Limites e realidades do novo fundo de financiamento da Educação Básica (FUNDEB) no Munícipio de Nazarezinho - Paraíba - Brasil

Esta investigação faz um registro de um estudo de caso realizado com o objetivo de avaliar quais as contribuições trazidas pelo Fundo de Manutenção e Valorização da Educação Básica (FUNDEB) ao ensino fundamental, no Município de Nazarezinho – Paraíba/Brasil, no período de 2007 a 2009. O estudo está fundamentado nos principais acontecimentos históricos da educação brasileira: o financiamento educacional, as políticas de investimento e monitoramento internacional, as políticas neoliberais, o governo de Fernando Henrique Cardoso, a organização e vigência das principais legislações educacionais do país. Os principais programas educacionais da gestão do Presidente Luiz Inácio Lula da Silva, origem e desenvolvimento do FUNDEB a nível nacional e local, também fundamentaram a pesquisa conceitos de qualidade, financiamento educacional e políticas educacionais. Como aporte teórico, buscou-se as principais referências brasileiras: Davies (2008), Pinto (2004), Arelaro (2005), Azevedo (2005) e (Saviani) (2008). Como metodologia foram utilizadas técnicas de análise documental e entrevistas semiestruturadas com professores da rede municipal de ensino. A amostra documental foi feita através de estudo dos relatórios, balanços, demonstrativos de receitas e despesas do FUNDEB, Atas do Conselho de Acompanhamento do FUNDEB. Os resultados da pesquisa apontam que o novo fundo, no citado município, trouxe significativas melhorias em vários aspectos educacionais: formação docente, aquisição de equipamentos e infraestrutura das escolas. Porém, na questão da aplicação condigna dos recursos, ainda são necessários ajustes. Também percebemos que o índice de evasão e repetência continua muito alto. A pesquisa trouxe contribuições efetivas no que diz respeito às informações sobre os recursos do FUNDEB, inclusive abrindo debate para que o município pudesse discutir as formas de aplicação dos recursos conforme a lei na sociedade e no Conselho de Acompanhamento do FUNDEB.

Museu inspirador: exercício de aplicação da ferramenta de auto-avaliação - Inspiring learning for all em quatro serviços educativos de museus portugueses

Esta dissertação tem como objectivo principal procurar contribuir para a discussão em torno das valências das ferramentas da Qualidade aplicadas ao campo museal. O seu enfoque particular desenvolve-se ao nível dos serviços educativos, procurando avaliar os seus processos e resultados. Partindo da premissa de que os museus que aplicam os princípios da Qualidade nas suas práticas museais estão mais aptos a inspirarem e apoiarem as necessidades de aprendizagem dos seus utilizadores, esta dissertação defenderá as instituições museológicas enquanto organizações de conhecimento, sendo a aprendizagem o âmago da sua acção. A sua questão orientadora centra-se em torno da pertinência da aplicação da ferramenta de auto-avaliação Inspiring Learning for All em museus portugueses.

Guidelines for strategic national planning of training and education for museums, cultural heritage and related fields in Sweden and in international co-operation

The guidelines presented in this document are a preliminary strategy for establishing a comprehensive policy for the needs of training and education wiyhin the sector and adjoining areas, across fields of knowledge and professions concerned, on relevant levels and for the varies institutions and operators. The objective of these guidelines is to analysis the problems, objectives and goals for development of a far reaching system of educational and training programs and courses for museums, cultural heritage and related fields of activities. This objective comprises a close collaboration between museum, cultural heritage organizations and educating organizations, notably within universities and colleges, but also other kinds of educating bodies.

Universal Museum - universal language? Art historian - curator

Marshal McLuhan’s prophetic vision of the global village is about to be realized. If we are aware of the fact that mass communication reduces the dimensions of our world and makes it more unified and universal, we should take this into consideration when planning the Universal Museum and the language that should be used in it. As curators, educators and museum staff we should not ignore the fact that the spectator/viewer is drawn to the exhibits not only by their own merit, but also guided and assisted by verbal messages, i. e. Labels, brochures. Catalogues etc. Hence, the crucial question is what we, the museologists, use as a means of communication when preparing for a Universal Museum. Should we use pictorial semiotics? This may be a partial solution, which is mainly restricted to objects that can be manipulated and moved by the visitor, as is the case in most of the technological museums. But since the range of objects on display at museums is vast and varied - fine art, archaeological finds, ethnographic objects etc., it may not be the answer to the whole spectrum of exhibits. Dr. Ludwig Lazarus Zamenhof, being an optimist, hoped that by introducing Esperanto to the multi-lingual world population, humanity would be able to bridge and diminish the gap of linguistic differences, thus creating a better understanding between the international communities. Unfortunately this vision was not realized. Esperanto was and still is an utopian and esoteric phenomenon. The barriers between nations still exist although, as mentioned earlier, mass media do help, in some ways, to reduce them.

Integrated educational opportunities in the Universal Museum: five ways forward

Whatever the other characteristics of the universal museum, education must be one of its core functions. That is, education both of regular visitors and those who are not but who are members of the local, regional or national communities served by the museum. In this sense, universal refers to making the museum accessible to all: accessible physically and intellectually. This relates to what I mean by education. It is far broader than what takes place between teachers and pupils in a formal setting. Education is also about providing environments where people will be inspired or provoked to know, to question. To reflect about themselves and the wider human and natural world. A universal museum should be a great facilitator of these learning processes. In this paper I shall focus on five ways in which there can be integration of educational opportunities in the universal museum. For examples to illustrate these themes I shall draw on practices in a small sample of museums in Europe and the USA.

Socio-cultural visions of interactivity within Museums

The ideas on which this paper is based are drawn from my thesis “Interactivity in Museums. A Relationship Building Perspective” written in 2007 for the fulfillment of the Master Degree in Museology at the Reinwardt Academy in Amsterdam. The main arguments are that the notion of Interactivity conceptualized within a technological orientation coupled with the pedagogic approach of mere information transmission need to be reconsidered; that Interactivity in museums is a conception both misinterpreted and under-implemented; and that the problems of understanding Interactivity will resolve by identifying the aspects which define Interactivity and most importantly focus on why they matter in a broader socio-cultural context within museums. Without an intention to attribute all the developments and advances associated with new museological practice, in some deterministic way, solely to politics and economic change, I argue that the new strategies adopted by museums towards progression and broader accessibility –at least regarding interactivity, seem to be linked more with a dominant commercialization of culture and education, than with a belief towards an effect on social change through the promotion of social interaction within a pluralistic and multicultural society, acknowledging the diversity of nature, opinion and practices, which can be combined instead of contrasting each other.

Museu de arte popular : memórias de poder

Tendo como pano de fundo o Museu de Arte Popular, o presente trabalho procura compreender a decisão política que determinou o seu encerramento em 2008, enquadrando-a no período histórico vivido pela sociedade portuguesa desde o ano de 1948, data em que foi inaugurado, até aos nossos dias. É traçado o registo biográfico do Museu, assim como a matriz institucional que a ele preside, pretendendo-se, com o auxílio de informação produzida em várias áreas científicas complementares da museologia e presente em fontes documentais de arquivo, estabelecer uma descrição dos seus principais aspectos caracterizantes – onde se inclui a descrição do percurso institucional, do espaço expositivo, acervo, – bem como das relações funcionais verificadas entre o Museu e as diferentes tutelas dos períodos do Estado Novo e da Democracia. (Dissertação Mestrado Museologia Departamento de Museologia ULHT)

Para um museu do povo: a pedagogia Freinet aplicada em ecomuseus

Diante dos avanços da Nova Museologia, as propostas educativas no âmbito dos museus também precisam ser renovadas. O conceito de Ecomuseu nos remete ao trabalho do educador Celestín Freinet, que ao fazer educação através de quatro eixos fundamentais – cooperação, afectividade, comunicação e registro – trabalha os principais aspectos do fazer museológico na relação museu e sociedade. Assim, o presente trabalho pretende discutir a aplicabilidade da Pedagogia Freinet na realidade dos Ecomuseus e, no futuro, construir uma metodologia de trabalho efectiva voltada para a formação de cidadãos comprometidos com a preservação da memória e do património comunitário.

Training for museums and the National Charter for museum professions in Italy: a new prospective for development

Traditionally Italian universities have trained researchers and professionals in conservation: archaeologists, art historians and architects. It is only with the reform of the universities, from 1999, that the teaching of museology and museography have also been expanded.Italian museums are for the most part public museums, depending on local bodies or the national ministry; they lack autonomy and do not possess specific professional figures. The task of conservation has predominated over the other roles of museums, but with the reform of the conservation law in 2004 the definition of „museum‟ has been introduced in Italy as well, and regulations regarding the development of heritage have been issued; in addition the Regions have also taken on a more active role for museums belonging to local bodies and for the development of their territory.Museum professions are not officially recognised, but the museum community, through the various associations and ICOM Italia, has put together a document to act as a general reference, the National Charter of Museum Professions, which has been followed by the Manual of Museum Professions in Europe. Now there is a need to plan the content and outlines ofvocational training courses for museum professionals, together withthe universities, the regions and the museums themselves, alongwith the associations and ICOM – ICTOP, utilising the mostinnovative Master‟s courses which offer an interdisciplinaryapproach, a methodology which combines theory and practice, andan element of hands-on experimentation in museums, or withmuseums.

Museums as service providers

The present paper discusses the complex understanding of Museum as an entity that provides services. Indeed we are far from seeing museums fully acting as services since the rationale of the way they operate derives from the permanent concession of grants either from state budgets or from beneficent institutions. In order to do this, we use reflections presented in previous papers, where we considered these issues separately; we now believe they will gain some coherence when articulated with the reflection on museums seen in their possible, albeit inadequately assumed, condition as service providers.We shall consider some aspects of the introduction in museums of the new information and communication technologies (NICT) as part of this process. On the one hand, these technologies open doors, and some museums take good advantage of that; but on the other hand their being used in a limited way does not enable the realisation of the role they can play, with multiple benefits from the organisational point of view, fostering innovation and creating new service concepts that are more aware of the world we live in.