Association of 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 only within the home, because there is a risk that a child will feel like a stranger at home or at school or both.
• 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 of the family (af Ursin, 2016) • GOAL: Ensure that all the children and youth of the region get equal chances to experience culture? Cultural Participation
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 of th the e 2018 EU Priz rize for or Cu Cultu ltural He Herit itage / / Europa Nos ostra 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 ogramme, 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 ”
• 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 History Clubs 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 organisational 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 other 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 of 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 our 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.
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