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BP Book No. 1 BEST PRACTICE 1 A tool to improve museum education internationally Edited by Emma Nardi Edizioni Nuova Cultura Description of the series This series gathers the results of the professional and research activities of the members of the Committee for Education and Cultural Action (CECA) of the International Council of Museums (ICOM). Director Emma Nardi Scientific Committee Emma Nardi, Università Roma Tre Josée Duhaime, Montreal Science Center Pino Monaco, Smithsonian Center for Education and Museum Studies Jenni Fuchs, National Museum of Scotland Marie-Clarté O’Neill, Institut national du patrimoine; Ecole du Louvre Daniel Castro Benitez, Casa Museo Quinta de Bolívar and Museo de la Independencia Stella Chryssoulaki, Hellenic Ministry of Culture and Tourism Umebe N. Onyejekwe, Museum Consultant - Nigeria Silvia Ciriello, Università Roma Tre Nicole Gesché-Koning, Académie royale des Beaux-Arts & Université Libre de Bruxelles Colette Dufresne-Tassé, Université de Montréal Sonia Guarita do Amaral, Independent Museum Educator - Brazil Arja van Veldhuizen, Landschap Erfgoed Utrecht Editing Cinzia Angelini _______________ Copyright © 2012 Edizioni Nuova Cultura - Roma ISBN: xx Cover: by the Author. Graphic composition: by the Author. All non-authorised reproduction or distribution, be it whole or in part, of this book or its content is strictly forbidden. Contents Emma Nardi, Introduction pag. 9 Marie-Clarté O’Neill - Colette Dufresne-Tassé, “Best practi- ce” or exemplary project. Education and cultural action programmes. Describe, analyse and evaluate a project » 25 School and family groups Mário Nuno do Bento Antas, Network of archaeology clubs in schools » 121 Paolo Campetella, Home, sweet home » 137 Francesco Cochetti, Growing with culture » 149 Marie-Pierre Delaporte Béra, Visiter le musée d’art et d’histoire du Judaïsme en famille » 163 Antje Kaysers, Hannelore Kunz-Ott, Schule@Museum » 173 Andréia Menezes De Bernardi, Programme Vamos ao Museu ? » 185 Special audiences Cinzia Angelini, Teresa Savoia, Opening museums to offenders » 199 Martina De Luca, The memory of beauty » 211 Viviane Panelli-Sarraf, Accessible Cultural Extension Program » 221 Marina Tsekou, National Museum of Contemporary Art (EMST) Without Borders » 233 7 Introduction Emma Nardi Le volume que j’ai l’honneur de présenter marque une étape importante dans la vie du CECA, parce qu’il représente la réponse à une exigence ex- primée directement par les membres : pouvoir réfléchir sur un thème es- sentiel pour des éducateurs muséaux, c’est-à-dire les caractéristiques qu’un programme doit avoir pour être effectivement considéré comme un pro- gramme de bonne qualité. C’est donc une démarche démocratique celle que le CECA a adopté, en se concentrant sur un projet qui a pour objet le thème des bonnes ou meilleures pratiques ou, si on utilise un terme an- glais, Best Practice. L’activité Best Practice a démarré lorsque deux membres du Bureau CECA Colette Dufresne-Tassé (membre coopté avec la responsabilité du développement de la recherche) et Marie-Clarté O’Neill (membre élu avec la responsabilité du coordonnement de la Région Européenne) ont écrit un premier document qui d’un coté analysait l’idée même de bonne pratique dans les contextes scientifiques et professionnels dans lesquels elle a été utilisée bien avant que dans le secteur de l’éducation, de l’autre proposait une grille des éléments principaux à prendre en considération pour réaliser un travail rigoureux. Ce premier document a été discuté en plusieurs réunions du bureau, Emma Nardi, Università Roma Tre, Dipartimento di Progettazione Educativa e Didattica, via Madonna dei Monti, 40 – 00184 Roma (Italy), [email protected]. 9 présenté publiquement en 2011 à Rieti lors de la rencontre des Correspon- dants Nationaux Européens, développé et amélioré à plusieurs reprises grâce au travail généreux des deux autrices, que je désire remercier ici en- core une fois. Malgré tout, nos deux collègues sont tellement rigoureuses, qu’elles soulignent comment la version que nous présentons dans ce vo- lume, dans les trois langues officielles de l’ICOM, doit encore être considé- rée comme un travail in fieri, que tous les membres CECA peuvent aider à préciser et approfondir. Les raisons qui ont poussé le Bureau du CECA à s’investir dans le pro- jet Best Practice sont multiples. En particulier on voulait : - créer un langage commun aux membres CECA, de façon à encourager l’échange d’expériences ; - lancer une vaste discussion sur le document à niveau international, afin de l’améliorer; - favoriser la comparaison entre les programmes réalisés dans des pays différents, de sorte que les membres CECA puissent trouver de nou- velles idées pour leur travail ; - discuter, pendant la conférence annuelle, des programmes conçus et ré- alisés en suivant le modèle commun proposé dans le document Best Practice; - diffuser les programmes présentés par les membres parmi la commu- nauté des musées à l’intérieur et à l’extérieur du CECA, pour qu’ils puissent devenir une source d’inspiration pour les autres. Pour atteindre ces objectifs en impliquant le plus possible les membres, le Bureau a décidé de créer un prix. Les membres ont été invités à présen- ter un projet Best Practice et un jury international a été nommé pour évaluer les 27 projets envoyés, sur la base de critères d’évaluation rigoureux. Le prix a été attribué aux cinq projets qui se sont classés les premiers. La distribution géographique des projets est aussi intéressante, puisque nous avons vu la participation de membres du CECA d’Europe, d’Amérique Latine, d’Amérique du Nord et d’Afrique. Seuls les membres asiatiques ont été absents et il faudra donc que, pour la prochaine édition du prix, on trouve des formes de communication plus efficaces pour cette Région. Les cinq premiers projets ont donc reçu le prix. Pourtant les projets de valeur étaient plus nombreux que cinq. Voici pourquoi le Bureau a décidé 10 de publier dans un volume les dix meilleurs projets, avec l’avantage d’élargir l’éventail des programmes sur lesquels tous les membres pourront discuter, voire s’inspirer. Même si les programmes présentés dans ce volume traitent des thèmes assez différents entre eux, il est possible de les grouper en deux catégories : les programmes qui concernent les groupes scolaires et les familles ; les programmes qui s’occupent de publics spéciaux. Voici un tableau qui ré- sume les caractéristiques générales des programmes publiés. Membre CECA Titre Pays Typologie de musée Groupes scolaires et familles Network of Archaeol- Mario Antas ogy Clubs in Portu- Portugal Archéologie guese schools Paolo Campetella Home, sweet home Italie Archéologie Francesco Cochetti Growing with culture Italie Archéologie Visiter le musée d’art Marie-Pierre et d’histoire du Ju- France Art et Histoire Delaporte Béra daïsme en famille Antje Kaisers, Han- Histoire et ethno- Schule@Museum Allemagne nelore Kunz-Ott graphie Andréia Menezes Vamos ao Museo ? Brésil Art De Bernardi Publics spéciaux Cinzia Angelini, Art et mythes Italie Art Teresa Savoia Martina De Luca The memory of beauty Italie Art contemporain Programa de Edu- Art, archéologie, Viviane Panelli-Sarraf Brésil cação Patrimonial sciences EMST Without Marina Tsekou Grèce Art contemporain Borders Le but du programme présenté par Mario Antas est celui d’établir une col- laboration étroite entre écoles et musées, pour faire connaître l’archéologie, 11 ses méthodes scientifiques, son patrimoine. La création de clubs archéolo- giques en ligne a permis de faire travailler entre eux de nombreux élèves d’écoles différentes. Le programme présenté par Paolo Campetella utilise une cabane du IX siècle avant Jésus-Christ, retrouvée dans le site archéologique de Fidene, pour faire établir aux élèves un pont entre le passé et le présent, en les fai- sant réfléchir sur le droit de tous les hommes à disposer d’une habitation aux temps des Romains comme à présent. Le programme Growing with culture, présenté par Francesco Cochetti, est un exemple typiquement italien : une coopérative sociale, qui travaille pour établir un pont entre les exigences des musées et celles des écoles, utilise des thèmes transversaux, revus tous les ans, en les déclinant par rapport aux caractéristiques du territoire et des différents groupes scolaires. Res- ponsables de musées, enseignants, élèves travaillent ainsi ensemble sur des programmes qui, en 2012, prenaient en considération le rapport entre art et nature et les possibilités communicatives du patrimoine archéologique. Marie-Pierre Delaporte Béra s’est occupée d’un programme qui s’adresse à la visite en famille du Musée d’Art et d’Histoire du Judaïsme de Paris. Avec l’aide d’une équipe universitaire, les responsables du Musée ont préparé un livret qui avait deux objectifs principaux : présenter les aspects essentiels des collections, permettre à tous les membres de la famille de participer à la visite de façon active. Le programme décrit par Antje Kaisers et Hannelore Kunz-Ott pré- sente une collaboration très importante entre écoles et musées histo- riques/ethnographiques qui s’est développée sur une durée de huit ans et qui a eu l’objectif principal de donner aux enseignants des outils qu’ils puissent utiliser au cours de leur travail quotidien. Andréia Menezes De Bernardi présente un projet qui a été lancé en 2006, avec le but d’ouvrir les musées brésiliens au plus grand nombre pos- sible d’écoles, démocratiser la visite muséale et la rendre utile du point de vue du profit scolaire. Les publics ciblés dans la deuxième catégorie de projets sont très hété- rogènes, puisqu’on va des prisonniers aux malades d’Alzheimer, des per- sonnes handicapées aux jeunes à risque. Le programme que Cinzia Angelini et Teresa Savoia ont soumis à l’attention du jury se base sur un cycle de leçons sur l’art baroque italien à 12 adresser à un groupe de 20 prisonniers qui ont librement adhéré à l’initiative. Parler des chefs d’œuvre de Bernini, conservés dans la Galleria Borghese de Rome, permettra de développer un discours non seulement sur l’art, mais aussi sur les mythes et leur rapport avec l’imaginaire collectif occidental.
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