El sistema educativo peruano : la educación básica regular : el caso de las provincias de Lima y Huaura.

Conocer, explicar y comparar la situación educativa en Lima y en Huaura, para entender las propuestas educativas de los colegios de las respectivas autoridades de cada provincia. De forma más concreta se estudia de forma comparada la presencia de pautas diferenciadas de política educativa en la enseñanza pública y la privada entre las dos provincias. Se conoce de forma comparativa la distribución de la red escolar pública y la privada, al igual que se analiza y valora el sostenimiento económico y el esfuerzo de profesores y alumnos. Las dos provincias presentas diferencias significativas en relación a los recursos y políticas educativas en la escuela pública y privada, lo que se refleja considerablemente en el rendimiento escolar de los estudiantes. El trabajo se ha estructurado en dos partes fundamentales, en la primera se realiza una aproximación al marco teórico que nos permite aproximarnos al problema, se trata de conocer el sistema educativo peruano, su estructura y administración que definen la decisiones políticas que establecen las prioridades para cubrir las demandas y necesidades de la sociedad. En la segunda parte se realiza un estudio empírico comparativo en el que se recogen los indicadores sobre las situaciones demográficas, políticas, escolares y económicas de Lima y Huaura, se recogen los datos de escolaridad de ambas provincias en relación a su red pública y privada, y a su vez se comparan las normas y las leyes de los diferentes sistemas escolares. A lo largo de la investigación se han alcanzado los objetivos propuestos al inicio, a través de la utilización de los indicadores de contexto. De recursos, de procesos y de resultados seleccionados y justificados, que ponen de manifiesto la presencia de pautas diferenciales de la enseñanza privada y pública entre las dos provincias. Las diferencias políticas entre los gobiernos producen diferencias en la distribución de los supuestos escolares de la red privada. Para los centros públicos la diferencia entre las dos provincias es aun mayor, ya que el estudio nos revela que un alumno matriculado en la enseñanza privada en Lima, sale tres veces más rentable a la administración que un alumno matriculado en la enseñanza pública, en cambio en Huaura el gasto por alumno no presenta tanta variación como en Lima. La organización y el funcionamiento de los centros privados de ambas provincias no elaboran legislación eficiente, ya que se remiten a la legislación estatal vigente en el territorio, y solo se diferencia en los plazos en documentación administrativa y diferencias en la composición de los miembros de alguna comisión o junta. Existen distintos y mejores logros educativos en los centros de Lima respecto a Huaura, una de las causas que se apunta es que hay mucho alumnado en Lima que no está matriculado en el curso que le corresponde por edad. A grandes rasgos se demuestra que las dos provincias permiten dar continuidad a una política educativa sobre la escuela pública y escuela privada, aunque presenten diferencias en la situación de los centros escolares, lo que se traduce en diferencias significativas en el rendimiento escolar.

Respuesta educativa del Instituto Roncalli del Perú a los menores en situación de desamparo en Lima.

Examinar cómo la situación de desamparo, en la que se encuentran muchos menores de Lima, dificulta que se desarrollen de manera que lleguen a estar en capacidad de plantearse y llevar a cabo planes de vida que den sentido a su existencia. Describir la actividad educativa del Instituto Roncalli de Perú y su contribución al desarrollo de los menores. La investigación se realiza desde una postura cualitativa, para comprender el fenómeno educativo desde la visión de los participantes. El método que se escoge es el Estudio de Casos, al ser un método particular, descriptivo, heurístico e inductivo, permitiendo comprender con profundidad la realidad. Las técnicas utilizadas para obtener información, son tanto cuantitativas como cualitativas, entre ellas se señalan: observación participante, entrevistas, cuestionarios, análisis de contenido de documentos y fotografías. En el análisis de la interpretación de datos cuantitativos se utiliza el programa EXCELL 2000, y para el análisis de datos cualitativos, el programa Q.S. R. NUD. IST 4.0. En el estudio, se tiene en cuenta diversos informantes: fundadores del Instituto (2 sujetos), responsables actuales (presidente y vocal de la Junta Directiva), menores de Roncalli (35 del centro de Acogida, 35 del centro de Educación Ocupacional y 40 brigadieres), padres de menores (15 del centro de Acogida, 15 del centro de Educación Ocupacional y 5 de los brigadieres), adultos jóvenes que han sido niños y adolescentes de Roncalli (3 informantes) y adultos colaboradores (2 informantes claves). El Instituto Roncalli, da una respuesta favorable para la salud física, mental, estimula el conocimiento de sí mismo a los menores, favorece la participación social, orienta y capacita profesionalmente a los menores en situación de desamparo. Debido, a que desde el Instituto Roncalli se proporciona apoyo alimenticio, atención sanitaria, figuras de adultos de apoyo y adultos modelos, desarrollo de autoestima y autoeficacia, e incluso se facilita el ingreso al mundo laboral. A su vez, en el centro se resalta la importancia de la formación moral como una necesidad básica de los niños y adolescentes, necesidad que debe ser satisfecha si se desea que se desarrollen como seres autónomos capaces de ejercer su libertad y tener una vida con sentido.

A new concept for museum training in Germany

To talk about a new concept for museum training seems perhaps, to be a little bit exaggerated. For long time you have all been talking about concepts and contents for museum training and as I figured out the debate on the topic in Germany is as old as the appearance of national museums in the 19th century. Men like Theodor Mommsen, Rudolph Virchow, Alfred Lichtwark, all well known historians and supporters of the museum idea, spoke and wrote not only about the importance of museums as cultural and educational institutions but also supported the idea of professionalisation of museums work. Some of the ideas of our ancestors are still part of an ongoing discussion. The topic of my talk today will be what king of personnel a museum of our time needs to cope with the growing demand for internal and external organization. I shall present to you a new training program for museum workers in Germany which aims not to produce a new group of researchers but to prepare students for the practical work in the museum field.

Working in partnership with the Museum Training Institute providing in service training for museum personnel

The South Eastern Museums Service is one of ten Area Museums Councils in Great Britain. They are partnerships; membership organizations to which the 2 000 + museums belong. They provide advice, support, technical services, information and training for their members. They are the principal channel of government grant-in-aid to local government, university and independent museums. This funding comes from the Department of National Heritage via the Museums & Galleries Commission. At the South Eastern Museums Service I am responsible for the development and delivery of training for 600 museums in our region and the provision of information about museums and of interest to museums. This paper explains how we approach in-service training and the value of the definition of national standards for our work. It will pose some questions: What is training? What is a training need? and describe a new initiative, the development of training materials and their delivery.

Museum training to develop the social awareness of cultural identity in a time of universalization

The main theme of the ICTOP'94 Lisbon meeting is museum personnel training for the universal museum. At the very beginning it is important to identify what the notion universal museum can cover. It is necessary to underline the ambiguity of the term. On the one hand, the word 'universal' can be taken to refer to the variety of collected museum materials or museum collections, on the other hand it could refer to the efforts of the museum to be active outside the museum walls in order to achieve the integration of the heritage of a certain territory into a museological system. 'Universal' could also refer to the "new dimensions of reality: the fantastic reality of the virtual images, only existing in the human brain" (Scheiner 1994:7), which is very close to M. McLuhan's view of the world as a 'global village'. Thus, what is universal could be taken as being common and available to all the people of the world. 'Universal' can imply also the radical broadening of the concept of object: "mountain, silex, frog, waterfonts, stars, the moon ... everything is an object, with due fluctuations" (Hainard in Scheiner 1994: 7), which will cause the total involvement of the human being into his/her physical and spiritual environment. In the process of universalization, links between cultural and natural heritage and their links with human beings become more solid, helping to create a strong mutual interdependence.

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.

Educação e valores no contexto da escolarização : estudo realizado em escolas da rede de ensino público estadual no Município de Abreu e Lima/PE

A escola sofreu ao longo do tempo transformações nem sempre positivas, através de práticas que se traduzem em desrespeito e até mesmo violência. A mesma, que se encontra em um modelo antigo de educação, o qual busca continuar a transmitir conhecimento escolar, vive atualmente à necessidade de aplicar melhorias referentes às suas práticas educacionais por ser ela, além do núcleo familiar, um ambiente de relevante influência na formação humana e intelectual dos indivíduos, de modo a tornar-se contribuinte no trabalho de desenvolvimento dos valores, contribuindo para a solução de conflitos que possam ser gerados pela ausência de boas práticas pedagógicas dialógicas, possibilitando uma interação sócio escolar e cidadania dignas aos seus educandos, proporcionado, assim, a obtenção uma interação social desejável. Por este motivo, desenvolvemos um estudo que nos permitisse compreender até que ponto os professores entendem os valores enquanto processo formativo que deva estar inserido no processo da escolarização e se estes desenvolvem valores em suas práticas pedagógicas. A abordagem da investigação configurou-se como qualitativa e quantitativa, para quais foram realizadas entrevistas com 10 coordenadores pedagógicos (educadores de apoio) e aplicado um questionário a 102 professores do ensino fundamental da área de humanas das escolas públicas estaduais da cidade de Abreu e Lima/PE. Na análise dos dados foi possível constatar o positivo entendimento dos professores no tocante a importância da aplicação de práticas pedagógicas que propiciem o desenvolvimento dos valores no âmbito escolar, porém muito ainda falta para avançar. Sabe-se, então, que este propósito deve ser visto como modo de realização de uma sociedade melhor e mais justa para todos, além de ser este um trabalho que possa servir como inspiração para que educadores e instituições de ensino busquem seu aprimoramento no que diz respeito à temática abordada.

The Creation Process of a Local Museum

The present text holds as its main goal the advance of a number of reflections around the potentialities and problems of local museums taken as development instruments. Secondarily, it also intends to provide support to all those who, in one way or another, have faced the issue of creating a local museum. This support is intended not as a manual of the “the museum made easy” kind, but, instead, as the pointing to some pertinent issues and unavoidable options that, if not taken into account, will come to challenge the form and substance of the future organisation.

Museums and quality, from the concept of the museum that carries out functions to the museum that provides services

Quality management Self-evaluation of the organisation Citizens/customers satisfaction Impact on society evaluation Key performance evaluation Good practices comparison (Benchmarking) Continuous improvement In professional environments, when quality assessment of museums is discussed, one immediately thinks of the honourableness of the directors and curators, the erudition and specialisation of knowledge, the diversity of the gathered material and study of the collections, the collections conservation methods and environmental control, the regularity and notoriety of the exhibitions and artists, the building’s architecture and site, the recreation of environments, the museographic equipment design. We admit that the roles and attributes listed above can contribute to the definition of a specificity of museological good practice within a hierarchised functional perspective (the museum functions) and for the classification of museums according to a scale, validated between peers, based on “installed” appreciation criteria, enforced from above downwards, according to the “prestige” of the products and of those who conceive them, but that say nothing about the effective satisfaction of the citizen/customers and the real impact on society. There is a lack of evaluation instruments that would give us a return of all that the museum is and represents in contemporary society, focused on being and on the relation with the other, in detriment of the ostentatious possession and of the doing in order to meet one’s duties. But it is only possible to evaluate something by measurement and comparison, on the basis of well defined criteria, from a common grid, implicating all of the actors in the self-evaluation, in the definition of the aims to fulfil and in the obtaining of results.

Who am I? An identity crisis Identity in the new museologies and the role of the museum professional

Whilst the title of this essay suggests more than one “new museology”, it was rather a licence poétique to emphasize the two major theoretical movements that have evolved in the second half of the 20th Century[1]. As a result of the place(s)/contexts where they originated, and for clarity purposes, they have been labelled in this essay as the “Latin new museology” and the “Anglo-Saxon new museology”; however they both identify themselves by just the name of “New Museology”. Even though they both shared similar ideas on participation and inclusion, the language barriers were probably the cause for many ideas not to be fully shared by both groups. The “Latin New museology” was the outcome of a specific context that started in the 1960s (de Varine 1996); being a product of the “Second Museum Revolution”(1970s)[2], it provided new perceptions of heritage, such as “common heritage”. In 1972 ICOM organized the Santiago Round Table, which advocated for museums to engage with the communities they serve, assigning them a role of “problem solvers” within the community (Primo 1999:66). These ideas lead to the concept of the Integral Museum. The Quebec Declaration in 1984 declared that a museum’s aim should be community development and not only “the preservation of past civilisations’ material artefacts”, followed by the Oaxtepec Declaration that claimed for the relationship between territory-heritage-community to be indissoluble (Primo 1999: 69). Finally, in 1992, the Caracas Declaration argued for the museum to “take the responsibility as a social manager reflecting the community’s interests”(Primo 1999: 71). [1] There have been at least three different applications of the term ( Peter van Mensch cited in Mason: 23) [2] According to Santos Primo, this Second Museum Revolution was the result of the Santiago Round Table in Chile, 1972, and furthered by the 1st New Museology International Workshop (Quebec, 1984), Oaxtepec Meeting (Mexico, 1984) and the Caracas Meeting (Venezuela, 1992) (Santos Primo : 63-64)