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Arts & Communication Photography and museums for senior students

Figure 9. Photograph of a bridge in the Valencian Science Museum.
Figure 8. Interior of the Museum of Patriarch in Valencia. Author: Vicente Author: Dolors Enrique.
Zaragoza Dolz.
schedules did not allow them to visit the museums more
political, and economic of our environment, marked by the thoroughly, because of a lack of time; four indicated
very image of the museums visited. that the theoretical part of photography and the history
of photography should be expanded; while the rest
The students expressed their preferences in relation
to artists, commenting and reflecting on the works and highlighted the need to extend the hours of the course.
Question 5 pertains to finding out the museums that they
experiences of great photographers such as Ramon were not aware of and discovered as a result of the course:
Masats, Robert Capa, Dorothea Lange, Ron Galella, Cindy most of them were unaware of the Casa Museo Benlliure,
Sherman, Del LaGrace Volcano, Francesc Jarque, Sebastiao the Centre d’Artesania, the Grau Cemetery, and the Museu
Salgado, Chema Madoz, Spencer Tunick, David Hamilton, de l’Arròs, but all agreed that they rediscovered some that
Brassaï, Man Ray, Ouka Lele, Sally Mann, Henri Cartier they had already visited, such as the Fallero Museum, the
Bresson, and Luis Calvente. We see a great variety of styles Silk Museum, the Museu de Prehistòria, L’Etno, and the
and origins, which configure an eclectic value to the whole, Museu d’Història de València MHV. In the case of the
allowing greater freedom in teaching, and reinforcing L’Íber museum, which is a museum of miniatures (tin
the opinions during debates. It is important to know the soldiers), they were surprised by the novel idea of the
students’ preferences. At the same time, they know the program. When asked about the aspects of photography
work of great photographers.
teaching that they found interesting (question 6), they
The students’ interests stated in the questionnaires especially value the aspects of composition and the
were examined. To the first question in the questionnaire technical possibilities offered by cameras, even those of
(why did you choose this course), most responded that their mobile phones. Regarding their feedback on the visits
the program that combines photography and museum with the group (question 7), they stated that sharing these
visits appeals to them, although three persons, who were experiences is one of the most positive elements of the
the most experienced students in photography, thought experience. For a group of senior adults, a pleasant chat on
that it would extend beyond a conventional course of a terrace or in a cafeteria organized spontaneously after the
photography (Figure 9). To the second question (what has visits is very common. Question 8 is an open question that
the course given you), six answered that the course led explores the respondents’ views on the role of museums and
them to discover museums that they did not know existing, photography in their life, leaving us with a true life story
two cases considered photography learning interesting, of each participant, something that teachers would value
while the rest indicated that they have discovered their extremely. Question 9 is about whether there is any aspect
creative and artistic facet. To the third question (what that they would like to highlight; the students expressed
would you highlight on a positive level from what you have agreement, again, that assessing experience is an example
experienced during the course), all respondents agreed of participatory teaching that provides artistic results and
that the experience as a whole was both rewarding in terms enhances the creativity of those who have experienced it.
of learning and enjoying. A notable aspect of the results obtained is that the
To the fourth question (what aspects could be improved participating senior students have developed their capacity
or changed), six people indicated that the afternoon for observation, something that we consider especially

Volume 2 Issue 1 (2024) 8 https://doi.org/10.36922/ac.1740