48 | 2025 – CHILDREN AND MUSEUMS
Résumé
This issue is devoted to the populations of younger children – in early childhood, middle childhood and preadolescence – who are hosted in museums and exhibition spaces, and to the various facets of the (formal and non-formal) education role of museums. It will also look at young visitors’ visiting experience and at sensory experiences of museums as they are proposed and received: visits in school time (Cohen-Azria, 2019), pre/post-lesson and out-of-school time visits and family cultural visits (Jonchery, 2010, 2016). Lastly, it will focus on the representations and memory of these experiences in all fields liable to be covered by permanent and temporary exhibitions: art, science and history museums, etc., through to museums wholly devoted to child audiences and museums dedicated to children’s work, such as Le Muz, the online museum founded by the artist Claude Ponti, and the children’s art museum in Yerevan, Armenia.
The articles will respond to one of three central research axes – the history and analysis of institutional strategies, epistemological framworks and methodologies to investigate and analyse how younger audiences receive visits.
Plan
Haut de pageNotes de la rédaction
Under the direction of Marie-Christine Bordeaux,
Anne Jonchery and Anik Meunier
Call for article proposals for a themed issue
This issue is devoted to the populations of younger children – in early childhood, middle childhood and preadolescence – who are hosted in museums and exhibition spaces, and to the various facets of the (formal and non-formal) education role of museums. It will also look at young visitors’ visiting experience and at sensory experiences of museums as they are proposed and received: visits in school time (Cohen-Azria, 2019), pre/post-lesson and out-of-school time visits and family cultural visits (Jonchery, 2010, 2016). Lastly, it will focus on the representations and memory of these experiences in all fields liable to be covered by permanent and temporary exhibitions: art, science and history museums, etc., through to museums wholly devoted to child audiences and museums dedicated to children’s work, such as Le Muz, the online museum founded by the artist Claude Ponti, and the children’s art museum in Yerevan, Armenia.
Children come to museums, and more broadly exhibition venues and heritage institutions (heritage sites, monuments, archives), in several contexts: school excursions and partnerships, leisure activities arranged outside of school time, and with their family. Whatever these frameworks of sociability and socialisation, it is highly unusual for children to frequent institutions without being accompanied by one or more adults: even children’s birthday parties held in museums, where the child can invite a group of peers to play, are supervised by adults (the birthday child’s parents and a cultural mediator) (Bordeaux, 2011).
Paradoxically, this connection with populations of younger children was not self-evident in museums in Europe, and especially in France: although the educational purpose of museums was asserted as soon as public museums appeared at the French Revolution, it was mainly, according to Mairesse, “after the Second World War that the educational role of museums, emphasised by ICOM, really took off” (Mairesse, 2010: 13). In North American museums, however, the educational mission has long been asserted and implemented (Selbach, 2007): the American Alliance of Museums (AAM) only accredits an institution as a museum if it is “essentially educational in nature” (Poulot, 2005: 9). This dimension of the museum as an “educational medium” (Mairesse, 2010: 14) has been accompanied by growth in audience studies and exhibition evaluation studies. In France, these practices have developed under the term “partenariat éducatif” (educational partnership) in a way that was “paradoxically both clear (Georges Salle created the first education department of the Musées Nationaux in 1949) and ambiguous (in the recognition of didactic forms, in the nature of the relationship between teacher and cultural activities organiser / mediator, and in the status that museum culture was given)” (Buffet, 1995: 48). Granted, as Jacobi and Coppey (1995: 12) point out, “considering them as educational institutions was out of the question, as their proposed modes of appropriating culture and knowledge clearly set them apart from the school sphere”. And yet, “with younger and older children being led through the exhibition by supervising adults, the non-formal nature of the museum visit was always harder to distinguish from other activities run outside the school institution” (Jacobi and Coppey, Ibid.).
This educational role can be performed outside of museums, as was the case starting in the 1920s in Quebec, where the development of museums in schools was encouraged, thus promoting learning about both sciences and amateur collecting (Meunier and Allard, 2025; Allard, 1999). These school museums also helped, in their own way, to extend the scope of museums, that is, through the existence of small museums in the form of modest collections, “quasi-museums” with an instructive purpose, beyond the walls and habitual norms of institutional museums.
Although they claim not to (Coavoux and Giraud, 2020), museums can de facto implement mediation strategies and modes that are fairly close to the school format (Vincent, 1994), perhaps because educational partnerships make up a large portion of their activities (Balmon and Garnier, 2023; Meunier and Roelens, 2023). Nevertheless, they assert a positioning that tends towards non-formal education (Jacobi, 2018), acculturation and implicit learnings (Jacobi, 2001), as stakeholders in an “educational society” (Daoust, Bélanger and Bourret, 1969). This applies to all types of museum and exhibition venue, as shown by the research done on this subject, but, as Poli reminds us (2013: par. 22), “whereas from the ‘40s to ‘80s most research on “education and museums” was based on case studies conducted in science museums, interpretation centres or aquariums (Maigret, 2005), nowadays social-history and history museums, but also art museums, are viewed as suitable for analysis (Gottesdiener, 1992 ; Kindler & Darras, 1998)”. Poli also raises a question that underscores the intensity of ties between school and museum: “Could it be that museums and education are indestructibly united, to the extent that they may be viewed as a cultural paradigm?” (2013: par. 1).
More recently, the growth of arts and culture education in France, as a joint public policy between the cultural and education communities (Bordeaux and Kerlan, 2025; Jonchery and Octobre, 2022) has fostered the development of partnership-based education activities around museum and exhibition visits, supported by cultural mediators and by teachers seconded to museums in school-liaison roles (Joyeux, 2022). In North America, and Quebec especially, despite progress in the same area at international level under the aegis of Unesco (Lisbon Road Map, 2006; Seoul Agenda, 2010; Framework for Culture and Arts Education, Abu Dhabi, 2024), there is no equivalent policy but a well-established tradition (Conforti, 2000). These advances also pertain to the hosting (in non-school settings) of children in early childhood as part of cultural early learning schemes (Cendoya Lafleur, 2024; Le Pape, 2016).
This issue of the journal will aim to gather recent research and place it in perspective, drawing on contributions from the wide-ranging disciplines of the human and social sciences (sociology, anthropology, ethnology; education, information and communication sciences; history, philosophy, political science, economics, etc.). Cross-disciplinary perspectives and international comparisons are welcome. More specifically, proposals for articles should focus on three themes:
Axis 1: History and analysis of institutional strategies and local initiatives
It is commonplace to read that museums, as soon they are founded and practically by nature, have an educational purpose. But this is a somewhat anachronistic assertion. Having become the Muséum Central des Arts in 1793, the Louvre, like all the museums created by the French Revolution, was assigned the role of redistributing the elite’s cultural knowledge and values. However, regarding this era through to the start of the 20th century, it is more apposite to talk of a training mission for future artists, architects and engineers, combined with the embrace of a wider and undifferentiated audience, with no specific schemes for hosting them (Bordeaux, 2013: 18). Dominique Poulot also points out that “in the first paradigm of museum history, establishments spread knowledge by exhibiting objects, the appearance of which is instructive in itself, as the various contexts that this organisation brought into play were more or less neglected” (Poulot, 1992: 135). For the 20th century, particularly its latter half, Dominique Schnapper observes that school and museum are “two cultural dissemination bodies” that are perfectly coherent between themselves in their homological relationship, in view of the aspirations of potential audiences who already possess a convergent school and cultural habitus; (Schnapper, 1974: 125). Among these potential audiences, Schnapper particularly singles out teachers, especially those in elementary and primary schools.
In this context, what museum-education genealogies can be identified and reconstructed? This involves examining the history of education departments in museums (for example, the creation of the first education departments at MoMA back in the 1930s; or at the Centre Pompidou, the Louvre and the Musée d’Orsay since the 1970s-1980s); the implicit or explicit models that have guided these actions (transmissional, constructivist, experiential approaches, etc.); and the cultural discourses and policies that have helped to institutionalise or marginalise children in museums. Although the application of a school model to educational activities in museums was long prevalent, and continues to self-perpetuate (Cohen, 2019; Girault, 1999), which respective national features – in North America and Europe, or more specifically in France and Quebec – can be observed in collaboration between school and museum (Triquet, 2000) and in the various forms of partnership?
Besides their educational dimension, the intention is also to conduct a holistic analysis of museum policies promoting younger children or those in early childhood: what does the history of children’s museums teach us, in their form and objectives? Analysis of the first children’s museums in North America and Europe (San Diego Children’s Museum, California; ZOOM Kindermuseum, Vienna, Austria; Musée en Herbe, Paris; Cité des enfants, Cité des sciences, Paris; and analysis of the spaces dedicated to children in generalist museums (from the children’s workshop introduced by Danièle Giraudy at the Centre Pompidou in the late ‘70s (Giraudy, 2023) to the more recent examples of the Galerie des enfants at the Muséum national d’histoire naturelle, the Petite Galerie at the Louvre, and the Family Studio at the McCord Museum) should make it possible to identify different models aimed at varied visiting experiences – in terms of children’s education but also of their sociability, enjoyment, fulfilment, etc.
It will also be advisable to distinguish between the features specific to art, science and history museums regarding child-audience policies, as much in the goals and justifications of these policies as in the mediations that have been implemented – whether to do with collections, with the size of the role played by storytelling, or with the use of sensory, play-based and immersive approaches. Particular attention will be paid to the postures and modalities of participation by adults accompanying the children, and especially their parents, as devised in museum policies, given that parents may be viewed as caregivers, co-educators or mediators during the museum experience (Habib, 2016).
Axis 2: Epistemological frameworks
What scientific frameworks have been or are now being used to study museum education and cultural mediation aimed at younger and older children, and their visiting experience, irrespective of whether it is aligned with the museums’ stated intentions? In France and North America, many disciplines – such as information and communication sciences, cultural sociology, the sociology of childhood, the didactics of sciences and arts, and education sciences have addressed this object at the intersection of school, family and the child’s personal and friendship sphere.
To what extent does this body of work, grounded in various traditions and theoretical frameworks, converge, combine or diverge in terms of its explorations and of how study objects, tools and methods are constructed? In other words, the study of child audiences invites us to revisit theoretical frameworks tried and tested with adult audiences, but also to capture children’s experience of museums, and to rethink museums’ place in childhood culture and children’s social and school-related inequalities (Octobre and Sirota, 2021) in the face of or within museums.
Other approaches – deriving from non-formal education, social pedagogy, the study of parenthood in young children’s cultural care, the ethnography of interactions between children themselves, and between children and their caregivers – can shed light on ways of learning in a museum setting. Empirical studies also analyse the effects of participatory formats (such as “guided tours with two-way conversation”, “creative tour booklets” or the “child guide” programme (Al Khatib, 2019) on cultural appropriation and child-identity construction processes.
Axis 3: Methodologies to investigate and analyse how younger children receive visits
How can the children’s reception of the visit, and their appropriation of the exhibits and experiences designed for them, be studied? How children receive the museum and its mediations raises specific methodological questions, relating to the very nature of the field setting and of the audiences in question. On the one hand, this involves considering the visit situation and the sociability setting – school, family, municipal (leisure centre, etc.). This first observation pinpoints the constant presence of adults – parents, teachers, cultural activity leaders and mediators – who participate fully in the children’s experience and can influence their behaviour. These adults can also influence what children say in the investigation setting, which raises questions about the researcher’s position and potential bias in observation and interview.
On the other hand, obstacles related to the children’s actual characteristics arise during the investigation, linked to consideration of what children say and its legitimacy, especially depending on the children’s age and their expressive and abstract-thinking ability: how can the sensory experiences, perceptions and meanings that children attribute to artworks and museum spaces be collected? Several methods exist: participatory or discreet observation during family or school visits; video recording of interactions; post-visit interviews with the children (individually or in a group); and the use of drawing, mind maps and visit accounts produced by the children.
Some research projects have, for example, used “sensory visit journals” to collect children’s impressions during an exhibition tour (at the Fondation Louis Vuitton in Paris and the Montreal Museum of Fine Arts). Others have explored collaborative approaches with children as co-researchers, or have put in place immersive formats (such as “visit laboratories”) to stimulate visitors to articulate what they feel.
This issue also aims to examine the extent to which these methods make it possible to record all dimensions of children’s museum experience: aesthetic sensibility, emotions, and the singular interpretations that children develop facing the works – often in interaction with the adults accompanying them, whether parents, teachers or mediators (Lefebvre and Renard, 2021).
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The issue’s invited editors
Marie-Christine Bordeaux is a professor of information and communication sciences at Université Grenoble Alpes (Gresec). She co-edited the Culture & Musées journal (2014-2020) and co-directed the "ARC5 Cultures Sciences Sociétés et Médiations" research community, a research support programme funded by the Rhône-Alpes regional council (2012-2016). Her work focuses on arts, culture and science mediation; arts and culture education; so-called “specific” audiences and enthusiasts; and more broadly on conventional and emerging forms of cultural democratisation and democracy. Her most recent publication: Marie-Christine Bordeaux, Alain Kerlan, Évaluer l’éducation artistique et culturelle. Enjeux épistémologiques et politiques de la recherche, Paris: ministère de la Culture - Département des études, de la prospective, des statistiques et de la documentation / Presses de Sciences Po (coll. Questions de culture), 2025.
Anne Jonchery is a sociologist, a research officer in the department of research, foresight, statistics and documentation (DEPS) of the French ministry of culture, and an associate member of the École du Louvre research centre.
Her work is concerned with cultural practices, especially from the angle of socialisation and of the transformations caused by digital technology. She is also interested in topics to do with cultural mediation, especially in museums; and with audience policy in cultural amenities in general. A member of ICOM-CECA and of the Special Interest Group on “Surveying audience reception of educational and cultural programmes”, she also teaches at the Ecole du Louvre on the master’s degree in museum studies, and at Sorbonne Abu Dhabi.
Her most recent publication: Anne Jonchery, Claire Thoumelin, “Participation culturelle et parentalité: quand avoir des enfants influence l’agenda culturel des adultes”, Culture Etudes, n°2, 2025, p. 1-48.
Anik Meunier is a full professor of museum studies and education at the Université du Québec à Montréal (UQAM), where she runs the museums and education research group (GREM). She is interested in the field of cultural mediation, namely the analysis of stakeholders’ professional practices, the methods they use and the effects of these methods on different audience categories. These practices are chiefly mediations implemented in heritage and museums, and known by the name of museum education. She founded and co-edits, with Jason Luckerhoff, the “Culture et publics” series at Presses de l’Université du Québec, and is a member of the international editorial committee of the Culture & Musées journal. She co-edited, with Ewa Maczek, Des musées inclusifs: engagements, démarches, réflexions (OCIM, “Les Dossiers de l’OCIM”, 2021); and, with Jean-Marie Lafortune and Jason Luckerhoff, La Transmission culturelle dans les musées de société (La Documentation française, 2022).
Submitting articles
Please email proposals for articles (5,000 to 7000 characters) by 30 September 2025 to
Marie-Christine Bordeaux: marie-christine.bordeaux@univ-grenoble-alpes.fr
Anne Jonchery: anne.jonchery@culture.gouv.fr
Anik Meunier: meunier.anik@uqam.ca
With copies to:
Dominique Poulot: culturedominique@gmail.com
Pauline Grison: pauline.grison@univ-avignon.fr
Style guide for article proposals
- Proposals should be 5000 to 7000 characters including spaces.
- The document should be in .docx format and named precisely the following: CM-46-PC-Author’s name (or principal author’s name if there are several authors).
- The document should be formatted in size 12 (body) Times New Roman font and justified left and right.
- It should include, in this order:
- Surname and first name(s) of author 1,
- Email,
- Status: quality and institutional affiliation (university, research unit, function),
- Biography (600 characters maximum),
- Idem for authors 2, 3, etc. if there are several authors,
- Title of the proposal,
- The text of the proposal should detail the disciplinary or interdisciplinary foundation of the research, its challenges, the field or corpus, the methodology employed and an initial projection of results.
- 5 key words
- 5 bibliographic references employed in the proposed article
Timeline
July 2025: Circulation of call
30 September 2025: Receipt of article proposals
Mid October 2025: Authors notified (acceptance or rejection of proposal)
Mid February 2026: Receipt of full articles
Mid February – end March 2026: Double-blind article review
End March 2026: Authors notified (acceptance or rejection of publication following review)
Mid May 2026: Receipt of revised versions of articles with metadata
End May 2026: Feedback to authors
End June 2026: Receipt of final versions
December 2026: Publication of issue on Open Edition
January 2026: Publication of print version by Éditions Universitaires d'Avignon
About Culture & Musées
Culture & Musées is a biannual peer-reviewed scientific research journal with a practice of double-blind evaluation. It publishes original research investigating the public, institutions and mediations of culture. It is aimed at the researchers and students in these fields, as well as at professionals working in the domain of museums and cultural heritage. Culture & Musées is a recognised journal of Information and Communication Sciences (71st CNU section).
The journal is co-edited by Editions Universitaires and UGA Éditions. It is published with the support of the Ministry of Culture, Région Sud, the CNRS Institut des Sciences Humaines et Sociales and the Centre Norbert Elias (CNE).
The journal is indexed at the INIST, and is included in the Arts and Humanities Citation Index and Current Contents/Arts and Humanities (Thomson Reuters), Mir@bel - Isidore.science - Web of Science – Scimago – Scopus databases.
The Culture & Musées print edition is published by Editions Universitaires d’Avignon and the journal is available in open access on the OpenEdition online portal: https://journals.openedition.org/culturemusees/
Direction
Direction of Publication: Isabelle Brianso & Éric Triquet (Avignon Université)
Managing editors: Dominique Poulot (Université Paris 1 Panthéon-Sorbonne) & Éric Triquet (Avignon Université)
Assistant managing editor: Gaëlle Crenn (Université de Lorraine)
Editorial Board
Sébastien Appiotti, Sorbonne Université
Florence Andreacola, Université Grenoble Alpes
Arnaud Bertinet, Université Paris 1
Isabelle Brianso, Avignon Université
Marie Cambone, Université Grenoble Alpes
Nathalie Cerezales, Institut National du Patrimoine
Sandra Costa, Université de Bologne
Saskia Cousin, Université Paris Nanterre
Gaëlle Crenn, Université de Lorraine
Catherine Cuenca, AGCCPF, Université de Nantes
Jessica de Bideran, Université Bordeaux Montaigne
Manuelina Maria Duarte Cândido, Université de Liège
Julie Deramond, Avignon Université
Patrick Fraysse, Université Toulouse 3
Aziza Gril-Mariotte, Aix-Marseille Université
Daniel Jacobi, Avignon Université
Camille Jutant, Université Lyon II
Joëlle Le Marec, Sorbonne Université
François Mairesse, Université Sorbonne Nouvelle-Paris 3
Anik Meunier, Université du Québec à Montréal
Nicolas Navarro, Université de Liège
Isabel Nottaris, OCIM
Dominique Poulot, Université Paris 1 Panthéon-Sorbonne
Lise Renaud, Avignon Université
Cécile Tardy, Université de Lille
Olivier Thévenin, Université Sorbonne Nouvelle-Paris 3
Eric Triquet, Avignon Université
Fabien Van Geert, Université Sorbonne Nouvelle-Paris 3
Mathieu Viau-Courville, OCIM
Jean-Christophe Vilatte, Université de Lorraine





