various parish schools, zemstvo schools, and Samara mixed schools. In addition, the Museum was visited almost every year by students from colleges, schools, and gymnasiums from many Russian cities. In particular, cadets of the Siberian Corps (in 1904 and 1905), students of the Tula and Moscow commercial schools, students from Orenburg, Nizhny Novgorod, Saratov, Tver, Kostroma, Krasnoyarsk, Kazan, Orel and many other Russian cities. Students were also among the free visitors to the Museum.

At the same time, each annual report indicated a specific figure - how many students from each school, college and gymnasium visited the Museum in a given year.

Therefore, we can say that the Samara City Public Museum had a fairly decent attendance. A fairly significant share was made up of student visits - about a third of all visitors. In this case, the Museum fulfilled its direct function – cultural and educational.

Of all the previously listed types of cultural and educational activities, the first place belongs to the exhibition, in other words, to the permanent exhibition of all objects in the museum collection. It can be judged from the reports of visits to the Museum themselves.

As for the content of this exhibition, it represented everything that was collected in the museum during this period. The most clear idea of ​​the content of the exhibition at the time the Museum opened for visits is given by the “Index of objects stored in the Samara Public Museum,” compiled by N.M. Fedorov and published in 1898. This is nothing more than a catalog of exhibits and collections of the Museum. All items listed in this “Index...” were distributed not just into departments, but also into rooms and display cases. Since the Museum had only two rooms, each housed several departments. That is, by scrolling through the “Index...” one could get an idea of ​​the Museum’s exhibition.

The exposition, which involved viewing and getting acquainted with all the exhibits and collections of the Museum, had its positive side. In itself, an inspection of everything that is in the Museum gave a fairly complete picture of the Samara region, its flora and fauna, geology, mineralogy, ethnography, archeology, and history.

In particular, the richest in the Samara Public Museum was the mineralogical department, the listing of exhibits in N.M. Fedorov’s “Index ...” took 18 pages. The archaeological and historical department was also diverse, possessing many valuable items; exhibits of this department (swords, spears, arrowheads, metal mirrors, crosses, images, figurines of idols, etc.) were located in three display cases. The agricultural department was also rich, containing mainly samples of seeds of various plants and located in two display cases. The art department of the Museum was also of great interest, where works of art not only by Samara artists, but also by famous Russian masters were collected.

Since 1904, a new department began to form at the Samara Public Museum: the acquisition of a collection on the topic “Russian-Japanese War” began. This meant that all items in one way or another related to the theme of the Russo-Japanese War were not distributed into the corresponding departments, but were collected in the so-called. Russian-Japanese department.

Similarly, in the Museum in 1914, the department “Russia in the First World War” began to be formed. Thus, we can say that the Museum, not having the opportunity to hold thematic exhibitions, followed the path of creating additional thematic departments, which, according to the plan, should not have been disbanded, but should have existed on a par with the already existing departments.

That is, in the pre-revolutionary period, the acquisition of funds and the display of the museum collection were a single whole. In other words, a demonstration of the entire collection collected by the Museum. At the same time, visitors to the exhibition could visually get acquainted with all the objects that the Museum currently possessed.

It is also known for certain about another type of cultural and educational activity - “the printing and distribution of cheap brochures about the objects of the Museum and in general about the natural history of the region.”

Perhaps such literature can be called the annual reports published by the administration of the Samara City Public Museum. They did contain information about the Museum’s objects, but only about those that were received in the reporting year. In this regard, special mention should be made of the reports for 1902–1903, which were published in one brochure. In addition to detailed lists of donated and purchased items, it contains a short introduction, where the administration itself notes acquisitions that were especially valuable for the Museum, made in 1902 - 1903.

In particular, in the department of archeology and history, “The Museum managed to acquire a rather rare handwritten book entitled “Scythian History,” the works of Andrei Lyzlov,” at the end of the report “attached... in the form of a special bibliographic note” information about the author and the fate of the book .

In the same department, “the note of I.S. stood out. Turgenev addressed to an unknown person,” the report contained a copy of this note.

In addition, acquisitions for the zoological department were noted - these are stuffed birds “locally living or visiting here temporarily.”

Valuable additions in the form of a herbarium were also noted, a list of which was given in the appendix. It was especially noted that “given the paucity of botanical information about Samara and the Samara province, which is observed in the specialized literature. This list had a certain significance.”

Thus, the reports of 1902–1903, in addition to listing the acquired items, contained informative information, especially that part of the introduction, which briefly described the geographical position of the Samara Territory as a crossroads for migratory birds.” 2 2

Among such literature one can also highlight the “Index of objects stored in the Samara Public Museum of N.M. Fedorov - in addition to the list of museum objects, it also contained a short story on the history of the creation of the museum in Samara.

The greatest educational value was a small brochure, which was published by the museum administration in 1901 and was called “Samara City Public Museum. Brief instructions for collecting various collections." This was an appeal from the Museum administration asking for help in replenishing the collection being collected. It itself took no more than one and a half pages. Of greatest interest are the instructions for collecting certain collections for each department of the Museum, while for each department the brochure contained the task of this department and detailed instructions on what you should first of all pay attention to, how to collect objects and collections, what is primarily required for the Museum . In particular, the section “Instructions for Botany” contained detailed instructions on collecting and preserving specimens of various plants, as well as on the formation of herbariums; they took about five pages in the book.

In the section “Instructions for Zoology” there were instructions and methods for “collecting and transporting the found remains of ancient animals to the Museum” (skins, individual parts of the skeleton, etc.).

As for another type of cultural and educational activity - “public readings on subjects corresponding to the tasks of the museum” - these can be called oral explanations “that could be given by specialists in various subjects when viewing the Museum by groups of visitors, mainly students in educational institutions.” 2 4

DEVELOPMENT OF AN EDUCATIONAL COMPLEX

INFORMATION AND EDUCATIONAL ACTIVITIES OF MUSEUMS

Completed by: 2nd year student

full-time education

Bachelor's degree direction:

071800 Socio-cultural

activity

profile: Management of socio-cultural activities

Kozlovskaya Svetlana Vadimovna

Checked:

Candidate of Pedagogical Sciences, Associate Professor

Telitsyna S.V.

Murmansk

I. Development of the lecture “Information and educational activities of museums.”

The lecture is designed for a standard amount of time 90 minutes (1.5 hours). You will need a laptop, screen and projector.

Purpose of the lecture: to form in students a full-fledged understanding of the museum as a sociocultural institution, to develop interest in types of museum activities, and to expand existing knowledge about the field of museum practice.

Tasks:

1) demonstrate the development of types of museums;

2) using the example of the largest museums in the world to show the functions of museums;

3) talk about the forms and types of museum activities.

Literature:

1) Kulemzin A.M. About a museum specialist [Text] / A.M. Kulemzin // Directory of the head of a cultural institution. – 2004. - No. 7. –P.77-80.

2) Lysikova O.V. Museums of the World [Text]: Textbook / O.V. Lysikova. - M., 2004. – 128 p.

3) Museum Affairs in Russia [Text] / Ed. M.E. Kaulen, I.M. Kosova, A.A. Sundieva. - M.: Publishing house "VK", 2005. - 2nd ed. - 614 p.

4) Museum of the Future [Electronic resource]. - Access mode http://www.future.museum.ru.

5) Russian Museum Encyclopedia [Text]. – M.: Progress, M.: RIPOL classic, 2005.- 848 pp.: ill.

Plan:

1. History of museum affairs.

2. Types of museums.

Industry.

Complex.

Memorial.

3. The largest museums in the world.

Versailles.

Orsay - a museum from the station.

Wine Museum.

4. Types of museum activities.

Collecting.

5. Functions of the museum.

Documentation function.

Other functions.

Consultation.

Museum activity.

Museum lesson.

Excursion.

Play.

Concert.

Master Class.

Museum circle.

Museum holiday.

Festival.

Museum event.

1. History of museum affairs.

The concept of a museum as a socio-cultural institution.

A museum is a historically determined multifunctional institution of social information, designed to preserve cultural, historical and natural scientific values, accumulate and disseminate information through museum objects. Documenting the processes and phenomena of nature and society, the museum assembles, stores, examines collections of museum objects, and also uses them for scientific, educational and propaganda purposes.

History of the development of the museum in the XV - XVIII centuries.

The emergence of the museum as a sociocultural institution during the Renaissance.

The emergence of art collecting in Italy in the 15th and 16th centuries.

Art collecting outside of Italy.

Formation of scientific collections during the Renaissance.

Museum work in the 17th century. and during the Enlightenment (XVIII century).

Collecting and the first public museums in the 17th - 18th centuries.

Art collections and museums in various parts of Europe.

Scientific collections and museums of the 17th - 18th centuries.

2. Types of museums.

The word "museum" translated from Greek means a temple in which the muses live - the temple of the muses. In accordance with the content of the collections, museums are distinguished as sectoral, complex, and memorial.

Industry.

The work of historical museums is related to the study of historical events, monuments, and archaeological finds. Art museums collect and study works of fine and decorative art. Literary museums store materials related to the life and work of writers. Music museums can be museums of musical instruments, musical culture or memorial museums. Museums of musical instruments collect unique collections of instruments from different eras and nations, as well as those made by great masters. Museums of musical culture store archival and handwritten materials, musical instruments, visual materials, and music libraries. Musical memorial museums are created, as a rule, in houses and estates where famous musicians lived and worked.

Complex.

Complex museums, which include local history museums, combine several areas of collecting, collecting and studying exhibits. Local history museums make up the widest network and include departments of history, nature, decorative and applied arts, and small art galleries.

Memorial.

Memorial museums are usually created on the basis of outstanding monuments of architecture, wildlife or on the basis of local history, literary, music and other museums.

The work of museums of various types is regulated by the Constitution of the Russian Federation, the Fundamentals of the Legislation of the Russian Federation on Culture, and the Federal Law “On the Museum Fund of the Russian Federation, on Museums in the Russian Federation.”

3. The largest museums in the world.

The Louvre art gallery, even taken separately, could become a museum of world significance. Great works by the greatest painters - Francisco Goya, Raphael, Delacroix, Rubens, Rembrandt - are collected here.

Versailles.

Each era made its contribution to the improvement and decoration of Versailles, and almost every monarch left memories of himself. But the image of Versailles is still firmly associated with the name of Louis XIV. Under him, construction work was carried out for almost forty years. There was always a celebration at Versailles that lasted for decades. Its main director was Louis XIV. He took great pleasure in both the Menagerie with rare animals and the Greenhouse with strange plants. And the main pride of the king was Versailles Park, which spread over an area of ​​101 hectares. It all started with the titanic work of draining the swamps, then earth, sand and stones were applied here to level the soil and create artificial terraces. Thousands of workers dug canals and built water supply for the famous fountains and cascades.

Museum of Impressionism in Paris.

On the ground floor of the Museum, canvases by the “painter of joy” Auguste Renoir are exhibited - “Road in the Grass”, “Model in the Sun”. Renoir's canvases also move to the second floor of the Museum. In addition to them, paintings by Claude Monet, Pizarro, Cezanne, Vincent Van Gogh, Paul Gauguin and other artists are exhibited here. And one of the masterpieces is C. Monet’s painting “Impression,” which gave the name to the entire movement of impressionism.

National Museum of Art named after Georges Pompidou.

The Pompidou Center houses within its walls not only a library and modular exhibition spaces. There is also a cinema, a concert hall, a children's playground, several restaurants and bars. In the basement floors of the Center there is the Institute for Research into the Coordination of Acoustics and Music, which is a complex of ultra-modern acoustic laboratories. Its concept is designed to combine optimal

conditions for acoustic research with the possibility of public access to the demonstration hall.

Orsay - a museum from the station.

The creation of this museum was a significant event in the cultural life of France. The largest station of the Orleans Company, which had lost its functional significance, was supposed to turn “from a station into a museum” - this was the main idea of ​​its restorers and organizers. One of the main tasks in the implementation of this project was not only to preserve the station in its original form, but also to include it in modern life, to give the museum - the station a dual function - as a carrier of historical memory and a modern genuine phenomenon.

Wine Museum.

In 1981, the Wine Museum was opened on Parisian Rue O, on the site of which a monastery stood in the 15th century. Modest monks, nicknamed “virtues,” engaged in winemaking in their free time from prayer, adapting the galleries of old quarries into wine cellars. The monastery was famous for its wines, and King Louis XIII himself loved to taste the light monastery wine when returning from hunting from the Bois de Boulogne. The monks made wine for church needs, and sold the excess on the market. But after the French Revolution, the monastery was closed and looted, and its surviving buildings served as a weaving factory until 1906.

In one of these surviving underground galleries, the Wine Museum was established. Its exhibits not only introduce tourists to the history and technology of winemaking, here you can try the most famous varieties of French wines: after visiting the Museum, a special tasting program is provided for its visitors. Hospitable guides will tell you in which years, for example, it is better to produce Bordeaux, and in which to produce Burgundy. You will be shown the color, taste, strength, and bouquet... And those who want to consolidate their acquired knowledge will be invited to a restaurant, which is located in one of the Museum’s dungeons.

Demonstration of the presentation "Museums of the World. France. Treasures of the Louvre."

4. Types of museum activities.

Collecting.

Formation and storage of collections. The museum carries out its functional program using specific means. A physical monument is the basis of various types of museums. Identification, registration and acquisition of funds are carried out according to the profile of the museum. Depending on the significance of the exhibits, the museum’s funds are divided into basic and scientific-auxiliary.

Research activities.

Research activities consist of several successive phases. The first stage is the definition and classification of material, its possible use for further scientific processing and for cultural and educational purposes, placement of proceeds in funds and exhibitions. The scientific classification of the museum's collections is reflected in the compilation of catalogs and other scientific and supporting documentation. The final phase of scientific processing of museum material is the organization of exhibitions and the preparation of scientific publications. To conduct scientific work, museum staff and fund specialists must ensure the availability of all materials in the fund collections.

Exhibition activities.

The basis of the museum's activities is the permanent exhibition. It is formed mainly from authentic exhibits that have undergone preliminary scientific processing. The main requirements for the exhibition: unity of architectural and planning structure and scientific concept; good conditions for visitors: organization of thoughtful movements, opportunities for individual inspection and as part of excursion groups, taking into account the interests of different categories of spectators; an expressive form of presentation of demonstration material in accordance with the structure and thematic and exhibition plan of the museum as a whole; ensuring the safety of exhibits: compliance with the required lighting, temperature and humidity conditions, measures to protect the collection.

5. Functions of the museum.

The main functions of museum activity, which determine its place and role in society and culture, are the function of documentation, the function of education and upbringing and the function of organizing free time.

Documentation function.

The essence of museum documentation is that the museum identifies and selects natural objects and man-made museum objects that can act as genuine evidence of objective reality, completes museum collections, and deals with their storage and study.

Function of education and upbringing.

The function of education and upbringing is based on the informative and expressive properties of a museum object. It is determined by the cognitive and cultural needs of society and is carried out in various forms of exhibition and cultural-educational work of museums.

Function of organizing free time.

The function of organizing free time is derived from the function of education and upbringing, since visiting a museum in free time is associated mainly with motives of a cognitive and cultural nature.

Other functions.

The independent social functions of the museum also include its research, security, and communication functions.

A lecture is a consistent oral presentation of a topic or section related to the profile of the museum or using materials from the museum collection. Having formed as a form of transfer of reproductive knowledge in the field of science and education, the museum lecture retained not only its name, but also such features as the predominant verbal method of transmitting information and the “static” nature of the communication situation (as opposed to the “motor” nature of the excursion). Significant features of a museum lecture are also the non-exhibition form of delivery and, as a result, greater variability in the thematic range compared to an excursion. A museum lecture is divided into two types: 1) academic (educational) lecture and 2) popular science lecture.

Consultation.

In addition to the classic version of museum consultation, modern museum educational practice presents various modifications of this form, which allows it to be differentiated into two types: 1) standard (traditional) consultation and 2) non-standard (innovative) consultation, based on the methods of theatricalization and role-playing.

Museum activity.

A museum activity is a specific form of museum communication, carried out directly in the exhibition space or in the interactive zone of the museum and allowing for a different logic and dynamics of the exhibition viewing route from an excursion in accordance with the thematic dominant of the activity. The function of a museum lesson, correlated with such areas of the museum’s educational activities as training and development of creativity, is to appeal to the objects of the exhibition to activate the process of cognition, which means a high quality level of use of the museum’s pedagogical potential. Depending on the task, a museum lesson can be: 1) educational and 2) developmental, and in accordance with the leading method: 1) game, 2) studio, 3) practical and 4) seminar type.

Museum lesson.

The museum lesson is conducted with the aim of deepening students’ knowledge on the topic of the school’s curriculum (main or elective) directly at the museum’s exhibition. This form of organizing the museum-pedagogical process has a clearly targeted nature and is designed for collective work with a group of students (school class), characterized by relative homogeneity of socio-demographic and psychological characteristics, as well as a common motivation for coming to the museum. The peculiarity of the museum lesson is the implementation of the tasks of school education in the educational environment of the museum, which implies not only serious preparation of all communication agents (student, teacher and tour guide/museum educator) prior to the class’s arrival at the museum, but also the development of the final phase of testing the level of students’ assimilation of new knowledge by creating a feedback mechanism. The final result of a museum lesson from the point of view of communication theory is “communication delayed in time,” when the influence of the museum continues to be felt at the final stage of the museum lesson, carried out by a school teacher in the classroom.

Excursion.

A museum excursion is a form of cultural and educational activity of a museum, based on a collective inspection of museum objects under the guidance of a specialist on a pre-planned topic and a special route. An excursion is a form of educational activity, the content of which is a complex (visual, verbal, emotional) perception of the visual objects offered by the excursion route in order to acquire knowledge and impressions. The main criterion for distinguishing an excursion, distinguishing it from other possible forms of cultural and educational activities of the museum, is the function of presentation of the exposition (exhibition). According to this criterion, a museum excursion is divided into two types: 1) sightseeing excursion (full presentation) and 2) thematic excursion (partial presentation, presentation of one of the thematic sections of the exposition or exhibition). The next level is the division of each type of excursion into subtypes, depending on the methodological principle of their construction: 1) traditional excursions, 2) theatrical (interactive) excursions and 3) specialized excursions (with a dominant theme). Adjustment for the socio-demographic and psychological characteristics of the contingent of excursionists (sixth level of classification) allows us to further differentiate excursions into three categories: 1) excursions for children, 2) excursions for teenagers and 3) excursions for adults.

Play.

When identifying a museum performance as an independent basic element of the classification, we mean a stage production using the museum interior, performed by professionals. All other options for museum stagings refer to the form of a studio lesson based on the method of theatricalization.

Concert.

The concert as a form of cultural and educational activity of the museum is closely related to the problem of using music in museum communication. According to the classification based on the functional approach (N.G. Kolokoltseva), the use of music in the museum is differentiated into three types: 1) “sounding” of the exhibition, 2) music as a sounding exhibit, 3) concert in the museum. The proposed classification takes into account only the form of a concert in a museum.

Along with its attractiveness, the undoubted advantage of this form is its versatility, the possibility of application in almost all museums, regardless of the profile. If in historical, art or literary museums the fashion show takes the form of demonstrating the fashions of the corresponding eras and classes, then in an ethnographic museum the signs of nationality and ethnic specificity of a traditional costume come to the fore. The demonstration of clothing models is closely linked to the form of the ball. A ball at the museum is a dance evening with immersion in the historical and cultural environment to gain emotional impressions.

Master Class.

A master class in an ethnographic museum usually takes the form of a demonstration of the art of making a product (or a fragment of it) in a traditional style. A master class on teaching elements of folk dance, the basics of pictographic writing, playing simple musical instruments, etc. fits organically into the profile of the ethnographic museum.

Museum circle.

The activities of the museum circle have all the advantages of serial forms (“feedback”, the effect of “museum-pedagogical aftereffect” caused by the factor of “communication delayed in time”, the progressive complication of the program, which makes it possible to track the mechanism of the transition of quantitative accumulation of information into quality - the acquisition of knowledge by students and skills, etc.); in addition, knowledge of the individual abilities and creative potential of each member of the circle, achieved only through long-term contact with the group, opens up new opportunities in the use of tools, methods and methodological techniques of museum pedagogy. From the point of view of organizing the educational process, circle work provides the museum teacher with unlimited opportunities for creative experimentation, giving each lesson an original appearance, based on a different combination of elementary museum forms and innovations from other spheres of culture and education. In this sense, the circle is akin to a creative laboratory of museum experimentation.

The studio, in contrast to the circle, involves introducing a component of artistic creativity into the learning process.

Courses as a special form of communicative activity of the museum are not an innovation in the practice of museum affairs. According to the level of complexity, this form of cultural and educational activities of the museum is divided into: 1) courses addressed to the general public, 2) advanced training courses for specialists - museum professionals and teachers.

The classification of a museum club as a form derived from the recreational function of a museum is determined by: 1) the optionality of the course, 2) an appeal to the recipient, for whom visiting the club is motivated by the desire for educational leisure, 3) the correlation of this motivation with such areas of the museum’s pedagogical activities as recreation and communication.

Closely related to the museum club is another form of cultural and educational activity of the museum, called “evenings” (“literary evenings”, “musical evenings”), which is more characteristic of art and literary museums. Without going beyond its competence, the ethnographic museum introduces new ideas suggested by folk tradition (for example, “Yuletide evenings”) into the development of this form.

Museum holiday.

A festival in a museum is a complex form of work with the museum audience, including elements of an excursion, theme evening, theatrical performance, etc., united by a single theme, carried out on the basis of a scenario using exhibitions and museum collections. This specific form of implementation of the cultural and educational activities of the museum is characterized by the syncretism of its basic elements, combined in various options, with a clear focus on meeting the visitor’s need for recreation. Depending on the content, the holiday is divided into two main types: 1) holidays of the folk calendar and 2) event holidays.

Festival.

Despite the borrowed nature of the form, at present we can say with confidence that the museum festival not only successfully combines with the objectives of the cultural and educational activities of the museum, but also generally enriches this form, introducing new content into it.

Museum event.

A museum event is a set of museum events, most often associated with the opening and functioning of a new exposition or exhibition. Recently, when carrying out museum events, along with traditional forms, various innovative forms have been used: happenings, performances, as well as other options for organizing museum events based on interactivity technology.