MW2010, K. Charitonos, Promoting Positive Attitudes in Children Towards Museums and Art: A Case Study of the Use of Tate Kids in Primary Arts Education

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museums and the web

A presentation from Museums and the Web 2010. One of the challenges for museums in the Web era is to complement, enhance and extend on-site learning with on-line learning. Web statistics often indicate a high number of users of schools resources in museums’ Web sites; however, these numbers do not reveal how the resources are being used in the classroom. This paper seeks to gain a better understanding on how to support use of museums’ Web sites for learning in primary art education. It attributes specific importance to the role that museum Web sites can have in promoting positive attitudes in children towards museums and art and in particular it aims to address to what extent the use of museums’ Web resources can enhance learning and engage young people with museums. ‘Tate Kids’ (http://tate.kids.org.uk) was selected as a case study and its Online Collection was explored by two Year 5 classes in a primary school located in greater London. Evidence from the case study suggests that the use of an art museum Web site was beneficial for learning in art and influenced positively children’s attitudes towards art and museums. It is argued that positive attitudes towards art and museums, as well as ‘interpretive skills,’ are critical for children in experiencing meaningful art museum on-line visits and in getting engaged with the museum. Session: Actionable Research [research] see: http://www.archimuse.com/mw2010/abstracts/prg_335002214.html

Museums and the Web 2010 The role of art museum websites in primary art education: a case study of the ‘Tate Kids’ Koula Charitonos [email_address]

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Assumption ,[object Object],[object Object],[object Object],[object Object]

[object Object],‘ Inspiring Learning for All’ Framework

Case study: ‘Tate Kids’ ‘My Gallery’ http:// kids.tate.org.uk /

Sessions Face to face interviews (participants and teachers) Post-test Questionnaire ,[object Object],[object Object],[object Object],[object Object],[object Object],Pre-test Questionnaire 4 th 3 rd 2 nd 1 st

Children’s Interpretive Strategies ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

a. ‘Ophelia’

Aris’ first attempt to interpret ‘Ophelia’ “ I thought of nothing, my mind was blank” a. ‘Ophelia’

Aris’ second attempt to interpret ‘Ophelia’ “ It’s a woman dead in the river and flowers are falling from the trees above onto her will (while) she is floating down the river colours: green, white, pink and black a. ‘Ophelia’ (continued)

a. ‘Ophelia’ (continued) ,[object Object],[object Object],Process of art making ,[object Object],[object Object],‘ Social Techniques’ ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Post-intervention activity with ‘Ophelia’ Pre-intervention activity with ‘Ophelia’

[object Object],[object Object],[object Object],[object Object],[object Object],b. Tate Kids

b. Tate Kids (continued)

c. ‘Artcasts’ ,[object Object],[object Object],[object Object],[object Object],[object Object],“ […] I think it is a really funny picture and I enjoy looking at it. It makes me feel this way because it has Mickey-mouse in it. It reminds me of a mouse jumping out of a box […] I think the artist was inspired by a TV series. He might had children who were watching this programme.

[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],c. ‘Artcasts’ (continued)

[object Object],Example 1

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Example 2 “ The meeting or have a nice day Mr Hockney” (Peter Blake )

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Findings ,[object Object],[object Object]

[object Object],[object Object],Conclusions

Thank you! ,[object Object],[object Object]

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If the future is mobile, how is the museum community experiencing that future, what are their ambitions within it, and in which areas is further knowledge share required? It was specifically to gain an insight into questions such as these that the 2010 International Museums and Mobile survey was developed. This paper will present and analyse the responses of the 600+ museum professionals that participated in this research. The 2010 International Museums and Mobile Survey reached out to museum professionals internationally to share their perspectives and understanding of mobile interpretation at their institutions. Dividing respondents into four categories – those from institutions that already used mobile interpretation, those from institutions that were planning to use mobile interpretation tools, those from institutions that had no plans to use mobile interpretation tools, and those from vendors working in this field – the survey sought to gain an insight into the everyday realities of developing, delivering and sustaining mobile interpretation provisions in an institution. The survey questions related to the objectives of, and target audience for, an institution’s mobile interpretation experience; the challenges faced by institutions in planning and operating a mobile interpretation experience; and what strategies were used to measure the success of these experiences. Other questions probed the aspects of mobile interpretation in which individuals felt there were insufficient knowledge share, and also about what excited them most in this field. Over 600 museum professionals responded to the survey, sharing their views on the above questions. Responses were received from individuals working in institutions with a wide variety of backgrounds and profiles: institutions in over twenty countries are represented in the results; two thirds of all responses were from institutions that did not use mobile interpretation tools, and of which half were planning to in the twelve months, and half had no such plans. Whilst a quarter of responses came from within institutions that boast an annual attendance upwards of 250,000 visitors, more than half had annual attendance of under 50,000 visitors (and less than 1 staff member working in digital media). Drawing on this data source, this Paper will draw out the key trends that arise, and forward analysis on their context and implications for the community. It will explore opinions on issues ranging from whether mobile interpretation should be available at an additional cost to visitors, to how to define the target audience for a mobile interpretation tool (i.e. is it just “those that like audio guides”?). And from whether in five years time museums will still be required to provide a hardware platform to visitors for the mobile experience, to the obstacles those entering the field are facing today. Through this analysis, this paper aims to provide guidance to those museums entering this field for the first time, create awareness of those areas where further knowledge share is required (and hopefully identify those institutions best placed to provide such knowledge), and ultimately provide a valuable tool on which to further inform debates in this field. A presentation from Museums and the Web 2011 (MW2011).

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1. Museums and the Web 2010 The role of art museum websites in primary art education: a case study of the ‘Tate Kids’ Koula Charitonos [email_address]

2.

3.

4.

5. Case study: ‘Tate Kids’ ‘My Gallery’ http:// kids.tate.org.uk /

6.

7.

8. a. ‘Ophelia’

9. Aris’ first attempt to interpret ‘Ophelia’ “ I thought of nothing, my mind was blank” a. ‘Ophelia’

10. Aris’ second attempt to interpret ‘Ophelia’ “ It’s a woman dead in the river and flowers are falling from the trees above onto her will (while) she is floating down the river colours: green, white, pink and black a. ‘Ophelia’ (continued)

11.

12.

13. b. Tate Kids (continued)

14.

15.

16.

17.

18. Example 2 “ The meeting or have a nice day Mr Hockney” (Peter Blake )

19.

20.

21.

22.