Recent studies in museum education focus on the quality of visitor experience to help engagement. To understand how it occurs when it comes to dealing with young visitors to modern art museums, the researchers studied the esthetic experience of Mark Rothko's masterpiece Untitled (1969) with 678 primary and 335 secondary students. Four dimensions-sensory, emotional, cognitive, and spiritual, are taken into consideration for the development and preliminary validation of a specific instrument to evaluate the so-called "Rothko experience." Based on quantitative data analysis, results suggest that school visitors can experience Mark Rothko's modern art intensely by perceiving changes in its color and other sensory features while making self-references to time and space vanish. Besides, cultural background makes a difference in intensely experiencing Rothko's modern art. Suggestions are made for the development of pedagogical strategies that engage young audience in museum experience of modern art.

Family members, educators, and counselors are key agents in accompanying adolescents in self-knowledge and the search for their vocational identity. This accompaniment should begin in stages prior to adolescence so that when they reach this stage, the support received from adults has prepared them to make decisions for themselves, choosing those options that respond to their deepest motivations. Although the current generations of young people have extraordinary technological resources that facilitate their access to higher studies and professional field, they find it difficult in previous stages to lay the foundations for coping with this process. The lack of training and criteria, the difficulty of self-knowledge, together with the ease of peer influence in decision-making, highlight the importance of intensifying staff and professional guidance during this stage of adolescence.

This article aims to point out how school autonomy helps principals reach higher quality by increasing flexibility in three areas: pedagogy, organisation and management. Autonomy leads to an improvement in student performance and, consequently, in educational quality. A theoretical framework based on literature review and PISA results is followed by a qualitative field study with school management teams in Spain. The study questions how far goes real autonomy in pedagogical, organizational and management issues of the schools. Data from 12 Spanish schools are collected by using a questionnaire made ad hoc to assess the three mentioned areas of flexibility. Results show that flexibility for pedagogy, organisation and management is very limited in the Spanish schools consulted, coinciding with minimal autonomy granted to these areas by current Spanish legislation on education. The main conclusion reached is that management teams have a key role in promoting autonomy when governments confer it to schools. In accordance with this aim, teacher and management team training is crucial. Broadening the study by data triangulation with other members of the school community (teachers, students and families) is proposed.

Museums can incorporate major events into their educational programming, such as the Covid-19 pandemic that is currently affecting many aspects of society, including personal, family, school and community aspects. Covid-19 has become a centre of interest for people who can be taken advantage of by educational institutions. Among them, the University Museum of Navarra has wanted to transform the status that this pandemic generates into an educational opportunity. goal To this end, it has developed the programme ¿256 colours, after Vik Muniz¿ with the main aim of fostering creative and emotional intelligence in schoolchildren through art. Education It is a collaborative project in which 704 primary schoolchildren from 23 educational centres have taken part. The programmed educational instruction uses creativity to generate introspection that financial aid to identification and emotional management in this status pandemic, seeking meaningful experience as a method to promote more significant learning. Creativity has been enhanced through contextual synergies with real works of art from the Museum¿s own exhibitions, especially with the work ¿256 colours, after Gerhard Richter¿ (2015), by Brazilian artist Vik Muniz. The reality generated by the Covid has forced the Museum to adapt in order to carry out the programme educational in two different scenarios: modality on-site at the Museum or in the

The study defines quality pedagogical patterns for the design and development of archaeological heritage education programs. A literature review on heritage education, with special attention to the Spanish context, first outlines the theoretical framework starting from a general approach to heritage transmission theory and examining specific pedagogical methodologies in archaeology. The second part of the paper reports on a field study that identifies and analyzes best educational practices in Mediterranean archaeological sites and museums. After discussion of the results in the light of the theory, quality patterns for future programme design are defined. patterns for future program design are defined.

In order to respond from the university to the demand of creating an educational program for an archaeological site, the present project aimed to explore new possibilities to join together research, teaching and transferring knowledge to the field of heritage education. On the one hand, it sought the strengthening of evidence-based methods for this research field. On the other hand, it required the development of effective and innovative teaching methodologies to broaden research possibilities. In 2017-2018 academic year, pyramidal tutoring of seven undergraduate research theses was coordinated by means of project based learning (PBL), cooperative learning (CL) and service-learning. To the literature and best practice previous review, an action-research phase followed to design, implement and evaluate the experimental program, which was finally presented to the community as the educational program of the archaeological site of Santa Criz (Eslava, Spain).

The nature and scope of the experiences offered to museum visitors are varied and changing, given that museums make it possible to explore new methodologies for unleashing and transmitting meaning during visits. In this regard, at the University of Navarra Museum, we researched the possibilities for mindfulness as a contemplative technique to train ways of looking at artwork and generating meaning. Bearing this purpose in mind, we selected Rothko¿s Untitled (1969) as an ideal work with which to begin to develop and analyze an experience with students in a course on art therapy and mindfulness.

This publication is motivated by the purpose to overcome the deficit in the knowledge of contemporary art, to advance in the path of its interpretation and understanding, allowing to deepen in its different proposals. interpretation and understanding, allowing us to go deeper into its different proposals. Our recommendations aim to shed light on the way to interact with contemporary art, using for this purpose an attentive and deep look in the contemplation that allows to unravel the difficulties that its comprehension presents. Therefore, the pedagogical intention of this text is to help perceive the wonderful world of aesthetic possibilities that contemporary art represents and all the advantages that this traveling companion proposes to help us in our development staff and in the understanding of the world. In order to facilitate its reading, the contents have been structured in the form of 10 main keys to help us understand contemporary art. Each core topic contains a brief explanation and some practical advice to face the work of art initially. Finally, we would like to point out that the term contemporary art includes a wide variety of artistic proposals that are unlikely to be represented for each of these 10 keys. Therefore, as the word indicates, these are keys, clues or orientations that should not be taken as absolute and generalizable truths; rather, they should be taken as advice or criteria that we hope can be applied and help.