Sofia Trouli
My name is Sofia Trouli and I am a resident of Rethimno on the island of Crete, Greece. As a PhD museum educator I have been creating and delivering varied, informative, amusing and dynamic programs for people of all ages in the municipal Museum of Contemporary Art of Crete since 2015. Last spring I also taught a course entitled Museum Education in the Department of Preschool Education at the University of Crete and last year worked as educator of Museology and Museum Security practices in the Public Institute for Vocational Training-Specialty of Museum and Archeological Site Guards in Rethimno.
My studies include archaeology at the University of Crete (1995-1999), a second Bachelor Degree and a Master’s Degree in Prehistoric Archaeology, Ethnology and Anthropology from the University Paris-I Pantheon Sorbonne (2001-2002) and a second Master’s Degree (DEA) in Museology, Science and Society from the National Natural History Museum of Paris (2002-2003) as well as a PhD in Archaeology and Museum Education from the University of Thessaly in Greece (2007-2012).
As I am especially interested in the relation between museum visitors from different communities and museums, I have worked for years on contract or as a volunteer for The Archaeological Museum of Rethimno (Crete), and also presently as a volunteer for the KEMEIEDE (Centre for the Study and Research of the History of Education and the Teaching Profession of the Department of Primary Education at the University of Crete).
My studies include archaeology at the University of Crete (1995-1999), a second Bachelor Degree and a Master’s Degree in Prehistoric Archaeology, Ethnology and Anthropology from the University Paris-I Pantheon Sorbonne (2001-2002) and a second Master’s Degree (DEA) in Museology, Science and Society from the National Natural History Museum of Paris (2002-2003) as well as a PhD in Archaeology and Museum Education from the University of Thessaly in Greece (2007-2012).
As I am especially interested in the relation between museum visitors from different communities and museums, I have worked for years on contract or as a volunteer for The Archaeological Museum of Rethimno (Crete), and also presently as a volunteer for the KEMEIEDE (Centre for the Study and Research of the History of Education and the Teaching Profession of the Department of Primary Education at the University of Crete).
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benefits of museum learning experiences even if we cannot visit a museum. The selected artwork
belongs to the Turkish artist Volkan Aslan and its title is “Home Sweet Home” and was presented in the
15th Biennale of Istanbul. The objective of the workshop is to show how we can approach and
experience difficult issues such as the notions of neighbor, home, and displacement. We focus more on
developing self-reflection and dialogue, fostering critical thinking through artful thinking, and eliciting new
questions on the issues being discussed. The cultivated competencies, during the workshop, are the
self-awareness, self-management, social awareness, relationship skills, and responsible decision making
but also the raise of inclusiveness within the school communities and the understanding of the reality of
being a newcomer, a new neighbor even in the classroom, We present strategies how we can approach
societal issues such as the question of the complexity of the neighbor in our classroom using artworks
of contemporary art. The following methodologies were learning by doing, the Socratic method of
questioning and inquiry learning and the artful thinking. We believe that art can be a useful tool for
discussing such subjects, because art offers us the opportunity to reflect on different points of view
and share our own thoughts and emotions. The expected outcome of the workshop is to increase
understanding of strategies that may help teachers introduce museum learning experiences in their
classrooms and more specific artworks.
meaningful and what are the realities behind them? In an attempt to answer this last
question, we present the methods we are trying to follow in the Museum of Contemporary Art of Crete while designing museum learning programmes. The first part sketches a short history of museum pedagogy and learning in the country, describing the origins of terms and practices. In Greece, the term “museum” is often identified with the archaeological museum, which applies mainly to institutions that preserve
and exhibit works from ancient Hellenic civilisations. Archaeological museums are the largest group of museums in Greece, followed by folk museums. The recent studies have shown that museum pedagogy and learning in Greece has deeper roots than we have
believed so far. The genealogy of museum pedagogy and learning is divided into three
periods, which appear to be successive in time and are characterised by three approaches: the political-ideological (pre-revolutionary period-1900), aesthetics (1900-1978) and finally the educational approach (1978-present). Until the 1990s, national, state and public museums in Greece were more object-centered and considered as institutions that delivered formal education around national Greek narratives. Behind the words, one of the realities is that the museums have become more accessible in recent years, elaborating their role as learning institutions in Greece.
In the second part, we present the main structure of the museum learning programmes, designed and implemented in the Museum of Contemporary Art of Crete as an example of best practice of reality in the field of museum learning in Greece. It focuses on school groups, even though we use the same strategies for other groups. Our methods are slow looking and artful thinking and we propose four main steps for a successful museum learning programme, full of holistic and multimodal experiences: 1) preparation for the visit with the leader of the group (e.g. teacher, professor) for the visit, 2) the preparation of the group before the visit, 3) the visit to the museum for the implementation of the museum learning programme and finally 4) the processing of the visit after the museum visit in the classroom. The visit in the museum is structured in four phases: a phase with activities to relax, break the ice and get-to-know-each-other, a phase of introduction to the subject, a phase of reflection on the subject and a phase of creative evaluation and emotional discharge. Through these steps we want visitors to feel welcome, included, interested but also engaged and active in their everyday life, inspired by taking part in the programmes.
Some people in Greece still believe that museum pedagogy and learning refer only to children. Consequently, museums need to challenge this attitude and be more mindful and critical. Collaboration and the creation of synergies between the museum staff and audiences are at the heart of museum learning. After all, the core to museum learning, education, museum pedagogy or whatever we call our profession, is the desire to inform, create, inspire cultural action.
κοινωνικά θέματα όπως το προσφυγικό ζήτημα; Κάποιες απαντήσεις σ’ αυτό το ερώτημα σκοπεύουμε να βρούμε στο εργαστήρι με θέμα: Συνομιλώντας μπροστά σε σύνορα και σταυροδρόμια για το προσφυγικό. Σκοπός του εργαστηρίου είναι οι εκπαιδευτικοί να έρθουν σε επαφή με τα οφέλη της ένταξης των τεχνών στη διδασκαλία τους. Με αφορμή ένα θέμα που μας αφορά όλους, το προσφυγικό, θα έρθουμε σε επαφή με τις τεχνικές του έντεχνου συλλογισμού και του θεατρικού
παιχνιδιού. Ειδικότερα θα δούμε έργα τέχνης, κυρίως σύγχρονες φωτογραφίες από την έκθεση Medphoto Σύνορα και Σταυροδρόμια που πραγματοποιήθηκε το
καλοκαίρι του 2016, στο Μουσείο Σύγχρονης Τέχνης Κρήτης και θα γευτούμε με βιωματικό τρόπο πώς μπορούμε να τις αξιοποιήσουμε στην τάξης μας με στόχο τον εμπλουτισμό του διδακτικού ρεπερτορίου μας αλλά και την ενσυναίσθηση μας για το προσφυγικό ζήτημα. Απώτερος σκοπός του εργαστηρίου είναι να αναδειχθούν οι προοπτικές των σχέσεων εκπαίδευσης και πολιτισμού.
benefits of museum learning experiences even if we cannot visit a museum. The selected artwork
belongs to the Turkish artist Volkan Aslan and its title is “Home Sweet Home” and was presented in the
15th Biennale of Istanbul. The objective of the workshop is to show how we can approach and
experience difficult issues such as the notions of neighbor, home, and displacement. We focus more on
developing self-reflection and dialogue, fostering critical thinking through artful thinking, and eliciting new
questions on the issues being discussed. The cultivated competencies, during the workshop, are the
self-awareness, self-management, social awareness, relationship skills, and responsible decision making
but also the raise of inclusiveness within the school communities and the understanding of the reality of
being a newcomer, a new neighbor even in the classroom, We present strategies how we can approach
societal issues such as the question of the complexity of the neighbor in our classroom using artworks
of contemporary art. The following methodologies were learning by doing, the Socratic method of
questioning and inquiry learning and the artful thinking. We believe that art can be a useful tool for
discussing such subjects, because art offers us the opportunity to reflect on different points of view
and share our own thoughts and emotions. The expected outcome of the workshop is to increase
understanding of strategies that may help teachers introduce museum learning experiences in their
classrooms and more specific artworks.
meaningful and what are the realities behind them? In an attempt to answer this last
question, we present the methods we are trying to follow in the Museum of Contemporary Art of Crete while designing museum learning programmes. The first part sketches a short history of museum pedagogy and learning in the country, describing the origins of terms and practices. In Greece, the term “museum” is often identified with the archaeological museum, which applies mainly to institutions that preserve
and exhibit works from ancient Hellenic civilisations. Archaeological museums are the largest group of museums in Greece, followed by folk museums. The recent studies have shown that museum pedagogy and learning in Greece has deeper roots than we have
believed so far. The genealogy of museum pedagogy and learning is divided into three
periods, which appear to be successive in time and are characterised by three approaches: the political-ideological (pre-revolutionary period-1900), aesthetics (1900-1978) and finally the educational approach (1978-present). Until the 1990s, national, state and public museums in Greece were more object-centered and considered as institutions that delivered formal education around national Greek narratives. Behind the words, one of the realities is that the museums have become more accessible in recent years, elaborating their role as learning institutions in Greece.
In the second part, we present the main structure of the museum learning programmes, designed and implemented in the Museum of Contemporary Art of Crete as an example of best practice of reality in the field of museum learning in Greece. It focuses on school groups, even though we use the same strategies for other groups. Our methods are slow looking and artful thinking and we propose four main steps for a successful museum learning programme, full of holistic and multimodal experiences: 1) preparation for the visit with the leader of the group (e.g. teacher, professor) for the visit, 2) the preparation of the group before the visit, 3) the visit to the museum for the implementation of the museum learning programme and finally 4) the processing of the visit after the museum visit in the classroom. The visit in the museum is structured in four phases: a phase with activities to relax, break the ice and get-to-know-each-other, a phase of introduction to the subject, a phase of reflection on the subject and a phase of creative evaluation and emotional discharge. Through these steps we want visitors to feel welcome, included, interested but also engaged and active in their everyday life, inspired by taking part in the programmes.
Some people in Greece still believe that museum pedagogy and learning refer only to children. Consequently, museums need to challenge this attitude and be more mindful and critical. Collaboration and the creation of synergies between the museum staff and audiences are at the heart of museum learning. After all, the core to museum learning, education, museum pedagogy or whatever we call our profession, is the desire to inform, create, inspire cultural action.
κοινωνικά θέματα όπως το προσφυγικό ζήτημα; Κάποιες απαντήσεις σ’ αυτό το ερώτημα σκοπεύουμε να βρούμε στο εργαστήρι με θέμα: Συνομιλώντας μπροστά σε σύνορα και σταυροδρόμια για το προσφυγικό. Σκοπός του εργαστηρίου είναι οι εκπαιδευτικοί να έρθουν σε επαφή με τα οφέλη της ένταξης των τεχνών στη διδασκαλία τους. Με αφορμή ένα θέμα που μας αφορά όλους, το προσφυγικό, θα έρθουμε σε επαφή με τις τεχνικές του έντεχνου συλλογισμού και του θεατρικού
παιχνιδιού. Ειδικότερα θα δούμε έργα τέχνης, κυρίως σύγχρονες φωτογραφίες από την έκθεση Medphoto Σύνορα και Σταυροδρόμια που πραγματοποιήθηκε το
καλοκαίρι του 2016, στο Μουσείο Σύγχρονης Τέχνης Κρήτης και θα γευτούμε με βιωματικό τρόπο πώς μπορούμε να τις αξιοποιήσουμε στην τάξης μας με στόχο τον εμπλουτισμό του διδακτικού ρεπερτορίου μας αλλά και την ενσυναίσθηση μας για το προσφυγικό ζήτημα. Απώτερος σκοπός του εργαστηρίου είναι να αναδειχθούν οι προοπτικές των σχέσεων εκπαίδευσης και πολιτισμού.