About Museums Culture And Justice To Explore In Your Classroom

Museums are public resources that can offer rich extensions to classroom educational experiences from tours through botanical gardens to searching for family records in the archives of a local historical society. With clarity and a touch of humor, Quinn presents ideas and examples of ways that teachers can use museums to support student exploration while also teaching for social justice. Topics include disability and welcoming all bodies, celebrating queer people’s lives and histories, settler colonialism and decolonization, fair workplaces, Indigenous knowledge, and much more. This practical resource invites classroom teachers to rethink how and why they are bringing students to museums and suggests projects for creating rich museum-based learning opportunities across an array of subject areas. Book Features: Links museums, classroom teaching, and social movements for justice.Focuses on the cultural contributions of people of color, women, and other marginalized groups.Organized around probing questions connecting history and contemporary events, museum formats and content, and activities. Includes pull-out themes and resources for further reading. “It is with this brilliant new book by Therese Quinn that I have gained an entirely different framework for seeing and experiencing and valuing museums, particularly as vital resources for social-justice movement building.” —From the Foreword by Kevin Kumashiro, consultant and author of Bad Teacher! How Blaming Teachers Distorts the Bigger Picture

As art museum educators become more involved in curatorial decisions and creating opportunities for community voices to be represented in the galleries of the museum, museum education is shifting from responding to works of art to developing authentic opportunities for engagement with their communities. Current research focuses on museum education experiences and the wide-reaching benefits of including these experiences into art education courses. As more universities add art museum education to their curricula, there is a need for a text to support the topic and offer examples of real-world museum education experiences. Engaging Communities Through Civic Engagement in Art Museum Education deepens knowledge on museum and art education and civic engagement and bridges the gap from theory to practice. The chapters focus on various sectors of this research, including diversity and inclusion in museum experiences, engaging communities through new techniques, and museum and university partnerships. As such, it includes coverage on timely topics that include programs and audience engagement with the LGBTQ+, refugee, disability, and senior communities; socially responsive museum pedagogy; and the use of student workers. This book is ideal for museum educators, museum directors, curators, professionals, practitioners, researchers, academicians, and students who are interested in updated knowledge and research in art education, curriculum development, and civic engagement.

This practical, hands-on guide offers support for your first years in the classroom by offering strategies to overcome ten common challenges found in rural, suburban, and urban school classrooms. The tips are shared by National Board-Certified Teachers, National Teachers of the Year, and other experienced educators. The New Teacher’s Guide to Overcoming Common Challenges provides: 100+ downloadable and customizable resources for new teachers to modify and use in PK-12th grade classrooms. Web access to an online new teacher social media community including New Teacher Talk podcasts (available on iTunes, Spotify and PodBean [https://newteachersguide.podbean.com/]), Twitter Chats (@NewTeacherTalk1), Instagram (@newteachertalk), blogs, and accompanying webpage: newteachersguide.org. Timely advice that addresses the shift to remote and hybrid learning brought about by the world pandemic. This book is used by PK-12 school districts who offer new teacher induction programming, traditional and alternative teacher preparation programs, high school teacher cadet programs, and individual teachers for personal professional learning. Don’t face the challenges alone—learn from those who have been there!

What does it mean to teach for social justice? Drawing on his own classroom experiences, leading author and educator Kevin K. Kumashiro examines various aspects of anti-oppressive teaching and learning and their implications for six different subject areas and various grade levels. Celebrating 20 years as a go-to resource for K-12 teachers and teacher educators, this 4th edition of the bestselling Against Common Sense: Teaching and Learning Toward Social Justice features: • An expanded introduction that examines teaching in today’s context of censorship and attacks on diversity, democracy, and teaching truth; • New sections on teacher preparation, social studies, reading and writing, and the arts; • Updated lists of resources in every chapter; • Graphics, teacher responses, and discussion questions to enhance comprehension and help translate theory into practice across the disciplines. Compelling and accessible, the 4th edition of Against Common Sense continues to offer readers the tools they need to begin teaching against their commonsensical assumptions and toward democracy and justice.

A leading activist museum director explains why museums are at the center of a political storm In an age of protest, cultural institutions have come under fire. Protestors have mobilized against sources of museum funding, as happened at the Metropolitan Museum, and against board appointments, forcing tear gas manufacturer Warren Kanders to resign at the Whitney. That is to say nothing of demonstrations against exhibitions and artworks. Protests have roiled institutions across the world, from the Abu Dhabi Guggenheim to the Akron Art Museum. A popular expectation has grown that galleries and museums should work for social change. As Director of the Queens Museum, Laura Raicovich helped turn that New York muni- cipal institution into a public commons for art and activism, organizing high-powered exhibitions that doubled as political protests. Then in January 2018, she resigned, after a dispute with the Queens Museum board and city officials. This public controversy followed the museum’s responses to Donald Trump’s election, including her objections to the Israeli government using the museum for an event featuring Vice President Mike Pence. In this lucid and accessible book, Raicovich examines some of the key museum flashpoints and provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding conservative, capitalist values. And she suggests ways museums can be reinvented to serve better, public ends.

At the beginning of the 21st century museums are challenged on a number of fronts. The prioritisation of learning in museums in the context of demands for social justice and cultural democracy combined with cultural policy based on economic rationalism forces museums to review their educational purposes, redesign their pedagogies and account for their performance. The need to theorise learning and culture for a cultural theory of learning is very pressing. If culture acts as a process of signification, a means of producing meaning that shapes worldviews, learning in museums and other cultural organisations is potentially dynamic and profound, producing self-identities. How is this complexity to be ‘measured’? What can this ‘measurement’ reveal about the character of museum-based learning? The calibration of culture is an international phenomenon, and the measurement of the outcomes and impact of learning in museums in England has provided a detailed case study. Three national evaluation studies were carried out between 2003 and 2006 based on the conceptual framework of Generic Learning Outcomes. Using this revealing data Museums and Education reveals the power of museum pedagogy and as it does, questions are raised about traditional museum culture and the potential and challenge for museum futures is suggested.

Theorizing Equity in the Museum integrates the perspectives of learning researchers and museum practitioners to shed light on the deep-seated structures that must be accounted for if the field is to move past aspirations and rhetoric and towards more inclusive practices. Written during a time when museums around the world were being forced to reckon with their institutional practices of exclusion; their histories of colonization, both cultural and intellectual; and, for many, their tenuous business models, the chapters leverage a range of theoretical perspectives to explore lived experiences of working in the museum towards changing the museum. Theories of spatial justice, critical pedagogy, culturally relevant pedagogy, critical race theory, and others are used to consider how the museum’s dominant cultural structures and norms collide with museum professionals’ aspirations for inclusive practices. The chapters present a mix of empirical research and reflections, which collectively operate to theorize the museum as a potential force for enriching, empowering, and transforming an inclusive public’s relationship with some of our most powerful ideas and aspirations. But first they must change, from the inside out. Grounded in practice and practical problems, Theorizing Equity in the Museum demonstrates how theory can be used as a practical tool for change. As a result the book will be of interest to academics and students engaged in the study of museums, education, learning and culture, as well as to museum practitioners with an interest in equity and inclusion.

Challenging History in the Museum explores work with difficult, contested and sensitive heritages in a range of museum contexts. It is based on the Challenging History project, which brings together a wide range of heritage professionals, practitioners and academics to explore heritage and museum learning programmes in relation to difficult and controversial subjects. The book is divided into four sections. Part I, ‘The Emotional Museum’ examines the balance between empathic and emotional engagement and an objective, rational understanding of ‘history’. Part II, ‘Challenging Collaborations’ explores the opportunities and pitfalls associated with collective, inclusive representations of our heritage. Part III, ‘Ethics, Ownership, Identity’ questions who is best-qualified to identify, represent and ‘own’ these histories. It challenges the concept of ownership and personal identification as a prerequisite to understanding, and investigates the ideas and controversies surrounding this premise. Part IV, ‘Teaching Challenging History’ helps us to explore the ethics and complexities of how challenging histories are taught. The book draws on work countries around the world including Brazil, Cambodia, Canada, England, Germany, Japan, Northern Ireland, Norway, Scotland, South Africa, Spain and USA and crosses a number of disciplines: Museum and Heritage Studies, Cultural Policy Studies, Performance Studies, Media Studies and Critical Theory Studies. It will also be of interest to scholars of Cultural History and Art History.