Κατά την εκπόνηση της διατριβής αυτής διαπιστώθηκε ότι τα άτομα που παρουσιάζουν κάποια σωματική, νοητική, κοινωνική δυσλειτουργία αποτελούν για την ελληνική κοινωνία κάτι το «ασυνήθιστο», μια κατάσταση έξω από τα όρια του φυσιολογικού, του αποδεκτού, του κατανοητού, του ανεκτού. Εκτός ελαχίστων περιπτώσεων, η ελληνική πολιτεία και οι πολιτιστικοί φορείς δεν έχουν αναλάβει ουσιαστική μέριμνα υπέρ των αναπήρων πολιτών, στερώντας τους την ευκαιρία να επισκεφθούν ένα Μουσείο, ισότιμα με κάθε άλλο «υγιή» ή «φυσιολογικό» επισκέπτη. Χώροι απροσπέλαστοι, ακόμη και σε Μουσεία νεοανεγερθέντα, δράσεις σχεδιασμένες ειδικά για άτομα με αναπηρίες ανύπαρκτες, έλλειψη ακόμη και στοιχειωδών παροχών, σε μια κοινωνία, που δε φαίνεται να έχει προσαρμοστεί στις ανάγκες όλων των πολιτών της, αλλά απαιτεί από άτομα με αδυναμίες και μειονεξίες να επιβιώσουν και να ενσωματωθούν στην κοινωνία των «μη μειονεκτικών», αν θέλουν να αποφύγουν την περιθωριοποίηση και την απομόνωση. Τα άτομα με αναπηρίες λοιπόν καλούνται αφενός να βρουν από μόνα τους τρόπους να υπερκεράσουν τα φυσικά εμπόδια, που τους δημιουργεί η μειονεξία τους και αφετέρου να ενταχθούν σε ένα αφιλόξενα δομημένο περιβάλλον. Ειδικότερα, στο πρώτο κεφάλαιο, ύστερα από μια ιστορική αναδρομή στη γέννηση και εξέλιξη του θεσμού των Μουσείων, γίνεται προσπάθεια προσέγγισης της έννοιας του μουσείου μέσα από ορισμούς και θεωρήσεις, που συγκλίνουν στο ότι το μουσείο δεν έχει λόγο ύπαρξης, αν δεν αναπτύσσει μια αμφίδρομη σχέση με το κοινό του, ως τον κύριο αποδέκτη των ενεργειών του. Ένα πνεύμα ανανέωσης διαπνέει τις τελευταίες δεκαετίες τη λειτουργία των μουσείων, δίνοντας προτεραιότητα όχι πια στις μουσειακές συλλογές, αλλά στον άνθρωπο. Τα μουσεία επαναπροσδιορίζουν τη θέση τους στην κοινωνία και από « Ναοί της Τέχνης », που αντιμετωπίζουν με ελιτίστικο σνομπισμό τις «απαίδευτες» μάζες, αρχίζουν το διάλογο με την κοινωνία, ανοίγοντας τις πύλες τους σε κάθε εν δυνάμει επισκέπτη, ανεξαρτήτως κοινωνικού, οικονομικού, μορφωτικού και πολιτισμικού επιπέδου. Στα πλαίσια της ανανέωσης αυτής, τα μουσεία εκδηλώνουν ενδιαφέρον για την κοινωνική τους αποστολή και την αποκατάσταση μιας ουσιαστικής επικοινωνίας με τους πολίτες, μέσω της υλοποίησης εκπαιδευτικών δράσεων για κάθε κοινωνική ομάδα. Καταγράφεται η εξέλιξη της επιστήμης της Μουσειοπαιδαγωγικής σε διεθνές επίπεδο, αλλά και στη χώρα μας, μέσα από αναφορά σε συγκεκριμένα γεγονότα / ημερομηνίες – σταθμούς της πορείας της και καθορίζονται οι στόχοι των μουσειακών εκπαιδευτικών δραστηριοτήτων. Το κεφάλαιο ολοκληρώνεται με αναφορά στις εκπαιδευτικές θεωρίες, που βρίσκουν εφαρμογή στο σχεδιασμό και την υλοποίηση μουσειοπαιδαγωγικών δράσεων, όπως είναι η εκπαιδευτική θεωρία του Dewey, η ερμηνευτική θεωρία του Dilthey, η θεωρία της πολλαπλής νοημοσύνης του Gardner, η θεωρία της ανακάλυψης και η θεωρία του κονστρουκτιβισμού ( οικοδομισμού ). Στο δεύτερο κεφάλαιο γίνεται καθορισμός της ομάδας επικέντρωσης της έρευνας, παρουσιάζονται οι διάφορες κατηγορίες ατόμων με ανα
During the study, research and writing of this thesis, it was observed that people with physical and mental disabilities are considered in Greek society as "unusual" and “unnatural”, and their condition is not understood or even tolerated. With the exception of a few cases, the state and the cultural institutions have not shown any significant care for disabled people, depriving them the opportunity to visit a museum, as any other "healthy" or "normal" visitor could. Even in new museums, people with disabilities have to deal with inaccessible areas and lack of even basic facilities. They live in a society that does not strive to tend to everyone’s needs, but instead requires from its disabled citizens to survive and adapt on their own in order to avoid isolation and marginalization. So, disabled people in Greece are expected to overcome alone the natural barriers, created by their disability, while adapting to a hostile environment.The first chapter, after a historic throwback to the birth and development of the institution of Museums, describes how an attempt is taking place to approach the museum concept through definitions which are congruent to the fact that a museum has no reason to exist if it does not develop a mutual relationship with its audience, i.e. the main recipient of its activity. Lately, a new current has appeared that redefines the function of museums, giving priority not to museum collections anymore, but to human beings. Museums are re-establishing their place in society and instead of being "Art Temples" who face with elitist snobbism the "uneducated masses" they are now starting a dialogue with society, opening their doors to every potential visitor, regardless of their social, economic, educational and cultural level. Thanks to this new attitude, museums have began to show a strong interest for their social mission while establishing effective communication with citizens through the implementation of educational activities for every social group.The evolution of Museum Education both in international and national level is noted through reports of specific events and terming points. The educational targets of modern museums are also reset. The chapter concludes with reference to educational theories regarding the design and implementation of education activities in museums, such as the educational theory of Dewey, the interpretive theory of Dilthey, the theory of multiple intelligences of Gardner, the theory of discovery and the theory of constructivism.In the second chapter, the focus research group is defined, the different categories of disabled people are examined and their characteristics are identified. A brief reference to the theoretical approaches of the social problem of disability, as it is recorded in the theory of Vygotsky, is followed by the theories of social multidimensional model. In order to put these issues into the right perspective, the definitions of social exclusion and accessibility are analyzed. It appears that people with disabilities in the Greek society of the 21st century still suffer from rejection and marginalization. This is explained as a result of the general mentality of their fellow citizens and the state’s indifference for the right of disabled people to enjoy a fair and dignified life. This creates accessibility problems in the structured environment for all citizens and deprives them from their right to an independent way of life. The chapter concludes with the reasons that make the access of disabled people to cultural sites absolutely necessary.In chapter three, the social problem of disability is approached from its institutional aspect. The policies of the European Union for disabled citizens and the national legal frameworks in each country-member are listed.The fourth chapter confronts the issue of access and services for disabled visitors to cultural sites. The UK is presented as a case study. The UK standards on "designing for all" and on accessibility and services in museums and galleries for visitors with disabilities are described.The fifth chapter presents a piece of research on accessibility for people with disabilities in Greek museums. The problem, the objective and the methodology followed in this research are stated. The questionnaire used as a research tool is cited and its contents are analyzed. An evaluation of the results of this research follows and the chapter ends with conclusions showing that despite the current legal framework, few things have been done towards the “cultural democratization” of cultural places.In the sixth chapter, after a brief general reference to the subject of museum education for individuals with physical disabilities, the basic accessibility standards required in cultural institutions are then presented.In the seventh chapter, the issues of visitors with hearing impairments are approached. Basic audiovisual media, which facilitate the tour and education in museums for deaf people are proposed. Then follows a description of all multimedia applications that operate in foreign museums and in Greece to a limited extent.The eighth chapter discusses museum education for blind and partially sighted people. Tactile applications and alternative services that promote the activation of other senses to compensate for their visual disability are featured. Seven Touch Museums, designed exclusively according to the needs of non-sighted visitors - which are operating all over the world - are presented.The ninth chapter discusses the services that can be provided by cultural institutions for people with mental disabilities. The advantages of Art Therapy as special treatment are stated. Also clarified is the importance of museum education for people with reduced intellectual development and how art experiences could help them to develop mentally. The drama education in museums is also suggested as a means for mental development. The chapter concludes with the evaluation of the information gathered by several interviews, from experts with long experience in special education. (Parts of the interviews are listed in the Annex)In the tenth chapter, the Municipal Art Gallery of Corinth is presented as a case study. After a brief reference to the identity of the institution, its history and educational policy, easy ways to improve the accessibility of visitors, are explored. Educational activities for people with visual, moving and mental impairments are described. The chapter concludes with a review of the strategic objectives of the gallery on the problem of disability using the method of SWOT analysis, in order to exploit advantages and disadvantages, potentials and opportunities for a public institution in the service of social integration and education for all citizens.It is concluded that in modern, multicultural and diverse communities, people with disabilities call for a dialogue in society and demand their right to a decent life, enabling personal development and communication, maximum autonomy and social inclusion, in order to declare their presence and claim their own identity. A key role in this effort can be undertaken by modern museums as places of learning, entertainment, creativity, escape from everyday life and social interaction for every citizen, whether they belong to the usual museum audience or they are part of deprived social groups.
