O cutie cu șnur și un creion: despre autonomia vizitatorului în muzeu prin intermediul kiturilor de explorare interactivă
A Box with a String and a Pencil: on Visitor Autonomy in the Museum using Interactive Exploration Kits

Summary/Abstract: Museum education is par excellence a field centered on the public and its interests. At the intersection of heritage, specialists, and visitors, the museum educator continuously tries to find the best strategies to start, continue, and develop a meaningful cultural dialogue between all parties involved. This mediation between artifact and person can be achieved not only through the presence and voice of the educator but also through the effort of translating them into cultural products that can make up for the absence of this mediation. The pandemic, the economic crisis, and migration have shown us that there is a need for means to encourage the public’s autonomy in relation to cultural heritage. This article attempts to analyze the role of such means through various voices from specialists to the target audience, in this case,young people. This article includes a description of the creative process, an analysis of the idea starting from the needs of the audience, and a series of opinions organically integrated through a process of de-construction of this unique approach in contemporary Romanian museum education. The kits for creative exploration of the museum or built heritage are one of Da’DeCe Association’s answers to questions such as: “Is museum education possible in the absence of the physical presence of the museum educator?”, “How can we develop audience autonomy in museums?”, “Why is it important to involve visitors in the creation of such cultural products?”, “How does the multidisciplinarity of a team transform a cultural experience addressed to the general public?”. In addition, this article is a manifesto for integrating the diverse voices of the public into the specialized discourse of museum education in order to develop a necessary sense of cultural belonging.

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