I am conducting doctoral research into the influence of spirituality on =
contemporary museological practice and am seeking case studies of the =
experiences of teachers and museum or gallery education staff in using =
ethnographic and anthropological objects in educational contexts =
(classroom, museum or gallery). I am interested in ways in which the =
spiritual or sacred significance of the objects is conveyed to students =
and the limitations that educators must adopt when dealing with such =
objects in a culturally-sensitive way, particularly in the context of =
art education.=20
I would be interested in hearing from art or museum educators who have=20
a) learned of the true value and significance of objects from another =
culture and so redesigned their educational use of the objects;=20
b) encountered problems by unintentionally using objects in a manner =
that proved to be unacceptable to traditional owners of the objects,=20
c) encountered problems when asking children to undertake art activities =
that proved to be unacceptable to traditional owners of the objects.=20
I would appreciate contributions from anyone who has had such =
experiences or can suggest other people that I should contact. I would =
like to engage in further discussion of the subject with individuals on =
a one-to-one basis, so please include your name, professional position, =
and full contact details.=20
Replies should be sent off-line to moira@e-vocative.com or by snail-mail =
to: Moira Simpson, RMB 75A, Illunga Drive, Scott Creek, SA 5153, =
Australia.=20
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<P>Cultural Sensitivities in Art Education</P>
<P>I am conducting doctoral research into the influence of spirituality =
on=20
contemporary museological practice and am seeking case studies of the=20
experiences of teachers and museum or gallery education staff in using=20
ethnographic and anthropological objects in educational contexts =
(classroom,=20
museum or gallery). I am interested in ways in which the spiritual or =
sacred=20
significance of the objects is conveyed to students and the limitations =
that=20
educators must adopt when dealing with such objects in a =
culturally-sensitive=20
way, particularly in the context of art education. </P>
<P>I would be interested in hearing from art or museum educators who =
have </P>
<P>a) learned of the true value and significance of objects from another =
culture=20
and so redesigned their educational use of the objects;<FONT=20
face=3D"Arial, Helvetica"><FONT size=3D3> </FONT></P></FONT><FONT=20
face=3D"Arial, Helvetica" size=3D2>
<P>b) encountered problems by unintentionally using objects in a manner =
that=20
proved to be unacceptable to traditional owners of the objects, </P>
<P>c) encountered problems when asking children to undertake art =
activities that=20
proved to be unacceptable to traditional owners of the =
objects.</FONT><FONT=20
face=3D"Arial, Helvetica"><FONT size=3D3> </FONT></P></FONT><FONT=20
face=3D"Arial, Helvetica" size=3D2>
<P>I would appreciate contributions from anyone who has had such =
experiences or=20
can suggest other people that I should contact. I would like =
to=20
engage in further discussion of the subject with individuals on a =
one-to-one=20
basis, so please include your name, professional position, and full =
contact=20
details. </P>
<P>Replies should be sent off-line to </FONT><A=20
href=3D"mailto:moira@e-vocative.com"><FONT face=3D"Arial, Helvetica"=20
size=3D2>moira@e-vocative.com</FONT></A><FONT face=3D"Arial, Helvetica" =
size=3D2> or=20
by snail-mail to: Moira Simpson, RMB 75A, Illunga Drive, Scott Creek, SA =
5153,=20
Australia. </FONT></P>
<P><FONT face=3D"Arial, Helvetica" size=3D2>Many thanks, </FONT></P>
<P>Moira Simpson</P></FONT></DIV></BODY></HTML>
