Museum Education by George E. Hein

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There are many aspects that struck me..  I couldn’t but think of our own experiences in different museums over the years and how this chapter touched so many educational aspects so feel i have to  compare where we were to where we are going with museum education.
Throughout history, we can see that until the first period descripted by Wittlin, those that had the opportunity to collect artefact and also those who had time and money to do the ‘Grand Tour’ of Europe had collections of objects in their house or palaces to impress others and in a way educate, but this was only for the elite!  (also known as Cabinets of Curiosities)
Over the years museums have changed a lot and Malta is no exception. Malta’s first ‘museum’ concept was done by Gian Francesco Abela also known as the father of Maltese History in the 17th century and most of the artefacts in the converted house on Koradino Hill are now in the National Museum of Archaeology which opened to the public in 1958, more than 300 years later!
We can still see how the second period of museums would have looked like in Malta in the Victorian section of the ‘Ghar Dalam’ Museum. We have to also keep in mind that at the time most local people would have never left the island and I feel that by exhibition the bones and the sample carcass, was a great idea for the ‘Sunday Visitors’ as described by Gilman in the extract as they could see and imagined what an elephants or a deer looked like. We have to keep in mind that in this time and also in what I would call the third phase of after the war, people did not have access to the internet, books in the same way we do and knowledge of the world as we know it today, so museums had to be the link to educate people. I fully agree with Gilman to have insisted on having more staff to explain to the generic public rather than guard. This showed great social responsibility as well as education concern already in 1924. I feel that we have done the same in a way, when we introduced the ‘Museum Passport’ as in this way, children and parents have the opportunity to visit museums as now there is no excuse of entrance fees etc. I feel that what we need to work on in Malta is the Docent or the guides inside the museums to further educate the next generations in an engaging way. Having static placards is no fun and not educational to most.
The learning and education in a museum setting is like looking at a different text book and it is a discipline in its own right. Nowadays, we have specialised people to do this and I feel that there are core aspects to learn.
I feel that there are different aspects of education in a museum and most are linked to the emotional aspect that provides the best learning and educational aspects irrespective If it is an informal or formal with a museum or heritage setting .
I feel we need to ask questions directly related to the learning experiences – the British Museum in 2021 have done something different and very interesting. Besides the normal labelling/placards next to the artifacts they have put in a bright colour placard with specific questions for further learning experiences. This was made clear at the beginning of the exhibition and some questions where very direct and they made people think not only about the history but also current situation.


I feel that we always need the museums to be challenging to educate. I think introducing the lessor know and overlooked aspects of the museum or the history of the site is extremely rewording.
An example of this is to introduce lessor know characters to the public, like for example the prison guard at Fort St. Angelo or the kitchen helper at Inquisitors Palace. For example, at the Gainsborough Hall in Lincolnshire, they have docents and volunteers who are dressed up in period customs in the most important rooms. They tell the story which educates everyone in a different way and it is understood by all as you do not have to read anything but just listen. This was appealing as the person was dress in actual period clothing and the children and adults could ask questions directly to her and she would answer as if she was the helper of the house. There was great story telling of how she used to stitch cloths and cook, how much work it was and the fun parts too of the big banquets in the castle. At the end it was extremely engaging and the personal experience made this visit an extremely educational one. Similar scenario is seen at Stonehenge where a replica of a village has been done and visitors can try to light a fire, see how water was brought to the huts etc.. We can say that Tilden’s principal "The chief aim of Interpretation is not instruction, but provocation." Was complete executed in these examples as it encourage engagement, reflection and discussion.

Museums nowadays are more inclusive and this is a great way to encourage participation which leads to informal and formal education. Connecting education to life experiences is a very important aspect of education and we should not divorce from it as stated in this chapter.

But above all, the best learning experience are done through entertainment and experiences which I feel nowadays is being included in many more museums. In Lincoln Castle, when we visited, there was the Lego experience. This was basically giving the chance to visitors to see the artefacts in a Lego form as well as the real once, thus giving us the opportunity to touch and make them ourselves.
The experience was amazing and these are the foundations for having a learning experience. Storytelling and playful engagement are the key for younger and older visitors.
In Malta, Heritage Malta has introduced the first immersive visitors experience in ‘Muza’ which is great step forward. This kind of immersion has been available abroad for the last decade so it is amazing to see this here as it is what the younger generation are after not just looking at artefact. With all the technology around them, their brains defiantly work faster with modern way of interpretation and learning styles. In 1998, Heins mentions this and now it is an everyday reality. I remember being at the Smithsonian in the USA where the kids could spend a day in the museum and so did us adults without getting board. This is what we need so that museums became more of an educational platform on different levels. This is our social responsibility to the our generation and future one.

The redefinition of education as “meaningful experience” rather than “defined content outcome is so appropriate especially in this day and age. I feel we are on the right direction however much more is needed and much more human investment is required to have the right people to create interesting, fun, engaging, aesthetically pleasing programmes in museums and heritage sites.

The role of a museum has changed dramatically over time. However, one of the fundamental objectives of the museum is to educate. The museum can offer the opportunity for this as it has the ability and the capability to convey cultural education effectively as it houses the tools and materials for education in its collections. In today’s society, many museums have developed educational methods of exposing children and the public to their history in a helpful and meaningful manner. They can assist our future generations to encourage learning of history and culture whilst taking pride in the achievements of their descendants. Museums in fact can be described as Educational Institutions and as interpreters in their capacity.
The 3 aspects that struck me in Geroge Hien's Chapter 20 Museum Education are:
1. The changing role of museums concerning education (discussed below)
2. Educational theory as clearly defined by Hein including the diagram
3. The museums as an opportunity for social change and social responsibility

The changing role of museums concerning education

Museums have a very long history ranging from what may be an ingrained desire of humanity to collect to that of interpretation and education. In fact, by the 17th century, the word ‘museum’ was being used in Europe to describe collections of curiosities. Museums as we now know them today belong to a very particular historical era. Public museums have changed private treasures and made them available to a mass audience transferring the treasures and leisure practices of the wealthy to the middle classes and eventually the working class too. (Henning, 2006)

George Hein describes how the collection of objects found in museums are not necessarily the primary source of education but should form part of a larger educational project which as described by Wittlin (1949) “an expression… which generated enthusiasm for equality of opportunity in learning” and as further defined by the International Council of Museums (ICOM).

Museums, like everything else, evolve with time. New ideas about culture and society are a challenge to museums as they are enticed not only to rethink their purpose but also their performance and their pedagogies. They need to keep in mind their audience while building a relationship with them. They have to go beyond the conservation and static display of objects and turn into an active learning platform coupled up with an interactive and hands-on experience. As museums have restructured themselves so did their educational purpose.

One of the fundamental objectives of the museum is to educate. The museum can offer the opportunity for education while offering the ability and the capability to convey cultural education effectively. The museum houses the tools and materials for education in its collections. In today’s society, many museums have developed educational methods of exposing children and the public to their history in a helpful and meaningful manner. They can assist our future generations to encourage learning of history and culture whilst taking pride in the achievements of their descendants.

In museums, a child does not learn alone but museums can provide an opportunity for social interaction from which the child can learn a lot. Museums offer the right atmosphere where people feel comfortable to explore and learn, as the visitor can benefit from his or her own personalized space within an institutional environment. The variety of exhibits and spaces create the perfect atmosphere for visitors including children who can discover things on their own. Teachers also can therefore use museums for a different learning experience outside of the classroom and a unique sense of enjoyment and consequently a memorable one for all children, including children with lower abilities. Therefore, enjoyment, inspiration and creativity are really important in the learning process and when is enjoyable, it is easier, and results are long-lasting.

George E. Hein chapter is a real eye-opener about the role of museums, and the changes that occurred during the years for the museums to ultimately fulfil their roles, that is to educate, but not just that – they have also a social responsibility amongst other things.

Personally, what struck me most from this chapter are:
1. the way in which Hein illustrated the changes in the role of museums over time
2. how the educational experience through museums evolved through various theories
3. the way museum visitors can learn through their experience

The way a museum can apply the constructivist theory is very engaging, as “it matches the informal, voluntary nature of most learning associated with museums”. This informal education aspect of museums has been discussed in class, and I believe should form the basis of every museum experience.

The educational aspect of the museum remains a fundamental objective, but Hein goes further, and puts forward the issue of distinguishing between “learning” and “educate”, which I think is very important. As Ansbacher explained, learning is too restrictive a term for describing museum experience, but the experience should include enjoyment, satisfaction, and other outcomes – “meaningful experience” rather than “defined content outcome”.

Through the constructivist theory or concept, this meaningful experience can only be achieved by the visitor through the combination of the museum objects themselves and the way they are presented, together with the personal experiences of the visitor, his/her cultural background, and other personal reasons.

Indeed this lack of connection between the objects on display and the personal experience of the visitor is often found in a number of museums, were visitors are left to look at artefacts and their explanation on display boards, without the museum ever attempting either to reach for the visitor’s personal experience or give the visitor any opportunity to express one’s opinion or ideas.

From my personal experience in visiting museums, very often I find myself looking at artefacts just for what they are – a sword, a gothic painting with a Madonna and child, a clay jug, etc. In such cases, there is no attempt whatsoever by museums to go beyond the explanation, and in the end, I would leave the museum neither any wiser nor in anyway entertained with my experience, which is soon forgotten, with only photographs to serve as a reminder.

On the contrary, I very much remember the learning experience we had when visiting the Deutsches Museum in Munich (a visit that happened completely unplanned to make up for a very wet, cold and rainy day in October), even though this happened more than ten years ago. The museum not just presented the objects to the visitor, but allowed the visitor to get one’s hands dirty and try out most of the artefacts. We were given a first-hand experience in understanding such concepts as aircraft lift, thrust and drag, how water was transported via Archimedes screw, and the effects on the wind on chain bridges, amongst a lot of other things.

Today this kindly of learning experience is being much more sought after by visitors, and in these last few years museums have done a lot to change the way they present themselves. If museums want to retain their relevance in society, the focus has to change on the visitors’ experience.

This chapter was very informative however there were a lot of different views to sieve through. It was hard to find only 3 aspects that struck me however I decided to chose the following:

1. The explanation of how museums evolved over time
2. The different academics defined education
3. The increased awareness that has arisen in the 21st century of the role of museums in society

The way the educational role in museums changed is explained well by Hein in this chapter. When educating in a museum, the museum must look at a broad approach and not focus only on educating children or the younger generation. Education is a life long experience and this possibility should be offered to everyone. How can education be implemented? And how can we make it accessible to everyone? Anyone who works in this sector should be looking at this aspect and as heritage interpreters we should delve deep into this topic. Education can not happen without interpretation. Tilden in his work mentions that a museum environment should be engaging, it can not be sterile. In the past museum educators, docents, guides etc played a huge role and I still believe that their role can never be replaced by technology, however in places where man power is limited we must also be creative and make use of digital media to make the visit one to remember.

As an example we can take an art museum - one can visit a museum of this kind and look at a painting also appreciate its beauty however it is more fulfilling if the visitor is given an explanation which could explain when the work was done and the historical events that were happening at that time, the influence this had on the style of the artist and also give information about the artist. The visitor then can feel more involved and will also become more curious. This will also help him remember that visit & how fulfilling it was which will in turn encourage him to return. Education about pieces in museum should also take place out of the museum building so a wider spectrum of people can be reached.