The application of curriculum theory and models of curriculum development to museum education helps inform the analysis of the representational, communicative, epistemological, and cognitive dimensions of the formal, informal, and nonformal learning that takes place in the museum setting. Museums and other in/nonformal learning environments implicitly and explicitly engage questions of worth inherent to curriculum inquiry. Within the Curriculum Studies field, such questions reflect both an historical and a contemporary concern with issues of diversity, accessibility, social justice, civic value, and human rights in school and non-school curriculum contexts. In addition to other curriculum analysis frameworks, international instances of museum education curricula can be understood through the lenses of three “human interests”: the technical, the practical, and the emancipatory. A preference for designing educational materials and experiences around predetermined objectives reflects a technical interest in museum curricula. Within this technical approach, which can also be conceptualized as curriculum as product, the success or failure of a curriculum depends on the degree to which the intended objectives are achieved. Curriculum as practice reflects a practical interest in the way understanding and knowledge are created (rather than simply transmitted) through the dynamic social interactions between teacher and learner. A curriculum as practice orientation aligns with constructivist views on museum learning. Representing an emancipatory interest in human liberation and the overcoming of oppressive social structures is the curriculum as praxis orientation. This approach to museum curricula often assumes a social justice goal of community empowerment that seeks to translate understanding or consciousness-raising into action.
Modesta Di Paola
Cosmopolitanism is an ancient idea with a wide theoretical and critical history. Scholars across the humanities and social sciences have been examining the meaning and trajectories of this concept, showing how it spotlights ways in which people can move beyond mutual understanding and cooperation. However, cosmopolitanism does not have to refer to a transcendental ideal but rather to the material and real condition of global interdependencies. Cosmopolitanism has been connected to the philosophical concept of “becoming-world,” which develops this idea in the context of plural and ecological societies. Under this approach, cosmopolitanism turns into cosmo-politics, which fuses notions of educational and cultural creativity. From the philosophy of education and artistic education in particular, cosmopolitics seeks to outline the advances of new creative educational theories, which center on globalization, hospitality ethics, politics of inclusion, and the ecological connection between human beings and ecosystems; overall, this concept reveals the possibilities for moral, political, and social growth in the encounter with the other (human and natural). Cosmopolitics is, therefore, associated with the idea of educating with creativity, even proposing the elaboration of new pedagogical methods. Here, cosmopolitics has arisen as a crucial artistic educational orientation toward reimagining, appreciating, and learning from our common world.