Friday, Panel 2, AUDITORIUM 11:00 - 13:00


All presentations in this panel:

  • Happiness is all about Connecting, Chun-Hui Wang, National Taiwan Museum of Fine Arts, Taichung, Taiwan

  • Curriculum Based Fun Learning at Rashtrapati Bhavan Museum (President House Museum), Shubha Banerji, Rashtrapati Bhavan Museum, New Dehli, India

  • My Ateneum – distance-learning museum visits for students in the fifth and sixth grades, Mari Jalkanen, Inka Yli-Tepsa, Finnish National Gallery, Ateneum Art Museum, Helsinki, Finland

  • The 10 - Wonder for everyone, Veerle De Meester, Royal Museum of Fine Arts Antwerp, Antwerp, Belgium

  • Rubber Stamp Stations in an Exhibition-Passport, Christine Brehm, City Museum Erlangen, Erlangen, Germany

Happiness is all about Connecting

Chun-Hui Wang

National Taiwan Museum of Fine Arts, Taichung, Taiwan


Keywords: connections, interactions, creative learning material, museum educator

Most adults in Taiwan think of museums as informal educational places which means the main goal for visiting museums is to strengthen what their children have learned in schools. In such circumstances, it is hard for them to see museums as relaxing and interactive space, no mention to improve their wellbeing. In recent years, some museum educators try to flip the mission of museum: Is there any possible for museum educator to take actions to modern crisis? What else can we provide for audience in the museum? Some museum educators in Taiwan try to make the museums become healing and joyful. Museum educators have faith on themselves as facilitators who can encourage people to find out something interesting from collection. In order to engage various audience, museum educators also make an effort to reinterpret objects from the past and reconnect it with current society. From my perspective, the priority of enhancing enjoyment in museums is to ignite more interactions with various connections. If we, the museum educators, can show how to connect with people, objects, spaces in museum, maybe people can be fulfilled and then try to connect and conduct in daily life. When people know how to make connections happen everywhere, the interactions among society would be frequent and then everyone would be joyful, thankful and mindful.  My main goal in museums is to make people interact with intimate relatives or indifferent people though exhibitions, events and learning materials. This presentation takes two projects I have done in National Museum of History and National Taiwan Museum of Fine Arts to show how the museum educator encourage frequent interactions among children and adults with innovative methods and make dialogue keep going on.

Curriculum Based Fun Learning at Rashtrapati Bhavan Museum (President House Museum)

Shubha Banerji

Rashtrapati Bhavan Museum, New Dehli, India


Keywords: Rashtrapati Bhavan Museum, Fun learning, Micro Program, Students, Curriculum

In India, every year, large groups of school children visit few selected museums as part of their educational excursion. Most of them don’t have any prior knowledge of museums and simply pass through the galleries. Recently, however, things have changed. In metropolitan Indian cities, big museums are offering well-planned educational activities where a dedicated educational team works on creating engaging sessions. Rashtrapati Bhavan Museum is a newly opened museum with limited infrastructure and strict security protocols to consider before planning large educational programs. Our strength was that RBM was built to be an interactive museum. Interactive technologies like Holograms, VR, AR, multi-touch, multimedia, interactive kiosks etc. allow the exhibit content to be highly interactive and engaging. Our education team developed educational programming to accompany these interactive sets. Since we didn't have a museum website or social media page, it was challenging to inform the public about our educational programs. So, we offered our educational programs first to the children of the staff members' residing inside the Rashtrapati Bhavan Estate.  Then, we contacted schools in the nearby areas of our museum. These schools are only allocated a budget for one annual museum visit and allowed only half day excursion. Therefore, we created one hour of micro program modules aiming at speed learning. Furthermore, such micro programs worked perfectly for us since we didn't have the infrastructure and staff to offer elaborate educational programs in our newly opened museum.  The objective of these micro programs was to keep the attention of young children and complement their curriculum learning in a fun manner. We arranged pre-visit sessions with the teachers and planned activities that would appeal to them. Workshops were designed based on the curriculum. My presentation will elaborate on the successful micro events which we ran for every month from 2017 through 2019.

Presentation Shubha Banerji

My Ateneum – distance-learning museum visits for students in the fifth and sixth grades

Mari Jalkanen, Inka Yli-Tepsa

Finnish National Gallery, Ateneum Art Museum, Helsinki, Finland


Keywords: Long distance learning, Program for Schools, Open-ended discussion, Participatory, Inclusion 

Museums are key out-of-school learning environments. They have expertise in working with children and young people, and teachers know how to use their services. Most people are familiar with museums as places where we gather to view art together or to attend a workshop in a shared space. What will happen if the physical presence that museums afford, the participation and inclusion of children and young people, is pursued virtually? Is it a feasible proposition? My Ateneum is a project that investigates how interactive engagement and learning can be achieved when a guided tour is conducted virtually in the classroom. Launched in autumn 2021, the project has already succeeded in answering several questions. We now know that a lively and in-depth discussion about art is possible even with a large class. We have also learned that, instead of a single meeting, it is better to use a structured program with alternating classwork and virtual meetings with a guide. We set up a website for the project that allows teachers to implement a cross-curricular teaching package that considers the needs of different learners. Some of the materials on the website are intended for pupils and feature an instructor who is a well-known youtuber popular among the age group.  Of the many goals we set for the project, number one was to support inclusion. All content is linked to the school pupils’ own sphere of experience. A good example is comparing the image of Finland and Finnish culture as it is presented in art history with the pupils’ own observations of their environment. Main learning objectives in the project involve grasping the concepts of museum and collection and the promotion of visual literacy. For the latter we have used two methods in particular: Open-ended discussion method Visual Thinking Strategies (VTS) and drawing from observation.

Presentation Mari Jalkanen and Inka Yli-Tepsa

The 10 - Wonder for everyone

Veerle De Meester

Royal Museum of Fine Arts Antwerp, Antwerp, Belgium


Keywords: quest for children, playful and multi-sensory, imagination, original and unique/out of the box, visual artist

When it reopens in September 2022, the KMSKA will present an adventurous, playful and humorous quest, designed for children from 6 to 12 years old. Children and their families explore the museum with a booklet full of surprising assignments and challenges that bring them closer to the works of art. The goal: a visit to the museum in which children can sing, draw and above all fantasize. For the elaboration of the project, we work together with visual artist Christophe Coppens. With 'The 10', Christophe gives a personal and inventive view on the collection. Christophe selected ten works of art, spread across the museum rooms. Details from these paintings formed the basis for his creations. A large fly hiding behind a picture frame, a moving hand emerging from the wall, a skull you can crawl into, a poop singing opera and six other daring installations are in the room of the artwork they refer to. The ten installations are very different and unique and appeal to the children's imagination. It is very surprising that the details to be found in the paintings are several meters in size. Unlike the works of art in the museum rooms, Christophe's objects can be touched. The design and the materials used invite to do so. This creates a multi-sensory experience in which children can feel, hear, see, ... For example, a detail of two camels from an altarpiece by Peter Paul Rubens is worked out as a velvet sofa in which the heads of the camels are incorporated like teddy bears. Children can lie down and cuddle the camels. For the execution of the objects, the artist called on the know-how of the scenographers of the Royal Monnaie Theatre. Thus, this project became a fine exchange between two major cultural institutions. The original design and approach make this project unique. They are visually strong objects but in the choice of details and the location of the objects, account was always taken of the other works of art in the exhibition rooms.

Presentation Veerle De Meester

Rubber Stamp Stations in an Exhibition-Passport

Christine Brehm

City Museum Erlangen, Erlangen, Germany


Keywords: enjoyment, self-guided, extra track for young visitors, always available

Visiting the exhibition:  "Language and Speech Development of German Language" with a joyful rubber stamp booklet. The printed colorful booklet appears like an original passport and is given gratis to the visitors. It allows to participate in the sophisticated content of the exhibition. The stamps imitate the "travelling" of the words through thousands of years. The German name is Reise(S)pass. Reisepass means passport - Reise(S)pass can be translated as the joy of travelling. It is made for children from the age of 8 and older. Using the passport young visitors are offered an extra track to participate and explore.  Every stamp gives a sense of achievement - it gives them a real lift! Small groups of children or families can interact while gathering stamps in their passports. The passport can be used for single visitors or at museum events as a special offer.  A positive experience is created!  The passport did not need to be supported or executed by educators it is made from museum educators. Every young visitor can do it as quickly or slowly as he or she likes. - The printed booklet allows to communicate the exhibition via social media easily.

Presentation Christine Brehm