Association of Cultural Heritage Education in Finland Ira - - PowerPoint PPT Presentation

Association

• f Cultural

Heritage Education in Finland

Ira Vihreälehto Executive director

• We work nationwide and in

cooperation with culture, education, youth, environment, and sustainable policy sectors.

• We develop methods and

tools for cultural heritage education, supporting the role of children and young people in defining cultural heritage and their active agency in the society and culture.

• We are located in Helsinki

at the House of Nobility

• At the moment we work with 8

projects (4 full-time and 12 part- time employees)

• Many of our projects enable

schools to work more closely with museums and World heritage sites

• A teacher seminar ”Kipinöitä

kulttuuriperintöön” at Suomenlinna Word Heritage site, where we mixed some intangible heritage as well: capoeira!

Cultural heritage education is about

• Supporting one’s own cultural identity
• Noticing local culture and heritage
• Understanding the dialogue between

cultural diversity and cultures, global education

• Fostering cultural heritage and cultural

environment, as well as heritage education in buildings and environment Bridging the gap between generations  Every child has a right to experience culture and to visit cultural sights; a right to intepret, shape and produce culture

Culture education + sustainable skills

• Cultural literacy: understanding the meaning and

diversity of culture, reading the cultural messages and values of the environment

• Participation and influence skills: ability to take the

responsibility for cultural heritage and its transformation

• Cultural diversity skills: Understanding the

specificities of cultures, dialogue and cooperation

• Home culture should

not be marginalized

• nly within the home,

because there is a risk that a child will feel like a stranger at home or at school or both.

Cultural Participation

• Participation in cultural activities is

a human right. QUESTION: Why does one child participate while another does not?

• STUDY: A child experiences fewer

barriers to and more positive feelings about museums the higher the socio-economic status

• f the family (af Ursin, 2016)
• GOAL: Ensure that all the children

and youth of the region get equal chances to experience culture?

In your municipality…

• Do children have equal and fair access to

cultural services?

• How do schools choose the places where to

visit?

• What is the minimum that a child should learn or

experience about cultural heritage?

• Who pays the tickets or cost of transportation?
• Do schools and nurseries know what´s

happening and where in the municipality or local area?

• What will children learn when they are involved?
• Who does the planning?
• Are you involved?

The e win inner er of

• f th

the e 2018 EU Priz rize for

• r Cu

Cultu ltural He Herit itage / / Europa Nos

• stra Award

The e Grand Prix rix la laurea eate: Ca Category Education, Trainin ing and Awareness-Rais isin ing ▪ Cu Cultu lture Lea Leap: Educati tional l Prog

• gramme, FINL

INLAND

Ira Vihreälehto

World Heritage Education

• At the moment we work with

children and youth, who live close to World Heritage Sites, to produce videos of the site

• Our goal is to have a video of

every World Heritage Site in Finland (7)

• We promote all Finnish schools to

celebrate the World Heritage Day (18th of April) and we offer them tips and ideas to do so

• Example of the video:

https://www.youtube.com/watch?v= AfPB3S5hll8&t=126s

Mobile Routes to Cultural Heritage

• In this project pupils create thematic

mobile routes in their home town and reveal what their most important places of cultural heritage are

• Routes are under museum collections

and everybody can download them and ”walk with the makers”

History Clubs

• We organise history clubs

for teenagers in 10 Finnish towns and one in Copenhagen

• At the clubs, the program

is made with the members

• Usually the clubs organise

visits to local museums, theatre or cultural spots, such as the oldest pizzeria in town

• Some of the clubs work

closely with the local

• museums. Therefore, there

is, for example, a ”night at the museum” event

Heritage Hubs

• A cross-cultural collaboration in which

11-15 year olds in Finland, Serbia and Spain share a part of their own cultural heritage and practise the cultural heritage of others, digitally and in

• person. Italy leads communication.
• The project will create educational

material to help educators integrate cultural heritage and intercultural dialogue into their work.

• 21 months project, funded by EACEA

Archeological project in Kontiolahti

• Everybody in one local school had a chance to dig
• Uses different methods for learning
• Video: https://www.youtube.com/watch?v=W8z8NU2Ch6Y

• We produce learning materials for

teachers and schools, and have an online material bank (Kulttuurinvuosikello.fi) for teachers and educators to use. So far the bank has over 500 ideas for teaching materials and it has over 50 000 visitors/year.

• www.kulttuurinvuosikello.fi

• Since 2013 we have been

planning the Cultural Heritage-makers

• competition. Its aim is to

inspire children and young people to observe, explore and analyze their immediate surroundings.

• In 2018 the competition

expanded to all European countries.

We are are active on social media… and also inspiring teachers for innovative use

Our thoughts of the projects…

• Are young people involved in the

activities? How?

• Who determines the project’s goal

and its success?

• How do you help different people to

cooperate?

• How is the expertise of all parties

shared? What "carrots" are there for participants?

• How are digital - and

communication tools used?

Expectations to the project, personal and

• rganisational benefits
• To share our own

strenghts and what we have learnt

• Will to learn more by

working together

• To find new ways to

implement cultural heritage education

The evaluation methodology

• The evaluation will be conducted as a Mixed

Method Evaluation combining Process Evaluation and Impact Evaluation  the first has focus on what we are doing, while the

• ther has focus on what we want to achieve.
• The process evaluation involves the project

consortium and their reference groups

• The impact evaluation involves the participants

at the pilot courses and the concluding multiplier events as well as other stakeholders.

• The evaluator, The Association of

Cultural Heritage Education in Finalnd, will provide Summary Progress Evaluation reports at the end of each project phase, latest 1 week before the next partner meeting.

• The evaluator will also provide

Summary Impact Evaluation reports - first after the completion

• f the pilot courses and secondly

after the completion of the concluding national conferences.

PROCESS EVALUATION OF THE MATERIAL OUTPUTS

The planned deliverables include

• 3 partner meetings,
• 5 intellectual outputs,
• 3 national pilot courses and 1

transnational pilot course,

• 3 multiplier events
• 1 transversal ongoing dissemination
• The indicators for process evaluation

focuses on, whether the planned key activities and deliverables have been produced on time with the agreed quality with reference to their Output descriptions, and within the allocated project budget - thus keeping the project on the track.

Progress evaluation: Who does what and when?

• Process Evaluation is used to make sure the project is

being implemented according to the task plan; and to gain direction for improving the project as it is developing.

• Process Evaluation is completed for each work

package, where all partners fill-in online evaluation questionnaires and financial reporting templates at the conclusion of the work package. Process Evaluation is also an important session at the partner meetings.

• The Process Evaluation allows reviews and

adjustments of different parts of the project work, and it is an important part of the ongoing monitoring and Quality Assurance of the work progress. A written summary of the oral evaluations at the meetings are part of the minutes. All partners also fill-in meeting questionnaires after the meetings.

Impact evaluation: Who does what and when?

• Impact Evaluation is used to assess the extent to which the project has achieved

its intended effects and to outline recommendations for sustainable activities in the field. The partners will provide feeds to the impact evaluation according to the evaluation design.

• As indicators for the impact assessment we focus on the degree of

interest/satisfaction/ change for respondent groups that are representative for

• ur direct and indirect target groups on the local, national and European level.
• Our own addition here: Participation, engagement and success stories?
• The respondent groups represent culture actors from:
• The voluntary culture associations.
• The public culture institutions.
• Other stakeholders as politicians or managers from the culture

departments, local commerce organisations, local media, other NGO areas, researchers and other multipliers.

The planned impact measurement includes questionnaires as well as interviews

We complete impact evaluations by means of questionnaires and interviews with representative target groups and end-users in the participating countries. a) The questionnaire surveys will be completed in relation to

• The three national pilot courses, June 2019 work
• The one European pilot course, Sept 2019
• The three concluding multiplier events, Nov 2019

b) The interviews will be completed in relation to

• The three concluding multiplier events, Nov 2019

How it could be done?

• After each training day a questionnaire in which the

participant evaluates each section of the day in a scale of 1-5. For example:

• “Did this section increase my participation? If so,

where and how?”

• Did I learn something new? If so, what?
• Was cooperation equal? Is so, how?
• Was this in line with the theme of the training day?
• We want to assertain those strong points in which

cooperation and co-creation work and those weak moments when they don’t work.

• During the training day, the

participants tell about their moments

• f sucess in cooperation and co-

creation on a video. The videos will be shot either by the organiser or the participants themselves. Results:

• How well was interaction and the

content of the training delivered?

• The vidoes (Stories of succesful

cooperation or co-creation) will be collected from the groups either at the national or international training day. If they are collected on the national training day, the videos can be used at the international training day as teaching material and inspiration.

• Participants will be interviewed or they

will have a chance to produce audio messages.