A series of case studies provide firm evidence of the value of museum-higher education relationships and, in some cases, ways to create or sustain such relationships. Over time educational thinking and practice has ranged from behaviorist to postmodernist, with many stops between. As a whole, this... Read more about Engaging the Senses: Object-based Learning in Higher Education
This chapter explores experiences of implementing Object-Based Learning (OBL) using university museum collections across a range of academic departments at University College London (UCL)
Ewa Lajer-Burcharth, William Dorr Boardman Professor of Fine Arts, is an art historian who focuses on 18th- and 19th-century European and contemporary post-1970s art. Lajer-Burcharth uses physical objects – such as paintings, sculptures, and textile arts – to enable more immersive forms of learning that enable students to experience objects of study in a hands-on way that is not possible with text-heavy teaching methods. These objects serve as a primary teaching tool for encouraging new perspectives and interrogating original sources. Students examine various objects from museum and library collections under the expert guidance of curators, and eventually assist in the curation of an exhibit. This allows students to have hands-on experience in both understanding and creating, rather than be solely trapped by reading and speaking. While her courses use physical objects as a point of reference, similar opportunities exist in other classroom contexts where students can contextualize the motivations of authors, musicians, and inventors, for example.
Hannan, Duhs, and Chatterjee (2013) explore how the incorporation of museums can offer object-based learning, which is student-centered, action-oriented, and inquiry-provoking - all of which can enhance student engagement in the classroom.
As an historian of religions, Davíd Carrasco, Neil L. Rudenstine Professor for the Study of Latin America, conducts his courses through an ensemble approach, which enables students to learn about complex evidence from a variety of approaches, sources and mediums. This approach contains four parts: (1) using an interdisciplinary intellectual method, (2) incorporating a variety of sources, including artifacts, texts, films, and museum exhibitions; (3) expanding disciplinary perspectives through team teaching and visiting speakers; and (4) organizing diverse student experiences and inviting a range of responses. One example of the ensemble in action is Carrasco’s annual collaboration with the Peabody Museum on their Día de los Muertos exhibition as part of his Gen Ed course, Montezuma’s Mexico: Then and Now (co-taught with William L. Fash) in which students visit and add their own interpretations and art works to the ofrendas.
Students in Japanese art and architecture courses taught by Yukio Lippit, Professor of History of Art and Architecture, often encounter cultures quite different from their own. Lippit immerses them in those cultures through deep engagement with material artifacts, by examining roof tiles or carpentry, visiting the Japanese house at the Boston Children’s Museum, or participating in a tea ceremony.
Scott Edwards, Professor of Organismic and Evolutionary Biology and Curator of Ornithology in the Museum of Comparative Zoology (MCZ), makes extensive use of the museum’s ornithology collections in his courses and brings specimens into his lecture sessions to engage students in close analysis during weekly three-hour labs. Edwards models “ways of making meaning” by looking to specimens as key evidence for testing claims and theories.
Gojko Barjamovic, Lecturer on Assyriology, increases student learning in ANE 103 Ancient Lives by designing activities to engage students’ full range of senses. “To convince people to commit a semester of study to ancient history, you have to make it meaningful.”
A collaborative investigation into the nature of visitor learning at the Harvard Art Museums revealed that museum study centers provide active learning opportunities not only through interaction with the objects, but also through engagement with the museum staff and other visitors, as well as...
Online active learning database ablConnect includes examples of instructional use of museum collections, including curation of a Zeega online gallery of medieval artifacts.
Online active learning database ablConnect includes examples of instructional use of museum collections, including examination of Andean artifacts at the Harvard Peabody Museum.
Harvard Initiative for Learning and Teaching (HILT) grant recipient Professor Jeffrey Schnapp expanded the metaLAB’s curatorial program to support object-based teaching in the humanities.
The museums’ team of educators, curators, conservators, scientists, and technologists consult with faculty from all disciplines to explore how the collections might support their course goals.