Fun museums for kids. The social mission of school museums

Museum - a word derived from lat. Museum, which translates as "temple". This is a unique institution that collects, studies, preserves and demonstrates samples that show how nature, the human mind and creativity develop. Children are the most welcome visitors to museums. After all, it is in childhood, when the mind of a small person yearns to know the whole and immediately surrounding world, and it is worth introducing the child to culture. An unprecedented phenomenon Russian culture can be called the creation of school museums aimed specifically at young visitors. We will talk about these organizations in the article.

School museum: definition of the concept

The school museum is a kind of museum organizations of educational institutions, represented by a variety of profiles. These institutions can be attributed to departmental and public museums, pursuing educational goals. Managed by an asset of teachers and students, fully included in the system of public education. Often the curator is a specialized state museum.

School museums began with interdisciplinary classrooms, where a rich fund of teaching and visual aids, herbaria and other items collected by the students - biographies, stories, minerals, rare photographs and objects were stored. The phenomenon quickly spread to pedagogical activity, becoming effective of the younger generation.

The activities of school museums in Russia began in the 19th century - then they were created at the noble gymnasiums. The next stage of their development was the twenties of the XX century, when a boom in the creation of local history museums took place in the USSR - many of them took root in schools. Celebrations anniversaries associated with history Soviet Union in the 50s, 70s, also led to the spread of this kind of museums.

School museums are created on the initiative of teachers, school graduates, students and their parents, bosses. The search, storage, study and systematization of the exposition are occupied by students here. The entire collection collected by them becomes part of the museum fund of the Russian Federation.

Today, there are about 4,800 school museums in our country, of which:

• historical - about 2000;
• military-historical - about 1400;
• local history - 1000;
• other profiles - 300-400.

The goals of the museum at the school

Museums of the school profile pursue the following goals in their activities:

• Promoting the formation of research skills among schoolchildren.
• Support for children's creativity.
• Formation of respect for local and world culture.
• Cultivate respect for the past.
• Formation of a sense of responsibility for the preservation of historical values.
• Cultivating a sense of pride in the history of their Fatherland.
• The emergence of students' sense of belonging to the past of the small Motherland, modern history.
• Ensuring the relationship between the school and cultural institutions.

Activity objectives

School museums, photos of which you will see throughout the article, strive to solve the following tasks assigned to them:

• Raising the proper patriotic moods of the younger generation.
• Introducing the child to the history of the family, region, country, the whole world.
• Satisfying the needs of schoolchildren-researchers in independent writing of history.
• Preservation and display of authentic historical documents and artifacts.
• Filling children's leisure time with search and research work, studying assembled collection, preparation and maintenance of exhibits, participation in conferences and creative evenings.
• Helping students to comprehend the beginnings of research activities, the formation of an analytical approach.
• Contributing to the concretization and expansion of the knowledge of the children, gleaned by them from school textbooks and teachers' stories.

Work principles

Job school museum is based on the following principles:

• Systematic connection with school lessons.
• Use of all kinds extracurricular work: seminars, patronage of veterans, conferences, etc.
• Engagement in scientific and research activities.
• Creative initiative of schoolchildren.
• Public Relations.
• Strict accounting of units of the museum fund, exposition.
• Constant communication with state museums.

The social mission of school museums

Speaking about school museums and their role in local history work, let's touch on the social aspect of this activity - let's see what this organization can teach a child as a citizen, family member and society. So, what gives the student participation in the activities of the museum at the school:

• Getting to know problems and pride native land from the inside - through the search engine and research activities.
• Raising respect for the past cultural heritage- through acquaintance with the affairs of ancestors.
• Independent life skills - participation in campaigns, expeditions.
• The traits of a researcher - through search, analytical, restoration work.
• Rehearsal for future social roles- in the Council of the museum, the child can be both a leader and a subordinate.
• The role of a direct chronicler, document specialist - schoolchildren write the history of their region with their own hands, complete funds, make up expositions.
• Professional certainty - having tried on a real profession, the student can already decide whether he wants to devote himself to this area in adulthood.

Distinctive features of the institution

Features of the activities of school museums stem from a certain kind of features that are characteristic only for this organization:

• The work of such a museum is consistent with the schools.
• Has a collection of authentic historical artifacts and documents.
• Demonstrates an exposition or several expositions, clearly divided by subject.
• It has the necessary equipment, space for the exhibition.
• The Museum Council is constantly functioning - active students who, under the guidance of teachers, conduct research activities, work with funds, take care of the safety and proper
• In the activities of the organization, one can always catch the features of social partnership.
• The educational and upbringing mission is realized through the mass-educational and

What are school museums?

Each museum at the school has its own profile - a specialization of activity, filling the fund, which connects it with a certain science, discipline, sphere of culture, art, activity. The main groups are as follows:

• historical;
• natural sciences;
• artistic;
• theatrical;
• musical;
• technical;
• literary;
• agricultural and so on.

The museum can also conduct complex work. An ideal example is local history. The children study both the nature and the culture of their region, city, district as a whole. It is important to note that museums of a specific profile can only focus on a certain phenomenon in their field. A historical museum can only study the history of a city or school, a literary museum can only study the work of unknown writers, a musical museum can only study ditties of a certain ethnic group, etc.

Talking about what school museums are, one cannot fail to mention monographic ones - dedicated to a specific object, person, event. This includes museums of the samovar, books, New Year, etc. School museums of military glory, photos of which you will also see in the article, are also monographic. They may be dedicated to home front workers, holders of the Order of Glory, etc. This also fully includes memorial and historical and biographical (dedicated to the life of a certain person) museums.

Museum funds at the school

As in museums of national importance, the funds of the school museum are divided into two components:

• Main: museum objects corresponding to the profile of the institution.
• Auxiliary material: reproduction of the original collection (copies, models, photographs, casts, etc.) and visual material (diagrams, posters, diagrams, tables, etc.)

The fund may include:

• tools;
• products, finished products of production;
• numismatics;
• weapons, signs of military glory;
• Houseware;
• visual sources - works of art and documentary materials;
• written sources - memoirs, letters, books, periodicals;
• media library - textbooks, films, music library consonant with the profile;
• family rarities and relics, etc.

About the exposition of the museum at the school

The presence of an exposition is a key feature of absolutely any museum. Exhibits that reveal a certain object or phenomenon are combined into a thematic-exposition complex, the latter make up sections, which, in turn, represent the entire exposition.

Basically, when compiling the exposition, the historical and chronological principle is used - each part of it sequentially tells about an event, object and phenomenon. The most common methods for building an exposition from collections of funds:

• systematic;
• thematic;
• ensemble.

School museums are a special and unique component of the educational and educational process. She is able to achieve those goals, solve those tasks that ordinary schooling cannot cope with alone.

Budgetary educational institution for additional education of children

city ​​of Omsk "House of children's creativity"

APPROVE

Director of DDT

________________

"Children and the Museum"

Age of children: 5 - 6 years

Implementation period - 1 year

additional teacher

education:

Adopted at the Methodological Council

"___" ____________ 2012

Chairman of the Methodological Council

_____________________

Omsk - 2012

INTRODUCTION

The processes currently taking place in our society are complex and ambiguous. Destruction of spiritual values, change moral guidelines, the collapse of family traditions adversely affects the inner world of the child. The emerging need for additional sources of restoring harmony with the world, the formation of a personality that is aesthetically developed, prepared for the conditions of a fast pace of life, capable of creative self-realization can be largely satisfied by the museum.

It is the museum educational institution like no other museum allows you to solve these problems. As part of the museum-pedagogical process, it is addressed to a children's audience, has a pronounced educational focus, where the value of a museum object is determined by its value. educational purpose, builds its work on the basis of active involvement in the activities and co-creation of children, teachers, parents. The museum of an educational institution provides a rare opportunity - to teach children to extract knowledge based on the primary source, communication with which has a huge impact on the emotional sphere of a person. In the process of communicating with a museum object, general erudition increases, horizons expand, knowledge is replenished, and the child's ability to create is developed.

EXPLANATORY NOTE

The main motive for the activity of a preschooler is the knowledge of the world around him, finding his place in it, determining his role. The child's idea of ​​the objective and social world should be unified and holistic. It is important that the knowledge acquired by the child is not abstract, and that he understands and realizes himself as a part of the world around him. I learned to navigate and act independently in the world.

Relevance of the program lies in the fact that the museum of an educational institution acts as one of the means of comprehending the surrounding world through visual material, as well as a means of adapting the child to the world. Direct acquaintance with a genuine museum object allows not only to gain new knowledge, but also to evoke an emotional, valuable, aesthetic reaction that is significant for the emerging personality.

WITH early age Children are always attracted by the mysteries of the distant past. The teacher's task is to develop this interest in the right direction, which is possible only with direct acquaintance with a genuine museum object.

The ideal environment for such communication is the museum of an educational institution, created by children and serving for children. Here the child is always perceived as an equal participant in the dialogue. Special opportunities for this are provided by interactive techniques designed to help the child show initiative and independence. The latter implies the most direct interaction with the subject, the creation of a fund of materials available for tactile perception. This is the main stimulus of interest in the museum and satisfies the need of children in the effective development of knowledge.

They also satisfy the need for activity, stimulate mental activity, children's curiosity, independence, enrich the child's experience - observations, experiments, experiments.

When organizing experiments and observations, it is important that the child acquires a humane experience of cognition of reality, so that these types of activities are safe not only for the child himself, but also for living objects.

Classes are built on the principle of "entertaining communication", accompanied by multimedia presentations, audio and video materials, which plays a big role in encouraging children to master the cultural heritage.

Childhood impressions accompany a person all his life, are imprinted in vivid images that influence the formation of attitudes, life position, worldview, therefore, at preschool age, it is important to form feelings of love for people around, nature, and native land. To successfully cope with the task, first of all, you need to take into account the interests of children, be able to present the material in an entertaining, intelligible, beautiful way.

The "Children and the Museum" program, using genuine museum items, as well as items from the visual aids fund (museum items, copies, models, illustrative materials etc.), allows you to solve a number of important educational, educational, developmental tasks.

One of the main tasks of the "Children and the Museum" program is to arouse interest in the museum as a special source of cultural and historical experience of mankind, to form an internal spiritual need to visit museums.

Purpose of the program- to create conditions for the formation of interest in the history of the Omsk Irtysh region through the organization of museum and pedagogical activities using interactive methods and modern information technologies.

Educational:

To form a museum culture, an internal spiritual need to visit museums;

To form an idea of ​​the museum as a special source of cultural and historical experience of mankind;

To form a careful attitude to the museum object as a part of material and spiritual culture;

To form visual literacy (observation, the ability to analyze and generalize visual impressions in an elementary form, emotionally experience a visual image, as well as creatively perceive and comprehend what they see);

Awaken children's interest in the history of their native land through historical and cultural heritage;

Provide basic knowledge of local history.

Educational tasks:

Awaken a sense of belonging to the past;

To form an emotional culture and artistic taste;

To bring up a careful attitude to the historical and cultural heritage of the city and the country;

To educate the moral qualities of a person: kindness, responsiveness, the ability to empathize;

To form a positive attitude of the child to the world around him.

Developing:

Based on the individual abilities of each child, stimulate the development of intellectual and creativity, emotional sphere of personality;

Independence in work, practical use of acquired knowledge and skills;

Develop the communication skills of each child;

The development of psychophysical qualities: observation, the ability to concentrate, the formation of voluntary attention, the ability to navigate in space and time, the development of imagination, emotional responsiveness.

Conceptual foundations of the program

Practical orientation of training. The optimal ratio of theoretical and practical classes is necessary condition program implementation.

The principle of interactivity. A person remembers only what he does.

The principle of diversity of activities. Creating a space for diverse activities that provide each child with the acquisition of new qualities and the improvement of his existing abilities.

Availability of training. The choice of the content of the program is optimal for achieving its goals and objectives.

Linking learning with life. Since one of the objectives of the program is the formation of a creative personality, its implementation is impossible without the formation of a system of moral and ethical views of the child. These views are embodied in Everyday life child. Therefore, the basis for the formation of such a system is the designated principle.

Cultural conformity. The program shows inseparable bond between the region and the country, between the small and big Motherland. A person born in this region must learn its history and present not only through abstract historical facts, but also through personal inclusion. This is necessary so that a person feels like a part of the past and present of the region.

Presentations of mini-projects;

Exhibitions of children's works;

Quizzes;

Creative works;

Participation in competitions

To diagnose the effectiveness of the educational program, the following are used:

Questionnaire for the initial interview;

Activity sheets;

Notebook of my achievements.

Educational and thematic plan

Topic of the lesson

Number of hours

Practice

Museum business

Introductory conversation.

What is a museum?

What is a thing?

The thing is like a portrait of a person.

museum professions.

What are museums.

Today we are going to the museum.

local history

Dinosaurs - who are they?

Glacial period.

Guys about animals.

Seed travel.

How cities are born.

Exhibit in focus

(acquaintance with museum objects)

How did the stones appear?

From the word-drawing to the letter.

How the eraser and the ball appeared.

Summing up for the year. Presentation of the mini-project "My Museum".

Total for the year

Topic of the lesson

Museum business

Introductory conversation

Theory. Acquaintance with the team, discussion of the work plan for the year. Identification of the sphere of interests of children. Rules of conduct in the classroom.

Practice.

A game"Invisible hat". Acquaintance of the teacher with children and children with each other.

Watching the cartoon "The Cap of Invisibility".

What is a museum?

Theory . Museum as a "time machine". Rules of conduct in the museum.

Practice.

A game"Find the exhibit." Fairy tale characters lost your things in our museum, help them find them and return the heroes to their fairy tales.

Exercise. Watch the cartoon "Well, wait a minute!" Issue No. 12 and answer the question: Did the wolf behave correctly in the museum?

What is a thing?

Theory. properties of museum items. The language of things. The thing is like a portrait.

Practice.

Exercise game. Watch the cartoon "Ivashka from the House of Pioneers" and draw a portrait of fairy-tale characters with things.

multimedia presentation,

The thing is like a portrait of a person.

Theory. The item is a portrait of its owner. The similarity of the professions of a museum worker and a detective.

Practice.

Training game. The teacher shows the children a white coat and asks them to name the professions of people to whom it may belong.

Game-training. Watch the cartoon "We are with Sherlock Holmes" and make an oral portrait of Sherlock Holmes.

Experience. Descendants of Sherlock Holmes, or in the footsteps of Sherlock Holmes. Grind the pencil lead with a knife. Let the child rub his finger with the prepared powder. Now you need to press your finger to a piece of tape, and stick the tape to white sheet paper. There will be a clear fingerprint on the sheet.

Training game. Watch the cartoon "Three on the Island" and make a verbal portrait of a pirate.

Training game. Draw your own portrait with things, a portrait of your parents.

multimedia presentation,

authentic museum items, copies of museum items.

museum professions.

Theory. museum professions. Profession researcher, restorer.

Practice.

A game."Museum Restorer". Watch the cartoon "Krynka". From paper "shards", a broken pot, collect a whole vessel and stick it in a notebook.

Multimedia presentation, copies of museum objects, authentic museum objects.

What are museums.

Theory. How did museums appear? What are museums. Museum city. Museum house.

Practice.

A game. Place museum items in the appropriate museum. Divide a sheet of thick paper into two parts. Colorful pictures depicting expositions of museums of various profiles, stick on one side, on the other, a sheet of velvet paper. Stick images of museum objects on velvet paper (velvet outside).
Children should arrange pictures of exhibits in accordance with the profile of the museum.

Today we are going to the museum.

Theory. Preparing children for a meeting with the museum. Remember what museums are. Rules of conduct in the museum.

Practice.

Exercise. Compose a fairy tale “Once Upon a Time in the Museum”: “Every evening after the museum closes, things come to life and tell each other their story. unusual story: how they lived until the moment when people brought them to the museum, how they ended up here ... Once he told his fairy tale ... ".

Multimedia presentation, authentic museum items, copies of museum items.

Final lesson on the section "Museum business".

Practice.

local history

Dinosaurs - who are they?

Theory. Paleontology as the science of fossil animals. How fossils were formed.

What are dinosaurs. Dinosaur Museums. How many years did dinosaurs live. Why dinosaurs died out (hypotheses: meteorite fall, volcanic eruption). Modern relatives of dinosaurs (birds and crocodiles).

Practice.

A game"Mini-excavations". Invite children to find the remains of ancient pangolins (toy skeletons of dinosaurs).

Exercise. We draw a dinosaur. Outline the palm of your hand with a pencil. Thumb- this is the tail of a dinosaur, the other four fingers are legs. Draw the head and spikes. Color it. It turned out to be a dinosaur. Give him a name.

Experience. Eruption.

Lava recipe. Mix one teaspoon of baking soda, a little red dry paint, 5 drops of washing liquid. Carefully pour the mixture into the bottle in the volcano. Put the finished volcano in an open place where it will not splash anything. Pour 5 drops

white vinegar in a bottle and step aside to watch your volcano erupt.

Multimedia presentation, dinosaur cartoon, dinosaur figurines, volcano model.

Glacial period.

Theory. How paleontologists work.

An ancient inhabitant of the Omsk Irtysh region: mammoth, woolly rhinoceros, saber-toothed cat.

paleontological museums.

Practice.

Exercise. Watch the cartoon "Mom for a Mammoth" and draw a mammoth. Outline the palm of your hand with a pencil. The thumb is the mammoth's trunk, the other four fingers are the legs. Draw ears, tusks. Color it. Here is the mammoth. Give him a name.

A game. Pathfinders. The players must determine "which of the animals, birds could leave their tracks."

Exercise. Based on the "remains" of ancient animals, reconstruct their appearance (assemble a puzzle).

Exhibition of drawings.

Multimedia presentation, cartoon, authentic paleontological objects (a fragment of a mammoth tusk).

Guys about animals.

Theory. Animal world Omsk Irtysh. Wild, domestic animals, insects.

Practice.

A game. Guess who am I?

According to the description, the children must guess what animal it is.

A game."Understand me".

With the help of gestures, movements, facial expressions and sounds, depict animals.

A game."Whose kids?" Name the mother of the baby animal shown in the picture.

Experience. Vaults and tunnels. Glue a thin paper tube slightly larger in diameter than a pencil. Insert a pencil into it. Then carefully fill the tube with the pencil with sand so that the ends of the tube come out. Pull out the pencil - and you will see that the tube is not crumpled. Sand grains form protective vaults. Insects caught in the sand come out from under the thick layer unharmed.

Exercise. Think of a riddle about an animal.

Multimedia presentation, cartoon, animal figurines.

Excursion to the local history museum (department of nature).

Practice. Exercise.

Look carefully at the exhibits and answer the questions. What animals do you know? What do you know about them? After visiting the museum, draw what you remember the most. Prepare a mini story based on your drawing.

Seed travel.

Theory. The flora of the Omsk Irtysh region from ancient times to the present day. The transformation of a seed into a plant. Winged seeds (birch, maple, linden). Fluffy seeds (dandelion, poplar). Plants that can shoot (peas, acacia). Omsk trees are long-lived.

Practice. A game. Who is faster?

Find a picture of a certain plant.
Children must find cards with the image of a plant that the teacher calls. The winner is the one who finds the named plant faster.

Experience. Lotus flowers.

Cut flowers with long petals from colored paper. Using a pencil, twist the petals towards the center. And now lower the multi-colored lotuses into the water poured into the basin. Literally before your eyes, the flower petals will begin to bloom. This is because the paper gets wet, becomes gradually heavier and the petals open.

Experience. Great matches. You will need 5 matches. Break them in the middle, bend them at a right angle and put them on a saucer. Put a few drops of water on the folds of the matches. Watch. Gradually, the matches will begin to straighten out and form a star. The reason for this phenomenon, which is called capillarity, is that wood fibers absorb moisture. She crawls further and further along the capillaries. The tree swells, and its surviving fibers "get fat", and they can no longer bend much and begin to straighten out.

Exercise. Determine the age of the tree by the growth rings on the cut.

Exercise. We make bouquets of flowers from pumpkin seeds, watermelon, zucchini.

Multimedia presentation, cartoon, seeds, flowers of plants.

How cities are born.

Theory. Legends about the founding of the city of Omsk, the origin of the names of the rivers Irtysh and Om. .

A game. "Journey through old Omsk". Children receive a secret letter written in milk. Heating a sheet of paper, we see how an invisible message appears. From a secret letter we learn about the existence of an old map of Omsk.

We set off on a journey along the old map of Omsk (the landing site of the expedition of I. Buchholz, the Omsk River, the building of the House of Creativity, the circus, puppet theater, museums of Omsk, the oldest tree in Omsk, etc.).

Photo exhibition "Me and my city"

multimedia presentation.

Final lesson on the section "Local history".

Practice. Fulfillment of creative tasks.

Exhibit in focus (acquaintance with museum objects)

How did the stones appear?

Theory.

Varieties of stones. Geology is the science that studies rocks. How to become a geologist. What are mountains made of? Volcanoes. igneous rocks.

Practice.

The Candle Experience(how rock is formed from magma). To imagine how rock is formed from magma will help watching a burning candle.

Multimedia presentation, authentic museum items, copies of museum items. Cartoon.

From word - picture to letter.

Theory. The history of the emergence of writing: nodular, pictorial (pictographic) writing, birth Slavic writing; the first written materials: clay tablet, papyrus, birch bark, paper.

Ink lake.

Practice.

A game. Children send letters to each other different ways(nodular, pictorial, on clay, birch bark). We write with a goose pen and ink.

Experience. Where did the ink go? Transformations. Drop ink or ink into a bottle of water to make the solution a pale blue. There also put a tablet of crushed activated carbon. Close the mouth with your finger and shake the mixture.
She brightens up before her eyes. The fact is that coal absorbs dye molecules with its surface and it is no longer visible.

Multimedia presentation, authentic museum items, copies of museum items.

How the eraser and the ball appeared.

Theory. The ball from the "tears of a tree". Bread crumb and pencil eraser.

Practice.

Exercise. Continue the story. The evil wizard made it so that in one second there was no rubber in the city. Meanwhile, people in cars were hurrying about their business, the girls were playing ball, electric lights were on in the houses, and the diver was looking for a sunken boat at the bottom. Continue the story. Tell me what happened to the city, people, what things disappeared from the house and the street, when all the rubber suddenly disappeared.

Multimedia presentation, original museum items, copies of museum items, cartoon.

Visiting a fairy tale (the history of household items).

Theory. Items of peasant life, which are described in fairy tales: clay pot, bast shoes, spinning wheel.

Practice.

We sculpt a clay pot in the old way.

Quiz"Guess." The children must guess the riddle and find the item in question, as well as demonstrate how it was used in practice.

Exercise. Sending for brownie (fill cast iron with vegetables) drawings.

Exercise. Write a riddle. Learning to make riddles.

Multimedia presentation, cartoon, authentic museum items.

How to prepare a mini-project "My Museum".

Theory. We create our own mini-museum. What you need to know to create your own museum. Reflect in the exhibition:

1) The place where the heroes of the exposition live.

2) Heroes of the exposition.

3) Your attitude towards them, their attitude towards you.

Practice . With the help of objects, drawings, build an exposition on the topics "My family", "My cat", etc.

Draw the exposure in your notebook.

Multimedia presentation, authentic museum items, copies of museum items.

Summing up for the year.

Theory. Results for the year.

Practice . Presentation of the mini-project "My Museum".

Methodological support of the program

The program "Children and the Museum" is focused on the age specifics of children up to school age. Preschoolers are characterized by sharpness and freshness of perception, contemplative curiosity. They react to their surroundings with lively curiosity and pronounced emotionality. At the same time, their thinking, while largely continuing to retain a visual-figurative character, is already beginning to acquire verbal-logical features.

In the course of classes, the use of non-verbal and gaming teaching methods is of great importance. It's about about independent drawings and creative tasks, various kinds of didactic games, developing exercises. It is also important to observe the principles of visibility and dialogue, to strive to identify the individual activity and independence of each child, as well as to develop communication skills and joint discussion of impressions (teamwork skills).

In the educational process, three main forms of work with students are used: classroom, practical lessons and classes at the museum exhibition.

Main conditions successful implementation The program is to use a collection of authentic museum items, visual aids, multimedia presentations, audio and video materials for museum classes. The creation of a special interactive fund of museum objects allows direct tactile perception of the object, which is the main incentive for interest in such museum activities and satisfies the need for children to effectively acquire knowledge.

Multimedia presentation, due to its emotional appeal, is a very effective means of presenting information. The ability to use animated videos, audio effects, graphics and text increases the susceptibility of the children's audience, creates a positive attitude towards information.

As practice shows, the most effective is the joint use of multimedia presentations and the traditional learning process based on personal communication between the student and the teacher. The use of the latest technologies in the museum-pedagogical process emphasizes the value of communication with the originals, and does not replace this dialogue.

The program is designed for the creative interaction of a teacher of additional education, children and parents. It provides for joint trips to the museum, and as a result of the work on the program, the development of a mini-project "My Museum".

The main activity of a preschooler is the game during which a child of this age learns the world. Therefore, educational educational process organized on the principle of "entertaining communication", using heuristic teaching methods.

Important points are:

The readiness of children to engage in a dialogue with the teacher and peers about the problems considered in the lesson;

The ability to conduct search work, collect independently or together with parents, collect their own drawings and crafts, visit museums, share their impressions;

Willingness to be active in class, not to be shy to ask the teacher about what is not clear, etc.

One of the forms of work with children is a museum lesson. The main condition of the museum lesson is visualization (use of museum objects) and dialogue (perception of the child as an active participant in the dialogue). Museum lessons are designed taking into account the peculiarities of child psychology - based on the sensory perception and activity of the child, who strives to learn about the environment through the game. The peculiarity of museum lessons is that children can not only see, but also hold genuine museum exhibits in their hands (a special interactive fund). museum lesson usually built in the form of a conversation. Modern information tools make the lesson richer and more diverse.

Visualization of education, education by immersing children in the objective world of culture, the use of modern interactive methods and modern information technology all this helps to attract the attention of children to museum activities. Museum pedagogy enables the child to imagine, feel a holistic picture of the world, will allow them to discover and develop their abilities, help to become a person.

Forms of work:

museum lesson

Excursion

Exhibition

Watching a cartoon

Journey into the past

Journey through fairy tales

Scientific expedition

Methods for solving the problems of teaching, educating, developing children:

Question-answer (encourages reasoning and analysis in a certain logical sequence);

Method of comparison (comparison of the same type of phenomena, events, facts, objects);

Conversation (with the help of targeted and skillfully posed questions, encourage children to recall knowledge they already know and stimulate the assimilation of new knowledge through independent reflection, conclusions and generalizations);

Problem presentation (organization of learning through independent acquisition of knowledge in the process of solving life or educational problems);

Research method (provides for the performance by children under the guidance of an adult of individual research tasks and work);

Project method (a method based on the development of students' cognitive skills, critical and creative thinking, the ability to independently construct their knowledge, navigate the information space, see and formulate a problem).

Contrast (opposition of phenomena, events, facts, objects);

Elements of theatricalization (a method of interpreting museum information using a set of theatrical attributes. For a theatrical tour, the presence of museum objects, the active participation of visitors, the use of game episodes and elements of theatricalization are mandatory);

Dialogue communication (equal discussion of the issues under consideration);

Stimulation of independent activity (creation of a situation and conditions for the inclusion of a visitor in active independent activity in various fields (emotional, intellectual, creative, practical);

Creative competition (the use of competition in order to identify and activate creativity audience);

Game methods (designed to promote the development of museum information in the process of playing with the experience of pleasure from the activity itself. There are subject, plot, mobile, intellectual and didactic games). To solve the problems of learning in the museum, didactic and role-playing games are most often used (it is proposed to imagine yourself as a participant in events, depict the event in person, quickly find certain exhibits). game method stimulates the creative activity of children. In game situations, the main moment for the child himself is the game, without noticing it, he masters new knowledge and skills.

Video method (use of projectors, educational television, computers). It is most effective in presenting new knowledge, demonstrating various activities. Slides, videos, children's shows, etc.

Demonstrations (visual sensory acquaintance of children with the exhibits in their natural form allows for an active cognitive process)

Conditions for the successful implementation of the program

The presence of a fund of museum items;

Availability of an interactive fund of museum items;

Availability of space for class - classroom activities;

Presence of lesson multimedia presentations;

Opportunity to visit museums of the city;

Opportunity to conduct walking tours;

Have at their own disposal or be able to work with a computer with Internet access; scanner, printer, multimedia projector; camera, video camera;

Provision of methodological literature, literature on museum and local history topics;

The presence of a video library;

Involvement of parents of students in cooperation;

Promotion of museum and local history activities;

Systematically demonstrate the results of the work of students;

To create on the part of the administration of the educational institution, the public an atmosphere of interest and significance in the implementation of the Program;

Encourage children to be active.

Literature for teachers

1. Boyko-communication technologies in museum-pedagogical activity: Textbook. - St. Petersburg, 20 p.

2. Great Russian Encyclopedia. - M. 2006. - 1887 p.

3. Brockhaus dictionary.

4. Driller of things. - M., 1985.

5. Vanslova and school. Moscow: Enlightenment, 1985.

6., Pugacheva local history dictionary. M., 1994.

7. Gvozdev B. Keys from the past. Legends and traditions of the Omsk land.

8. Goncharenko region. Nature. Peoples. Primitive history. Culture. Tutorial. - Omsk: OmGPU Publishing House, 19p.

9. Cities of Peter the Great. Reference book/Author-comp. . Issue 1. St. Petersburg: Star of Petersburg, 2001.180 p.

30. Zelenko Museum. M., 1927.

31. 1000 years of insights. History of things. Publisher: Slovo, 2002. - 220 p.

32. Irtysh Vertograd (series "All Russia"): Collection. Essays, documents, reference Information, memoirs, chronicle, stories, poems. - M: Academy of Poetry, publishing house "Moscow writer", 1998. - 560 p.

33. Kaulen and expositionist. Lecture notes. Omsk. 2000.

34. Kochedamov grew and developed the city of Omsk. L., 1960.

35. On the phenomenon of museum pedagogy // Art Museum in the educational process. SPb., 1998.

36. Konikov is a thousand years old Middle Irtysh art. Scientific and popular publication. Omsk. 1966. With. 60, with ill.

37., Domestic museum business in line with international trends / Museum for all. Collection of works creative laboratory Museum Pedagogy. Department of Museum Affairs. Issue. 4., compiler - , APRIKT, 2003, 196s.

38. Kravtsov V., Sobolev V., Shapovalov A. Secrets of the past. - Novosibirsk: INFOLIO-press, 1999. - 64 p.: ill. ("Siberia: unknown worlds").

39. Cultural and educational activities of museums: Sat. tr. creative laboratory "Museum Pedagogy" of the Department of Museum Affairs / Under the scientific. ed. E. K - Dmitrieva,. M., 1997.

40. Lebedev multimedia: opportunities and realities // Museum and new technologies. M., 1999. S.160-177.

41. Makarova-Taman "House: children's open museum” in Moscow // International Museum and Pedagogical Seminar “Hello, Museum!”. Tez. seminar. SPb., 1995.

42. Makarova-, Yukhnevich museums in
Russia and abroad. M., 2001.

43., Averbukh of the Omsk Irtysh region. - Omsk: OGIK Museum, 20p.

44. On the meaning of the term "museum pedagogy" in theory and
practice of modern activity Russian museums// Museum. Education. Culture: Processes of Integration. M., 1999.

45., Yukhnevich pedagogy as a new scientific discipline // Cultural and educational activities of museums: Sat. tr. creative laboratory "Museum Pedagogy" of the Department of Museum Affairs. M., 1997.

46. ​​Museum science. Education of the younger generation in the museum: Theory, methodology, practice. M., 1989.

47. Museums of Russia: searches, research, work experience: Sat. scientific tr. Issue. 5: Pedagogy and cultural studies museum activities. SPb., 1999.

48. Museum Pedagogy: Interdisciplinary Dialogues: First Notebook. St. Petersburg: Special Literature, 1998.

49. Nikolaev and legends. - 4th ed., Sr. - Novosibirsk: Sib. Univ. ed - in, 2007. - 203 p.; 16 p. ill.

50. Omsk. "A city on the border of the Russian state ...". Historical mosaic /Author-comp. , / St. Petersburg: Star of Petersburg, 2001.112 p., ill. (Series "Cities of Peter the Great", Issue 3)

51. Palashenkov and memorable places Omsk and Omsk region. Omsk, 1967.

52. Pedagogy of children's giftedness: development in creativity: textbook. allowance / - Omsk: Publishing House of OmGPU, 2010. - 120 p.

53. Object world culture: Museum-excursion program for elementary school / Group "Museum and Education": , Minina SB., M., 1994.

54. Working with schoolchildren in the local history museum: Scenarios of classes: Textbook - method, manual / Ed. . – M.: Humanit. Ed. Center VLADOS, 2001, - 224 p.

55., Saplin to history. 3 cells: Book. for the teacher. - 2nd ed. – M.: Bustard, 1997. – 128 p.

56., Saplin to history. Student aid. M.: TsGO, "Venta - Grif", 1995. - 160 p.

57. Old Omsk. Illustrated chronicle of events / Comp. . – Omsk, 2000.

58. Stolyarov pedagogy. History, theory, practice: Proc. allowance/. - M.: Higher. school, 2004 - 216 p.

59. Stolyarov in the education system: (On the problem of the specifics of museum and pedagogical activities in the modern socio-cultural process) //
International Museum and Pedagogical Seminar "Hello, Museum!". Tez. seminar. SPb., 1995.

60. Joiners of the Art Museum: from the origins to the present. St. Petersburg: Special Literature, 1999.

61. Stolyarov Museum and aesthetic education of youth. L., 1988.

62. Stolyarov BL, etc. Museum and pedagogical program
Hello Museum! // Art Museum in the educational process. SPb., 1998.

63. , Sokolova ND., Alekseev excursion
affairs: Proc. manual for students of pedagogical universities. SPb., 2002.

64. 1000 significant events from the history of Omsk. ./ Comp. And scientific. Ed. . Omsk, 1996.

65. 1000 riddles. A popular guide for parents and educators. / Compilers, . Artists, . - Yaroslavl: Academy K, Academy Holding, 2001. - 224 p., ill. - (Series: "Game, learning, development, entertainment").

66. Udalov about the glorious city of Omsk. - Fragments of history. Omsk: Book. publishing house, 2005. - 272 p.

67. Fedotov G. Obedient clay. Basics artistic craft. M.: AST - Press, 1997.

68. Hudson K - Influential museums. Novosibirsk, 2001.

69., Fokin Museum Affairs: Textbook for students of pedagogical and humanitarian universities. - St. Petersburg: SpetsLit, 20s.

70. Yurasova. History essays. Omsk, 1983.

71. Yureneva: Textbook for higher education. - 2nd ed. - M.: Academic Project, 2004. - 560 p.

72. Yurenev in world culture. M., 2003.

73. I'll take you to the museum: Proc. manual on museum pedagogy. M., 2001.

Literature for children

1. Fun lessons. Cognitive magazine for children of secondary school age, February 2010.

2. I know the world: Children's Encyclopedia: Toys / Ed. comp. . - M .: "Publishing house AST"; house "Family Library", 1999. - 496 p., ill.

3. I know the world: Children's encyclopedia: History of crafts. - M .: AST "; Artel, 2000. - 416 p., ill.

Internet resources:

1. Entertaining experiences and experiments for preschoolers http://adalin. *****/l_01_00/l_01_10c. shtml

2. Entertaining experiences http://*****/opit/opit. htm

3. How to make a volcano? http://*****/fulltext-thread. aspx? cnf=Early&trd=6380

4. Kononchenko N. Introducing plants to preschool children http://*****/2003/08/9.htm

6. Why do plants grow up? http://www. *****/art/1953/

7. Starovoit with children. "Eruption"

http://www. *****/zanatia247.htm

Lyubov Sergeevna
Project "Museum and Children"

Not the first year in our kindergarten priority is project activity.

And just recently, the head was offered to work on a new project« museum and children» .

Inclusion museums in the educational process is not so simple. After all, the child's immersion in the space of culture begins with the knowledge of the most ordinary objects. Only at first glance it seems that this is a simple and obvious process. In fact, it is sometimes difficult even for an adult to understand their inner meaning. And yet, a small man with an inquisitive mind, great curiosity, who has not lost the ability to be surprised at the ordinary, embarks on an unknown world with delight. But this is only the beginning. Further, this world expands, deepens, and with it, various meanings, in which various elements of culture are encoded, grow and become more complicated like a snowball. And here, on the way of knowing the surrounding reality and mastering the language of culture, His Majesty comes to the rescue. Museum. And here the child is in danger. And therefore, a competent guide should be nearby, who would confidentially and carefully lead him into the mysterious world of other cultures. And it is no less important that fairy tales, riddles, myths, and legends accompany a brave traveler to the world of the past. Without this, the journey to the land of knowledge is boring and uninteresting.

The child must understand: what's happened museum? Why do people create these unique treasures of memory? How to behave in museum? (The questions are by no means idle, as it might seem at first glance. Even adults do not always find answers to them, as evidenced by their « non-museum» behavior within the walls of this sacred institution.) Answers to the questions that philosophers, thinkers of different eras set themselves, can be presented in a playful way. (In this regard, the study of N. F. Fedorov is of interest « Museum, its meaning and purpose.) During the game- "trips" children should be introduced to the concepts "time", "monument", "beauty".

All preparatory work should be aimed primarily at ensuring that the child is looking forward to this meeting. Its success will depend on the extent to which expectations are met, whether they will be replaced by unfortunate disappointment. That is why the first meeting with the museum is especially responsible.

It is no coincidence that almost all museum- educational programs for children of preschool and primary school age begin with a lesson "Hello, museum!»

One of the most museum cities of the world - Moscow. Almost everyone here museum can become a cherished door to the world of culture, history, nature. However, in each case, the choice must have its own rationale.

When held in kindergarten project"classical music", we visited Bakhrushin Museum, even then, the first stages were the discussion and choice of the direction of the means and form of work, and now we decided to take the study of the work of the great painter-storyteller V. M. Vasnetsov as the basis for acquaintance with Russian fine art, since his work is closest in content to children. The main characters of his canvases are Russian heroes familiar to children from early childhood. fairy tales: "Snow Maiden", "Sleeping Beauty", "Ivan Tsarevich and Gray wolf» and many others. And fairy tales, in turn, are the most understandable and favorite genre for children, part of Russian national culture. They teach kindness, honesty, decency, mutual assistance, the ability to empathize. Russian fairy tales carry the warmth that sometimes children lack so much. And the poetics and melody of the language awaken deep feelings, give rise to an emotional, spiritual response.

We have identified solutions Problems:

1) raising one's own cultural level through self-education (study of the life and work of V. M. Vasnetsov);

2) organization of work with children;

3) interaction with parents in solving this problem.

The means have been chosen:

1) art word (acquaintance with Russian folk and author's tales);

2) painting (acquaintance with the work of V. M. Vasnetsov, with paintings on the plots of fairy tales known to children);

3) music (inclusion in the life of a child musical works related to the theme of Russian fairy tales, and paintings by V. M. Vasnetsov).

We considered the most acceptable forms of work to be How:

1) classes on familiarization with others;

2) classes to get acquainted with the work of the artist;

3) excursions to museums;

4) classes in fine arts and musical activity, which make it possible to consolidate and expand the ideas of children on the topic under study;

5) organization individual work with children in their free time;

6) conducting joint classes with parents, quizzes, reviews, competitions.

In our opinion, only the use of various methods and techniques in their organic combination allowed us to work most productively.

We received rich and complete information from manuals and books: "Viktor Vasnetsov" L. Iovleva, "The Tale of the Storyteller" G. Wind, « Museum and children» L. Panteleeva.

It should be noted that by that time closer contacts had already begun to develop between us and our parents. We are convinced that many families are our reliable partners interested in the development of spirituality and morality of their own children.

Organizing a joint tour, we "killed several birds with one stone": on the one hand, improved spirituality parents, on the other hand, increased their activity in the development of children.

Touching reviews about the excursion were left by the parents of our pupils: “It's great that there is such an opportunity for parents, children and employees to travel to art museums, in particular the All-Russian museum arts and crafts.” We really enjoyed communicating with works of art and with each other. We felt that, thanks to the meaningful, emotional and creative immersion of children in the world of fairy tales, paintings, we managed to introduce them to the origins of nationality, spirituality, gradually reveal in our children emotional responsiveness, sensitivity, susceptibility to works of art, cultivate the sprouts of kindness.

After the tour, we noted that children listened to literary works with great interest and understanding, examined reproductions, that the relationship between children and parents became closer.

Realizing that only in close connection with parents, with employees of the All-Russian museum arts and crafts can effectively solve problems moral education older preschoolers, we set ourselves the goal of developing a system of classes, subgroup work with children and parents, methodical works with teachers.

Seemed to be a role problem museum- educational activities in the socialization of the child, the involvement of parents in the sphere museum influence is well developed. But no! Turning to the pedagogical heritage. Fatherland we found "interesting, important and significant ideas for modernity". In the article "Pedagogical value of children's home museum» , published in 1866 in the magazine « Kindergarten» , read:

- “Whoever had the opportunity to observe children who were not constrained by adults during their walk, he probably noticed their passion for examining and collecting objects ... Children pick up ... everything that grabs their attention."

- "Dear parents, if you knew what savings you could make in buying toys and how many unpleasant minutes you would save yourself if you let the children collect ...".

“Give your child a few boxes, a place to put them, let him…pick up and collect…and you will find that he will be less likely to pester you complaining that he is bored and demanding that you buy him a toy.”

- “Little by little, the child will have a whole museum of things…in winter when he is doomed to a reclusive life, he will lay out and survey his treasures more than once, with love he will remember the place and time where ... they were found.

- “Having laid such museum, the child will not only fill the pleasant hours of his leisure, but ... he will accustom himself to order, neatness and thrift; these qualities are rarely found in children, but to a certain extent they should not be neglected in any way.

These lines were written over 140 years ago. How much depth of thought they have, what pedagogical foresight in matters of raising a baby, how modern and timely these tips are for us, today's teachers!

Currently 26 families, children who visit our group, have home museums. Their subject matter is varied. "We are from the capital". Mini- museum bells at Emma Parshina. We saw a collection of pebbles, which were collected by members of the family of Varia Ermilova, collected by family members during their holidays on the banks of rivers and seas.

Sunday afternoon with my sister
We left the yard.
"I'll take you to the museum!" —
My sister told me.

Why do we take a child to a museum? The first reason is obvious - so that he learns something new. I saw what I read or heard about, understood the structure and functioning of complex systems, whether human body, the movement of the planets or the theory of evolution, in which case we mean, first of all, natural science museums.

For art museums, reasons of a different kind come to the fore - we want to show the child the richness and diversity of culture and its material manifestations, develop his aesthetic taste, perhaps share our experience of meeting the beautiful, that is, in the end, we turn not only to not so much to the mind of the child, but to his inner, spiritual world.

But a child, especially a small child, cognizes the world around him mainly through action, through play. A rare kid will be able to withstand a tour of the art gallery, where the guide, even if very magnified, talks about the dates of life and artistic directions. Or he doesn’t get bored in the museum-estate, where the exhibits are hidden behind glass and fenced with a rope - they are not something to touch, it’s scary to look at them carefully, they are so valuable and fragile. But if you allow each visitor to sit on a chair famous writer or leaf through the famous manuscript, touch antique statue, then nothing will remain of these exhibits very quickly, as museum workers, teachers, and parents have always fairly explained to us.

So how do you show the kids works of art? How to interest, how to teach behind the form to see the inner content of the subject, to touch inner world the author, thereby revealing his own, enter into a dialogue with past eras and other cultures? How to talk to a child about culture and art?

This question is trying to answer, and I must say, quite successfully, the pedagogy of art.

Educators see one of their most important tasks in making museums accessible and understandable to the youngest visitors, in developing programs so that museums are of interest to both parents and children.

After all, despite the development of modern technologies, despite all the new means of disseminating information, museums remain important centers of cultural and educational life. In addition to material assets, works of art, evidence of the life of other peoples and eras, it is also a special atmosphere, rich experience that can have a significant impact on the formation of a person's personality.

To make this experience as accessible as possible for children, purely cognitive methods, even those specially adapted for different age groups, should be supplemented by practical tasks that require the active participation of the child, personal understanding of the exhibits, living various situations, trying on certain images or roles.

For example, Children's Museum The House of Family Traditions, whose teachers develop their programs based on these principles, during a tour of the Museum of patrons, entrepreneurs and philanthropists, they offer the child not only to inspect the halls of the museum, but to choose among the exhibits a portrait or photograph of a woman who could be related to his family, whom he might like to see as his distant relative, family friend, great-grandmother, who left a chest with valuable and memorabilia for her grandchildren.

In such a task there is no competition, there are no right or wrong answers. Children fantasize, invent stories, remember their family habits, traditions, find, first of all for themselves, answers to important questions: what can be interesting for me in another person, what qualities I like in my loved ones, how appearance guess internal features a person, what objects from ancient times I would like to receive from previous generations, and many, many others.

If we are not talking about unique exhibits and works of art, but about household items, then great importance is attached to the opportunity not only to examine them, but also to touch them, to try to put such items into practice. The child himself, relying on his experience, intuition or fantasy, tries to guess what this or that exhibit could be used for. And assumptions, attempts at reasoning here are no less important and interesting than the correct answer.

What is this ring for? Silver, elegant. Narrow for a bracelet. For a wide ring. Not suitable for a child. Twisted, tried on. Napkin ring.

The experience when several channels of perception can be involved at once is very interesting. For example, a certain object is hidden in a bag and first it must be felt through the fabric.

What is this? Elongated, embossed, most likely iron, if you knock even through the bag, the sound is definitely not wooden. Iron? Glass?

The next stage, we feel without a bag, but with eyes closed. Like metal, smooth but carved.
We look. Looks like cutlery, silver. Very intricate shape. Turns out it's a ham holder.

Of particular importance is the opportunity to make something with your own hands, something material, related to the theme of the excursion or the museum, something that you can then take with you.

This is a completely different, very important level for the child to understand the situation. Do something yourself.

If we study the history of writing, we ourselves take a pen, dip it in an inkwell, write with ink in an album, which we then take home. We examine the paintings of the Impressionists - we try to paint with small separate strokes, paying attention to the subtlest shades of color. We are going on an excursion to Barcelona - we collect a small mosaic of multi-colored pieces in the spirit of Gaudí. Such an experience will be remembered in a completely different way than any lecture, picture or, for example, an educational film.

Summing up, I would like to say that going to a museum for a child can be a useful, interesting and enjoyable experience. There are museums and teachers who will be happy to help us turn the excursion into a bright and memorable event, but even if there are no such teachers nearby, we can take matters into our own hands - look at the world through the eyes of a child, become interested in what is interesting to him, talk with him with his language - the language of play, action, movement and fantasy.

Read about how museums change with their visitors.

Why should a child go to a museum?

- Yes, there seems to be no need. Children grow up in villages without museums at all, and nothing, they become good people. Therefore, there is no unambiguous and unique answer to this question. But, you know, I remember very well my childhood impressions of an incredibly beautiful house, in which we once came with my parents. Past the large columns, we climbed the front stairs. We ended up in some special space where I, a very little girl, felt like a princess in a magical land.

Even if I knew them only in reproductions, but then I really liked two works - a landscape with Polenov's Parthenon and Van Gogh's Red Vineyards. And when, once in the Pushkin Museum im. Pushkin, I saw both, I decided for myself that I don’t want to leave here.

Many years later, when I had already worked in a museum for a long time, the idea came to my mind that each of us chooses a profession based on the basic impressions that we once received in childhood.

I have been working with children for fifteen years now and I know that a museum for a child is much more than an entertaining walk. This is a way out of the space of familiar impressions, out of the framework of your home, out of the ordinary. This is a great and special journey, which, I want to believe, more often pleasant experience their lives. This is an acquaintance not just with works of art, but with people of other eras and cultures who dressed differently, rode horses, rode sledges ...

All this greatly expands the historical horizons of the child. Of course, in children up to a certain age - up to the fifth grade for sure (10-11 years old) - in principle, chronological consciousness does not exist, in any case, there is no sense of time. However, visiting a museum helps children expand their historical horizons and feel their own history more deeply. Obviously, it is important for a child, no less than an adult, to feel that he is not taken out of the context of time and life.

The museum is a contemplation of beauty that teaches children to notice the beauty around them, in own house, courtyard, on the street, but equally teaches to notice the ugly, what hurts the eye and wants to hide. I heard from parents more than once that after visiting the museum, children try to clean their room and hang their own drawings on the walls; girls become more attentive to their appearance and all children, without exception, begin to operate with such concepts as “dressing in the style of the 18th century”, “in the style of a queen”, “like an ancient Greek muse”.

Staying in a museum, studying outstanding works of art, willy-nilly, brings up not only in a child, but also in any person a certain taste and desire to recreate this special space where you live yourself.

If we ask any of us about the impression that he experienced when he first came to the museum, then in response we will hear either “wow, how beautiful it was there” or “God, those huge slippers that fell off our feet and museum aunts on chairs, and a long line." The first impression is the most important, the biggest and the most significant for children.

- Once a priest told about his first visit to early childhood Tretyakov Gallery. When asked by his parents what he liked best, he took them to a corner where there was a huge red fire extinguisher. Not everything in the space of the museum is clear to children, and if it is interesting, then often it is not at all what adults are counting on. Are there any recommendations that can help parents make visiting the museum interesting and understandable?

Imagine you are a parent. Your child has started walking. You first came with him to the playground. What are you doing? First of all, voice the space, consistently give a verbal explanation of everything: “Look, baby, here is the sandbox, and here is the sand. We take a spatula, pour the sand into the mold. We turn over, we knock, we get a cake. It's interesting."

The same thing happens when we go to the zoo. We tell you in advance about the upcoming meeting with the world of wild animals. And approaching either one enclosure or another, we never forget to say: “This is a monkey, and this long-necked animal is a giraffe, and here, look, a huge hippopotamus is swimming in a puddle. Funny, right?

For young children, especially those living in remote areas, any trip, breaking out of their usual way of life is stressful. Of course, the first thing parents should do is prepare their children for visiting the museum. Tell them that tomorrow, for example, they will have an incredible journey into the world of paintings and sculptures. Let the child not know either the first or the second word, but verbally he already receives preparatory information.

Secondly, you should learn to voice everything that you see in front of you: “Look, this is a museum, and this is the main staircase, along which we will now enter this fabulous palace ...” For my students, I try to make the museum not what something inaccessible and pompous place, but a house, with the inhabitants of which you can always get to know. For children, this immediately becomes relevant. They know perfectly well what a house is and what the inhabitants of a house are. Sculptures, paintings, vases, clothes, any other antiquities for them are just unexpected inhabitants.

Thirdly, it is necessary to conduct a lively dialogue with children and not impose one's point of view. You need to follow the child and give fascinating explanations to any of his questions, even if you do not know the correct answer. Don't be afraid to make assumptions. Imagine you want to show your child some interesting room for you, and he suddenly got stuck at the rope that fenced off the exhibit. Let him touch this rope. And then notice that it is attached to the posts, and the posts block the path to the sculpture. Ask about who she portrays? What is it made of? Does the child like it? With what? And finally, summarize: “Now you know exactly what this shiny rope is for.”

Five pictures instead of football

- Of course, there are those who go to museums regularly, in their diary they have all the largest exhibitions scheduled for six months in advance. But there are also many of those for whom visiting a museum is hard and boring work. "Friends go, but the worse I am." What advice would you give in this case?

– You see, parents share the experience they own. And if they are closer Soccer game or a bike ride, they will prefer Bitsevsky Park and the stadium, rather than a trip to the museum.

– And if you still want to try, and even take a child?

- Everyone has it major museum today there is a website where you can read about the museum and its exhibits. Make your trip easier by choosing from among the exhibits no more than five works of interest to you.

For example, if you go to the Polytechnic Museum, then let it be five curious devices, preferably as different as possible. If you are going to art gallery then select multiple pictures in different genres: historical plot, landscape, still life and always some kind of painting or sculpture depicting a child.

Study the plan of the museum in advance, find out where your exhibits are geographically located. It is desirable that they are not scattered over a large space. Go to the museum with a child for no more than half an hour - forty minutes. The main thing - do not try to show him everything at once. Leave until next time. Show "your" works, tell about them in your own words, and then feel free to go for a walk. I guarantee you that the impressions will be the strongest and most positive.

– Imagine that you already have the habit of visiting the museum. The child has mastered his space and knows where the hall with Roman sculptures, Greek vases is located, and where Egyptian mummy. But here he is one on one with the exhibit. How to teach a child to enjoy communication with a work of art?

We call this method Socratic. I don’t know if Socrates used it in the form I propose it, but art critics and teachers call the “question and answer” method that way.

If you notice that the child has stopped at the exhibit, ask what interested him. It is unlikely that he will answer: "Oh, of course, this gallant rider, or this large-scale demonstration, captured my imagination." Most likely, the child will say about some kind of dog, a shiny pistol, another tiny detail that you did not attach importance to.

The fact is that the first thing a child sees is at the level of his eyes. Children generally see objects from small to large. But it is precisely in the power of an adult to unwind the tangle from the private to the content of a work of art, to bring the child to a dialogue. It is the dialogue that will allow him to continue to consider the work and teach him to see the scale, the general content.

For example, you might say, “That's an interesting gun, but do you know who it belongs to? Who do you think this person was? And in what state is he depicted: resting, in a hurry to go to war, maybe wounded? Come up with questions, because with them you will help the child enter the work of art. Try to be your child's guide in this matter. The longer he stays with one piece, the better.

What is the most important advice? No more than five works for careful study and one visit. No matter how mean of me it sounds, no matter how worried you are that you paid for an expensive ticket and saw only five or six works, you know, it's like good food. It is better to leave the table a little hungry.

Do you know what is the biggest problem for people traveling abroad, those who visit expensive museums? It is an irrepressible desire to contain the uncontainable, to embrace everything at once, as if for the future.

You know, it's impossible to keep it. If I come abroad, I say this to my daughter: “We are now going to see the most beautiful work of Raphael, but while we are moving through the halls of the museum, imagine that we are walking along beautiful park. All these pictures with landscapes and with people are just trees and just passers-by. Smile at them and relax." For my child and students in the museum, I try to create an atmosphere of relaxation, to impress them that the museum is best holiday for the soul.

Brain rewiring and running

Why for the soul?

“Because it’s not a rest for the body at all. Main difficulty for a child in a museum is that you can’t touch anything here with your hands. But tactile sensations are the most important component of the development of the child. Therefore, I highly recommend to parents, knowing that you can’t touch paintings and sculptures, don’t pull the child, but let him touch the floor, walls, especially if they are marble, ropes, pens, everything that is allowed to touch.

At the same time, it is important to beat that one thing can be touched, and the paintings - they are also important courtiers, to whom it is not allowed to come close - we will not touch. In the museum you can crawl, sit on the floor, laugh, be surprised, admire, experience new tactile sensations, feel like a midget in Gulliver's country, and there is only one rule: the exhibits cannot be touched.

You see, a child does not rest in a museum, because he constantly has to strictly control himself, besides, museums have a flat floor, and legs always get more tired on a flat floor. Finally, there are a lot of people in museums that are tiring. That is why it seems to us that going to the museum is difficult. Children naturally like to run. I'm not talking about the fact that it is generally difficult for today's generation of children to walk, and even more so to concentrate their attention for a long time.

But it is in this respect that museums have an enormous therapeutic effect not only on children, but on people in general. Museums, especially classical ones, allow you to stop the eternal flickering of frames, reconfigure, overload your brain, forcing it to concentrate for a minute or two on some one object.

It is very important. The race for events, news, information, an attempt to get ahead of everything and keep up with everything just kills us. And the ability to stop a moment - prolongs a person's life. The museum is a place where you can arrange a real feast for the soul.

– How to do it?

- Rest for the soul and there is an opportunity to stop the moment. Any museum is a time machine where you can travel both to the past and to the future. Whether it's a museum of astronautics or a museum of modern art. Here you can freeze and stop to fantasize and dream.

You can imagine yourself present in a particular picture. Don't be lazy to do it. It's really interesting. Many museums, especially my beloved Pushkin Museum, were created for this purpose. The entire architecture of the museum, the entire space of its premises, as conceived by the authors, should transfer a person to a certain era, immerse him in a certain period of human culture.

But the whole catch is that what is interesting and understandable to us is not always clear to the child. What seems beautiful to us may be perceived by children as ordinary and mundane. And vice versa. Therefore, the task of the parent - it's really important - to look at the world through the eyes of their own child. Sometimes in a museum it is enough to squat down and look at the picture from the level of your child's eyes in order to discover a completely new angle, his angle.

And yet, there is no need to rush to stuff the child with a lot of knowledge. New knowledge and information are best absorbed by a child during puberty, from 10 to 15 years. No matter how uncontrollable a teenager may be, his head is still an open locker, in which knowledge will fall beautifully one after another in due time. Until the age of ten, saturate children with impressions. Arouse empathy in them.

I had an unforgettable experience when I once went with my six-year-old daughter to the Raphael Hall. There was a famous and stunning sculpture of a mortally wounded boy being carried by a dolphin. I noticed that my child was attracted to work, and I stopped specifically to talk.

- What do you see? she asked her daughter.

“The dolphin… The boy… He is wounded, and the dolphin is trying to save him,” she said with pauses.

And then I noticed tears flowing from her eyes. At that moment, I realized that the main thing happened, for which it is worth going to the museum. This is the power of art - it caused empathy.

Measure is everything, or don't be hypocrites

How often do you need to go to the museum?

- Now there is a trend when parents give children primary education in Russia, and then send them to study in Europe. At the same time, they turn to us at the museum with a request, they say, we want to feed the child as much as possible so that he goes abroad prepared. Museums in this case go towards such parents, conduct intensive classes with children.

But, according to my observation, even once every two weeks is too much for a child. First of all, because children no longer perceive the museum as a place of rest. It becomes for them another school, duty, work, labor. And just another thing is important, so that the museum remains a place where a person would like to come, which he would miss. Let the museum be a holiday, an encouragement, a place of favorite leisure, but not a place school lesson. Therefore, I am convinced that the museum should be visited with a child no more than once a month.

I really appreciate the heritage of the ancient Greeks and especially their slogan: "Measure is everything." The Greeks were sure that the sense of proportion is a gift of the gods to man.

It's good for parents to feel their children, to remember themselves as little ones, to understand: in the minds of children there are a lot of different interests and information besides museums. It is very important that parents know the measure in their zeal.

- Radio and television offer a lot of educational programs about museums, about art. It seems that we cease to perceive the museum as a space for the elite. Or is it not?

- I was raised by my great-grandmother, because my parents worked. In the summer I visited her in a village near Moscow. In her usual peasant house a lacquered reproduction of Alyonushka still hangs on canvas. And also - "Hunters at Rest" and "Winter Hunting Scene". These reproductions are ninety years old, no less.

You see, before art was in the house of every person. Yes, it could have been just one vintage wardrobe, just one reproduction. famous painting. But that is precisely why a person, coming to the museum, did not feel it was alien to him. Soviet reality, with its small-sized apartments in block houses, completely supplanted sculpture, beautiful clocks, and bulky carved furniture. But today photographs have been pushed out of our homes paintings art.

The feeling of reality and the concept of beauty has changed. I like IKEA as an idea, but I'm sad that the "IKEA worldview" is triumphant today. It is not surprising that living among hi-tech, among photographs on a tablet, we inevitably feel like strangers in this space in the museum.

Remember, I said that memories are important to us? So, if schoolchildren come from the southern Butovo or a town near Moscow by bus to the Pushkin Museum, I know exactly what they need to show in the museum. They need hits, pictures from their textbooks: a spearman, a discus thrower... As soon as they see these works, they bloom before their eyes. Although their textbooks contain monstrous quality reproductions, recognition arises at the moment of meeting with a work of art. The museum for them ceases to be alien and alien.

– What then do you see as the main problem, why do people not rush to museums?

- No matter how beautiful the landscape a person lives, he will still draw, depict animals on the walls of caves, carve sculptures from wood. Without art, people's lives would be incomplete, because art is a deep human need. And the main mistake that we make as parents is that we consider art to be the world of the sublime, to which you need to grow up. No, it's not. You need to enter this world yourself and learn how to let a child into it.

Thank God, it appeared in stores a large number of wonderful books that in a playful way introduce children to the masterpieces of the world visual arts, and museums publish such books. This is both “The Charm of the Russian Landscape” and “Historical Paintings”, prepared by Tretyakov Gallery. In them, a short fairy-tale text is adjacent to the reproduction, available for reading before going to bed. The Pushkin Museum has published a series of books for children, such as "ABC", which from an early age includes the child in the understanding that art is the norm of life.

But there is one more important nuance. Religious consciousness today is experiencing a revival. Art museums are of great help in this regard, for example, by visualizing gospel events in front of a child. But the museum is also an opportunity to show icons painted not by contemporaries, but by deeply religious artists, many of whom were monks. Show works in which artists glorified God.

This is an opportunity to teach an important religious, philosophical lesson to children. To consolidate what for many is already the foundation of their lives, as it was once the foundation for people of the distant past. Believing parents themselves must know and understand works of art in order to be able to explain their content to children. But for some reason this is not obvious to everyone, alas.

At the museum, we faced another problem: a very harsh reaction from Orthodox parents, many of whom defiantly stopped taking their children to the Pushkin Museum. Also, some Orthodox schools no longer come to our expositions in classes. Main conflict was due to the fact that in the museum we introduced children from Orthodox schools with antique nudes. They showed them, for example, Michelangelo's David, Aphrodite, a spearman. After the conflict, we were forced to provide the explications for the exhibits with tags with age restrictions.

I am convinced that one of the biggest mistakes parents make is putting their children in sanctimonious boundaries. Parents should understand that today a Christian attitude to the body is alive in us, but in ancient times there were other people, a different idea of ​​the essence of man, with a different way of thinking and living. To hide this from a child, to forbid him to look at antique sculpture, means to injure the child, who, generally speaking, is alien to vice. It is from those who were forbidden and shamed from the sight of a naked body from an early age that notorious people grow up with deviant behavior and an excessive interest in sexuality.

Children are innocent. Therefore, it is not necessary to attribute to them what they do not possess. You need to understand that the classic art museums educate in children the flexibility of consciousness. And if you're worried about ethical issues, then start taking your kids well before the age of ten, when they don't have a conscious sense of shame.

If from 5 to 10 years old a child develops the habit of being surprised, admired, enjoying beauty, then in the future he will never be embarrassed, embarrassed and unhealthy interested in nudity. For such children antique sculpture will forever be a work of art.

– Don't you think that many are also stopped by the high entrance fees set in museums?

Wait, how much is a ticket to the cinema now? I will not speak for everyone, but I got the impression that what is given to people easily, they do not appreciate. I have been working in the museum for almost twenty years and I can authoritatively state that there has never been such attendance as it is now (when the ticket price is quite high). To be more precise, it was in the 50s and 60s. Then fashion and lifestyle were dictated by the intelligentsia, that is, teachers and associate professors of institutes. By the way, they also introduced the fashion for hiking and kayaking trips, rock climbing, bard songs and interest in avant-garde art.

You see, the attitude always comes from above and goes down to the people. And when a simple tram driver saw that his neighbor, a professor of physics, was going to the museum with his whole family, he pulled himself up to this bar.

In the 1990s, people didn't have anything at all (tickets to museums, by the way, were very affordable), but it was a period of other values. Media people had other preferences. And although exhibitions at the Pushkin Museum were then opened by Chernomyrdin, Gaidar, Luzhkov, there was no current craze for art among the political elite. That's why middle class I had a calm attitude to art for quite a long time.

I remember I was a student, but I already worked at the Pushkin Museum. And many acquaintances, having learned about it, could not hide a slight disdain. Could I, a "nerd" in their opinion, compete with them, who worked in cool firms ... for the production of shoelaces, with high salaries.

Now a lot has changed. First of all, the elite, probably having satisfied their primary needs, turns to art and begins to collect it. Today, probably, there is not a single rich person who would not have some, albeit minimal, collection of fine arts. And since they are interested in it, it means that they need to understand art, which means they start going to museums, bringing their children and friends here, sponsoring exhibitions. Gradually, this fashion descends lower and lower, finally reaching the level of a simple manager and again - a tram driver.

But there is another nuance, psychological. When a person sees that museum ticket prices are going up, he automatically has a fear that they might become more expensive. And if the price is so high, then it's something worthwhile. By the way, thanks to Medinsky, who ordered that the entrance to the museum for children under 16 (18) years old become free.

I really hope that someday museums in Russia, like in England, will become completely free. But we must not forget that there is another experience. In Italy, you will pay for every sneeze, including visits to temples where the works of the great masters are located. Museums for Italy are one of the important sources of income state budget. Therefore, I don't like overpricing for exhibitions in Moscow, but I don't see a big problem here either.

Summing up, I will list ten simple rules, the observance of which will save you from typical mistakes and teach you how to go to the museum.

Rule one.Don't try to separate art for adults and for children. It is for everyone.

Rule two.Don't think that museums are a space for schoolchildren. If you want your child to love museums, to accompany you to any museums in Europe and Asia, start taking him to museums not earlier than five years old, but not later than ten. This is the most favorable period for making children fall in love with art. And then leave them alone.

Rule three.Prepare your child for a visit to the museum. Tell us about what he will see, what he can do in the museum. Lastly, say what not to do.

Rule four.Do not try to show the child everything at once. Choose five works and spend no more than half an hour in the museum.

Rule five.Try to see the world through your child's eyes. Squat down and use the Socratic method of asking questions to help your child discover the content of the artwork.

Rule six.Feel free to not know. Have a dialogue with your child and tell him about what you see yourself.

Rule seven.Don't be in a hurry to stuff your knowledge. Give your child time to empathize with the work of art.

Rule eight.Try to turn the time spent in the museum into an exciting vacation, and the museum into a place where it is easy to fantasize and you can experience new tactile sensations.

Rule nine.Take the kids to the museum as soon as they remind you of it. Have no doubt: even a nihilistic teenager who was instilled with a taste for beauty before the age of ten will sooner or later return to you.

Rule ten.Don't think that museums are only about the past. History repeats itself, and everything new is a well-forgotten old. Visiting museums is always more than an experience. After all, works of art educate the human eye and shape its taste.