The present paper reports on a case study performed on the Museum of Calatayud's educational program where the latter is showcased as a didactic model for the museumization of archaeological remains in the Iberian Peninsula (museum and site). This research has been developed by the Spanish Heritage Education Observatory (SHEO) in conjunction with the University of Zaragoza's CIVITAS project. The study shows a qualitative approach and is based on the comprehensive evaluation of the program's educational design and implementation resulting from a previous analysis of a sample consisting of N = 223 educational programs on archeological heritage. The evaluation has been conducted by using the SHEO method, whose aim is to gain deeper insights into educational practices by means of a standards‐based assessment of their underlying designs. Following the results of this study, the Museum of Calatayud appears as a clear benchmark: an institution that stands out because of its holistic conception and an approach that addresses issues of symbolism and identity in order to raise the population's awareness of its legacy and the importance of education inspired by heritage‐related values of respect and protection. Our research enables us to draw up a decalogue of key actions which we do not mean to be transferable to other contexts, but rather to provide an example or a starting point for future educational designs and implementations by the museum community and heritage institutions.
Within the educational system, heritage‐related curriculum design and contents constitute a key factor in the sustainable preservation of heritage since only what is known and valued can be protected and preserved. Whether heritage education involves the inclusion of new materials in the curriculum, or the use of innovative approaches in handling heritage‐related contents that are already present in the several curricular areas in order to facilitate their teaching and promote heritage awareness, the fact remains that the curriculum itself becomes an important player. Our research aims at analysing the way heritage is approached in the 17 Decrees regulating the Primary Education curriculum in the Spanish territory. The results show that the methodological criterion used in the teaching‐learning of heritage is the sensitisation sequence: Knowing, Understanding, Respecting, Valuing, Sensitising, Taking Care, Transmitting, Heritagising and Identising. On the other hand, there are major differences across Spain’s regions regarding heritage awareness and curricular coverage: an issue that should be borne in mind in curriculum revision processes and in the design of academic programmes targeted at future teachers in order to secure the quality of heritage education.
Cultural heritage -and more particularly intangible cultural heritage-becomes specially relevant when it serves as a connecting link between the past and the present and generates feelings of social and cultural identity and belonging. Such potentialities are developed by means of heritage education, which creates bonds between people and heritage assets. This is why, within the framework of the educational system, curricular designs and contents related to intangible cultural heritage (ICH) play a key role in the latter's sustainable conservation, since only that which is known and valued becomes an object of protection and conservation. At the same time, we need to know and evaluate the large number of ICH-related cultural programmes that have been launched in recent years so as to build quality standards for future educational designs.The present dissertation's theoretical framework was shaped by a bibliometric analysis supported by the VOSviewer software and performed on publications indexed in the Web of Science, as well as the review of doctoral dissertations, institutional texts and both national and international projects. All of which points at the fact that ICH has emerged as a highly active line of research over the last few years within the discipline of heritage education, both at an academic level and as regards the development of educational programmes that need to be assessed by means of objective and properly calibrated evaluation instruments.The epistemological framework of this investigation, on the other hand, results from a compendium of publications equivalent to three studies whose common goal was to assess the nationwide state of heritage by means of a review of the curriculum and the course of study of prospective teachers, together with the appraisal of educational programmes by implementing the sequential method for the analysis and evaluation of heritage education programmes designed by Spain's Observatory of Heritage Education (SAEHEP-SHEO).Each of the three studies focuses on a different phase and all together they further the accomplishment of the general goal of our research. The first one analyses the educational curriculum in order to ascertain its coverage of heritage-related contents -as well as the approaches and working methodologies employed-, and further probes into the courses of study followed by prospective Primary Education teachers as regards heritage education. The second study analyses the approaches and categories in a sample of n=42 ICH programmes that were inventoried as part of the SHEO database, the ultimate goal being to establish quality standards for programme evaluation. The third item in the compendium of publications performs a descriptive statistical and relational analysis of a total of n=202 educational actions generated around ICH in the national territory so as to learn about their approaches and categories La Educación Patrimonial Inmaterial en el Currículo de Educación Primaria viii (program typology, educational scope, type of target audiences, lev...
<p>Si analizamos la presencia del patrimonio en la normativa educativa vigente encontramos que son numerosas las referencias al patrimonio en la etapa de Primaria, por lo que cabe preguntarse si la formación de maestros en España ofrece algún tipo de materia o contenido que garantice la impartición de esos contenidos curriculares en el aula de primaria. Para averiguarlo, proponemos un artículo en el que se analiza la correspondencia entre los contenidos curriculares relacionados con el patrimonio y su presencia en la formación de maestros en España. Los análisis nos permiten concluir que, salvo en los casos excepcionales analizados en los estudios de caso, se mantiene una gran distancia entre la presencia del patrimonio en el currículo escolar de la Educación Primaria y la presencia de contenidos relacionados con éste en los grados de maestro, lo cual es sin duda un punto de reflexión altamente significativo para la revisión de la formación del profesorado en España. </p>
La Educación Patrimonial es un elemento clave en el proceso de enseñanza-aprendizaje a lo largo de la etapa de Educación Primaria, y así se refleja en el currículo escolar a través de numerosas referencias sobre el uso y presencia del patrimonio en áreas como la Educación Artística, entre otras. Pero para garantizar la presencia en las aulas de la Educación Patrimonial es necesario que los docentes se sientan competentes y familiarizados con ella, ya que son los responsables últimos de trasladar la normativa a la escuela. Por lo tanto, esta investigación pretende analizar las percepciones que tienen los futuros profesores de Educación Primaria acerca de la formación que han recibido sobre Educación Patrimonial y de las potencialidades de uso del patrimonio en la enseñanza de la Educación Artística en dos universidades españolas, la Universidad de Valladolid y la Universidad Autónoma de Madrid. Para la realización de este estudio cuantitativo, se diseñó un cuestionario con el modelo de escala de Likert y se implementó a través de la herramienta Google Forms. Los datos obtenidos revelan que la mayoría de los futuros docentes consideran que la Educación Patrimonial contribuye a desarrollar procesos de creación artística, pero solo un 37% de los 142 docentes en formación encuestados indica que ha recibido formación en Educación Patrimonial dentro de las asignaturas del área de Educación Artística. Este hecho debería ser tenido en cuenta para transformar nuestras prácticas educativas, así como en procesos de revisión y reforma de los planes de estudio universitarios.
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