Regulations on scientific and educational activities of the museum. Scientific and educational work of the museum. Cultural and educational activities of museums

27.09.2019

A museum is a unique cultural space that can combine knowledge of the past, reflection on the present and an excursion into a possible future. It is the common field of human experience that has proven its value and has stood the test of time, which we call cultural heritage. In the modern understanding, a museum means a “research, cultural and educational institution”, which, in accordance with its social functions, carries out acquisition, recording, storage, study and popularization of historical and cultural monuments and natural objects.

Museums have long gone beyond the scope of just exhibition work, and its functional activities are not limited to collecting collections, organizing exhibitions and excursions. This is a serious research, educational, cultural and educational work.

From February 2 to February 10, 2012, as a member of the commission, I studied and analyzed plans for the research, exhibition, educational and educational work of DGOIAM from 2008 to 2011, based on the analysis of which I present the following conclusion.

CONCLUSION

in research, exhibition and exhibition

and educational and educational activities of DGOIAM

Educational activities of DGOIAM

The educational work of the museum includes various museum educational programs (lectures, discussions, round tables, scientific and practical seminars, excursions, museum lessons, military history club, etc.), which are aimed at overcoming passive and contemplative forms of perception of museum information. As you know, the priority audience for museums of any type and profile today are children of all ages, schoolchildren, and students of secondary educational institutions. In the activities of DGOIAM, this audience is completely not covered. For comparison: at the Kazan National Museum, a two-year program for high school students, developed by specialists in museology and museum pedagogy on the basics of mastering the museum business, is widely popular. The program introduces students not only to the history of museums and the basic concepts of museology, but also instills scientific work skills, gives an idea of exhibition art, introduces them to the professions of an exhibitor, a museum artist, and excursion work skills. There are also popular museum educational programs developed for primary school students, which require the organization of cooperation between a museum employee and a school teacher. Today, the Historical Museum (Moscow) has almost 20 clubs where children are introduced to authentic objects from the museum’s collection. This is how a permanent, trained museum audience is formed. The regional museum of local lore in Sverdlovsk has developed special programs that help deepen the knowledge gained in school lessons and expand the program school course knowledge.

Of the entire range of well-known museum educational programs, DGOIAM offers only excursions to permanent exhibitions.

Research work of DGOIAM

As you know, research activities occupy an important place in the work of the museum, the results of which are primarily reflected in the exhibition activities of the museum and in scientific and popular science publications. Research work of museum researchers should be carried out according to scientific topics, defined by a plan-map of the employee’s scientific interests and approved at a meeting of the museum’s scientific council. The scientific council of the museum must coordinate the scientific activities of the museum: participation in museum competitions, international and Russian museum conferences; publication of reports and scientific articles museum researchers in scientific and professional museological publications. Under the auspices of the Scientific Council of the museum, scientific and practical conferences, readings, seminars, lectures, round tables, etc. should be held on the basis of the museum, educational and educational seminars, and children's educational programs should be organized.

There is no scientific council in DGOIAM. The museum staff does not include the position of scientific secretary of the museum, and the vacancy of deputy director for scientific work is not filled. The low level of research work of the museum, or rather the lack of full-fledged scientific research work in the museum, is explained by the absence of the Scientific Council of the museum in the DGOIAM.

The museum's scientific staff did not carry out full-fledged work on scientific study and research museum collections. The results of the analysis of reports from the last three years convincingly indicate that there is outright profanation and imitation of research activities, which is clearly visible in the plan maps. The plan maps are not implemented; their texts are repeated from year to year. For example, such catalogs as “Collection of Prince A. Baryatinsky” (Kildeeva Z.), “Carpets in the collection of DGOIAM” (Kildeeva Z.), “Kaitag embroidery” (Kildeeva Z.), “Kaitag embroidery” (Kildeeva Z.), “ Weapons of the Caucasus" (Alieva S.), "Costumes of the peoples of the Caucasus" (Kildeeva Z.), were not only not published, but to date have not even been prepared for publication. In 2009, the catalogs stated in the plans were not prepared or published: “Carpets in the collection of DGOIAM” (Gamzatova D.), “Weapons of the Caucasus” (Alieva S.), “Kaitag embroidery” (Gamzatova D.), “Costumes of the peoples Caucasus" (Kildeeva Z.). The bulletin (Dandamaeva Z.) stated in the plan was not prepared and published. In 2011, the following catalogs were not prepared or published: “Collection of Prince A. Baryatinsky” (Kildeeva Z.), “Carpets in the collection of DGOIAM” (Kildeeva Z.), “Kaitag embroidery” (Kildeeva Z.).

In recent years, the museum has not held a single scientific and practical conference.

The preparation and holding of a scientific and practical conference for the anniversary of the DGOIAM, with the invitation of participants from the North Caucasus region, stated in the museum’s plans, was never held.

The participation of museum employees themselves in republican scientific and practical conferences that are directly related to its scientific activities and popularization is not observed. For example: in 2009, the Institute of Language, Literature and Art of the Dagestan Scientific Center of the Russian Academy of Sciences held a scientific session dedicated to the 110th anniversary of the birth of the first professional artist of Dagestan, Khalilbek Musayasul (later a collection of scientific articles was published). DGOIAM, which has a number unique works this author, remained on the sidelines.

The Director General, in his report on scientific activities in 2010, announces participation in a scientific conference dedicated to the 140th anniversary of the birth of a prominent scientific educator and public figure Bashir Dalgat, however it is not attached scientific report or his theses (note that there is a significant difference between participation at the conference and presence).

There is not a single article on exhibition and stock work, management and marketing of museums and exhibitions, museum pedagogical practices, history of exhibits, lighting museum holidays and employee anniversaries etc., published in special museum periodicals, such as the scientific and practical magazine “Museum”, the illustrated art and historical magazine “ Museums of Russia - for professionals",magazine "Culture and Society" and etc.

The same few articles of a popular nature published in local periodicals (“Dagestanskaya Pravda”, “Makhachkala News”, “Peoples of Dagestan”, “Proji”, etc.) and presented in annual reports as “research activities” do not have They have nothing in common with the latter, but belong to the genre of journalism. In addition, museum employees do not publish in well-known historical, cultural journals, collections, bulletins, not to mention the publication of monographs, books, studies, and reference books by them. The exception is the monograph by Gadzhiev A.S. “Religious, socio-political views of Klychev Yusup-kadi Aksaisky” (Makhachkala, 2009), which does not present museum materials in any way.

The trips of the general stated in the reports. directors with the chief curator to some branches of the museum to provide methodological assistance, in order to draw up structural plans and purchase museum equipment are not directly related to their research work and are, at best, of a scientific, methodological and collective nature.

Currently, many large museums are forming an electronic database, the creation of which uses the digitization of exhibits. Every year, from 2008 to 2011, the scientific plans of the DGOIAM include “starting work on creating an electronic database on the museum collection and publishing a unified catalog of the museum fund of the DGOIAM” (Kildeeva, Dandamaeva, curators of the funds), but this, apparently, is all , all this activity ends, there are no results.

If the directorate of DGOIAM is not able to organize and conduct scientific and practical conferences, then it was simply obliged to conduct local history readings, since it has 38 (!) branches in the Republic of Dagestan, which, in my opinion, also need a serious check of their activities and condition. The employees of these branches are, in fact, museum enthusiasts and well-known local historians. There is a huge interest in the republic’s own history and traditional culture, and in the last decade the genre of rural history has become the most popular and in demand. Based on local history readings, it would be possible to publish collections of articles that would present the results of the work of both local historians and Dagestan researchers on the study of natural resources, archeology, history, ethnography, on the cultural heritage of the republic, the first experiences of local history research by students.

It should be noted here that in DGOIAM there is no reading room where anyone who visited the museum for research purposes could work with exhibits of the museum collections, having a library card (its data is recorded in the museum file cabinet). This form of work is available in many museums in the country, and this fact makes the museum prestigious scientific center from researchers, scientists, specialists. As far as we know, the museum’s management does not at all welcome the appearance of such visitors within its walls.

The museum does not receive subscription editions of professional specialized magazines, which allow you to keep abreast of all museum events in the country and abroad.

Publishing activities of DGOIAM

A key role in popularizing the museum and its collections is played by high-quality exhibition catalogs, collections of seminars and conferences. There is currently no publishing activity in DGOIAM. For comparison: in 1925, literally in the first years after the end of the Civil War, not only a museum was opened in a destroyed and devastated republic, but also a “Museum Bulletin” was published.

Over the past 10 years, the DGOIAM has not published a single catalog of exhibits, while a catalog is an important and obligatory sign that the museum is conducting serious research and cataloging work. The rich collection of the DGOIAM funds provides ample opportunities for the preparation and publication of excellent catalogs on ethnographic collections, firearms and bladed weapons (Russian, European, Eastern and local production), works of fine art, etc., which will popularize the museum outside the republic and country .

Particular attention is drawn to the publication of the DGOIAM “Anniversary Album for the 85th Anniversary of the Dagestan State United Museum named after. Tahoe-Godi. From the depths of centuries" (2010), published with funds from a presidential grant. A multi-page and colorful album, without imprint data (date of publication, place of publication, circulation), evokes not so much surprise due to its mediocre, illiterate text (especially captions for photographs) and primitive printing, but rather a pang of pity for an essentially beautiful museum, which so pitifully and wretchedly presented on its pages.

Each museumthe exhibition must be accompanied by appropriateprinted products for it (catalog, booklet, explication (scientific article, exhibition concept text), poster, invitation). According to several booklets presented with the report, this activity in DGOIAM is, to put it mildly, treated carelessly. For example, the booklet “Dagestan national costumes from the funds of the DGOIAM” (in fact, it only presents women's costumes) published without imprint, without indicating the author of the text; Unsigned photographs of women's headdresses are scattered randomly across its pages. The blunders in this booklet are far from being random and annoying errors, but one more proof of the lack of genuine research work and directed publishing activities of the museum.

Exhibition activities DGOIAM

All museums have traditional functions: storing, restoring,study and demonstrate cultural heritage to visitors. However, inin the consciousness of modern educated society, the museum has long been transformed from a place where various exhibits are displayed into a place for intellectual leisure. It is necessary to understand that the presence of historical and art objects by themselves is not enough (even in the amount of 157,000 exhibits) to attract visitors; we need to surprise them and show them something new, attract visitors with new exhibitions, permanent and temporary, full-fledged works of synthesis of expositional art and science; they are what distinguish a museum from an archive or warehouse.

Meanwhile, all exhibition work at DGOIAM consists of selecting exhibits and displaying (hanging) them along the walls of the hall, while neither catalogs nor texts of excursions to exhibitions are prepared (see appendix). Each museumthe exhibition must be accompanied by a special scientific, information and marketing programprinted products. For example, catalogs were not compiled or published for the exhibitions “Decorative and Applied Arts of Dagestan” (Rostov-on-Don), “Ceramics and Porcelain”, “The World of the Sungurov Brothers” and others held in 2008; in 2009, catalogs were not compiled or published for the exhibitions “Traditional headdresses of women of Dagestan”, “Weapons from the collections of DGOIAM”, “From the collection of Prince Baryatinsky”, etc. None of the seven exhibitions held in 2011 are reflected in relevant printed materials(catalog, booklet, explication (scientific article, exhibition concept text), poster, invitation).

The visiting card of the museum is its permanent exhibitions. In particular, already mentioned in the press “Dagestan on the fronts of the First World War” was presented by natives of only one village of Dagestan; a number of modern expositions are presented by photo stands at the village club level; permanent exhibitions on nature, wildlife, flora and fauna of Dagestan on the first floor do not stand up to criticism due to the wretchedness of the outdated exhibition and the dilapidation of the exhibits. Some faded and crumbling stuffed animals (in particular, a mangy baby seal without an eye) cannot be shown so as not to traumatize the child’s psyche.

The explanatory material and labeling are vague, uninteresting and in some places blatantly unprofessional or completely absent (in the exhibition “Nature of Dagestan”, “Caucasian War”, etc.). Conducted in 2010, according to the report, “a complete re-exposition of the hall” “Caucasian War”, installation, compilation of leading texts, labeling do not meet the standards of a museum exhibition. The declared “complete re-exposition of the hall” “Nature of Dagestan” and the compilation of leading texts do not meet the standards of a museum exhibition.

Museum marketing.

Today, every museum faces the need to constantly search for ways to optimizeorganizing museum work, searching for additional sources of funding. This type of activity is usually defined as museum marketing.

There is no traditional “museum shop” at the museum, the assortment of which should consist of souvenirs and goods related to the museum’s exhibition (postcards, badges, copies of products, albums, posters, reproductions, pennants, handicrafts, etc.). This type of activity occupies one of the key places in the marketing concept of any large museum.

There is a complete lack of work with sponsors, philanthropists and grant givers. Unfortunately, there is no Board of Trustees of the museum.

The Museum does not make any attempt to participate in grants. Meanwhile, for several yearsThe V. Potanin Charitable Foundation is holding (this year the ninth in a row) a grant competition for museum projects for museums and museum organizations located in the Russian Federation “A Changing Museum in a Changing World.” With its rich collection, DGOIAM undoubtedly has the right to apply for a grant, with appropriate preparation and timely submission of an application for participation in it.

The directorate of DGOIAM, apparently, does not have the slightest idea about increasing the competitiveness of the museum in the market of cultural and information services, about ways to attract visitors, sponsors, and the use of the media.

Museum website.

If you look at any website of a large museum (or the same P. Gamzatova Museum of Art) and the website of DGOIAM http://dagmuseum.ru/museum, which was hastily created after the article by X-M. Kamalov and P. Takhnaeva in the newspaper “Chernovik” (04/29/2011), and compare them, it becomes obvious that it does not work and does not meet its functional purpose. The “Collections” section (the face of the site) is represented by a selection of photographs (from 14 to 63 from various collections) without accompanying text; captions to photographs (label) demonstrate blatant unprofessional attribution, moreover, accompanied by gross spelling errors. For example, (the style and spelling have been preserved), a collection of metal: “Jug-water carrier -Muchal- village Kubachi”, “Svetets. Avars", "Bucket -Satyl-", "Lamp. Copper", "Chirag lamp. 19th century Bronze", "Kumgang. Dagestan"; the collection of Kaitag embroidery is represented by 44 photographs, literally laid out in “solitaire”, without any accompanying text; ceramics collection: “Dish. Derben", "Dish. South Dag. 19th century,” “Dish. Iran", "Mug. Sulevkent", "Vessel -Kam-. Sulevkent."; collection of weapons: “Dagger-Kama. Doug. 19th century Steel, wood, metal, ivory, gold notch,” “injal-kama. Dagestan, 19th century,” “Dagger-Kama. Dagestan 19th century." etc. This demonstrates the absolute lack of professionalism of the museum staff and those responsible for filling the site. On the website of the manager, who by the way speaks English, there are no texts or signatures in English. In the “News” section, the latest information is dated June 13, 2011; The museum’s email is not listed in the “Contacts” section, etc.

Mass educational work of museums is the most important element of museum communication aimed at the formation of a harmoniously developed, socially active personality, its spiritual, moral, aesthetic education, deepening awareness and education. The museum audience is gradually expanding, its average educational and cultural level is increasing, and the requirements for museums are growing and becoming more complex. This area is inextricably linked with other areas of museum activity. The specificity of MIP is associated with the use of historical evidence and original monuments. THE PRINCIPLE OF OBJECTIVENESS ensures the propaganda of historical knowledge, its evidence, and emotionally helps “EDUCATION WITH HISTORY.” An important part of this work is to educate visitors to museum culture, respect for historical and cultural monuments, human labor, awareness of aesthetic values, and preservation of them for posterity. Joining museum culture means understanding the peculiarities of the museum form of communication, the ability to navigate the museum, choosing the most interesting and useful. An important element of this work is museum pedagogy - a scientific discipline that studies museum forms of communication, the nature of the use of museum funds, in the transmission and perception of information from a pedagogical point of view. Its subject is problems associated with the content, methods and forms of pedagogical influence of museums, with the peculiarities of this influence on different categories of the population, as well as with determining the place of the museum in the system of educational institutions; Museum pedagogy studies: the patterns of the museum-pedagogical process, their use in practice, and possibilities for increasing efficiency. The specificity of the pedagogical impact of museums on different social and age groups of the museum audience substantiates the need for a differentiated approach to museum visitors; generalizes the experience of educational and educational activities of museums of different PROFILES, TYPES, TYPES and, on the basis of this, modern museum pedagogical recommendations are developed; the most rational forms and methods are also identified modern work museums with other institutions, and the development of museums in terms of the implementation of pedagogical opportunities is predicted. The element of ACTIVATION of the processes of PERSONALITY FORMATION, its creative abilities, and life position is also important here. One of the tasks of museum pedagogy is to create PREREQUISITES and CONDITIONS for activating museum visitors; improving their contacts with MPs, organizing the perception of the information contained in them - including in the field of EXCURSION METHODOLOGY, CONDUCTING MUSEUM LESSONS, ORGANIZING INDEPENDENT WORK IN SCIENTIFIC AND METHODOLOGICAL OFFICES. The organization of museum pedagogical events, their management, the identification and implementation of new forms is based on STUDYING the interests of VISITORS and their perception of museum information. Particular attention is paid to youth. An important task of museum pedagogy is to improve the qualifications of museum workers, teaching staff involved in working in museums, and to train future museum personnel in universities. This also includes the methodology and practice of organizing and planning education and educational work. Museum pedagogy creates a system of measures to establish close contacts with other institutions: everyone who is interested in the work of museums - concluding contracts, developing special programs, various forms and types of information, etc. Large museums often create special departments for scientific propaganda and museum pedagogy , about tour guides, historians, sociologists, etc.

The forms and methods of educational, educational, educational work of museums are diverse. The most common FORM is EXCURSIONS to expositions and exhibitions, non-museum historical and cultural monuments, etc. This traditional form is supplemented by LECTURES, THEMED EVENINGS, WORK OF CIRCLES AND CLUBS based on interests, etc. But the creative use of these forms does not lead to erasing the specifics of museums; the foundation remains the FOUNDATION MK of museums. The massive work of museums contributes to the solution of problems of an educational nature and the wise use of free time.

Basic concepts of excursion work - excursion, excursion method, guide.

EXCURSION is a collective inspection of a museum or non-museum object, carried out on an intended topic and a special route under the guidance of a specialist guide for educational, educational, educational purposes. Two concepts of excursion are included here (an excursion as a group of people who came to view a museum or outside a museum object, and an excursion as a type of scientific and pedagogical work, consisting in the development and implementation of a system for displaying a museum exposition, exhibition, or non-museum object). Excursion groups are very diverse; a differentiated approach to them is important. Excursions differ in theme and purpose, varying based on the composition of the group, its wishes and familiarity with museum culture. Their common feature is a single methodological basis, that is, excursions are conducted on the basis of the EXCURSION METHOD. An essential feature of the excursion method is DIRECT COMMUNICATION between the guide and the group who came to explore the museum. During the excursion, educational and educational tasks. The EXCURSION METHOD is based on VISUAL PERCEPTION, direct observation. There is an aphorism: “Looking does not mean seeing,” but an important element of EM is to teach “seeing,” i.e. consider ME as a whole and its individual elements, identify their essential features and the information contained in them. Visual perception is enhanced by MOTOR movement along a certain route, in which the object is visible from different sides, at different distances. VERBAL COMMENT plays an important role in the excursion. The substantive clarity of ME underlies the formation of specific ideas. The thematic nature of ME requires logic, consistency of presentation, and promotes the formation of concepts and the assimilation of generalizations and conclusions. The authenticity and reliability of the ME is determined by the emotionality of perception, the emergence of a feeling of empathy, and involvement in the events and phenomena reflected by the ME. The combination of rational and emotional elements, which increases the volume of perceived information and the activation of emotional and mental processes, is a feature of the museum method. The properties of an excursion - collectivity, unity of purpose, the opportunity to exchange opinions, common experiences enrich the excursion participant, create. increase emotional mood, contributes to the perception and assimilation of what is seen and heard.

Mastering the excursion method is a mandatory requirement for a tour guide or museum teacher. He must understand pedagogy, psychology, and museology. Empathy, the ability to analyze and interpret a topic is the common task of the joint work of the guide and the group. Their interaction is a prerequisite for the success of the excursion. It is necessary to take into account the level of understanding, rise and fall of interest during the excursion. It is important to make each member of the tour feel that once they enter the museum, they have entered a special world. historical sources and relics. The guide's speech culture is important, good diction, grammatical correctness, expressiveness and certain artistry, the ability to change tempo, use pauses; the word in the tour is combined with facial expressions, with a hand gesture, with a pointer; spectator perception organized with the help of a gesture can shorten the verbal description of the MP. The guide must be proficient and artistic words, used for verbal reconstruction historical events, biographies of historical figures. What matters is the culture of behavior and appearance the guide himself. An excursion is a lot of physical activity; the guide needs both good eyesight and a certain amount of endurance.

CLASSIFICATION OF HISTORICAL EXCURSIONS depends on the purpose: the choice of objects and display techniques. EXCURSIONS differ in LOCATION and OBJECTS OF DISPLAY, NATURE OF THE SUBJECT, PURPOSE, COMPOSITION OF EXCURSION GROUPS.

By location and objects of display. Most Excursions inside the museum building are common - around expositions, exhibitions, etc.; excursions are also conducted outside the museum building around MONUMENTS (history, culture, architecture). There are COMPLEX excursions that combine these elements in different forms; the basic complex of excursions is usually supplemented by a demonstration of monuments located in natural conditions. This enriches the excursion; the tourist gets the opportunity to admire an architectural monument that cannot be included in the excursion, and to experience the events at the place where it took place.

By the nature of the topic. The simplest (but not the clearest, since every excursion has its own theme) division of excursions is SURVEY AND THEMATIC.

Sightseeing tours give general idea about the museum, topics may vary. Sightseeing tours usually include information on the HISTORY of the museum.

THEMATIC or PROFILE excursions are divided into:

CROSS-cutting topics covering a number of historical periods or halls, most often constituting the main core problems of the exhibition; they most successfully highlight the patterns of historical development;

NARROW THEMATIC, based on individual historical periods or events. Give a description of the historical period, one of the parties historical process, life activity of a specific historical person, quantity, etc.

SPECIALIZED excursions use materials from exhibitions to highlight topics and problems of other disciplines different profiles: excursion topics, art history branches of material and spiritual culture; literary, historical background of historical literary works, their heroes - such excursions increase the scale of the museum’s activities; attract a new contingent of visitors. It is possible to conduct CYCLES of excursions related to specific issues and intended for a PERMANENT group of visitors. Cycles of excursions contribute to in-depth study of exhibition topics, increasing work efficiency.

For the intended purpose. Excursions are: SCIENTIFIC AND EDUCATIONAL (GENERAL EDUCATION) (NPOE) and EDUCATIONAL (UE). NPOE are intended for education, the rise of culture, are a form of leisure, and can be overview, cross-cutting, or narrowly thematic - but their HIGH LEVEL must always be ensured. UEs serve mainly school and lyceum students, university and college students in accordance with their programs for DEPTHING AND SYSTEMATIZING the completed and elaborating NEW educational material, which requires a thorough familiarity with educational programs and teaching aids; The main type of such excursions is EXCURSION-LESSON. It is held in the exhibition hall under the guidance of a teacher who uses museum methodology in combination with lesson techniques (questioning, repetition of material, etc.). In this regard, both historical and local history museums great opportunities. Educational excursions include METHODOLOGICAL EXCURSIONS for museum workers in order to IMPROVE their qualifications, as well as for students, graduate students - specialists in museum studies, practical workers of excursion and tourism organizations, they are also useful for teachers.

The guide must take into account the composition of excursion groups, which differ in age, socio-professional and national composition, educational level, place of residence, and must know the peculiarities of the psychology of an adult, teenager, and preschooler. For tourists, sightseeing and end-to-end excursions on the history of the city, region, and the general theme of the museum are preferred. Excursions in the visitors’ native language provide direct contact with visitors and the ability to quickly respond to their questions. If the excursion is conducted with a translator, then the latter has SPECIAL requirements: brevity, accuracy of descriptions and wording, special expressiveness. Mixed groups need a short sightseeing tour followed by an independent tour of the museum; In some museums, independent inspection is not allowed, and in memorial museums this form of work is the main one.

When preparing an excursion, it is divided into a number of stages:

Defining the topic, familiarizing yourself with its content, mastering the minimum literature on the topic of the museum excursion, orienting yourself in the historical content of the topic allows you to determine the TARGET setting of the excursion, focus, objectives, nature (overview, comprehensive, etc.), purpose (UE, NPOE, etc. .d.).

Drawing up a multi-step excursion plan; study of literature and sources on the topic; careful study of the exhibition, structure of excursions, highlighting topics, subtopics, establishing their order, route (4% of objects on display - EM). WRITTEN DETAILED EXCURSION PLAN, clarification of the structure: route, composition of demonstration exhibits, use of texts, logical transitions and conclusions; specifying the content of the final conversation and the method of conducting it. The plan is TESTED in practice. Only after a series of excursions are its strengths and weaknesses revealed. Based on the detailed plan, a final document is drawn up - METHODOLOGICAL DEVELOPMENT OF THE EXCURSION (MD), which includes: the name of the halls, subtopics, complexes; the group stops at the objects of display, time to examine them; disclosure of historical content, texts of conclusions during the excursion. Methodological instructions can be in the form of a free presentation of the content of the excursion and the methodology for its implementation with great depth coverage of theoretical and methodological problems. The MR is accompanied by a bibliography, reference material, extracts from documents and literature.

THE BASIC TECHNIQUE OF CONDUCTING EXCURSIONS IS DEMONSTRATIONAL. A purposeful display of an exposition, hall, complex, exhibit should teach to see, to identify on the basis visual perception essential features of the object and its content. The guide combines the display with motor techniques (especially varied during non-museum displays): walking along a route associated with the event covered in the excursion; perception of the contour of the monument by hand movement; consideration in close proximity or in the distance, etc. The guide's word helps to see the object as a whole, to direct attention to its essential details, connections between exhibits. The guide provides information that cannot be obtained from direct spectator perception, talks about the history of the exhibited MP, the historical event that he is witnessing, about the life of the person whose materials are placed in the exhibition; this can be facilitated by reading a QUOTE - LEADING TEXT, an excerpt from a work of fiction, an excerpt from a presented document. As a result of familiarization with the excursion topic, a brief and precise formulation of the theoretical position or conclusion is given. Each tourist should feel that the guide’s speech relates to him, especially in groups of heterogeneous composition. DM has a number of options, differing in the degree of activation of the group. The excursion can have a NARRATORY CHARACTER, the tourist is attracted to the examination of the exposition by a word, a story from the guide. Great activity is generated by the method of conversation in the form of QUESTIONS AND ANSWERS (DIALOGUE), which in museum literature is called the HEURISTIC METHOD (from the Greek “EUREKA” - “found”, found the correct answer). The system of leading questions activates group members when revealing the content of the topic. The greatest activity is caused by RECEPTION OF TASKS; after an introductory conversation in which the tasks of the work are set, the excursion participants receive colorful individual plans or small group tasks in ORAL or WRITTEN FORM, the complexity of which depends on the preparedness of the group. You can simply choose the most interesting exhibit in a given room and indicate the reasons for its choice; a more difficult task is to give examples of different types of MP covering the same topic; reveal the contents of any complex. Completed tasks are discussed collectively and sometimes discussed. This technique teaches independence, promotes the development of one’s own opinions and judgments, and the ability to defend one’s opinion. A GAME MOMENT can also be included in the excursion; After familiarizing yourself with the topic, you are asked to imagine yourself as a participant in the events reflected in the ME, depict it in their faces, and quickly find certain exhibits.

The use of various techniques depends on the nature and purpose of the excursion. Sightseeing tours correspond to a narrative technique used for any group of adults. The heuristic technique is used in educational excursions, in working with teenagers and children; for those who have already visited the museum before, it is advisable to use homework. The game moment is indispensable when working with primary schoolchildren and preschoolers. In practice, the techniques may be intertwined. In museum practice, there is a museum technique that goes beyond the excursion method - LECTURE-ILLUSTRATIVE, in which the role of the presenter prevails, exhibits are used as illustrations as needed. The technique is effective for illuminating complex theoretical problems. The leader of such a group is called not a guide, but a LECTURER. Compared to a conventional lecture with illustrations using TCO, the advantage in this case is the direct encounter with the original. Sometimes the disclosure of a topic requires the introduction of additional visual materials into the excursion, mainly NVM, for which there is a so-called TOUR GUIDE PORTFOLIO. It is most often used for non-museum tours; can be shown, for example, a plan of a city, a monument, photographs of participants in events, an image of the object in question in different periods etc.

Each excursion consists of three parts:

Introductory conversation (WB);

The main part of the excursion;

Closing conversation.

In an educational excursion, a special stage can be considered the sequential elaboration of the content. The purpose of the introductory conversation is to establish contact between the guide and the audience. The conversation includes getting to know the group, finding out its composition, interests and specific requests, which is especially important in the absence of preliminary information about the group; brief information about the museum, definition of tasks, topics of excursions, order of its conduct; instructions on the rules of conduct in the museum.

The excursion is divided into elements, each of which ends with a conclusion. At the end, a general conclusion is given. The transition from one topic to another, from one exhibit to another must be justified LOGICALLY or EMOTIONALLY. When moving to the thematic display hall, you should first of all indicate the general appearance of the hall, draw attention to the exhibits of increased attractiveness; when the natural interest in the new is satisfied, it is not difficult to direct and focus attention on individual fuel and energy complexes, exhibits, and on the disclosure of the topic at hand. This technique is applicable to the demonstration of the exhibition complex: first a general idea of it, then a display of individual exhibits. Alternating techniques relieves fatigue and maintains the level of attention. The equipment placed in the ME can also be used during the excursion: tourists listen (for 1-2 minutes) to tape recordings of participants in events, for example, those not related to the content of the ME, active MODELS, MOVIE TV INSTALLATIONS, etc. are turned on. The guide must master the technique of conducting an excursion and choose the best point for viewing a museum or non-museum object; arrange the group, organize the TRANSITION from hall to hall or along the city streets; use a pointer correctly, etc. In the case of USING PHONO RECORDING during an excursion, the guide, while listening, points to the mentioned exhibits, then answers questions. Audio recordings during excursions are used mainly in monument museums and memorial museums, where individual inspection of the ME is not allowed. The excursion ends with a FINAL CONVERSATION, in which the group’s impressions of what they saw are clarified, recommendations are given for deepening the information received, etc.

The bulk of people who come to the museum are unorganized “singles” or family groups; many of them prefer to independently examine the ME. They are offered brief informational and instructional messages at the entrance to the museum, in each hall, in particular explaining the orientation system in the museum, as well as the names and numbering of exhibition topics and fuel and energy complex. The rooms offer individual or group consultations. It is useful for visitors to be given a short text leaflet that recommends routes for exploring the ME on their own. “Unorganized” visitors are greatly assisted by technical means - sound speakers used by visitors independently and tape recorders with headphones. The excursion can be supplemented with a visit to the non-museum complex of monuments.

Specific forms of excursion include discussion of the excursion:

initial audition - acceptance of the excursion - testing it;

control listening, mutual listening by museum staff of excursions on the same topic;

educational excursions, which are conducted in the presence of guides and teachers to exchange experiences. The audition usually ends with a review of the excursion and an exchange of opinions. Among other forms, a prominent place in the mass work of museums is occupied by MUSEUM LESSONS and INDIVIDUAL WRITTEN TASKS (IWT), which are used as an element of work with schoolchildren, but can sometimes be used in work with other categories of the population. The methodology for developing lessons for schoolchildren is of great importance. The lesson is organized for students to acquire knowledge on a specific topic or consolidate the material covered. Their effectiveness is determined by the specific museum interpretation of phenomena and processes. A lesson in a museum activates both weak and strong students. The following IPDs are given: description, sketch of VIs, characteristics of their purpose, style, manufacturing techniques, evolution of forms and techniques; identification, based on a comparative analysis of MP, of the nature of life of different peoples and segments of the population, the interconnectedness of working conditions and lifestyles; interpretation of AI, components and rituals; analysis and Critical Assessment PI, their inclusion in the general historical context; reading NVM: diagrams, maps, diagrams, statistical data and using them to characterize certain periods; development trends and sketches and critical analysis of the fuel and energy complex. The most effective tasks are those that allow you to reproduce the STEPS OF THE COGNITIVE PROCESS; they help in comparison, highlighting the general and specific, essential and secondary, recognizing patterns and connections. The result can be student reports in front of the class, reports at conferences, summarizing lessons, and essays. Such types of work can be successfully used in the museum by museum workers and teachers. CIRCLES and CLUBS at museums (especially the first one) play a big role in museum work.

A circle is a small group (usually children or teenagers) united by interests and working under the guidance of a museum educator. Historical circles study specific historical events, the history of an object, the biography of an outstanding person, using MP and ME, making reports on them at circle meetings.

Museum collections (numismatic, archaeological, branches of cultural materials, ethnographic, etc.) are studied by SOURCES studies clubs. Members of the circles participate in museum expeditions and become familiar with the methods and techniques of museum work. In artistic and technical circles, enthusiasts using MK make models, engage in drawing, modeling, and various areas of decorative and applied arts. The MUSEUM SCIENCE club trains young tour guides around the museum and the city, pathfinders-collectors who participate in historical, everyday life, military-historical and other expeditions of the museum or organize independent collections with the subsequent transfer of materials to the museum. Cognitive elements in the circles are combined with artistic sketches and illustrations of the museum theme; exhibitions on historical topics are being prepared; Certain techniques for defining and describing MP are discussed, the design of the school museum is being designed, etc. Sometimes there may be clubs for adults - such as seminars. Sometimes circles are engaged in the production of MPs characteristic of the folk crafts of the region.

CLUB is amateur public organization, whose members are united by common interests in the field of science, culture, and profession. Club members establish the most convenient form of organization (division into sections, creation of club circles, etc.). The activities of the club are usually managed by the CLUB COUNCIL. Section reports are accepted at the general meeting. The club is attractive because it satisfies the interests of everyone individually and provides the opportunity for free communication with people who have the same interests. Councils of museum clubs are focused on professional experimentation with the participation of young people. There are three groups of MUSEUM CLUBS:

Clubs with broad program of a general educational nature (for example: “Club of Young Local Historians”, “Historical Club”).

Clubs dedicated to individual current topics of history and modernity (military-patriotic clubs).

Clubs for young museum experts introduce them to the methodology and participation in the practical work of the museum.

With the help of the museum, clubs for adult amateurs and museum veteran visitors: record workers, numismatists, and philatelic collectors unite and offer communication based on their interests. The museum provides premises, equipment, professional advice, and helps with literature; provides permanent passes to museums; booklets, etc. A notable form is MUSEUM OLYMPIADS and COMPETITIONS (for example, for young historians and museum experts), the tasks of which are usually based on museum materials. Participants of the Olympiad must describe this or that event, phenomenon, characterize the interior and present the results of their work to the jury members orally or in writing. The winner must not only reveal the topic, but also answer questions, defend an opinion in a discussion, written or oral presentation. Olympiads and competitions contribute to the acquisition of knowledge, the ability to think independently, and involve participants in the work of the museum.

Lectures and theme evenings play a big role. These are common forms that reach a large audience. At lectures held by the museum, MP demonstrations are widely used. Lectures may be accompanied by transparencies and photographs, and a kind of “correspondence excursion” through the museum halls is conducted. The description and characteristics of the MP are included in the verbal story. Unlike excursions, the content of which is limited by the framework of the ME, exhibitions of lectures are more diverse and wider. One of the objectives of the museum’s lecture work is to promote historical and cultural monuments, to treat them with care and respect, and to popularize knowledge. Sometimes lectures are held in CYCLES (by subscription) in a certain museum environment (meetings with interesting people, “Meeting with the original”, “Evening of one exhibit”, etc.).

SCIENTIFIC AUXILIARY OFFICES AT MUSEUMS are specially equipped premises equipped with DUPLICATES (doublets) MP, PI and NVM models, layouts, historical maps and diagrams, etc., used by students, members of circles and clubs; as well as possible themes of museum excursions - additions to the exhibition. You are allowed to pick up the material, leaf through it, and conduct consultations. Sometimes COMPLEX SCIENTIFIC, EDUCATIONAL and EDUCATIONAL MASS EVENTS are held with the tasks of popularization, propaganda, and recreation. Their characteristic appearance: an “open day” with advertising of the museum and free entry. Mobile forms of work also play a role - traveling museums, exhibitions using PMP, traveling photo exhibitions based on documentary photographs and reproductions of MP. Sometimes there are holographic exhibitions. For mobile forms, specially equipped buses (museum buses) or carriages are convenient. Scientific and popular science works of museums, catalogues, propaganda through radio, TV, advertising and reference publications play a role in the popularization of museums and the work of museums. Popularization is facilitated by publications and oral presentations devoted to various aspects of the museum’s activities. Museum magazines, collections, conference materials, guides to expositions and exhibitions, which reveal the NK ME, its historical content, information about the halls, and the history of the MC.

UNIVERSAL guides are available to the widest segment of visitors. The assimilation and retention of museum materials in memory is helped and facilitated by the methodological and technical design of the guidebook text, clear division, the use of different fonts, correspondence to the halls and fuel and energy complex, clear route diagrams, colorful illustrations with general views of the fuel and energy complex halls and individual exhibits.

Catalog guides provide a description of all exhibits in the order of their location or by type of exhibit. They are especially useful for museum exhibitions; plans of the layout of the halls, indicating routes, placed at the entrance, also help, especially in open-air museums and museum-reserves. Advertising boards are used at the entrance to the museum. The traditional form of advertising is the museum poster - a colorful or graphic poster combines an image with text, representing the image of the museum's exposition, the exhibition as a whole. The poster contains reference information: opening hours, topics of excursions, the procedure for registering for them, etc. The effectiveness of the poster is facilitated by its decoration, size, color scheme, composition, font combination. The content of posters is updated, but some elements of it are usually STABLE - for example, the museum logo, which is important when placing the poster on general billboards. In memory of the museum, BOOKLETS are published - illustrated folding brochures, in which the short form Information about the museum is given, the most interesting halls and exhibits are advertised. Booklets dedicated to MK are in great demand. Based on the museum's sketches, SIGNS AND SOUVENIRS can be PRODUCED that embody the symbol or content. The same is true for the image of the museum on postcards, envelopes, stamps, calendars, etc. Direct advertising is invitation tickets to museum events. Systematic, diverse, constantly updated information and advertising built on a scientific basis is an important part of the museum’s work. This is often carried out by special propaganda departments, which keep statistical records of events, their types, quantity (per year, quarter, month), the participation of museum employees, and their attendance. All documentation is preserved and, upon expiration, is handed over to the museum’s archives. Copies are also useful for further work.

The main directions of educational and popularization work were determined by the Commission for the Protection of Monuments of Antiquity and Art of the Trinity-Sergius Lavra. Already on February 23, 1919 P.A. Florensky gave the first tour of the sacristy. Since 1921, excursions have become systematic; in the same year, about three thousand people visited the museum. The commission's reports from 1923 stated, “Employees often had to give up their current jobs and lead ... excursions. ... Although such an order does not distract from work, the members of the commission willingly fulfill this duty, recognizing that it is the main reason for the existence of the museum.”

The members of the commission were outstanding personalities, representatives of a galaxy of remarkable Russian intellectuals of the early twentieth century. Now, knowing the life story of Yu.A. Olsufieva, P.A. Florensky, we can say that their activities in organizing the museum were determined not only by external historical circumstances, but by their spiritual activity. Priorities in scientific and educational work changed depending on the socio-political and economic situation in the country, as well as the prevailing ideological guidelines.

In the 1920s, the main form of scientific and educational activities of the museum were excursions. This work was carried out by the Bureau of Educational Work, which included not only museum employees.

Already since the late 1930s. great attention was paid to the training of tour guides: educational tours were conducted by senior researchers and heads of departments; courses of lectures were given by teachers from Moscow higher educational institutions; consultations on issues of history and art were carried out by leading experts of our country: A.V. Artsikhovsky, S.V. Bakhrushin, V.I. Lebedev, N.N. Sobolev, I.V. Zholtovsky.

At the end of the 1940s. The first teaching aids were developed for all expositions that existed at that time (in the form of an excursion text defining the purpose and ideological guidelines). At the same time, methodological manuals were created for conducting excursions for younger schoolchildren (grades 3 - 4). Some of them were in the form of a conversation with questions.

In 1951, a department for scientific popularization of art was created. The Regulations on the Zagorsk State Historical and Art Museum-Reserve, approved by order of the Committee for Arts under the Council of Ministers of the USSR, determined the main forms of its work: excursions, lectures, clubs, consultations and seminars for students and teachers.

In the 1960s the basis for the successful implementation of scientific and educational work was a variety of newly created exhibitions of the museum, systematically introducing the history of the Trinity-Sergius Monastery, its necropolis, the architectural ensemble and methods of its restoration, ancient Russian painting, ancient Russian applied art, Russian art of the 18th - 19th centuries, Russian folk and modern arts and crafts. These expositions consisted of more than 40 halls and occupied an area of 4,500 square meters. m.

In 1969, at a conference dedicated to the 100th anniversary of the birth of V.I. Lenin, where the results of all the activities of the museum were discussed, issues of scientific and educational work were considered for the first time. The significance of the museum as a center for the popularization of national art was predetermined by the inclusion in 1969 of the city of Zagorsk in the all-Union tourist route through the ancient Russian cities of Russia “Golden Ring”. From this time on, a progressive increase in visiting visitors began, the peak of attendance was reached in 1979 (700,000 thousand). All activities of the scientific and educational service were aimed at receiving mainly out-of-town tourists, and therefore the priority form of work was a route (sightseeing) excursion aimed at an adult audience.

However, since the mid-1970s. The museum began to pay special attention to working with schoolchildren and young people. In 1975 A promising program for the aesthetic education of children, from first grade to 10th grade, was developed, with the goal of cultivating the need for individual aesthetic experience and developing the creative activity of students. The program was implemented in collaboration with local teachers, mainly in schools in the city and region.

Along with traditional forms, such as thematic excursions, lecture series, organization of clubs, Open Days, for the first time the museum began to hold exhibitions of children's creativity, decorative drawing lessons, and thematic museum events. By the mid-1980s. The museum has developed a certain system aimed at educating students, taking into account age characteristics.

Since the 1980s The practice of scientific and educational work includes holding thematic evenings dedicated to the work of artists of folk crafts, museum collections, the history and culture of the native land, and various areas of museum activity. The events, varied in plot and structure, helped to reveal the connection between modern creativity and cultural heritage, reveal its historical and artistic significance, and clearly showed why monuments of the past are so valuable to us.

A unique result of this period of work was a conference in 1985, for the first time dedicated exclusively to the scientific and educational activities of the museum. The reports provided a serious analysis of its state at that time, reflected the features of conducting excursions for various categories of visitors, examined the system of training guides, and presented various aspects of the aesthetic education of students developed in the museum. The variety of forms of work, the professionalism of employees, the created stable and, as time has shown, viable system of their training made it possible to adapt to the conditions of perestroika, when, for objective reasons, there was a significant decline in attendance. However, the museum did not cut back on scientific and educational services, but began to actively develop new forms and work more and more purposefully with local audiences.

A new form has become the organization and holding of folklore festivals, introducing visitors to folk culture, its history, traditions and involving visitors in cognitive processes. The holidays “Christmas Miracles at the Horse Yard” and “Broad Maslenitsa” have become traditional.

Excursions are an integral part of them. The harmonious combination of one of the main forms of museum work - an educational excursion to the exhibition with a festive performance and folk fun - gives an amazing result: the information content of museum objects becomes as accessible to small children as the content of the New Year's fairy tale and speeches of Santa Claus.

The main visitors to the museum since the early 1990s. – These are students of different ages. Excursions, while remaining the main form of work, are changing qualitatively. Excursions that include game elements, the performance of certain role-playing functions, and the use of interactive materials are becoming increasingly popular. As it turned out, they are popular not only with schoolchildren, but also with adult audiences.

For example, possessing an excellent collection of ethnographic monuments, using folklore material from ancient wedding rituals, the museum has been hosting newlyweds and anniversaries for many years. Along with the festive wedding program, the museum also hosts a game program - “Let's play an old Russian wedding.” To attract visitors to the museum, programs are created that thematically unite architectural ensemble Trinity-Sergius Lavra with displays and exhibitions located outside it, as well as surrounding attractions.

The museum’s participation in the long-term interregional program “We are Russians,” developed for the youth of the Kaliningrad region, required new forms of excursions. Technologies for synchronous reception and distribution of the flow of excursion groups were mastered, and programs were created that combine a traditional excursion with an interactive lesson. This made it possible to make students’ acquaintance with the sights and history of the Radonezh land and the national traditions and culture of central Russia as a whole fascinating and memorable.

In order to successfully implement new tasks, a department of museum pedagogy was created in 1999, designed to ensure close interaction with the education system. Museum teachers, with the active participation of researchers and tour guides, have developed educational programs for different age groups. For children of primary school age, these are special cycles of excursions and activities in game form with excursionists performing creative tasks, which helps children to more fully assimilate the proposed material. Taking into account the age characteristics of children, museum teachers developed several thematic excursions: “Visiting the brownie Proshka”, “We are looking for a treasure”, “Wonderful transformations”, “How Russian children walked in Trinity”, etc.

For children younger age and their parents organized a Sunday historical and aesthetic club, which has been operating for 10 years. The club program is designed for 4 years. Classes are held at museum expositions, in art workshops, and in museums in Moscow and the Moscow region. The atmosphere of the classes helps to bring parents and children closer together, develop common interests, gain not only knowledge of history and art, but also cultivate aesthetic taste. A museum holiday “Let's Be Friends!” was created especially for first-graders.

An educational program “This city is the best on earth” has been developed for students in grades 6-8, “Living Heritage” for students, and “Historical Local History” for teachers of educational institutions of the city and region. A special form of work was the regional Olympiad, which grew out of a program in historical local history for students in grades 6-8. It has been organized since 2001 together with the Department of Education of Sergiev Posad. The carefully thought-out methodology of the event, the preparation system and the holding of the final stage necessarily in the museum, with the encouragement of all participants, turned it into a bright and exciting holiday.

For more than 20 years, the museum has had an archaeological circle, whose members take an active part in the museum’s annual archaeological expeditions. The traditions of specialized classes in decorative arts of the 1980s, a mandatory element of which were drawing lessons held at the exhibitions, are currently continued by the “Artistic Ceramics” and “Artistic Wood Painting” clubs.

In 2004 and 2005 two conferences were held and the 2007 Tourism Forum was held, at which the experience accumulated over the past two decades in the field of scientific and educational work was summarized. The messages read out on it by the staff of the Sergiev Posad Museum-Reserve introduced the variety of its forms currently practiced, their features at this stage and new directions.

In 2008, the management of the museum-reserve and the Council of Veterans of the Sergiev Posad District approved a two-year charitable cultural and educational program “People's University”. The goal of the program was to unite older people, improve the quality cultural life, their social adaptation in modern society. The topics of classes at the established faculties - “Conversations about history” and “Conversations about art” - were formed taking into account the diversity of interests of future students.

In the early 2000s, the museum began to hold holidays in honor of the “Day of Slavic writing and culture." In 2009-2010 In Sergiev Posad, for the first time, two international festivals “Slavic Way” were held, dedicated to this memorable date. The museum also took and continues to take part in various festivals, holidays and competitions held in other cities of Russia. For example, XI Moscow children's festival arts and crafts "Masters" in 2008 and the International Competition-Festival of Children's Arts and Crafts " Easter Egg"In 2012, the Sergiev Posad Museum-Reserve is a permanent participant in the All-Russian museum festival "Intermuseum" and the tourism exhibition "Intourmarket".

In the last decade (2008-2018), the museum’s educational service has introduced many new, modern events into its practice: interactive programs at exhibitions, quest games, film lectures, musical and literary evenings, open-air flash mobs during mass celebrations, intellectual living rooms, etc. In addition to regular excursions, a variety of interactive activities have been developed at the expositions and exhibitions of the museum.

In recent years, museum educators have developed many interesting programs for children, schoolchildren and family groups in museum complex"Horse yard".
You can note: “The Little Museum” (program for kindergartens), “In the world of primitive man”, “Riddles from the chest. On a visit to Domovenko”, “The Secret of the Old Master” (the program introduces Russian crafts in an interactive, playful and entertaining form).

Of great interest among schoolchildren are such quest games as “Save the Empress” (for students and schoolchildren from 14 years old at exhibitions and expositions),
“One victory for all” (start of the quest game - a memorial of Glory with an eternal flame), “Learning from Sherlock Holmes”, etc.
Every year, holidays are held that attract numerous residents of Sergiev Posad and other cities: New Year trees, “Broad Maslenitsa”, the “Russian Matryoshka” festival, all-Russian events “Night of Museums” and “Night of the Arts”.

In recent years, residents of our city have increasingly begun to celebrate their holidays in the museum: wedding ceremonies, children’s birthdays, school graduations.

All festive museum programs (“Tatiana’s Day at the Museum”, “Old New Year at the Museum”, “Journalist’s Day at the Museum”, “Day of Family, Love and Fidelity”, “Meet the Intercession - Prepare for the Wedding”) are inextricably linked with the exhibitions and museum exhibitions and attract different visitors.

Due to the fact that 2019 has been declared the Year of the Theatre, the museum has prepared a special project “Theater Stages. We play in theatrical settings." 320 people have already taken part in the project.

In the summer months, the museum turns into a creative platform for festivals: “Festival of Primitive Culture”, “Horseshoe for Happiness”, “Three Spas - All the Riches of Summer”, “Russian Matryoshka” festival. The street culture festival “Museum & Street Art” was held under the theme “Metamorphoses of Game”, where, with the help of games, we connected time and space, classics and modernity.

Literature
1. T.N. Manushina. Scientific and educational work of the museum of the Sergiev Posad Museum-Reserve. /Sergiev Posad Museum-Reserve. Messages 2005. – M.: Indrik, 2006.- P. 297-312
2. T.I. Kruglova, S.G. Naumova. “Come to our museum” (Museum and pedagogical activities of the Sergiev Posad Museum-Reserve) /Sergiev Posad Museum-Reserve. Messages 2005. – M.: Indrik, 2006.- P. 312-327
3. Integration of the individual into the national and world culture as the basis for improving modern society. //Materials of the scientific and practical conference, Sergiev Posad, Moscow. Region, April 22-23, 2004 – Sergiev Posad: LLC “Everything for You”, 2004.
4. Humanitarian development of the individual is a concern of modern society. //Sat. scientific works. /Central Institute of Management of Tourism Business Economics - branch of RMAT. – Sergiev Posad: LLC “Everything for You”, 2005.

The beginning of scientific work and educational activities was laid from the very beginning of the Museum’s existence by its creator, Moscow University professor Ivan Vladimirovich Tsvetaev. The museum was conceived as a center for art education for the general public and intended to conduct educational work. The very selection of the collection of casts, distinguished by its unique completeness and thoughtfulness of the composition of the exhibition, is a kind of encyclopedia of classical art. In addition, the Museum was closely connected with the scientific community of Moscow, since it was created on the basis of the Cabinet fine arts and Antiquities of Moscow University as an educational, auxiliary and public museum.

Scientific work
Educational activities
About monuments in the Pushkin Museum named after. A.S. Pushkin, displaced to the territory of the Soviet Union from Germany as a result of World War II

One of the most important functions of the museum - educational - is carried out through cultural and educational work.

The educational activities of our museum are diverse in the forms of organization and implementation. The forms of this work can be divided into main categories: traditional (excursions, lectures) and public events.

A museum excursion is a “collective examination of a museum by visitors united in excursion groups.” The museum hosts sightseeing, thematic and educational excursions.

Sightseeing tours are conducted throughout the museum's exposition and are aimed at familiarizing visitors with the museum in general. The sightseeing tour is of a general educational nature.

Thematic excursions that are held in the museum are distinguished by a clear thematic definition in chronology and content; they are devoted to a specific issue. Therefore, they are not held throughout the museum, but based on materials from one of the halls or a specific section of the exhibition. Thematic excursions are educational in nature. The museum’s guides have compiled and conducted the following excursions: “Living Memory of the Day”, “An Unforgivable War Has Come to Our Land”, “Valozhynshchyna Today”, “The Hour and We”, “Living Memory” and others.

Educational excursions are intended to expand the knowledge that students received according to the curriculum at the lyceum, and to flesh it out on the basis of authentic monuments - museum objects. These are excursions on history (theme “Great Patriotic War”), on the course “Man. Society. State” (theme “Man in the system of market relations”), etc.

Educational excursions are very diverse in their form. These include lessons-excursions conducted at the exhibition by a guide or the teacher himself, and excursions-seminars with presentations by listeners.

The development of excursions in our museum is carried out by students from the group of guides. The main source of excursion content is the exhibition and museum objects.

The construction of a museum excursion route is based on three principles - chronological, thematic, thematic-chronological.

For example, the route of a sightseeing tour is based on a chronological principle, and the route of a thematic and educational excursion is built on a thematic principle.

the purpose of the excursion, the significance of its topic, the main issues that are revealed during the excursion are called. In conclusion, general conclusions are given

on the topic of the excursion.

In addition to excursions, our museum holds lectures. They differ from excursions in the purpose and presentation of material. The main goal of a museum lecture is to convey theoretical material to the audience, illustrating it with museum objects. Lectures under the general title were successfully held “I know what I would like only here...”

- “Architecture of Valozhynshchyny”,

- “Memories of the history and culture of the city of Valozhyn”,

- “Educational regulations of the city of Valozhyn”,

- “The ancient heritage of the city.”

The most diverse and multifaceted in terms of their form are mass educational events. These are evenings dedicated to a specific topic or any events, dates, anniversaries, meetings with interesting people, quizzes, performances. So, throughout 2008-2009. The following events took place at our museum: round table “And it’s scary to remember, and you can’t forget”, courage lesson “Memory of the Heart”, historical quiz “Fight for Belarus”, oral magazine “Leafing through the pages of the wartime”, literary and musical composition “On the Roads of War”, literary lounge “In Memory people forever” and others.

Fund work

The collections of our museum consist of the main and scientific-auxiliary funds. All materials stored and exhibited in the museum constitute the museum's fund.

The most valuable and important part of the museum collections in quantitative and qualitative terms is fixed assets. This includes only genuine historical and cultural monuments that have the status of a museum item. This

Exhibited in the museum and real archaeological materials obtained as a result of excavations, as well as random finds: tools, product samples, weapons, household items and clothing, numismatic materials: coins, seals. Weapons from the Great Patriotic War (bayonets, shells, shell casings and rifle casings, etc.) are of great interest to museum visitors.

Available written museum items of the following types: handwritten and printed institutional and personal materials (certificates, certificates, letters, memories, certificates, party, Komsomol, trade union cards), periodicals and non-periodical publications, books, leaflets. In the funds of our museum there are personal testimonies “Ausweis, a Red Army book from the war,

Fine Museum items are works of decorative and applied art: graphics, paintings, sculptures, posters, etc., photographs. Among the audio recordings, the museum stores audio cassettes with memories of veterans of the Great Patriotic War, and documentaries about the war.

In addition to the main thing, the museum has auxiliary a fund that is a complex combination of various materials that do not have the status of a museum item. These are materials produced by the museum for exhibition and propaganda work.

Legal documents in the museum are acts of receipt, acts of issue, and books of receipts.

Accounting pursues two goals: ensuring the safety of the object itself and its scientific protection, that is, ensuring the safety of existing information about