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My name is Cristina Gazzola and I’m an art historian specialized in museum education.
Since 2002 I'm working in the Educational Department of the Fondazione Musei Civici di Venezia.
I plan educational activities for schools , families,  adults and special needs.
I also manage the Facebook page of the Department https://www.facebook.com/MUVEeducation/

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11 Museums with over 40,000 square metres of exhibition space; 10 centuries of architecture and decorations; over 200,000 works of art in the collections and 2,000,000 naturalist exhibits; 5 specialized libraries with 200,000 volumes...

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Our work is inspired by the firm belief that museums are important and versatile “working tools” for schools; that one of the main tasks of such places is to transmit in a pleasant and unforced manner the values that one hopes the young will inherit and share. This is why we adopt a range of approaches and methods, with careful and continuous assessment of the reaction of the children to what we propose. It is they who must be caught up in what they see, who must participate fully in the experience. This means that whilst the overall goal is inspired by sound and rigorous educational criteria, a particular emphasis is placed upon interaction and dialogue. This is the approach that inspires the vast range of activities we provide for all our different kind  of visitors.

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I think that:

- teachers should plan the visit to the museum, evaluating the school program

- the class should be prepared first through various activities to focus on the topic that will be dealt with in the museum: film vision, documentary, peer to peer research, etc.

- rules of the excursion and of the museum should be explained in advance to the class

From my experience I notice that Italian schools have a lot of difficulties to program educational trips:

- Unfortunately, teachers have to plan outings at the beginning of the year

- Museums trips must be paid in advance (in many cases 1 month before).

If the activity is paid directly by the school, an electronic invoice is required that involves dilated times,

administrative steps and a lot of bureaucracy

- Regarding the logistic transport it is very important to program it in advance.

The museums of the islands of Venice(eg Murano and Burano) can only be reached by water, so at the cost of the

train / bus to reach Venice, must be added also the cost of the waterbus

- Regarding school groups composed of physically disabled students, some museum rooms could not be accessed: I think, for example, at the Bridge of Sights, the Prisons and the Armory of the Palazzo Ducale in Venice.

- In the case of cognitive impairments, it is advisable that the teacher communicates this to the Educational Department of the museum in advance so that the activity can be re-structured and structured so that it can be used by the whole class

- Another important point is lunch break: in some areas, such as the Marciana Area of Venice, eating is prohibited. Our Department always tries to support classes hosting them in the classrooms of the museums, but unfortunately for space problems we can not help all of them.

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What would be the best way to fit a museum visit into your curriculum? This is my coggle answer

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At the Natural History Museum of Venice a special path called “The Laws of Nature “ is proposed for the secondary schools.

It's an interdisciplinary visit through the museum, which brings together physics, biology, statistics and mathematics. What is a natural law and how can it be discovered? Modern scientists view the world in an analytical manner; through painstaking measurement and observation, they manage to make out the recurrent phenomena to be found within a vast range of physical systems. However, in order to understand a physical law one has to be able to see those phenomena within structures whose form and evolution can be described in mathematical terms – that is, within the strict logic of numbers and geometrical forms. But how is it possible to link the abstract world of mathematics with the living material existence of plants and animals? This interactive visit aims to give an answer to that question, to provide a concrete understanding of the laws whose formulation enables us to penetrate the secrets of the natural world.

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I totally agree with Nina's thought.
Museums must be aggregation centers where people can actively participate in the cultural and social debate.
The museum is no longer a passive container of objects / works, but a place of intercultural mediation.
The exhibited works become the "social" pretext that convey the comparison with other realities, other peoples, other thoughts and allow us to face great themes such as diversity, history, roots, war, etc.)
If the museum unleashes through the objects this cultural mechanism, it is natural that people will become attached to the museum and will be curious to come back and to deepen know in detail some of the works on display.
Last year during the exhibition "DAVID HOCKNEY 82 portraits and 1 still life", staged at Ca' Pesaro -International Gallery of Modern Art from June 24th to October 22nd 2017 Venice, I designed a self-managed atelier available to all visitors set up in a hall of the exhibition.
Thanks to specially designed materials(colored backgrounds with the Hockney's necessary chair, tracks of figures to completeted, pencils, colors, glue ...), every visitor, big and small, had the possibility to try to draw.
The self-portraits made by the visitors were then hung on the walls of the room in a sort of collateral exhibition alongside that of Hockney.
Every week with my colleagues we have removed about 200 portraits to make room to the work of new visitors.
People from all over the world have made portraits.
Often next to the portrait visitors told anecdotes about their person or of the one they portrayed.
It was a wonderful experience appreciated by everyone. In this video you can see some self-portraits made after a few days from the opening.

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Cari amici, dopo pochissimi giorni dall'apertura della mostra "David Hockney 82 Portraits and 1 still-life" a Ca' Pesaro - Galleria Internazionale d'Arte Moderna, la nostra Educational Room è...

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Module 2:  Types of activities we can do with our students in preparation for the museum visit.

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Module 2:  Types of activities we can do with our students in preparation for the museum visit.

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I would ask students to think about their idea of the museum and explain it to their peers. Each student can bring into the classroom an object they have at home that they think could be kept in the museum.Students must motivate the choice and explain why it is an important object.

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Your city is beautiful  and amasing!!! from Ukraine with love!Liudmyla Lytvyn

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During the museum visit we have to make the the students interact with the objects and keep their attention high with questions, observations, comparisons.

For example we can analyze 4-5 works with the survey mode, we can reproduce the artwork with a drawing and with a posture. We can also observe the work and then close our eyes and describe it to our companions.

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Museums are welcoming places to stay, play or simply be together, with a lot of activities involving people, parents and children, etc. Museums are also important and versatile “working tools” for schools; that one of the main tasks of such places is to transmit in a pleasant and unforced manner the values that one hopes the young will inherit and share. For those visiting our city (Venice) who want not merely to be amazed by what they see in the museums, but also an opportunity to discover the very best of  it we offer unusual approaches, actively involving the visitors. It is never too late to learn something new or find out more about something you already know.

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Module 2: Activities at museums which we can use as inspiration for our next museum field trip.

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Module 2: Activities at museums which we can use as inspiration for our next museum field trip.

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Each student chooses an art work. They observe it well and then they describe it to their peers who must guess which work it is.