Clark Art Lecture On Museum Education and Ukrainian National Identity

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WILLIAMSTOWN, Mass. — On Tuesday, April 8, the Clark Art Institute's Research and Academic Program presents a talk by Svitlana Tymkiv (City Museum of Lviv, Ukraine / Futures Fellow) titled "Museum Education as a Factor in the Formation of National Identity."
 
This free event takes place at 5:30 pm in the Manton Research Center auditorium.
 
According to a press release:
 
Tymkiv examines how issues of national identity in Ukraine have become particularly relevant in the country since the outbreak of the full-scale war. In 2010, studies showed that in eastern Ukraine, the vast majority of the population self-identified as carriers of combined identities—identities influenced by past state formations, and associated with local history, gender, and occupation. By February 2022, the threat of the destruction of Ukrainian culture prompted an almost immediate switch, resulting in the population's self-identification as first and foremost one of Ukrainian nationality. If before the war someone defined themselves by their place of residence (eg., a Kyivan or a Lvivian), now everyone primarily calls themselves a Ukrainian. Museum programs play an important role in this process: they provide both an opportunity to study and learn about culture and art from real artifacts and sources, as well as a forum in which these objects are accessible to various ages and social groups. This lecture analyzes examples of educational programs in museums over the past three years that contributed most meaningfully to the formation of a Ukrainian national identity.
 
Tymkiv is a museologist, cultural manager, and researcher of museum education. She works at the City Museum in Lviv, Ukraine. Her professional experience combines theoretical studies of museum educational activities and practical participation or organization of such events. An important aspect of her work is the introduction of participatory practices, shifting the focus from the museum object to the visitor, the development of such topics as urbanism, urban mobility, and histories of everyday life. Her project at the Clark involves researching museum education pedagogy and methods in the United States and analyzing best practices for implementing similar approaches or programs in Ukraine.
 
Free. Accessible seats available; for information, call 413 458 0524. A 5 pm reception in the Manton Research Center reading room precedes the event. 
 
 

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Theater Review: 'Driving Miss Daisy' Is a 'Wondrous' Production

By Alan PetrucelliSpecial to iBerkshires
PITTSFIELD, Mass. — Alfred Uhry's "Driving Miss Daisy" rolled into the St. Germain Stage in late May, marking the opening of Barrington Stage Company's 2026 season.
 
And what a wondrous, welcoming production it is. Uhry won a Pulitzer Prize for his work; he won an Oscar for the 1989 film adaptation of the play, which also won the Best Picture Oscar. Yes, that's how good it is.
 
Daisy Werthan is a 72-year-old white Jewish widow in Atlanta whose car accident destroyed her Packard — and her chance to ever drive herself again.
 
"Mama, we are just going to have to hire someone to drive you," her adult son Boolie tells her. 
 
She is adamant: "What I do not want — and absolutely will not have — is some chauffeur sitting in my kitchen, gobbling my food and running up my phone bill."
 
Enter Hoke Colburn, an unemployed African-American illiterate who grew up in rural Georgia during the Jim Crow-era South. Boolie hires him at $20 a week, and in a span of 85 minutes and a decade or so, this odd couple develop a tight bond that overcomes their cultural, gender and class differences. 
 
Though she's living in a racially explosive time in the South, the irascible Miss Daisy doesn't consider herself racist, nor does she fully accept the realities of the racist culture that has even resulted in a bombing at her own synagogue (a true event in Atlanta, in 1958).
 
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