Get acquainted with the cultural and educational activities of the museum. Cultural and educational activities of the museum
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.
Scientific and educational work of the museum.
For Defender of the Fatherland Day, our young visitors (kindergarten pupils and primary schoolchildren) were given an excursion “Military Hats”. The guys saw interesting exhibits: a budenovka, a cap, a cap, a helmet.
We learned the history of the creation of the headdress of a Red Army soldier, why the cap was called a cap, and why a cap needs ribbons.
For older children (middle and high school age), a lecture “Afghanistan” was held. The listeners were briefly introduced to the recent history of this country and told about the tasks of the Soviet troops in Afghanistan. A significant place is occupied by the story about fellow countrymen (Novo-Altai guys) who died in that war.
The museum took part in the exhibition of manufacturers of consumer goods in Novoaltaisk “Our Products”. When visiting our corner, people found themselves in a room from the mid-20th century. Many visitors looked with interest at the interior items of that time: a gramophone, a KVN TV with a magnifying glass. We admired the skillfully embroidered napkins and towels. They found similarities with objects from their childhood and youth.
Some people came to the museum after visiting our corner of the exhibition.
Fund work of the museum.
Fund work includes: acquisition, accounting, storage and study of heritage objects. The museum fund is replenished mainly by donors and city residents.
This year, a resident of our city, Svetlana Konstantinovna Nikolaeva, was given a towel. It is made of linen, woven by the donor's grandmother. It was kept about a hundred years ago in the family and was used during wedding ceremonies. It became a “pearl” in the museum’s collection “Towels and Towels”.
Of particular value are the 18 postage stamps that were issued for the 100th anniversary of his birth (1870-1970). Each brand is roughly divided into 2 parts. On the right side there are reproductions of paintings by Soviet artists reflecting the life and work of his house-museum in the city of Ulyanovsk, on the left there are quotes from the works and speeches of Vladimir Ilyich.
The last, most interesting exhibits: photographs, copies of documents, etc., were donated to the museum from Valery Alekseevich Polyanin, local historian, deputy. editor of the newspaper “Our Novoaltaisk”, an honored cultural worker, and they came to him from the “Obelisk” search team.
The search team "Obelisk" from the city of Moscow, the commander of the team, Mikhail Mikhailovich Polyakov, has been conducting search expeditions in the city for 18 years. In those places where the Great Patriotic War took place, missing soldiers were found. During the entire search activity of the detachment, the remains of about 2,000 defenders were found, the names of only 58 could be established. 32 families of dead soldiers were also found.
In one of the search expeditions in the Temkinsky district of the Smolensk region, near the former village of Beryozki, the children of the detachment found the remains of 28 Red Army soldiers. Among their personal belongings, 2 medallions were found. After reading them, with the help of a criminologist, we were able to identify 4 names. Among them is the name of Mikhail Kapitonovich Belinov, born in 1912, a native of the village of Bazhovo, Barnaul district. Participant in the battles in the Tyomkinsky district of the Smolensk region in 1942.
No one will be indifferent to such a wonderful exhibit as the souvenir radio “Echo”, which was made in the USSR in the 80s of the 20th century; it still runs on batteries. The case is made in the form of a bright red box and painted with gold patterns; at the very top there is a stylized gramophone trumpet.
The doors of our museum are always open to visitors and donors, and every newly brought exhibit, historical or cultural monument, will be preserved for posterity.
Exhibition activities of the museum.
Visitors of all ages will be interested in learning amazing facts from the history of simple things that surround us in everyday life - mirrors, combs, buttons, as well as various decorations.
From March 16, the museum will open an exhibition of artist Viktor Ivanovich Igoshin. He paints portraits, landscapes, still lifes, and creates compositions. His works made of wood, mainly sculpture, are also attractive.
We invite everyone to the museum.
A museum is a unique cultural space that can combine knowledge of the past, reflection on the present and an excursion into a possible future. It is the common field of human experience that has proven its worth and stood the test of time, which we call cultural heritage. In the modern understanding, a museum means a “research, cultural and educational institution”, which, in accordance with its social functions, carries out acquisition, recording, storage, study and popularization of historical and cultural monuments and natural objects.
Museums have long gone beyond the scope of just exhibition work, and its functional activities are not limited to collecting collections, organizing exhibitions and excursions. This is a serious research, educational, cultural and educational work.
From February 2 to February 10, 2012, as a member of the commission, I studied and analyzed plans for the research, exhibition, educational and educational work of DGOIAM from 2008 to 2011, based on the analysis of which I present the following conclusion.
CONCLUSION
in research, exhibition and exhibition
and educational and educational activities of DGOIAM
Educational activities of DGOIAM
The educational work of the museum includes various museum educational programs (lectures, discussions, round tables, scientific and practical seminars, excursions, museum lessons, military history club, etc.), which are aimed at overcoming passive and contemplative forms of perception of museum information. As you know, the priority audience for museums of any type and profile today are children of all ages, schoolchildren, and students of secondary educational institutions. In the activities of DGOIAM, this audience is completely not covered. For comparison: at the Kazan National Museum, a two-year program for high school students, developed by specialists in museology and museum pedagogy on the basics of mastering the museum business, is widely popular. The program introduces students not only to the history of museums and the basic concepts of museology, but also instills scientific work skills, gives an idea of exhibition art, introduces the professions of an exhibitor, museum artist, and excursion work skills. There are also popular museum-educational programs developed for primary school students, which require the organization of cooperation between a museum employee and a school teacher. Today, the Historical Museum (Moscow) has almost 20 clubs where children are introduced to authentic objects from the museum’s collection. This is how a permanent, prepared museum audience is formed. The regional museum of local lore in Sverdlovsk has developed special programs that help deepen the knowledge gained in school lessons and expand the school knowledge course program.
Of the entire range of well-known museum educational programs, DGOIAM offers only excursions to permanent exhibitions.
Research work of DGOIAM
As you know, research activities occupy an important place in the work of the museum, the results of which are primarily reflected in the exhibition activities of the museum and in scientific and popular science publications. The research work of museum researchers must be carried out on scientific topics determined by the plan-map of the employee’s scientific interests and approved at a meeting of the museum’s scientific council. The scientific council of the museum must coordinate the scientific activities of the museum: participation in museum competitions, international and Russian museum conferences; publication of reports and scientific articles by museum researchers in scientific and professional museological publications. Under the auspices of the Academic Council of the museum, scientific and practical conferences, readings, seminars, lectures, round tables, etc. should be held on the basis of the museum, educational and educational seminars, and children's educational programs should be organized.
There is no scientific council in DGOIAM. The museum staff does not include the position of scientific secretary of the museum, and the vacancy of deputy director for scientific work is not filled. The low level of scientific research work of the museum, or rather the lack of full-fledged scientific research work in the museum, is explained by the absence of the Scientific Council of the museum in the DGOIAM.
The museum's scientific staff did not carry out full-fledged work on the scientific study and research of museum collections. The results of the analysis of the reports of the last three years convincingly indicate that there is outright profanation and imitation of scientific research activities, which is clearly visible in the plan maps. The plan maps are not implemented; their texts are repeated from year to year. For example, catalogs announced for publication in 2008 include “Collection of Prince A. Baryatinsky” (Kildeeva Z.), “Carpets in the collection of DGOIAM” (Kildeeva Z.), “Kaitag embroidery” (Kildeeva Z.), “ Weapons of the Caucasus" (Alieva S.), "Costumes of the peoples of the Caucasus" (Kildeeva Z.), were not only not published, but to date have not even been prepared for publication. In 2009, the catalogs stated in the plans were not prepared or published: “Carpets in the collection of DGOIAM” (Gamzatova D.), “Weapons of the Caucasus” (Alieva S.), “Kaitag embroidery” (Gamzatova D.), “Costumes of the peoples Caucasus" (Kildeeva Z.). The bulletin (Dandamaeva Z.) stated in the plan was not prepared and published. In 2011, the following catalogs were not prepared or published: “Collection of Prince A. Baryatinsky” (Kildeeva Z.), “Carpets in the collection of DGOIAM” (Kildeeva Z.), “Kaitag embroidery” (Kildeeva Z.).
In recent years, the museum has not held a single scientific and practical conference.
The preparation and holding of a scientific and practical conference for the anniversary of the DGOIAM, with the invitation of participants from the North Caucasus region, stated in the museum’s plans, was never held.
The participation of museum employees themselves in republican scientific and practical conferences that are directly related to its scientific activities and popularization is not observed. For example: in 2009, the Institute of Language, Literature and Art of the Dagestan Scientific Center of the Russian Academy of Sciences held a scientific session dedicated to the 110th anniversary of the birth of the first professional artist of Dagestan, Khalilbek Musayasul (later a collection of scientific articles was published). DGOIAM, which has a number of unique works by this author, remained on the sidelines.
The General Director, in his report on scientific activities in 2010, declares participation in a scientific conference dedicated to the 140th anniversary of the birth of the prominent scientific educator and public figure Bashir Dalgat, but does not attach a scientific report or his theses (note that between participation in conference and presence there is a significant difference).
There is not a single article on exhibition and stock work, management and marketing of museums and exhibitions, museum pedagogical practices, history of exhibits, lighting museum holidays and employee anniversaries etc., published in special museum periodicals, such as the scientific and practical magazine “Museum”, the illustrated art and historical magazine “ Museums of Russia - for professionals",magazine "Culture and Society" and etc.
The same few articles of a popular nature published in local periodicals (“Dagestanskaya Pravda”, “Makhachkala News”, “Peoples of Dagestan”, “Proji”, etc.) and presented in annual reports as “research activities” do not have They have nothing in common with the latter, but belong to the genre of journalism. In addition, museum employees do not publish in well-known historical, cultural journals, collections, bulletins, not to mention the publication of monographs, books, studies, and reference books by them. The exception is the monograph by Gadzhiev A.S. “Religious, socio-political views of Klychev Yusup-kadi Aksaisky” (Makhachkala, 2009), which does not present museum materials in any way.
The trips of the general stated in the reports. directors with the chief curator to some branches of the museum to provide methodological assistance, in order to draw up structural plans and purchase museum equipment are not directly related to their research work and are, at best, of a scientific, methodological and collective nature.
Currently, many large museums are forming an electronic database, the creation of which uses the digitization of exhibits. Every year, from 2008 to 2011, the scientific plans of the DGOIAM include “starting work on creating an electronic database on the museum collection and publishing a unified catalog of the museum fund of the DGOIAM” (Kildeeva, Dandamaeva, curators of the funds), but this, apparently, is all , all this activity ends, there are no results.
If the directorate of DGOIAM is not able to organize and conduct scientific and practical conferences, then it was simply obliged to conduct local history readings, since it has 38 (!) branches in the Republic of Dagestan, which, in my opinion, also need a serious check of their activities and condition. The employees of these branches are, in fact, museum enthusiasts and well-known local historians. There is a huge interest in the republic in its own history and traditional culture, and in the last decade the genre of rural history has become the most popular and in demand. Based on local history readings, it would be possible to publish collections of articles that would present the results of the work of both local historians and Dagestan researchers on the study of natural resources, archeology, history, ethnography, on the cultural heritage of the republic, the first experiences of local history research by students.
It should be noted here that in DGOIAM there is no reading room where anyone who visited the museum for research purposes could work with exhibits of the museum collections, having a library card (its data is recorded in the museum file cabinet). This form of work is available in many museums in the country, and this fact makes the museum a prestigious scientific center among researchers, scientists, and specialists. As far as we know, the museum’s management does not at all welcome the appearance of such visitors within its walls.
The museum does not receive subscription editions of professional specialized magazines, which allow you to keep abreast of all museum events in the country and abroad.
Publishing activities of DGOIAM
A key role in popularizing the museum and its collections is played by high-quality exhibition catalogs, collections of seminars and conferences. There is currently no publishing activity in DGOIAM. For comparison: in 1925, literally in the first years after the end of the Civil War, not only a museum was opened in a destroyed and devastated republic, but a “Museum Bulletin” was also published.
Over the past 10 years, the DGOIAM has not published a single catalog of exhibits, while a catalog is an important and obligatory sign that the museum is conducting serious research and cataloging work. The rich collection of DGOIAM funds provides ample opportunities for the preparation and publication of excellent catalogs on ethnographic collections, firearms and bladed weapons (Russian, European, Eastern and local production), works of fine art, etc., which will popularize the museum outside the republic and country .
Particular attention is drawn to the publication of the DGOIAM “Anniversary Album for the 85th Anniversary of the Dagestan State United Museum named after. Tahoe-Godi. From the depths of centuries" (2010), published with funds from a presidential grant. A multi-page and colorful album, without imprint data (date of publication, place of publication, circulation), evokes not so much surprise due to its mediocre, illiterate text (especially captions for photographs) and primitive printing, but rather a pang of pity for an essentially beautiful museum, which so pitifully and wretchedly presented on its pages.
Each museumthe exhibition must be accompanied by appropriateprinted products for it (catalog, booklet, explication (scientific article, exhibition concept text), poster, invitation). According to several booklets presented with the report, this activity in DGOIAM is, to put it mildly, treated carelessly. For example, the booklet “Dagestan national costumes from the funds of the DGOIAM” (in fact, it only presents women's costumes) published without imprint, without indicating the author of the text; Unsigned photographs of women's headdresses are scattered randomly across its pages. The blunders in this booklet are far from being random and annoying errors, but one more proof of the lack of genuine research work and directed publishing activities of the museum.
Exhibition activities DGOIAM
All museums have traditional functions: storing, restoring,study and demonstrate cultural heritage to visitors. However, inin the consciousness of modern educated society, the museum has long been transformed from a place where various exhibits are displayed into a place for intellectual leisure. It is necessary to understand that the presence of historical and art objects by themselves is not enough (even in the amount of 157,000 exhibits) to attract visitors; we need to surprise them and show them something new, attract visitors with new exhibitions, permanent and temporary, full-fledged works of synthesis of expositional art and science; they are what distinguish a museum from an archive or warehouse.
Meanwhile, all exhibition work at DGOIAM consists of selecting exhibits and displaying (hanging) them along the walls of the hall, while neither catalogs nor texts of excursions to exhibitions are prepared (see appendix). Each museumthe exhibition must be accompanied by a special scientific, information and marketing programprinted products. For example, catalogs were not compiled or published for the exhibitions “Decorative and Applied Arts of Dagestan” (Rostov-on-Don), “Ceramics and Porcelain”, “The World of the Sungurov Brothers” and others held in 2008; in 2009, catalogs were not compiled or published for the exhibitions “Traditional headdresses of women of Dagestan”, “Weapons from the collections of DGOIAM”, “From the collection of Prince Baryatinsky”, etc. None of the seven exhibitions held in 2011 are reflected in relevant printed materials(catalog, booklet, explication (scientific article, exhibition concept text), poster, invitation).
The visiting card of the museum is its permanent exhibitions. In particular, already mentioned in the press “Dagestan on the fronts of the First World War” was presented by natives of only one village of Dagestan; a number of modern expositions are presented by photo stands at the village club level; permanent exhibitions on nature, wildlife, flora and fauna of Dagestan on the first floor do not stand up to criticism due to the wretchedness of the outdated exhibition and the dilapidation of the exhibits. Some faded and crumbling stuffed animals (in particular, a mangy baby seal without an eye) cannot be shown so as not to traumatize the child’s psyche.
The explanatory material and labeling are vague, uninteresting and in some places blatantly unprofessional or completely absent (in the exhibition “Nature of Dagestan”, “Caucasian War”, etc.). Conducted in 2010, according to the report, “a complete re-exposition of the hall” “Caucasian War”, installation, compilation of leading texts, labeling do not meet the standards of a museum exhibition. The declared “complete re-exposition of the hall” “Nature of Dagestan”, the compilation of leading texts does not meet the standards of a museum exhibition.
Museum marketing.
Today, every museum faces the need to constantly search for ways to optimizeorganizing museum work, searching for additional sources of funding. This type of activity is usually defined as museum marketing.
There is no traditional “museum shop” at the museum, the assortment of which should consist of souvenirs and goods related to the museum’s exhibition (postcards, badges, copies of products, albums, posters, reproductions, pennants, handicrafts, etc.). This type of activity occupies one of the key places in the marketing concept of any large museum.
There is a complete lack of work with sponsors, philanthropists and grant givers. Unfortunately, there is no Board of Trustees of the museum.
The Museum does not make any attempt to participate in grants. Meanwhile, for several yearsThe V. Potanin Charitable Foundation is holding (this year the ninth in a row) a grant competition for museum projects for museums and museum organizations located in the Russian Federation “A Changing Museum in a Changing World.” With its rich collection, DGOIAM undoubtedly has the right to apply for a grant, with appropriate preparation and timely submission of an application for participation in it.
The directorate of DGOIAM, apparently, does not have the slightest idea about increasing the competitiveness of the museum in the market of cultural and information services, about ways to attract visitors, sponsors, and the use of the media.
Museum website.
If you look at any website of a large museum (or the same P. Gamzatova Museum of Art) and the website of the DGOIAM http://dagmuseum.ru/museum, which was hastily created after the article by X-M. Kamalov and P. Takhnaeva in the newspaper “Chernovik” (04/29/2011), and compare them, it becomes obvious that it does not work and does not meet its functional purpose. The “Collections” section (the face of the site) is represented by a selection of photographs (from 14 to 63 from various collections) without accompanying text; captions to photographs (label) demonstrate blatant unprofessional attribution, moreover, accompanied by gross spelling errors. For example, (the style and spelling have been preserved), a collection of metal: “Jug-water carrier -Muchal- village Kubachi”, “Svetets. Avars", "Bucket -Satyl-", "Lamp. Copper", "Chirag lamp. 19th century Bronze", "Kumgang. Dagestan"; the collection of Kaitag embroidery is represented by 44 photographs, literally laid out in “solitaire”, without any accompanying text; ceramics collection: “Dish. Derben", "Dish. South Dag. 19th century,” “Dish. Iran", "Mug. Sulevkent", "Vessel -Kam-. Sulevkent."; collection of weapons: “Dagger-Kama. Doug. 19th century Steel, wood, metal, ivory, gold notch,” “injal-kama. Dagestan, 19th century,” “Dagger-Kama. Dagestan. 19th century." etc. This demonstrates the absolute lack of professionalism of the museum staff and those responsible for filling the site. On the website of the manager, who, by the way, speaks English, there are no texts or signatures in English. In the “News” section, the latest information is dated June 13, 2011; The museum’s email is not listed in the “Contacts” section, etc.
The foundations of cultural and educational activities in the museum began to take shape already in the 1930s. Initially it consisted mainly of excursion work. Forms of educational work are gradually expanding, and attendance is growing. Currently, the Kirillo-Belozersky Museum-Reserve is a famous museum and tourist center. In recent years, cultural and educational activities have intensified. Its system is built from excursions, thematic classes, lectures, thematic events, master classes, watching videos, holding creative competitions, presentations, etc. Every year the museum and its branch are visited by more than 200 thousand tourists from different parts of the world. Cultural and educational work in the museum is aimed at patriotic, moral, aesthetic education based on the formation of knowledge about the history and culture of the region. It is determined by museum programs: “Museum and School”, “For You, Students”, “In Practice Students”, “Meet the Museum”, “Meeting with an Interesting Person”, “All Year Round”, “People’s Workshop”, “Visiting Museum” ", "Hooray! We are on vacation”, “Meetings at the museum”, “To the museum with the whole family”.
Within holidays - “Snowy City” and “The City and Its Museum” the museum hosts openings of new exhibitions, performances by creative groups, children's game programs with contests and competitions, quizzes, and master classes.
The art studios “Kirillovskaya Rosis” and “Lada” operate on the basis of the museum. The goal of the studio is to develop children's interest in Russian culture and traditions of their native land. During the classes of the “Young Guide” club they get acquainted with ancient Russian and Russian culture, the history of Belozerye monasteries, the history of Russian books, and folk culture.
The museum holds competitions for children's creative works, which aim to attract the attention of children and youth to the history and culture of the city, and to enhance the creative activity of children and youth. Based on the results of the competitions, exhibitions are organized.
Museum employees who know the secrets of folk craftsmanship hold Master Days and master classes on Kirillov free-hand painting, clay toys, and folk dolls. Folk masters are involved in conducting certain classes: I.V. Luzhinskaya, M.N. Vasilyeva, N.A. Borovikov, Sysoeva M.A., with whom the museum has been collaborating for many years.
One of the types of educational activities of the museum is the creation of temporary and traveling exhibitions, on the basis of which classes are held not only with children in the city of Kirillov, but also in rural schools, kindergartens, and cultural centers. The museum practices comprehensive field trips so that children can see a traveling exhibition, listen to lectures, and take part in game programs.
Every year, the museum hosts local history seminars and conferences for teachers, students and pupils. Museum staff constantly provide methodological assistance to school and municipal local history museums.
Today, the cultural and educational activities of the museum are becoming a priority direction in the work of the museum and are in line with modern trends.
Museum programs are targeted and include the entire range of topics, types, genres, techniques, and methods of working with audiences. Along with traditional museum forms, the museum is looking for new ways and forms of dialogue with visitors.
A museum is an institution engaged in collecting, studying, storing and exhibiting objects - monuments of natural history, material and spiritual culture, as well as educational and popularization activities. Function M: exhibition-exhibition; excursion; research and educational. Cult-educational activity is one of the main activities of M, the theoretical basis of which is museum pedagogy - regional education. history through the means of a museum object will form activities. The forms of cultural and educational activities of M are varied: excursions (sightseeing, thematic, historical, architectural and urban planning); museum lessons; scientific conferences.
Types of museums – scientific and educational, research, educational.
One of the most important categories of classification is the profile of the museum, that is, its specialization. The fundamental feature of the classification here is the connection of the museum with a specific science or art form, technology, production and its branches. This connection can be traced in the composition of the museum’s funds, in the themes of its scientific, exhibition and cultural-educational activities.
Museums of the same specialization, that is, the same profile, are united into specialized groups: natural science museums, historical museums, art museums, architectural museums, literary museums, theater museums, music museums, science and technology museums, industrial museums, agricultural museums, pedagogical museums . Depending on the structure of the profile discipline or field of knowledge, these main profile groups are divided into narrower ones. History museums are divided into:
General historical museums (wide profile); (State Historical Museum in Moscow);
Archaeological museums; (archaeological museum-reserve "Tanais");
Ethnographic museums; (Russian Ethnographic Museum in St. Petersburg);
Military history museums; (Central Museum of the Great Patriotic War of 1941-1945 in Moscow);
Museums of Political History; (Museum of Political History of Russia in St. Petersburg);
Museums of the history of religion; (Museum of the History of Religion in St. Petersburg);
Historical and everyday museums, which recreate or preserve a picture of the life of various segments of the population, while, unlike ethnographic museums, they document not ethnic, but socio-psychological features of life, which are most clearly manifested in the interiors of homes; (Museum of Urban Life “Old Vladimir”);
Monographic museums dedicated to a specific person, event, institution, or group; (Museum of G.K. Zhukov in the village of Zhukovo, Kaluga region, Museum of the Defense of Leningrad);
Other historical museums; (Museum of the History of Moscow, Museum of the History of the Political Police of Russia of the 19th–20th centuries in St. Petersburg).
Artistic museums are divided into:
Museums of fine arts (national and foreign); (Russian Museum in St. Petersburg, A.S. Pushkin Museum of Fine Arts in Moscow);
Museums of decorative and applied arts; (All-Russian Museum of Decorative, Applied and Folk Art in Moscow);
Folk Art Museums; (Museum of Folk Art of the Scientific Research Institute of the Art Industry in Moscow, Museum of Vyatka Folk Art Crafts in Kirov);
Monographic; (Museum-estate of I.E. Repin “Penates”, Museum of Frescoes of Dionysius in the village of Ferapontovo, Kirillovsky district, Vologda region);
Other art museums.
Natural science museums are divided into paleontological, anthropological, biological (broad profile), botanical, zoological, mineralogical, geological, geographical and others.
There are museums whose collections and activities are related to several scientific disciplines or branches of knowledge. They are called comprehensive museums. The most common among them are local history museums that combine at least historical and natural science specialization, because their collections document not only the history, but also the nature of the region. They often create art and literary departments, which further complicates their profile.
They also have a complex profile ensemble museums, created on the basis of architectural monuments, their interiors, surrounding areas and various structures. Depending on the nature of the ensemble, they can be historical-artistic, historical-architectural, historical-cultural museums. Architectural-ethnographic For example, the Kostroma Museum of Folk Architecture and Folk Life has a profile; one of the largest museums in the Moscow region, “New Jerusalem,” has a historical, architectural and artistic profile.
The development of science, technology, art, and culture leads to the emergence of new specialized groups. For example, the invention of scuba gear in the 1940s. marked the beginning of the emergence of underwater archaeology. The results of underwater excavations, combined with the development of new technologies in the field of restoration and conservation of wet wood, have led to the emergence of a new specialized group among historical museums - museums of underwater archeology. Their collections include the skeletons and fragments of ships, cargo and various objects raised from the depths of the sea. The most famous among the museums of this profile group is the Vasa Museum in Stockholm, where a Swedish warship of the 17th century is exhibited.
Along with the profile classification, a typological division of museums that does not coincide with it is also used. There is a typology based on the public purpose of museums, according to which they are divided into research, scientific and educational and educational.
Research museums operate at research institutes and academies of sciences, to which they are usually included as structural divisions. Their funds are used for scientific purposes, and the exhibitions are aimed primarily at specialists. An example of this type of museum is the Scientific Museum of the Brain Institute of the Russian Academy of Medical Sciences or, for example, the Museum of Extraterrestrial Matter as part of the Institute of Geochemistry and Analytical Chemistry of the Russian Academy of Sciences (Moscow).
The most common type is scientific and educational museums. They are also engaged in research work, but since they are aimed at mass visitors, their funds are widely used for cultural and educational purposes. In their activities, much attention is paid to the creation of expositions, exhibitions and various cultural and educational events. These are, for example, the Polytechnic Museum and the Museum of Fine Arts. A.S. Pushkin in Moscow; Hermitage and Museum of Anthropology and Ethnography in St. Petersburg.
Main purpose educational museums – to provide visibility and objectivity to the process of education and training. This type of museum exists mainly at various educational institutions and special departments - the Museum of Forestry named after. G.F. Morozov St. Petersburg Forestry Academy, Museum of Decorative and Applied Arts of St. Petersburg Higher Art and Industrial School. In addition to the traditional excursion display, educational museums widely use specific forms and methods of working with collections: demonstration of individual museum objects during lectures, scientific description and processing of field research materials during practical classes, copying works of fine art. In some cases, the funds and exhibitions of educational museums may be inaccessible to the general public. These are, for example, some forensic museums of the Ministry of Internal Affairs.
The typology based on the public purpose of museums is quite conditional, and there is no hard line between the named types. Scientific and educational museums are used in the educational process, and their collections are used for scientific purposes. Many scientific and educational museums are visited not only by students and specialists, but also by the general public.
There is another typology of museums, according to which museums of the collection type and museums of the ensemble type are distinguished. It is based on a division based on the way museums carry out the function of documentation. Collection type museums build their activities on the basis of a traditional collection of material, written, visual materials that correspond to their profile. Thus, they carry out the function of documentation by collecting and preserving the fund of museum objects. At the heart of the activity ensemble type museums there are architectural monuments with their interiors, surrounding areas, and natural environment. They perform the function of documentation by preserving or recreating an ensemble of immovable monuments and their inherent environment. The most common forms of this type of museum are: open-air museum, palace-museum, house-museum, apartment-museum, workshop-museum.
Among open-air museums, there is a special group of museums that are created on the basis of immovable monuments, museumified at their location with the preservation or restoration of the historical, cultural and natural environment. Due to their special value, they have the status museum-reserves, for example, Kirillo-Belozersky Historical, Architectural and Art Museum-Reserve, Borodino Military-Historical Museum-Reserve.
A special typological group is formed by memorial museums created to perpetuate the memory of outstanding people and events. Memoriality is sometimes mistakenly confused with the profile of a museum, although it has nothing to do with the characteristics of the profile classification.
The concept of “memorial museum” has undergone significant evolution during its existence. Based on the etymology of the word, to memorial museums in the 1920s - early 1960s. included all museums dedicated to outstanding figures and historical events, even those that were created in places not associated with these people and events, and which did not have memorial items in their exhibitions. Later, through the efforts of researchers
A.M. Acceleration and S.A. Kasparinskaya began to attach a different meaning to the concept of “memorial museum”. The authenticity of a place has come to be considered a necessary component of memorialism: a memorial building where the memorial environment in which a person lived or an event took place is preserved or recreated on a documentary basis. This understanding of a memorial museum, the necessary criteria of which are a memorial building or place, a collection of memorial objects and a memorial and household exhibition, was enshrined in the “Regulations on memorial museums of the Ministry of Culture” (1967). As for the profile of a memorial museum, it is determined by the content of the event or the nature of the activity of the person to whom it is dedicated.
The typology based on the implementation of the documentation function is also somewhat conditional, since collection museums can be located in architectural monuments preserved in historical integrity (for example, the Hermitage), and ensemble museums do not limit their activities only to the preservation of architectural monuments, but also create specialized collections.
Both profile classification and typology are aimed at identifying groups of comparable museums. This allows you to coordinate the work of museums of the same profile or type, identify patterns of their development, and contribute to greater efficiency of museum activities in general.
The classification of museums may be based on administrative-territorial characteristics.
According to their affiliation (legal status), museums are divided into state, public and private.
State museums are owned by the state and financed from the state budget. Most of them are under the jurisdiction of the Ministry of Culture of the Russian Federation. At the same time, there is a significant group of state museums that are subordinate not to cultural management bodies, but to various ministries and departments, solving the tasks set by them. These are the so-called departmental museums; they are financed from the state budget through the Ministry of Finance and relevant departments. An example of them is: Zoological Museum of Moscow University. M.V. Lomonosov, which is under the jurisdiction of the Ministry of General and Professional Education; Central Museum of Railway Transport of Russia of the Ministry of Railways (St. Petersburg); Medical Museum of the Russian Academy of Medical Sciences, Military Medical Museum of the Ministry of Defense (St. Petersburg). A significant part of departmental museums is under the jurisdiction of the Russian Academy of Sciences: 51 museums as of 1998. Among them there are museums that are world famous - the Museum of Anthropology and Ethnography named after. Peter the Great "Kunstkamera", Mineralogical Museum. A.E. Fersman, Paleontological Museum named after. Yu.A. Orlova, Literary Museum (Pushkin House).
Go to category public museums include museums created on the initiative of the public and operating on a voluntary basis, but under the scientific and methodological guidance of state museums. Public museums are financed by the institutions under which they are created. Until 1978, the term "people's museum" was used for the meaning of "public museum". The tradition of creating public museums began to take shape in Russia at the turn of the 19th–20th centuries; Museum construction took off on a large scale in the 1920s. in connection with the rise of the local history movement and the work to create “chronicles” of factories and factories. However, in 1941, only about 10 public museums retained their status. The modern network of public museums began to take shape in the second half of the 1950s, and as of January 1. In 1990, there were 4,373 museums operating on the territory of 26 republics, territories and regions of Russia.
In n. 1990s changes in the socio-political and economic life of the country led to a significant reduction in the network of public museums. Museums of revolutionary glory, Komsomol and pioneer glory, military and labor glory were closed; museums dedicated to communist party figures. But at the same time, museums began to emerge, the creation of which was previously impossible for ideological reasons - the museums of A.A. Akhmatova, M.I. Tsvetaeva, B.C. Vysotsky. In 1994, cultural authorities oversaw the activities of about 1,000 public museums.
In the last decade of the past century, conditions for a revival began to emerge in Russia. private museums, that is, museums based on collections owned by private individuals, but available for study and inspection. In the early 1990s. museums of this kind were created in Moscow (Museum of Nature), Yaroslavl (Museum of Russian Antiquity), Irkutsk (Mineralogical Museum) and other cities.
In 1993, the first private art museum was registered in Moscow - the Russian National Museum of Art. Its holdings include works of Russian and Western European painting, sculpture, graphics, and decorative and applied arts. In order to acquire outstanding works, the museum is engaged in active exhibition activities and regularly holds auctions at which it exhibits individual objects from its collection. By selling works that are quite worthy, but do not fit into the museum’s concept, it has the opportunity to constantly update and improve the collections. Funds received at auctions make it possible to make valuable acquisitions, some of which are worthy of the largest state museum collections.
