Page 51 - Studia Universitatis Hereditati, vol 6(2) (2018)
P. 51
ia universitatis mation, and the impulses for an active fix- to a certain extent, as well the choice of content
ar e wor ksheets death? wor ds in museum education 51 ation of new knowledge. and focus of the worksheet by the arrangement
and way of installing the exhibition.
Worksheets step by step
It is not easy to create worksheets which are Questions to contemplate
functional, which help the visitors to compre- In which space the temporary/permanent exhi-
hend the exhibition topic and remember the bition is situated? How is the temporary/perma-
most important information, which draw atten- nent exhibition arranged in this space? How is
tion to objects and at the same time entertain the temporary/permanent exhibition installed?
the visitors. Their concrete and functional form Which limitations or advantages for work-
always depends on the institution for which they ing with the worksheet result from this instal-
are designed, on the temporary or permanent lation? Are there too many or rather fewer ex-
exhibition for which they are intended, on the hibits? Where are the most important exhibits?
purpose which they serve, and on the preferenc- How does the ideal tour path look? Where are
es and experiences of individual museum peda- possible collision points for working with a
gogues. The elaboration of worksheets can thus group or with a large number of visitors (e.g. nar-
only hardly be summarised in a simple general row or small spaces, poorly organised space, lit-
instruction, but we can generate some basic rules tle space between showcases, etc.)? How to make
of creation of these materials. Respecting them the work here “exhibit-safe”? Where could the
will help to create worksheets which will meet working with a worksheet be risky, e.g. if the vis-
the goals set out. itors will want to rest or lay the worksheet some-
where? Where, on the other hand, are the con-
Evaluate a temporary or permanent ditions suitable for working with a worksheet
exhibition with regard to content and – where the visitors can sit down, lay the sheet
presentation. on a table, rest it on and fill it in comfortably?
The first step should always be a detailed eval-
uation of a temporary or permanent exhibition Working with worksheets is also influenced
with regard to content and presentation. Think by light conditions in a temporary or permanent
about the topic of the temporary or permanent ex- exhibition. There is not always enough light for
hibition, about possibilities of developing this reading the information and writing it down, e.g.
topic, about the most important exhibits, about some installations are only illuminated by mini-
possible points of view which are interesting or mal light for the purpose of protection of exhibits
significant to visitors. or a dramatic accentuation of the topic or target
of the exhibition; in some exhibitions the work
Questions to contemplate with selected exhibits might be complicated by
What is the temporary/permanent exhibition reflections from glass of the showcases, etc.
about? What is the basic information on the top-
ic? What is most important in the temporary/ Questions to contemplate
permanent exhibition? What is most attrac- How are the light conditions in a temporary or
tive? How does the exhibition present the topic? permanent exhibition? How the light chang-
Which “story” it tells? es depending on going through the exhibition?
How are the light conditions in places of pre-
Also pay attention to space, in which the sumed working with a worksheet? Are the ex-
temporary or permanent exhibition is installed. hibits well visible (i.e. is it possible to study de-
The space influences both the choice of appro- tails, are the visitors perhaps not hindered by, for
priate way of working with the worksheet and, example, reflections on glass, shadow of some
other exhibit, etc.)?
ar e wor ksheets death? wor ds in museum education 51 ation of new knowledge. and focus of the worksheet by the arrangement
and way of installing the exhibition.
Worksheets step by step
It is not easy to create worksheets which are Questions to contemplate
functional, which help the visitors to compre- In which space the temporary/permanent exhi-
hend the exhibition topic and remember the bition is situated? How is the temporary/perma-
most important information, which draw atten- nent exhibition arranged in this space? How is
tion to objects and at the same time entertain the temporary/permanent exhibition installed?
the visitors. Their concrete and functional form Which limitations or advantages for work-
always depends on the institution for which they ing with the worksheet result from this instal-
are designed, on the temporary or permanent lation? Are there too many or rather fewer ex-
exhibition for which they are intended, on the hibits? Where are the most important exhibits?
purpose which they serve, and on the preferenc- How does the ideal tour path look? Where are
es and experiences of individual museum peda- possible collision points for working with a
gogues. The elaboration of worksheets can thus group or with a large number of visitors (e.g. nar-
only hardly be summarised in a simple general row or small spaces, poorly organised space, lit-
instruction, but we can generate some basic rules tle space between showcases, etc.)? How to make
of creation of these materials. Respecting them the work here “exhibit-safe”? Where could the
will help to create worksheets which will meet working with a worksheet be risky, e.g. if the vis-
the goals set out. itors will want to rest or lay the worksheet some-
where? Where, on the other hand, are the con-
Evaluate a temporary or permanent ditions suitable for working with a worksheet
exhibition with regard to content and – where the visitors can sit down, lay the sheet
presentation. on a table, rest it on and fill it in comfortably?
The first step should always be a detailed eval-
uation of a temporary or permanent exhibition Working with worksheets is also influenced
with regard to content and presentation. Think by light conditions in a temporary or permanent
about the topic of the temporary or permanent ex- exhibition. There is not always enough light for
hibition, about possibilities of developing this reading the information and writing it down, e.g.
topic, about the most important exhibits, about some installations are only illuminated by mini-
possible points of view which are interesting or mal light for the purpose of protection of exhibits
significant to visitors. or a dramatic accentuation of the topic or target
of the exhibition; in some exhibitions the work
Questions to contemplate with selected exhibits might be complicated by
What is the temporary/permanent exhibition reflections from glass of the showcases, etc.
about? What is the basic information on the top-
ic? What is most important in the temporary/ Questions to contemplate
permanent exhibition? What is most attrac- How are the light conditions in a temporary or
tive? How does the exhibition present the topic? permanent exhibition? How the light chang-
Which “story” it tells? es depending on going through the exhibition?
How are the light conditions in places of pre-
Also pay attention to space, in which the sumed working with a worksheet? Are the ex-
temporary or permanent exhibition is installed. hibits well visible (i.e. is it possible to study de-
The space influences both the choice of appro- tails, are the visitors perhaps not hindered by, for
priate way of working with the worksheet and, example, reflections on glass, shadow of some
other exhibit, etc.)?
