Teaching school children is one of the prime reasons why we have archaeological open-air museums. Many education centres only serve school groups, and are not even open to day visitors. Examples can be found in Denmark, the Netherlands, Italy and Spain. At these centres and open-air museums, a kind of informal learning makes children learn much more than just book-knowledge. They learn that situations can be approached in different ways and there are different ‘correct’ solutions. Informal learning is a welcome addition to school life and reaches more than just the mainstream of each class.
Teaching Children
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Experimental Archaeology and Tacit Learning: Textiles in the Classroom
Warrior Training in Sagnlandet Lejre – An Exercise in Community, Camaraderie and Cooperation
Art in the Serra: Project of Heritage Experiences in the Territory of the Serra Da Capivara National Park (BR)
Taking Archaeological Concepts outside the Social Science Class in Indian Schools
Beyond School - Workshops in Experimental Archaeology at the Museum (Romania)
Vacation in the Past - Effective Heritage Interpretation through Education
***Heritage sites are breathing memories from the past; however, visitors can hardly imagine or experience the ancient life on the spot. In fact, these visits are supposed to conjure up journeys back into the past and park managers should facilitate such experiences by the most effective means possible in order to help tourists gain...
The Omnis Barbaria Experimental Archaeology Camp for Children – First Edition
Discussion: Working with Knives in Archaeological Open-Air Museums
Playing with the Past? Or Saving Our Future?
Summer Camp for Experimental Archaeology in the Eindhoven Museum (NL)
Museum Theatre in Greece: Perspectives in Site Interpretation
Introduction
Museum theatre as an umbrella-term is used to describe a variety of performative events aimed to interpret fragments of cultural heritage. In the framework of one of the main challenges contemporary museums face, that of having a social impact while dealing with heritage, whom values and narratives can always be “contested and disputed” (Smith 2011, 70), museum theatre has proved that not only can it enforce a constructivist approach in a museum environment but it can also generate debate and promote critical thinking on controversial issues (Farthing 2010).
“You could See it [the Past] in your Mind”: What Impact might Living History Performance Have on the Historical Consciousness of Young People?
Combining theoretical perspectives with two case studies carried out in 2008 with British students aged from 10-17 years old, this paper will explore how living history might contribute to the development of young people’s historical consciousness and help them to cope with the social and cultural differences which confront them when learning about the past. In particular, it will focus on the effectiveness of first- and third-person interpretation.