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Grácio, Rita. "Museums working with older people in times of pandemic." Working with Older People 24, no. 4 (November 18, 2020): 313–19. http://dx.doi.org/10.1108/wwop-08-2020-0040.
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Purpose The purpose of this paper is to highlight some of the work with/for/about older people being undertaken by museums during the coronavirus disease (COVID-19) pandemic, thinking of museums as caregivers. Design/methodology/approach This paper reviews the responses from museums which work with older adults, in times of pandemic. It reviews how museums have addressed older people during the COVID-19 outbreak in the UK and Portugal. Two Portuguese maritime museums which have older adults as strategic audiences are selected and their Facebook webpage during the lockdown is analyzed. Findings Museums were committed to delivering online the work they have been doing offline, not without limitations. The digital turn in times of pandemic draw attention to inequalities regarding visitors who has access and literacy to engage with the digital museum as well as museums themselves. Unlike in the UK, in the two maritime museums, there were no specific programmes targeting older people – except for COVID-19 messages. However, older adults are presented online as active and as experts on maritime issues, representing empowering versions of ageing, either online or offline. Originality/value This paper reviewed and illustrated with empirical examples from the UK and Portugal how museums are addressing older adults during the COVID-19 pandemic, contributing to the wider debate on the role of arts, culture and cultural heritage for the well-being of older adults.
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Bonner, Teresa. "NETWORKING MUSEUMS, OLDER PEOPLE, AND COMMUNITIES: UNCOVERING AND SUSTAINING STRENGTHS IN AGING." Innovation in Aging 3, Supplement_1 (November 2019): S362. http://dx.doi.org/10.1093/geroni/igz038.1322.
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Abstract Museums, like other cultural institutions, are beginning to embrace a new role: facilitating creativity of older adults through education programs. A cohort of 20 American museums from Alaska to Puerto Rico are embarking on an ambitious two-year program, funded by Aroha Philanthropies, to develop successful creative aging programs in their communities. The cohort includes art museums, history centers, botanical gardens and a science museum. The group has received extensive training and technical assistance to build their capacity and awareness of needs and desires of older adults. The American Alliance of Museums (AAM), a partner in this initiative, is leading a deep dive into the potential of museums to enable older adults to learn, make and share the arts. With Aroha’s support, AAM has created a two-year position, the Aroha Senior Fellowship in Museums and Creative Aging to lead an exploration of how museums can deepen their engagement with creative aging.
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O'Neill, Desmond. "MUSEUMS AND AGING: VISTAS, SYNERGIES, AND OPPORTUNITIES." Innovation in Aging 3, Supplement_1 (November 2019): S362. http://dx.doi.org/10.1093/geroni/igz038.1319.
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Abstract Against a background of an overall decrease in attendance at museums, older Americans represent a contrast with a marked increase in attendance of those aged over 75. Drawing on theorists of museums and the narratives on ageing in the literature of museums, this introductory presentation gives an overview of the socio-political context of museums, the activities and roles of older people as currently presented through networks such as the Network of European Museums Organizations, and propose a fresh vision of the networks and synergies between older people, museums and gerontology.
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O'Neill, Desmond, Robert Roush, and Robert Roush. "PRESIDENTIAL SYMPOSIUM: MUSEUMS AND AGING: NOVEL NETWORK OPPORTUNITIES TO SUPPORT OPTIMAL AGING." Innovation in Aging 3, Supplement_1 (November 2019): S361—S362. http://dx.doi.org/10.1093/geroni/igz038.1318.
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Abstract Museums represent an evolving and under-recognized network of opportunity for examining aging while supporting optimal aging across the lifespan. Museums bind communities together in a civic body by “…identifying its highest values, its proudest memories, and its truest truths.”(Duncan, 1991). They represent a secular ritual of the modern state in which the spiritual heritage of the nation is offered as a public reinforcement of political values. Art museums are also sites which enable individuals to achieve liminal experience - to move beyond the psychic constraints of mundane existence, step out of time, and attain new, larger perspectives. The interaction and potential synergies between museums and aging have been insufficiently explored in gerontological scholarship, with the existing emphasis largely focussing on facilitating access to older people and those with age-related health conditions. This symposium reflects and magnifies the networking of GSA with a major art museum through an Educational Site Visit during GSA 2019 to the Blanton Art Museum. It proposes to review museums and ageing in a broader context, exploring the context within which aging is represented in the discourse of heritage and museums, museums networking to provide a repository of late-life creativity, networks of older people as a key resource and client group for museums, life-course and inter-generational engagement with museums. Finally, the insights that the ageing of art works provide for curating the longevity dividend through developing scholarly networks between gerontologists and curators.
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Berger, Stefan, Anna Cento Bull, Cristian Cercel, Nina Parish, Małgorzata A. Quinkenstein, Eleanor Rowley, Zofia Wóycicka, Jocelyn Dodd, and Sarah Plumb. "Reports." Museum Worlds 6, no. 1 (July 1, 2018): 112–24. http://dx.doi.org/10.3167/armw.2018.060109.
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War Museums and Agonistic MemoryWithin the EU-Horizon-2020-funded project Unsettling Remembering and Social Cohesion in Transnational Europe (UNREST),1 one work package (WP4) analyzed the memorial regimes of museums related to the history of World War I and World War II in Europe. An article by Anna Cento Bull and Hans Lauge Hansen (2016) entitled “Agonistic Memory” provided the theoretical framework for the analysis. Drawing on Chantal Mouffe’s work (2005, 2013), the authors distinguish three memorial regimes: antagonistic, cosmopolitan, and agonistic.Unexpected Encounters: Museums Nurturing Living and Ageing WellAs the world’s population ages, how can museums nurture living and aging well? The conference Unexpected Encounters: Museums Nurturing Living and Ageing Well, organized by the Research Centre for Museums and Galleries (RCMG) from the School of Museum Studies, University of Leicester, set out to interrogate this question, and invited conference delegates to consider how museums unconsciously make assumptions about older people and perpetuate the dominant societal view of aging as a “problem.”
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Bienvenu, Beth. "BUILDING RESOURCE NETWORKS IN SERVICE OF OLDER PEOPLE THROUGH STATE ARTS AGENCIES' COMMUNITIES OF PRACTICE." Innovation in Aging 3, Supplement_1 (November 2019): S30. http://dx.doi.org/10.1093/geroni/igz038.115.
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Abstract National, state, and local arts networks help build the capacity of public and private sector organizations to serve older adults through quality arts engagement opportunities. The National Endowment for the Arts has worked closely with state arts agencies to build networks through a community of practice to facilitate partnerships with artists, arts organizations, aging services, and the healthcare system. With more than 40 states participating, the initiative has resulted in new state partnerships, new state grant initiatives, and new arts learning programs for older adults. Arts service organizations also have a role to play in this work. For example, the American Alliance of Museums is building a network of museums that will develop and implement high-quality, intensive arts learning opportunities for older adults across the United States. This presentation will address how these networks are helping build capacity across the country to improve the health and well-being of older adults
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Kjærgaard, Thorkild. "Museernes Fremtid." Kuml 50, no. 50 (August 1, 2001): 233–37. http://dx.doi.org/10.7146/kuml.v50i50.103164.
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The future of the museumsA lot of people worry on behalf of the museums. Museums are boring and dusty, and no one can be bothered to visit them, the young ones not at all, they want adventure, they want int eractive computer games. In a report published jointly by Elsebeth Gerner Nielsen, minister of cultural affairs, and Pia Gjellerup, then minister of commerce, in December 2000, the two ministers decreed that ”it is necessary for Danish economy that the cultural sector – museums, too – begin to think commercially.” If one asks what it takes, the answer is often: ”make the museum s come alive.” A visit to a museum should be an experience similar to a visit to Legoland or Disneyland. We presently see museum leaders anxious about being left behind by the development and feverishly trying to make their museums come alive. Visitors’ centres spring up like mushrooms in the Danish museum landscape, and the National Museum in Copenhagen recently hosted the Missing Link – alive! exhibition, which illustrated the development of humankind through four million years. Here, showcases contained moving robots, interactive elements where the visitors could measure their strength against the Neanderthal Man, compare hands with some of our supposed ancestors, touch copies of tools, answer questions about the development of man etc. – hardly any original material was presented. It is my belief that the idea shared by politicians and some museums – that re-enactment may attract visitors – is utterly unrealistic and that too much attention is paid to a couple of isolated successes.l am not against people having a good time. However, I do not think this an area for the museums to make themselves seriously felt. Other media deal with history coming alive. Historical plays by Shakespeare, Racine, Johann Friedrich Schiller and August Strindberg have been performed a thousand times. People have cried in torrents over the destiny of Anne Frank, they have shivered to witness the brutal murder on Julius Caesar, and they have breathlessly followed the conflict between Charles V and his son, Don Carlos, the governor of the Netherlands, which is described by Schiller in such a spellbinding fashion. Museums will never be able to create anything similar to this, no matter how much they dress the ticket seller or the museum keepers in medieval clothing, and no matter how many monkey tricks are made in the museum cafés in order to serve medieval food and sour ale.Re-enacting the past is not a museum task. Films, theatre, and literature will do that. Still, this does not mean that there is no room for museums. Because the museums have something no one else has. They have things from the past. Most things by far are lost in the course of time, and so it should be. At least that is how it is. Most furniture is worn out and goes to pieces, and the same fate befalls clothes, glasses, shoes, cars, toys, tractors, packing, calculating machines, ladles, anything. Things are perishable; they disappear due to the ravages of time. Items slip away between our hands, just as the time, and much faster than we think. In most homes only a few things are older than fifty years.So, the museums are treasuries that protect the few remaining items for eternity. Only a single pale yellow wrong-coloured Swedish three-shilling stamp from 1855 exists. It is the world’s most expensive stamp, traded in the 1990s for thirty million Dkr. It is depicted in books on stamps, you see it in newspapers, on the Internet, everywhere, but there is only a single original one. It was sold for a fortune, the rest of the millions of reproductions of it have no price – they are used for wrapping up fish, they are me rely copies. The whole truth, the whole authenticity, the radical certainty that in 1855, a Swedish printer by mistake used a three-shilling pr inting plate while printing yellow eightshilling stamps is held within the pushing presence of the original.The aura of authenticity raises the original items to a class by themselves and makes them incomparable to anything else. The real is the trump card of the museums. The more freewheeling flow of pictures, the more monitors and TV-screens that are put up wherever you turn, the more worthless copies, the more tokens are circulated, the larger is the hunger for real things. The museum is the very place where the flow of copies ends, the place where the neverending maelstrom of reproductions is stopped, in the museums there is peace, here the flicker and the noise and absent-minded clicking of the mouse ends, here the world begins. At a time where the monitor replaces reality, museums may satisfy the hunger for the real thing.The de-realisation of reality, the daily encounter with fleeting pictures of things has created a huge demand for meeting the things in themselves. Museums are a countermeasure against the monitors. The museums safeguard the spaciousness and the plasticity, the tangibly existing against the cold immateriality of cyberspace. The truth is concrete, not abstract. If the museums want it, they have a future.The museums are the owners of a marvellous raw material, which on the other hand gives no guarantee of success; it is merely the prerequisite for success – just as the best theat replay does no t guarantee a successful performance. The good exhibition makes it possible to rediscover direction and meaning in a world tortured by fear of the future. If the museums would trust themselves and open their eyes to the immense treasure of original objects that they have at their disposal and not let themselves be seduced by all the talk of the great narrative being lost and everything being hopeless, then they have a great time ahead of them. I for one am not worried.Thorkild KjærgaardNordborgTranslated by Annette Lerche Trolle
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Gümüş, Hüseyin, and Ülfet Erbaş. "The relationship between leisure activity types selected by older adults and their income." Studia Periegetica 29, no. 1 (March 22, 2020): 87–98. http://dx.doi.org/10.5604/01.3001.0014.1220.
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This study focused on investigating the relationship between leisure activity types selected by individuals aged 65 and older and their income. The target population included inhabitants of Mersin Province aged 65 and older. A purposive sample of 228 individuals was recruited to participate in the study. The questionnaire consisted of a demographic information form and the “Leisure participation scale”, including six different activity types for which the respondents were asked to determine the frequency of participation. The collected data were analysed for normality, and by applying the independent T-test and Analysis of Variance (ANOVA). In order to discover the cause of the inter-group differences (e.g. education level), Fisher’s LSD test was used. Significance was set at 0.05. The respondents’ participation in cultural activities was found to be positively correlated with their income level. Individuals in the low income group preferred “volunteering activities”, while individuals in the high income group preferred “cultural activities such as watching TV, going to cinema, concerts, museums”. Individuals in the moderate income group usually opted for “hobbies and indoor activities such as painting, reading, playing musical instruments”. Elderly people with moderate incomes, who tend to prefer indoor activities, should be encouraged to engage in outdoor activities that are more beneficial for their mental, physiological and psychological health. This results of the study can be used as recommendations concerning leisure activity types for private elderly care centers, ministries responsible for the health of elderly people, local authorities and other institutions that plan leisure activities for this social group.
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Myrvold, Tone Erlien. "Can you relate to a dance from the past?" Nordisk Museologi 33, no. 1 (October 13, 2022): 59–74. http://dx.doi.org/10.5617/nm.9891.
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This article is about the curation of youth dance programmes in museums that have been initiated and produced by the Norwegian Centre for Traditional Music and Dance (Sff). Located in Trondheim, Norway, this contains one of Northern Europe’s largest dance film archives. Through different channels of dissemination, the centre makes its old dance recordings relevant for different groups of users and potential users of various ages. This article explores how we can facilitate a dialogue amongst the youth on the relevance of the old dance recordings, and how we can influence the way young people understand their own dance expressions. The article also discusses whether conversations about dance and dance traditions combined with dance instruction make the links between the older and the younger generations’ dance expressions any easier.
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Fancourt, Daisy, and Urszula Tymoszuk. "Cultural engagement and incident depression in older adults: evidence from the English Longitudinal Study of Ageing." British Journal of Psychiatry 214, no. 4 (December 13, 2018): 225–29. http://dx.doi.org/10.1192/bjp.2018.267.
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BackgroundThere is a recognised need for the identification of factors that might be protective against the development of depression in older adults. Over the past decade, there has been growing research demonstrating the effects of cultural engagement (which combines a number of protective factors including social interaction, cognitive stimulation and gentle physical activity) on the treatment of depression, but as yet not on its prevention.AimsTo explore whether cultural engagement in older adults is associated with a reduced risk of developing depression over the following decade.MethodWorking with data from 2148 adults in the English Longitudinal Study of Ageing who were free from depression at baseline, we used logistic regression models to explore associations between frequency of cultural engagement (including going to museums, theatre and cinema) and the risk of developing depression over the following 10 years using a combined index of the Centre for Epidemiological Studies Depression Scale (CES-D) and physician-diagnosed depression.ResultsThere was a dose–response relationship between frequency of cultural engagement and the risk of developing depression independent of sociodemographic, health-related and social confounders. This equated to a 32% lower risk of developing depression for people who attended every few months (odds ratio (OR) = 0.68, 95% CI 0.47–0.99, P = 0.046) and a 48% lower risk for people who attended once a month or more (OR = 0.52, 95% CI 0.34–0.80, P = 0.003). Results were robust to sensitivity analyses exploring reverse causality, subclinical depressive symptoms and alternative CES-D thresholds.ConclusionsCultural engagement appears to be an independent risk-reducing factor for the development of depression in older age.Declaration of interestNone.
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Emelyanova, Tatyana P., and Semyon V. Tarasov. "LEISURE IN THE STRUCTURE OF VIABILITY OF TWO GENERATIONS OF MUSCOVITES." RSUH/RGGU Bulletin. Series Psychology. Pedagogics. Education, no. 4 (2021): 41–49. http://dx.doi.org/10.28995/2073-6398-2021-4-41-49.
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The article is devoted to comparing the preferred leisure activity of the two age groups of Muscovites and to identifying the connection of these preferences with other socio-psychological parameters of their viability. The sample consisted of 258 respondents with two age groups: 158 aged 18-35 and 100 aged 61-84. Methods were used: value orientations, author’s questionnaires of preferences for leisure activity, social responsibility, evaluation of positive and negative perception of urban environment, «scale of urban identity» M. Lalli. It is found that leisure choices are characterized by entertainment in both groups, but its cultural and educational appearance – visiting exhibitions, museums, theatres – is more characteristic of the older generation. Young people are more likely to engage in leisure activities such as cafés, bars, restaurants, shopping and extreme entertainment, which are related to the stress of the city. The role of positive perception of the city – city holidays, etc. - in the choice of leisure activities is noted. A lack of internal responsibility among young people may be related both to a lack of time, to a general hedonic focus of leisure, and to a lack of confidence in their ability to influence urban solutions.
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Ferrer-Fons, Mariona, and Marta Rovira-Martínez. "Visiting The Past: A Case Study of Experiential Learning with Young People at Historic Sites." Slovenský národopis / Slovak Ethnology 69, no. 3 (September 1, 2021): 345–58. http://dx.doi.org/10.2478/se-2021-0020.
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Abstract Learning about the past is becoming a complex issue due to the increasing need to ensure the approaches consider not only the facts, but also the implications for increasingly diverse future societies. This paper studies how experiential visits to memorial sites contribute to young people’s understanding of history from a wider and more inclusive perspective. The article presents a case study of two educational activities carried out at two memory sites related to the Spanish Civil War (1936–39) involving various qualitative techniques such as participant- and non-participant observation, expert interviews and focus groups with young people. The results show that an experiential approach to the past that works with emotions, empathy and dialogue with secondary students (17 years old) and older young people (15–25 years old) is a very effective means of offering a touching interpretation of the past and learning opportunity for youth, regardless of level of previous knowledge. Other findings show that the content needs to be reconsidered so new generations can interact with it. Young people’s worlds are shaped by cultural diversity, globalisation and the need to connect knowledge with the social environment, which enables them to engage in a critical re-appropriation of the past. This may be a new perspective that could be incorporated into the school curricula, and these types of visits could prove very useful for teachers and historical institutions such as museums or memorial sites interested in including young people’s experiences when planning their activities.
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Block, Laurie. "“An Invented Archive”: The Disability History Museum." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 8, no. 2 (September 1, 2007): 141–55. http://dx.doi.org/10.5860/rbm.8.2.288.
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The September 2006 issue of the Chronicle of Higher Education included a special supplement on “Diversity in Academic Careers.” It focused primarily on race and ethnicity; sexual preference received minimal attention. No references were made, however, to disability, although disabled Americans can be said to comprise the largest single “minority group” in the United States. Consider the following: according to the 2000 U.S. Census, 49.7 million people, representing 19.3 percent of the 257.2 million people aged five and older in the civilian noninstitutionalized population (or almost one in five U.S. residents), lives with some type of long-lasting condition or disability.
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Pisoni, Galena. "Mediating distance: new interfaces and interaction design techniques to follow and take part in remote museum visits." Journal of Systems and Information Technology 22, no. 4 (November 30, 2020): 331–52. http://dx.doi.org/10.1108/jsit-03-2020-0038.
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Purpose This paper presents a study of a system that allows remote and onsite visitors to share a museum visit together in real time. The remote visitors are older adults at a care home and their relatives and/or friends who are at the museum. The museum visits are interactive. Meaningful stories accompany the museum exhibits, and there’s an audio channel between onsite and remote visitors. The aim of the study is to determine whether the remote visitors, i.e. older adults are able to use such technology and to study the mediated sense of spatial presence, social closeness, engagement and enjoyment in the visit. This study discusses the relationship between these aspects and factors leading to a better remote experience for older adults. Design/methodology/approach This study has 14 onsite and 12 remote older adult participants. Standardized questionnaires measured the mediated sense of spatial presence, the experienced social closeness and the level of participants' engagement and enjoyment in the visit of the older adult participants and traced onsite visitors in their position during the visit. The audio logs were subjected to thematic content analysis. Findings The results show that older adults enjoy and engage in remote visits, and that there is a positive correlation between enjoyment, engagement and social closeness. The findings argue that both the audio channel and the interactive story are important for creating an affective virtual experience: the audio channel increases the sense of closeness, whereas the interactive story makes the visit more engaging, providing structure, direction and purpose to the visit. Originality/value This work advances the state of art in the domain of technologies for older adults and addresses the needs of this population to stay in contact with both people and places.
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Sextou, Persephone, and Cory Smith. "Drama is for Life! Recreational Drama Activities for the Elderly in the UK." Text Matters, no. 7 (October 16, 2017): 273–90. http://dx.doi.org/10.1515/texmat-2017-0015.
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Applied Theatre is an inclusive term used to host a variety of powerful, community-based participatory processes and educational practices. Historically, Applied Theatre practices include Theatre-in-Education (TiE), Theatre-in-Health Education (THE), Theatre for Development (TfD), prison theatre, community theatre, theatre for conflict resolution/reconciliation, reminiscence theatre with elderly people, theatre in museums, galleries and heritage centres, theatre at historic sites, and more recently, theatre in hospitals. In this paper we are positioning the application of recreational dramatic activities with older adults (55+) under Applied Theatre and we are exploring the benefits they offer to the participants. We are concerned that their health and wellbeing in western societies is not prioritized and it is clear that loneliness in particular is a current and ongoing issue. We will present research results from a drama dissertation study that took place in a community hall in the South East England where drama is placed at the core of their practice with old populations. Data was collected by a mixed method (semi-structured interviews and semi-immersive observations) and was critically discussed amongst the authors to conclude that attending recreational drama classes brings a certain degree of happiness, social belonging and improvement of interaction with others to old people’s lives.
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Reuband, Karl-Heinz. "soziale Neustrukturierung des Opernpublikums." Die Musikforschung 72, no. 3 (September 22, 2021): 214–42. http://dx.doi.org/10.52412/mf.2019.h3.45.
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This article focuses on the changes in opera attendance based on representative population surveys in the German cities of Hannover and Nurnberg from the 1970s onwards. It can be demonstrated that the relationship between age and opera attendance has reversed over time: whereas in the 1970s attendance decreased with increasing age, it nowadays increases with increasing age. The reversal is the result of a decrease in opera attendance on the part of younger audiences and an increase on the part of older audiences. Due to the latter development the increase of the average age of opera audiences has been greater than one would have expected on the basis of the decline in the younger generation alone, and it is also greater than the increase in average age of the general population. At the same time, there are indications that people with higher academic qualifications (Abitur and university degrees) have become less likely to attend opera than in the 1970s. These trends are not characteristic of opera attendance alone. Similar processes have occurred in other areas of participation in "high" culture, such as theater and museums. Changes in musical preferences can only partially explain the reversal of opera attendance. The changes observed in Hannover and Nurnberg reflect a general reversal in age relationship that has affected (high-) cultural life in Germany as a whole.
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Aseeva, Tatyana A., and Dmitriy A. Kachusov. "Influence of participation in patriotic projects on the process of patriotism formation in the youth environment." Social And Political Researches 1, no. 14 (2022): 55–69. http://dx.doi.org/10.20323/2658-428x-2022-1-14-55-69.
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Recently, more researchers have been talking about the importance of civil-patriotic practices in the formation of patriotism in the youth environment. The article explores the patriotic self-identification of high school students in the Siberian Federal District. The authors analyze the degree of their awareness and the nature of inclusion in the activities of patriotic organizations and projects. The mass survey of high school youth of the Siberian Federal District made it possible to determine the low patriotic identification of schoolchildren, as well as the weak inclusion in patriotic projects implementation. At the same time it was possible to record a tendency that as respondents grow older, the number of identifying themselves as patriots increases. Students have insufficient information about the implementation of patriotic projects. Less than half of them have ever participated in patriotic actions and events. School youth of the Siberian Federal District, like most young people of modern Russia, prefer short-term participation in patriotic events, such as visiting museums and patriotic exhibitions. The trend of increasing schoolchildren’s patriotic self-identification was recorded as the inclusion of patriotic projects increased. Also, among schoolchildren who have identified themselves to varying degrees as patriots, patriotic activity is increasing. Thus, there is a correlation between personal experience and the nature of patriotic identification. Consequently, it is necessary to consolidate the efforts of actors engaged in patriotic education in order to increase the positive experience of youth participation in patriotic projects. A condition that increases the positive perception of this activity may be its compliance with the values of modern youth and the organization of communication within the usual communicative practices for this social group.
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Yakovlev, A. A. "Museums and the older generation." Voprosy kul'turologii (Issues of Cultural Studies), no. 10 (September 4, 2020): 59–63. http://dx.doi.org/10.33920/nik-01-2010-07.
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The “Museum StarTrack” project was launched in Moscow, which aims to unite the efforts of museum workers and employees of social service centers in working with the older generation. One of the first stages of the project was the holding of a practical conference “Museums and the Older Generation: The Practice of Participation in the Age of Social Challenges”, the main theses of which are set out in this article.
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Robbins, Eleanor. "Museums for the People." Art Book 8, no. 1 (January 2001): 10–12. http://dx.doi.org/10.1111/1467-8357.00226.
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Crespi, Marco. "Museums and museums: the picture of scientific museums." Journal of Science Communication 02, no. 02 (June 21, 2003): A02. http://dx.doi.org/10.22323/2.02020202.
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In the field of scientific communication in Europe, science centres have gained increasing importance over the last ten years. Italy, beyond the City of Science in Naples, is also planning the set up of more science centres throughout the country. Their hands-on style makes them something between a museum and a fun fair and, beyond the issue of merit, no doubt the success of many science centres also depends on the fun offered. It is important then to be able to assess to what extent people can actually make use of the proposed themes. This report tries to point out the dialogue opportunities between science museums and people1. A questionnaire has been submitted to two scientific secondary schools in Trent and Busto Arsizio (Varese) as a pilot study in this research. A research of this kind should not limit itself to museums, because public opinion on scientific subjects is also influenced by more popular and widespread media such as newspapers and television. Together with people, museums should therefore also be able to make good use of these media and offer opportunities for investigating and going into detail about given topics that the other media deal with without leaving enough time for thinking them over.
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Thompson, Juliana, Zoe Brown, Katherine Baker, Jenni Naisby, Sophie Mitchell, Christina Dodds, Paul Storey, Sue Tiplady, and Tracy Collins. "Development of the ‘Museum Health and Social Care Service’ to promote the use of arts and cultural activities by health and social care professionals caring for older people." Educational Gerontology 46, no. 8 (May 28, 2020): 452–60. http://dx.doi.org/10.1080/03601277.2020.1770469.
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Ivanova, O., and M. Senkiv. "ACCESSIBLE TOURISM FOR ALL IN THE EUROPEAN UNION." Bulletin of Taras Shevchenko National University of Kyiv. Geography, no. 74 (2019): 66–74. http://dx.doi.org/10.17721/1728-2721.2019.74.12.
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The Global Code of Ethics for Tourism promotes the right of all people to equality in access to contemplate the resources of the planet, which, in turn, is the main principle of accessible tourism for all. Modern approaches to understanding the concepts of accessible tourism for all are analyzed in this paper. Accessible tourism for all means that any tourism product should be designed irrespective of age, gender and ability and with no additional costs for customers with disabilities and specific access requirements. Role of the principles of universal design for accessible tourism for all is characterized. In contrast to the concept of accessibility, which only applies to low-mobility categories of the population and focuses on physical access to transport and buildings, as well as access to information, the concept of universal design emphasizes creating the same conditions convenient for all users, without impersonating some of them. Three main prerequisites for the development of accessible tourism for all in the European Union are determined and characterized, in particular, existing accessibility legislation and standards at the global, European and national levels, population ageing and increase in the number of people with disabilities. There is the problem in Ukraine of the lack of accessibility standards for tourism facilities and services, so it is important to learn the experience of the European Union. The European Union population is aging and this trend will continue in the future. This phenomenon is a major challenge for the society, but at the same time, it also represents a great opportunity for local businesses and for the whole European economy. Elderly people (65 years and older) are encouraged to travel by different motives: visiting relatives, gaining cultural or gastronomic experience, they are interested in traveling on cruise ships, relaxing on the coast, participating in sports events or ethnic holidays. They tend to spend more while traveling and stay longer. Tourists with disabilities, above all, make travel decisions based on the opinions of their friends, and rely less on special offers aimed at them. Online offers and printed brochures of travel agencies influence their decision at the same level. France and the United Kingdom have the most disabled people in the EU. The European Union is the main tourism destination in the world. Five its member states (France, Spain, Italy, Great Britain, Germany) belong to the top ten countries of the world on arrival of tourists. The map of the most accessible cities of the European Union is created and the quantitative distribution of these cities by country of ownership is presented. France, Germany and Sweden are leaders in the European Union by the number of the most accessible cities in 2011-2018. Among the 23 most accessible cities, only five are the capitals of states. At the same time, the city of Ljubljana in Slovenia was twice noted by the European Commission as one of the most accessible. Elements of the tourism chain include: tourism destination management; tourism information and advertising (preparation, information and booking); urban and architectural environments; modes of transport and stations; accommodation, food service and conventions; cultural activities (museums, theatres, cinemas, and other); other tourism activities and events. On the basis of the theory of accessibility chain structure and the tourism chain, the best practices of accessible tourism for all are analyzed using the example of the city of Lyon – the great business center in France, which in 2018 was recognized by the European Commission accessible in the European Union.
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Gurt, Gabriel Alcalde, and Josep Manuel Rueda Torres. "People Who Don’t Go to Museums." International Journal of Heritage Studies 13, no. 6 (November 2007): 521–23. http://dx.doi.org/10.1080/13527250701587220.
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ARAS, Aylin. "ACCESSIBILITY ANALYSIS OF REUSED HISTORICAL MUSEUM FOR PHYSICALLY DISABLED PEOPLE: MUSEUM BUILDINGS IN BURSA." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, no. 21 (2020): 0. http://dx.doi.org/10.17365/tmd.2020.21.6.
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Aim: This study investigated the accessibility of refunctionalized museums to people with disabilities. Method On-site observations were performed to determine whether refunctionalized museums were accessible to people with disabilities. Results: The results show that people with disabilities are denied experiencing refunctionalized museums because they cannot access them. Conclusion: Refunctionalized museums offer insufficient solutions to promote the accessibility of people with disabilities. Therefore, better solutions should be offered to help them access cultural heritage. However, it should be made sure that those solutions do not damage the cultural heritage while meeting their needs.
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Smirnova, T. V. "Older People." Sociological Research 49, no. 1 (January 2010): 64–74. http://dx.doi.org/10.2753/sor1061-0154490104.
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Krasil'nikova, M. "Older People." Sociological Research 49, no. 2 (March 2010): 3–20. http://dx.doi.org/10.2753/sor1061-0154490201.
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Krasil'nikova, M. "Older People." Russian Social Science Review 51, no. 4 (July 2010): 16–33. http://dx.doi.org/10.1080/10611428.2010.11065396.
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Smirnova, T. V. "Older People." Russian Social Science Review 51, no. 4 (July 2010): 67–77. http://dx.doi.org/10.1080/10611428.2010.11065398.
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Yorston, Graeme. "Older people." Criminal Behaviour and Mental Health 14, S1 (November 2004): S56—S57. http://dx.doi.org/10.1002/cbm.612.
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Young, J. "Caring for Older People: Rehabilitation and older people." BMJ 313, no. 7058 (September 14, 1996): 677–81. http://dx.doi.org/10.1136/bmj.313.7058.677.
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Vrana, Vasiliki G., Dimitrios A. Kydros, Evangelos C. Kehris, Anastasios-Ioannis T. Theocharidis, and George I. Kavavasilis. "Top Museums on Instagram." International Journal of Computational Methods in Heritage Science 3, no. 2 (July 2019): 18–42. http://dx.doi.org/10.4018/ijcmhs.2019070102.
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Pictures speak louder than words. In this fast-moving world where people hardly have time to read anything, photo-sharing sites become more and more popular. Instagram is being used by millions of people and has created a “sharing ecosystem” that also encourages curation, expression, and produces feedback. Museums are moving quickly to integrate Instagram into their marketing strategies, provide information, engage with audience and connect to other museums Instagram accounts. Taking into consideration that people may not see museum accounts in the same way that the other museum accounts do, the article first describes accounts' performance of the top, most visited museums worldwide and next investigates their interconnection. The analysis uses techniques from social network analysis, including visualization algorithms and calculations of well-established metrics. The research reveals the most important modes of the network by calculating the appropriate centrality metrics and shows that the network formed by the museum Instagram accounts is a scale–free small world network.
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McAllister, Don E. "Biodiversity awareness: People, museums and the Web." Biodiversity 1, no. 1 (January 2000): 38–39. http://dx.doi.org/10.1080/14888386.2000.9712496.
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Hernández Lara, Oscar Gerardo, and Benjamin Toney. "Museums as social and cultural spaces for active ageing: evidence, challenges, and opportunities." Revista culturales 9 (January 1, 2005): 1–42. http://dx.doi.org/10.22234/recu.20210901.e588.
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The work addresses access to Museums as cultural spaces by older adults in Mexico. The access, use, and knowledge they have regarding museums are analyzed. The analysis is carried out by rural or urban origin, travel time, gender, education levels, among other variables. The database used is the Museum Statistics for 2017 published by INEGI in 2018 and the method used consisted of crossing variables. The National Statistical Directory of Economic Units database was accessed to cross-check statistical information with georeferenced points of museums throughout the country. The work adds two different dimensions of study, 1) to the studies of aging and old age, when verifying the mobility, cultural interests and social connectivity of the elderly and, 2) to the studies on museums and cultural spaces, by demonstrating the persistence of access and interest on the part of older adults.
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Alybina, Tatiana. "Mari usukombed läbi kaamerasilma: Tiia Peedumäe välitööd Mari Vabariigis aastatel 1991–1992." Eesti Rahva Muuseumi aastaraamat, no. 61 (October 11, 2018): 80–101. http://dx.doi.org/10.33302/ermar-2018-003.
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The religious traditions of the Mari people viewed through the camera lens: Field work conducted by Tiia Peedumäe in the Mari El Republic in 1991–1992 The Estonian National Museum began acquiring photographic materials back in the early 20th century when pioneering Estonian photographer Johannes Pääsuke travelled around Estonia with a homemade camera documenting the way people lived. In the 1960s, ethnographic films became one of the main areas of the museum’s activity and the geography of fieldwork also expanded significantly. Efforts were made to commit to film the traditional culture of Estonians and other Finno-Ugric peoples. In the 1990s, modernity shifted into the focus, supplanting the older and fading culture. Technological advances, and above all the introduction of the video camera significantly changed the methodology used to acquire material. The new cameras were lighter and more mobile, with a larger recording capacity and this allowed much more material to be documented. The article analyses filming during field work aimed at investigating and documenting religious rituals – in particular, footage produced by Tiia Peedumäe and her collaborator, the camera operator Jaan Treial, in 1991 and 1992. The fieldwork diaries and video footage are used to trace how the researchers adapted to the community they were studying, and looks at the role of intermediaries in this process. Tiia Peedumäe’s expeditions coincided with a time of great changes in ethnography and ethnology. Peedumäe represents a generation of researchers who learned how to conduct fieldwork in the spirit of Soviet-era ethnography and later expanded their methodology as the research focus changed. During the autumn 1991 expedition, Peedumäe and Treial recorded the Maris’ first nationwide sacrificial feast in the village of Olori (Paranga Raion). They returned to the same village in June 1992, this time to study the spring sacrificial feast Aga-Pairem and a feast of remembrance of the dead, Semyk. The improved recording made some aspects easier for ethnologists although the work still required the ability to interact with the community. It is particularly important that there is trust between the people perpetuating a tradition and the cultural researchers. On the first occasion that Peedumäe and her colleagues went to record a worship ceremony with a video camera, they had difficulties getting consent from the villagers. The previous understanding reached with Mari activists living in Yoshkar-Ola – who were prepared to assist in the filming – was seen as inadequate in the sacrificial grove. Everything depended on the village elders who led the prayer service. Thanks to Peedumäe explaining how important scientific study was and the authority of the leaders of the Maris’ religious reawakening movement, ultimately permission was obtained for photographing and filming, although the researchers still were not given access to some phases of the ritual. A second expedition to the same village allowed the researchers to become more deeply immersed in the local culture. A few locals served as intermediaries between researchers and the community on that occasion. Thanks to the acquaintances already forged, more trust was evinced toward the ethnologists. Observation and recording of the rites of spring went off without a hitch. The ethnologists did not witness the preparation and course of the ritual of remembrance of family ancestors as mere observers – the family involved them in the ritual as if they were distant relatives or house guests. The video materials recorded on Peedumäe’s expeditions are one of the most complete documents of the revival of Mari religious traditions. Along with the fieldwork diary, they are valuable sources for studying the methodology of fieldwork and in particular, ritual filming practices. When the participant observation method is used, intermediaries between ethnologists and the community play a key role in the process of adaptation to the community being studied. The examples of collection of visual materials examined in the article demonstrate the importance of long-running and repeated fieldwork. Such fieldwork makes it possible to develop more trusting relations with cultural subjects and thereby access more private cultural strata.
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Herle, Anita. "Relational Objects: Connecting People and Things Through Pasifika Styles." International Journal of Cultural Property 15, no. 2 (May 2008): 159–79. http://dx.doi.org/10.1017/s0940739108080090.
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Debates around cultural properties tend to focus on law and ethics, on appropriation and ownership, with media representations often producing stereotypes that reinforce and polarize the terms of the debate. The common, typically polemical, notion is that rapacious museums are merely a final resting point for captive static objects, with repatriation viewed as simply restorative compensation. A robust challenge to this view was developed in the Declaration on the Importance and Value of Universal Museums signed in 2002 by the directors of 19 leading museums in Europe and North America. The concept of the universal museum asserts that objects are cared for and held in trust for the world, overriding shifting political and ethnic boundaries and enabling the visitor to see “different parts of the world as indissolubly linked.” Although many would be in sympathy with the rhetorical position asserted, critics have argued that the declaration is a thinly veiled attempt to bolster immunity to repatriation claims. On both sides of the debate, the hegemonic position of many museums remains unsettling.
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Kerr, John. "The Art of Violent Protest and Crime Prevention." Arts 7, no. 4 (October 8, 2018): 61. http://dx.doi.org/10.3390/arts7040061.
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This article examines violent protest in art museums. There is a long history of art museums being used as sites of protest. As spaces full of meaning, they represent ideal locations for people to try to shape the present and the future. From peaceful demonstrations to terrorist attacks, the current risks of protest to art museums is high. Motivated by ideological, political and social reasons, these protests include those that specifically target art objects within the art museums, as well as others that use the sites as stages on which to protest. This article is based predominantly on secondary sources; however, it also uses empirical research data collected by the author during observation research at art museums in London in March 2017 and July 2017. The article begins by considering why art museums attract so many protests. It argues that as ‘sites of persuasion’, art museums can be battlegrounds on which people look to shape how society is constructed and perceived. It then examines contemporary and historical case studies in Brazil and the UK to help our understanding of violent protests and the challenges they pose to art museums. Following this, the article proposes that as art museums are important sites of persuasion, there must be more awareness of the threats they face from violent protests in order to shape crime prevention approaches. The article finishes by arguing that although protests can be highly problematic for people involved with art museums, the ongoing appeal of these spaces as sites of protest shows the significance of art museums as important locations of cultural meaning.
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Ruffins, Fath Davis. "Grassroots Museums & the Changing Landscape of the Public Humanities." Daedalus 151, no. 3 (2022): 108–23. http://dx.doi.org/10.1162/daed_a_01932.
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Abstract This essay is a brief history of the development of “grassroots” or community-based museums since the 1960s. These museums pioneered new kinds of relationships with their communities that were far different from older museums and, in the process, helped fundamentally enlarge and diversify public humanities. The essay begins with a focus on three museums founded in 1967: El Museo del Barrio in New York City, the Anacostia Neighborhood Museum (Smithsonian) in Washington, D.C., and the Wing Luke Museum in Seattle. Over the last fifty years, these museums have grown and stabilized and newer, bigger museums with similar goals have developed. These changes suggest that one future for humanities scholars is to become involved in new publics outside of the academy who are seeking humanistic analysis of their distinctive, previously marginalized, community stories.
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McIntosh, Jean. "Researching older people." Nursing Older People 18, no. 10 (November 2006): 40. http://dx.doi.org/10.7748/nop.18.10.40.s34.
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Toofany, Swaleh. "Empowering older people." Nursing Older People 19, no. 2 (March 2007): 12–14. http://dx.doi.org/10.7748/nop.19.2.12.s14.
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Scott, Graham. "Failing older people." Nursing Standard 10, no. 9 (November 22, 1995): 16–17. http://dx.doi.org/10.7748/ns.10.9.16.s29.
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Sivakumar, R., and T. Tong. "Investigating older people." Clinical Medicine 3, no. 6 (November 1, 2003): 592.2–592. http://dx.doi.org/10.7861/clinmedicine.3-6-592a.
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Heath, Hazel. "Assessing older people." Nursing Older People 11, no. 10 (February 1, 2000): 27–28. http://dx.doi.org/10.7748/nop.11.10.27.s20.
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Wright, Jayne, and Emma Pritchard. "Involving older people." Nursing Older People 13, no. 9 (December 2001): 30. http://dx.doi.org/10.7748/nop.13.9.30.s13.
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Watkins, Caroline. "Nursing Older People." Journal of Interprofessional Care 22, no. 3 (January 2008): 333. http://dx.doi.org/10.1080/13561820802037494.
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Woodhouse, Ken. "Treating older people." European Journal of Clinical Pharmacology 69, S1 (May 2013): 53–57. http://dx.doi.org/10.1007/s00228-013-1489-5.
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Thompson, Neil, and Sue Thompson. "Empowering Older People." Journal of Social Work 1, no. 1 (April 2001): 61–76. http://dx.doi.org/10.1177/146801730100100105.
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Rodionova, D. D., and A. A. Pobozhakova. "EXPERIENCE OF KUZBASS MUSEUMS WITH PEOPLE WITH DISABILITIES." Bulletin of Kemerovo State University of Culture and Arts, no. 46 (February 15, 2019): 165–72. http://dx.doi.org/10.31773/2078-1768-2019-46-165-172.
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Tzibazi, Vasiliki. "Participatory Action Research with young people in museums." Museum Management and Curatorship 28, no. 2 (May 2013): 153–71. http://dx.doi.org/10.1080/09647775.2013.776800.
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Bowyer, Alison. "Young people gain knowledge and skills from taking over museums for the day." Children and Young People Now 2018, no. 10 (October 2, 2018): 54. http://dx.doi.org/10.12968/cypn.2018.10.54.
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Provider Takeover Day Name Kids in Museums Summary Charity-run project supports disadvantaged children and young people to undertake roles in museums for a day to increase understanding, break down social barriers and develop confidence.
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Glesne, Corrine E. "Museum Art in Everyday Life." LEARNing Landscapes 5, no. 2 (May 2, 2012): 99–116. http://dx.doi.org/10.36510/learnland.v5i2.555.
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Art museums engage diverse audiences in multiple forms of learning. Based on qualitative research at seven academic institutions, this article focuses on the role academic art museums play in the everyday life of students and faculty, on how people become interested in art and art museums, and on possible contributions of campus art museums beyond use in classes and research.