Guiding Is A Profession

Guiding is a profession
The museum guide

in art and history
museums
The museum guide
in art and history
museums
Editors Mark Schep, Pauline Kintz
With contributions by Noortje Bijvoets, Carla van Boxtel, Herman van

Gessel, Frouke Jorna, Marie-Thérèse van de Kamp, Marie-José van Schaik
Museum guide speaking about the profession: Museum guide speaking about the profession:
‘It’s so amazing to start with an object, let the children ‘I always ask myself: why am I doing this? To make children
experience all sorts of things, and then return to the object. aware of their surroundings,The museum
and how guide
they think. And
This interaction makes it so rich: looking, feeling, discovering, in art and history
encourage them to think critically and pro-actively, I think
imagining, and then going back to looking.’ that’s essential, because that’s what matters in life, not dates
museums
and facts.’

Content
Introduction 4
Chapter 1 Identity 9
Who are you? 10
The museum as learning environment 15
Chapter 2 What do you learn? 17

What can you learn during a museum tour? 18
32 learning outcomes after page 20
Which learning outcomes do you consider important? 22
Chapter 3 Competencies 27
The museum guide as intermediary 28
The competencies of a museum guide 29
Flexibility is the core 34
45 competencies after page 34
The synergy of competencies 35
The importance of a common language 36
Chapter 4 Professionalism 41
Museum guiding means staying up-to-date 42
Selection 42
Embedding in the organisation 43
Training competencies 44
Guiding is a profession Content

Learning from and with each other 47
Observation and post-observation conversation 50
Evaluation forms 51
Further reading 54
Colophon 56
Thanks to 58
2 3
Introduction
The concrete research questions:
In 1590, when a group of art-lovers in Dresden begs for a glimpse of the
royal collections Christian I, Elector of Saxony, does the usual thing: he 1 What characterises learning and teaching during guided tours of art
asks his curator to give the guests a tour. Because that’s how it was done: and history museums?
art collections were visited by connoisseurs, artists or amateurs and, 2 Which competencies should educational museum guides in art and
for centuries, providing an explanation number among the curator’s history museums have?
or director’s tasks. Nowadays, educating the public has become an 3 Which instruments can we use to evaluate the quality of museum
independent expertise within the museum world, even the smallest tours and the competencies of museum guides, and does the use of
museum has an education officer(s) or education department, museum these instruments contribute to developing the competencies of
education is taught at institutes of higher education and universities, and museum guides?
is the subject of scholarly research. Education has become a profession. 4 How can museum guides and student teachers learn together in a
And the museum tour? Its importance has only increased; museums in professional learning community?
the 21st century strive to be more open and inclusive than ever, a place at
the centre of today’s communities, where visitors can enjoy a meaningful
experience that lingers in the memory far longer than the hour or two The research focused on museum tours aimed at primary and secondary
of their visit. The museum’s visitor services policy has long revolved school students. But by emphasizing the specific setting of the museum
around far more than offering an explanation in the classic sense of the as learning environment, the outcomes also offer food for thought
word. Rather, key words are terms such as engage, challenge, stimulate concerning the profession of museum guide in general, also for other
curiosity. And who better to do so than the museum guide, who connects demographics.
with visitors face-to-face? Which also explains why, over the last few This publication contains a brief outline of the results of the PhD research
years, a variety of tour guiding formats have been developed, which also in the hope of offering a practical guide to educators and museum guides
predominantly feature interaction. at a wide range of museums. Not with the goal of providing a cut-and-
dried answer because every museum, depending on its mission and vision,
In 2014, a joint PhD research project that centred on the profession of has a different definition of what makes a good museum guide. The aim
museum guide was launched by the education departments of the of this publication is to offer a helping hand when answering the question
Rijksmuseum Amsterdam (Annemies Broekgaarden), the Stedelijk every museum asks – what is a good tour for my museum – and providing
Guiding is a profession Introduction

Museum Amsterdam (Rixt Hulshoff Pol), the Van Gogh Museum (Marthe tools to realise that.
de Vet) and the University of Amsterdam (Carla van Boxtel, Marie-Thérèse
van de Kamp, Julia Noordegraaf). The research was prompted by the A good museum guide* considers himself a professional, and invests in
realisation that little is known about learning and educating within the his development. A good museum is a learning organisation. To remain
museum context. Learning in formal education and the competencies relevant in a dynamically changing world, where new audiences are
required of educators are areas that have been studied at length. But emerging and visitors increasingly feel the need for personal connection,
despite being a vital component of the museum’s current visitor services the museum – along with the museum guides – must keep learning. We
policy, museum guiding is a neglected field of academic pedagogic sincerely hope that this publication inspires you to do just this because, as
research. The purpose of the study, conducted by doctoral candidate both museums and museum guides are aware: guiding is a profession!
Mark Schep, was to arrive at the profile of an effective museum guide
for the school sector (the educational museum guide) in art and history
museums. What is a good museum tour? What is a good museum guide? * In this publication, the term ‘museum guide’ refers to both a man, and a woman.
For the sake of readability ‘he’/’his’ is used, which can also be construed as
4 ‘she’/’her’. 5
Partners
Museums
Rijksmuseum Amsterdam
Stedelijk Museum Amsterdam
Van Gogh Museum
Faculty of Social and Behavioural Sciences UvA

Research Institute of Child Development and Education
Inter-faculty Teacher Training Programmes
Faculty of Humanities UvA

Amsterdam Centre for Cultural Heritage and Identity
Department for Media and Culture
Museum guide speaking about the profession:
Dutch Centre for Social Studies Education ‘A museum guide takes you deeper into the museum. The
Dutch Centre for Art education museum guide takes you to where, as an ordinary visitor, you
Dutch Centre for History education don’t dare to go. Like a torchbearer, the guide lights the way.’
This research was made possible by
Guiding is a profession Introduction

6 7
8
Chapter 1
Identity
9
Who are you? ‘I set myself the goal of letting people feel that art isn’t too
Each museum is unique, and that starts with the hardware: building
far away from them, that it’s connected to them. They can
and collection. A museum can be anything from a bunker to a glass cube, have views about it, and don’t need to know a lot to experience
from a windmill to a ship, from a dungeon to a palace. Collections can beauty.’
consist of musical instruments, mounted animals, paintings, and there
are museums that focus on their location and offer their visitors the
experience of ‘being where it happened’.
Your museum’s DNA is characterized by its location and collection; they Van Gogh Museum
define who your visitors are, and the bounds and possibilities of your
visitor services policy – which stories you can tell and which resources Mission of the museum
you can use. Accordingly, the objects (or the place) and the presentation The Van Gogh Museum makes the life and work of Vincent van Gogh and
format determine whether you can tell your story chronologically, adopt a the art of his time accessible to as many people as possible in order to
thematic approach or focus on a single individual, or reflect on history or enrich and inspire them.
concentrate on the present.
The DNA of your museum also dictates the choices you can make in the Collection
way you tell the stories. A natural history museum aims to give visitors The Van Gogh Museum houses the largest collection of paintings,
an impression of the imposing stature of a dinosaur, and shows how the drawings and letters by Vincent van Gogh in the world, and works by
animal’s skeleton is built up bone by bone. An art museum wants visitors contemporaries and adherents.
to look at the objects, so endeavours to hold their interest long enough for
them to become immersed in the presentation or wonder what may have What can you tell people with your collection?
moved the artist to create the work. The collection of the Van Gogh Museum is centred around one individual.
Who are you, who do you want to be that for, what do you want your This allows the museum to present Van Gogh’s artworks, and tell the
visitors to experience, and what means will you use? Immediately followed story of the artist’s life, with all its dramatic twists and turns. Because the
by, what is the role of the museum tour? Which is why, when answering collection is built up around Van Gogh, the museum also focuses on the
the question ‘What makes a great museum tour for your institution?’ the time in which he lived: the end of the 19th century. The museum tells the
Guiding is a profession Chapter 1 Identity

trajectory begins with your museum’s hardware and mission. story of the life and work of Vincent van Gogh and the art of his era.
What do you hope to achieve?

The collection and mission of the Van Gogh Museum make it possible
to reach people in a meaningful way. The collection’s strength lies not
only in the colourful artworks, but in the moving life story of the artist
himself. Van Gogh tried to find a suitable education, occupation, love. He
had ambitions, made choices, experienced setbacks. He struggled with
his illness, and his life was tragically cut short by suicide. This life story
touches on universal emotions and dilemmas that every present-day
visitor can relate to. Because they ask the very same questions: Who
am I? Where does my talent lie? What’s my place in the world? Seeing
10 11
himself reflected in Van Gogh creates a personal connection between the Rijksmuseum Amsterdam
visitor and the artworks and the person of the artist. This is what gives the
museum visit its value, and memorability. Mission of the museum
For national and international visitors, the Rijksmuseum connects the
And the museum tour? past with the present by offering a representative overview of Dutch art
It cultivates a personal connection. So, there is no one size fits all and history from the Middle Ages onwards, including the connection of
museum tour, because every visitor is different, has their own interests, the Netherlands with the rest of the world.
and is affected in their own way. A good museum tour is tailormade,
and connects and engages with each individual visitor. Rather than Collection
one-sidedly communicating facts, this type of museum tour acts as a The Rijksmuseum collects artistic and historical objects from Dutch
bridge between the visitor, and Van Gogh’s life and work. And by so doing, history from the Middle Ages to the present day, and works of art from
contributes to a person’s development. other European countries, and Asia.
What can you tell people with your collection?

The breadth of the collection of the Rijksmuseum, and the superb quality
of the objects allow visitors to explore the crème de la crème of Dutch art,
and also provide insights into the development of the Dutch nation.
By presenting artistic and historical objects together, century by century,
the museum tells the story of that era, both in art and in history.
It is a story that encompasses high and low points: visitors enjoy, for
instance, the masterpieces by Rembrandt, Vermeer and the other great
masters of the Golden Age, and also see the context within which the wealth
was amassed, including the colonial role of the Netherlands in the world.
What do you hope to achieve?

Knowledge of the past widens our vision, shedding new light on our

own lives today. Through a clear presentation, engaging and accessible
information and a personal approach, we touch the heart and mind of
every visitor, and he/she gains a greater awareness of developments that
shaped the past and how they relate to the present: an awareness of time.
In addition, the visitor is challenged to look closely and, with this, to see
more, which encourages an appreciation of beauty. In this way, a visit to
the museum expands the visitor’s perspective, and enhances his or her
ability to think and look critically.
And the museum tour?

The tour is the ideal way to reach every visitor: the personal approach of
Objects encourage exploration and critical thinking the museum guide means that our stories can be shared with everyone,
Work of art: Pae White, Hollywood Crinkle, 2010 irrespective of their knowledge or background, and connections can be
12 13
to encourage visitors to think critically, to question things (including
themselves) and, most of all: to trigger a dialogue between the visitor and
the artworks.
And the museum tour?

Instead of offering ready-made stories, the tour is an opportunity to
provide visitors with inspiring information about the objects on display
and teach them how to cultivate curiosity. The museum tour encourages
visitors to ask relevant questions about the work of art, themselves, and,
above all, makes it clear that their opinion matters. This creates a dialogue
between the visitor and the artwork, and makes looking at, and talking
about modern art, an enriching experience.
Objects encourage exploration and critical thinking
Work of art: Henk Peeters, Akwarel, 1966
fostered between the collection and the visitor. This is why the guided tour The museum as learning environment
is one of the most vital parts of making the museum relevant to today’s
visitors. A museum is a learning environment with extraordinary qualities. In most
cases, it’s a place for free-choice learning: visitors come voluntarily, often
without a specific learning goal, which may mean that they are more open
Stedelijk Museum Amsterdam to new experiences than they would be in a formal learning environment.
Also, a museum visit in the context of a course is a different experience
Mission of the museum to a lesson in a lecture hall or classroom. An essential part of the visit is
The Stedelijk Museum enriches people’s lives with modern and to offer museum-goers a sensory experience by presenting (authentic)
contemporary art and design. objects. After all, other than written or spoken texts, objects stimulate the
senses and augment the cognitive learning aspect with affective aspects.
Collection In a museum, you can see a genuine prehistoric battle axe, or ‘touch’ Van

The Stedelijk Museum collection encompasses art and design dating from Gogh, Rembrandt or Mondrian with your eyes. And sometimes the objects
the end of the 19th century to the present day. are unique – there is only one in existence, and it’s here.
What’s more, objects invite exploration and critical thought. An object
What can you tell people with your collection? piques curiosity, making visitors wonder about aspects not immediately
Modern and contemporary art do not tell a single unified story, but reveal visible: the time it was made, how it was produced, what it was made
a multiplicity of themes (sometimes socio-political and philosophical) and from, how it was used, what the artist was trying to say, and the creative
quests. The collection also challenges visitors to think outside the box, process behind it.
and be open to the unknown, to set aside preconceived opinions and ask The museum as learning environment is also characterised by less
new questions. The Stedelijk Museum doesn’t explain the ‘why’, but poses conducive elements. At peak times, visitors get in each other’s way, the
questions and encourages dialogue between the visitor and the artwork. building’s routing could be complicated, the acoustics may be less than
optimal, fragile objects are protected by a glass case or filtered light that
What do you hope to achieve? creates distance, and you have little insight into visitors’ prior knowledge
To inspire people to open up to the unknown, not to make snap and experiences. All aspects that play a part in the search for answers to
decisions about whether a work is beautiful or ugly, stimulating or dull; the question ‘What makes for a great museum tour?’
14 15
16
Chapter 2
What do you learn?
17
What can you learn during a museum tour?
Learning can be approached in a variety of ways, and works differently for

every visitor. While one is affected by a compelling story, another enjoys
being challenged to talk about an object, and a third prefers to use their
own creativity. Just as the traditional one-way interaction between guide
and visitor is far from the ideal way of sharing information with visitors,
the alternatives (dialogue, discussion, asking questions, looking without
providing information, and so on) may not always be the method best
suited to everyone.
A description of learning: ‘Learning can be defined as: the creation or The museum guide challenges participants to look closely by telling
development of relatively lasting changes in knowledge, attitude and a good story
skills and/or in the capacity to learn, by means of selecting, absorbing,
processing, integrating, documenting and usage and assignation of
meaning to information by individuals, groups or (parts of) organisations.’
Robert-Jan Simons, Leren: wat is dat eigenlijk.
Guiding is a profession Chapter 2 What do you learn?

The museum guide challenges to look closely by giving a drawing The museum guide stimulates students to look by experiencing how
assignment to pose for a portrait
18 19
Some of these learning outcomes are obvious and are not unique to the
museum as learning environment, such as ‘develops curiosity about art
and history’, ‘acquires knowledge about artists’ and ‘acquires knowledge
of historical facts’. Others are less evident, despite playing a significant
role in the development of cultural and historical awareness, and can
specifically be gained in a museum. One such example is ‘acquires insight
into the ways in which people in the present address the past’. A museum
preserves and displays objects for a reason; the very fact that they have
been preserved expresses their importance for previous generations. A
tour – a form of object-based learning that focuses on authentic objects –
can explore the question of why an object has been preserved, and provide
insights concerning how an object acquires meaning: who decides that an
object is important, for which reasons, which story does this preserve and
tell to successive generations, and what other conceivable perspectives
could be attributed to the same object?
The museum guide has challenged the students to look closely at a
painting, by telling each other what they see
In the case of museum tours for schools, the purpose is to teach students
something. But what, exactly? Each tour has specific learning objectives
and, dependent on those learning objectives, the emphasis may lie on

developing interests, on knowledge, insights, skills, changing attitudes or
cultivating an awareness of their own identity. The PhD research explored
this aspect of the educational tour, and asked: which learning outcomes
are possible within the museum as learning environment? A literature
study and a questionnaire answered by professionals in museums and in
schools yielded an overview of learning outcomes considered appropriate
for educational tours in an art or history museum.
Here, it should be noted that empirical research demonstrating that
museum tours actually result in the stated knowledge, skills or attitudes
does not exist for all learning outcomes. More research into this is,
therefore, required. The learning outcomes referred to in the literature
and which are supported by empirical evidence from previous studies, are
historical empathy, gaining knowledge, a pleasant experience, critical
thinking, an open attitude towards others, and learning to observe.
Object based learning in the museum
20 21
Learning outcomes
- of a guided tour in history museums
- of a guided tour in art museums
Learning outcomes of a guided tour Learning outcomes of a guided tour
in history museums in art museums
To cite this list: Mark Schep, Carla van Boxtel & Julia Noordegraaf (2017). Learning To cite this list: Mark Schep, Carla van Boxtel & Julia Noordegraaf (2017). Learning
outcomes in a history museum. Amsterdam: University of Amsterdam. outcomes in an art museum. Amsterdam: University of Amsterdam.
Category Learning outcome Category Learning outcome
The pupil The pupil
Affective 1 has a pleasurable experience during the guided tour. Affective 1 has a pleasurable experience during the guided tour.
Attitudes and 2 develops curiosity about and interest in history. Attitudes and 2 develops curiosity about art and interest in art.
Values 3 develops tolerance towards other perspectives, Values 3 develops appreciation for art.
cultures and times. 4 develops tolerance towards other perspectives,
cultures and times.
Identity 4 learns about himself, others and the world. 5 gains confidence to express himself.
Knowledge 5 develops the awareness that there is evidence of Identity 6 learns about himself, others and the world.
and historical events.
Understanding 6 acquires knowledge of historical facts, concepts, Knowledge 7 learns to understand that art is a subjective expression.
people, developments, and events. and 8 learns to understand that sensory experiences and
7 acquires insight into the ways in which people in the Understanding knowledge about art contribute to a better
present address the past. understanding and appreciation of art.
9 acquires knowledge about concepts, artists,
Skills 8 develops historical empathy. techniques and the historical and social context.
9 learns to critically analyze representations and stories 10 develops awareness of personal, social and moral
of the past. issues.
10 learns to ask historical questions. 11 acquires insight into the beliefs of the artist and
11 learns to place objects and events in a historical the role of the artist in art and society.
context. 12 acquires insight into the ways in which people in the
12 learns to connect the past, the present and the future. present address the past.
Skills 13 learns to situate the emotions, the thinking and the

acts of an artist in an art-historical, historical and
social context.
14 learns to empathize with an artist and understand
why an artist decides to make a certain work of art.
15 develops critical and analytical thinking skills.
16 learns to express an opinion about art.
17 learns to ask questions about art.
18 develops creative thinking skills.
19 develops visual literacy.
20 learns to work together with and to learn from others.
Which learning outcomes do you consider important?
In addition to how your museum’s collection and vision defines the aims
you seek to accomplish with a tour, the intended learning outcomes must
also be meaningful and feasible for the specific group taking the tour.
Imagine that a tour in the Rijksmuseum about the Dutch Golden Age is
meant to replace a lesson that the children would otherwise be given at
school. In this instance, one of the tour’s objectives could be to ensure
that, after visiting the museum, the children can explain why this period of
Dutch history is known as The Golden Age. This kind of learning objective
determines the subject of the tour: the choice of objects, the structure of
the story, the theme, forms of working, discussion methods.
During the tour, it is the museum guide who accomplishes the intended
objective, in a way that connects with the students, and captures their
interest. Therefore, the list of learning outcomes that were identified
in the PhD research as important, can serve as a guideline, not only for
designing a tour, but also for giving one.

Students explore the techniques that were used to make the work
Acquires knowledge about concepts, artists, techniques and the historical and Work of art: Willem de Kooning, Clamdigger, 1972
social context
A museum tour at the Stedelijk Museum sets out to make sure that,
after their visit, students can identify which techniques the artists used.
Consequently, the museum guide starts the tour by telling them that Develops tolerance towards other perspectives, cultures and times
this is what they’re expected to know within an hour. She begins with First, the museum guide needs to discover what students’ assumptions
questions about painting, etching, spot welding, charcoal, iMovie; what and attitudes are now, so he starts with questions to gather information
techniques can be used to create an artwork? She chooses artworks about the group. By doing this, he simultaneously activates their prior
that were each made using a different technique, and encourages the knowledge, triggering them to reflect on ‘respect’ and what it really
students to look closely. How can you spot a certain material: can you see is. Using artworks that can serve as conversation pieces, he initiates
woodgrain, the lustre of marble? How do you recognise a technique: do discussions that are based on the underlying theme: art is always an
you see a welded seam, nails, or glue? Later, if the students can’t remember expression of the maker’s culture, whether that is American, Congolese,
the names of the artists, it doesn’t matter! Swedish or Iranian. By taking his time, and looking and talking about the
work, he encourages the students to respect the artist, even though he or
she may hold very different views.
22 23
Museum guide:
Develops creative thinking skills

‘What would you like to take home with you?’
Looking at the painting The Yellow House in the Van Gogh Museum Pupil:
stimulates pupils to use their imagination. They are challenged to study ‘You.’
the painting closely, and use what they see in the painting as part of a
bigger story. The idea is to encourage the children to free associate. The
museum guide asks: ‘Imagine that what you see here is the end of a story – Learns to understand that sensory experiences and knowledge about art contribute
what would the story be then?’ A pupil comes up with a story of a monster to a better understanding and appreciation of art
that lives under the ground, because of the tunnels he sees. Another The museum guide and a group of students are sitting in front of Willem
focuses on the moving train and imagines the people who may have de Kooning’s bronze sculpture, Large Torso, in the Stedelijk Museum. The
left on it. guide lets everyone free associate: ‘What does it look like?’, followed by:
‘Get a piece of clay, close your eyes and create a shape in 1 minute’. This
way of working is the bridge to explaining the artist’s creative process:
‘De Kooning placed constraints on himself: he often sculpted with his eyes
closed, like you’ve just done.’ The assignment gives the students an idea of
De Kooning’s way of working, and allows them to see Large Torso through
the eyes of the artist, and experience the intuitive evolution of his work for
themselves. The sensory experience also teaches them better observation
skills. ‘Looking at this artwork, you can see how De Kooning used his
hands.’ Next, the guide asks a number of questions: ‘Did he make the work
quickly or slowly? How can you tell? And if you look at your objects, is there
anything to show how fast they were made?’

A museum guide appeals to children’s empathy: ‘What was it like to be a Sensory experiences enhance a better understanding of history.
child in the 17th century and lie in this cradle?’ A museum guide lets the students smell the spices that, in the 17th
century, were taken to the Netherlands for the first time
24 25
26
Chapter 3
Competencies
27
The museum guide as intermediary
In a tour, you use the collection of your museum as a source of cultural and
(art)historical education. Whether your tour group comprises students
visiting as part of a school curriculum or recreational visitors, your goal is
always to ensure the tour is an enriching experience; during the tour, you
want participants to see, experience, know or be able to do something
in a different manner than before. In this process, the museum guide is
the intermediary. Who, well-informed, with an interest in art and history
and using the objects in the museum, must be able to enthuse and
inform museum-goers of different ages and interests, and – depending
on the learning objectives of the tour – make a meaningful contribution
to developing those visitors’ knowledge, skills and attitudes. And that
in the complex situation of the museum floor. This calls for specific
competencies.
Taking a creative approach, the museum guide makes sure that the
students closely observe the sculpture
Work of art: Willem de Kooning, Seated Woman on a Bench, 1972
The competencies of a museum guide
Guiding is a profession Chapter 3 Competencies

To identify the competencies that are required to practice the profession
of museum guide, the PhD researcher conducted a literature study, and
interviewed sixteen museum guides and the heads of three Education
departments. This was followed by consulting a broad group of experts:
museum guides, educators and teacher trainers in the disciplines of
history and art. This resulted in a list of 45 competencies that these experts
believe are required by guides in museums of art and history.
The experts were also asked which of the 45 competencies a new museum
guide should (largely) have at their fingertips. This generated a list of
sixteen competencies: 70% of the experts agreed that these represented
the basic competencies.
The museum guide uses an unorthodox way of enthusing and informing The competencies are divided into four main areas:
visitors
28 29
Area 1 Handling the group within the museum Area 2 Communication skills
environment Museum guides are excellent communicators, both verbally and non-verbally. They
Museum guides are enthusiastic and flexible, are open, able to connect with the can initiate and facilitate discussion. They speak clearly, listen closely, and can use
group and assess a group, are sensitive to the group dynamic and what the group the input of the group to enrich the dialogue.
wants, and can adapt in response to those needs. Museum guides take the lead,
protect the objects and maintain an overview of the group.
The museum guide shows a genuine interest in the students’ The museum guide listens closely, and uses the student’s input to enrich
preoccupations the dialogue

‘A museum guide slows down the museum visit. School
students in particular aren’t used to looking at an artwork
for long. So, that is my biggest challenge: to slow down
and make people really look and enjoy it!’
Girl, aged four, after a tour:

‘I’m going to work in the museum too when I grow up.’
The museum guide creates a positive and relaxed atmosphere by letting
the students perform for each other
30 31
Area 3 Knowledge and pedagogy Area 4 Professionalism
Museum guides possess a broad general historical, cultural and art historical Museum guides are reliable and represent the museum. They can collaborate
knowledge, knowledge of the collection, and are acquainted with the education with colleagues and visiting teachers. Museum guides are able to reflect on their
curriculum. They are able to use this knowledge flexibly to convey information performance, are open to giving and receiving feedback, and actively work on
about objects, tell stories, and respond to students’ questions. Museum guides can developing their skills as a museum guide.
encourage pupils to interact with objects in a meaningful way, and inspire them to
observe objects closely. The competencies that belong to the categories ‘Handling the group
within the museum environment’, ‘Communication skills’ and
‘Professionalism’ in particular, are probably relevant for every museum.
The role of the competencies in ‘Knowledge and pedagogy’ will, however,
differ per museum. The goal of one institute will be to encourage visitors
to look closely at art, while another museum uses the objects as a window
onto a certain historical period, which requires a different skillset.
The museum guide uses an activity that resonates with the group:
‘This is going to be an amazing journey!’

The museum guide lets the students experience how to catch movement
in a photograph
The museum guide encourages the students to participate

Work of art: Kazimir Malevich, An Englishman in Moscow, 1914
32 33
Flexibility is the core
In almost all the interviews with museum guides and heads of Education,
one term leapt out: flexibility. The guide must be able to deploy his know-
ledge flexibly, be able to adapt the content of the story to the target group,
and must be able to respond to visitors’ needs and wishes. He also needs to
be able to react flexibly to situations in the museum that may unexpected-
ly occur: a group that turns up late, a painting that isn’t in its usual place,
another museum guide at the object he was going to use. To some extent,
flexibility – like other competencies – is a personal trait. No two people are
alike, and not everyone is capable of dealing with change. Experience can
nonetheless inspire growth. An experienced museum guide with a tho-
rough knowledge of a museum’s collection and routes will (regardless of
his innate flexibility) more easily be able to deviate from the planned path Synergy of competencies: the museum guide takes the lead, is aware of
than a museum guide who is less at home in that same museum. the environment and positioning, keeps an overview, and makes sure the
objects are not endangered
Work of art: Sol Lewitt, Walldrawing #1084, 2003
The synergy of competencies
All competencies can reinforce and compensate each other. A strong

connection exists between making an immediate rapport on one hand and,
on the other, open attitude, assessing the group, interest in the group, enthusiasm

and energetic, sensitivity for the group dynamics and careful listening. A museum
guide leads the group, is aware of his environment and of the positioning, but also
keeps an overview of the group and makes sure that he protects the objects.
When creating a common thread, a number of different competencies also

come into play. A museum guide who creates a common thread, uses
his knowledge to connect objects and composes a story with a clear
structure. The time management competency also relates to this; a skilled
museum guide is able to structure the tour so as to tell a story with a clear
beginning, middle and end, within the available timeframe. To make the
common thread visible for visitors, too, the guide needs to master the skill
of interpretation. After all, a guide must engage the group in the bigger story
he wants to tell, using the individual objects.
Flexibility is the core of all competencies

34 35
Mark Schep, Carla van Boxtel & Julia Noordegraaf (2017). Competencies of museum guides. Amsterdam: University of Amsterdam.
The competencies are divided into four main areas:
Area 1
Schep, M., Van Boxtel, C., & Noordegraaf, J. (2017). Competent museum guides: defining competencies for use
Handling the group within the museum environment
Museum guides are enthusiastic and flexible, are open, able to connect
with the group and assess a group, are sensitive to the group dynamic and
in art and history museums. Museum Management and Curatorship. doi:10.1080/09647775.2017.1387590.

what the group wants, and can adapt in response to those needs. Museum
guides take the lead, protect the objects and maintain an overview of the
group.
Competencies
This list is the result of literature study, and of a consult
of the museum guide in art and history museums

amongst museum guides, educators and teacher
Area 2
Communication skills trainers in the disciplines of history and art. These
Museum guides are excellent communicators, both verbally and non-
experts believe that these 45 competencies are required
verbally. They can initiate and facilitate discussion. They speak clearly,
listen closely, and can use the input of the group to enrich the dialogue. by guides in museums of art and history. Sixteen of
the competencies are believed to be basic competencies
Area 3 of museum guides. These sixteen competencies are
Knowledge and pedagogy
Museum guides possess a broad general historical, cultural and art here made red.
historical knowledge, knowledge of the collection, and are acquainted
with the education curriculum. They are able to use this knowledge
flexibly to convey information about objects, tell stories, and respond to
students’ questions. Museum guides can encourage pupils to interact with
objects in a meaningful way, and inspire them to observe objects closely.
Area 4
Professionalism
Museum guides are reliable and represent the museum. They can
collaborate with colleagues and visiting teachers. Museum guides are
able to reflect on their performance, are open to giving and receiving
To cite this list:

feedback, and actively work on developing their skills as a museum guide.
Or:
Mark Schep, Carla van Boxtel & Julia Noordegraaf (2017). Competencies of museum guides. Amsterdam: University of Amsterdam.
The competencies are divided into four main areas:
Area 1
Schep, M., Van Boxtel, C., & Noordegraaf, J. (2017). Competent museum guides: defining competencies for use
Handling the group within the museum environment
Museum guides are enthusiastic and flexible, are open, able to connect
with the group and assess a group, are sensitive to the group dynamic and
in art and history museums. Museum Management and Curatorship. doi:10.1080/09647775.2017.1387590.

what the group wants, and can adapt in response to those needs. Museum
guides take the lead, protect the objects and maintain an overview of the
group.
Competencies
This list is the result of literature study, and of a consult
of the museum guide in art and history museums

amongst museum guides, educators and teacher
Area 2
Communication skills trainers in the disciplines of history and art. These
Museum guides are excellent communicators, both verbally and non-
experts believe that these 45 competencies are required
verbally. They can initiate and facilitate discussion. They speak clearly,
listen closely, and can use the input of the group to enrich the dialogue. by guides in museums of art and history. Sixteen of
the competencies are believed to be basic competencies
Area 3 of museum guides. These sixteen competencies are
Knowledge and pedagogy
Museum guides possess a broad general historical, cultural and art here made red.
historical knowledge, knowledge of the collection, and are acquainted
with the education curriculum. They are able to use this knowledge
flexibly to convey information about objects, tell stories, and respond to
students’ questions. Museum guides can encourage pupils to interact with
objects in a meaningful way, and inspire them to observe objects closely.
Area 4
Professionalism
Museum guides are reliable and represent the museum. They can
collaborate with colleagues and visiting teachers. Museum guides are
able to reflect on their performance, are open to giving and receiving
To cite this list:

feedback, and actively work on developing their skills as a museum guide.
Or:
Area 1 Area 2 Area 3 Area 4
Handling the group within the museum Communication skills Knowledge and pedagogy Professionalism
environment
1 Open attitude The museum guide is relaxed, approachable, and has an open 15 Clear talk The museum guide speaks clearly, audibly, and with an appropriate 22 Use of knowledge The museum guide has general knowledge of culture, art history, 36 Cooperation with other guides The museum guide consults with other guides
attitude towards the group and the diversity of persons and views within the group. intonation. and history and is capable of using this knowledge in a flexible way, tailored to about the route and takes other guides into account during the tour.
2 Making an immediate rapport The museum guide is capable of establishing an 16 Vocalization and expression The museum guide breathes quietly, speaks with different groups, to give meaning to objects, contextualize objects, make 37 Cooperation with security guards The museum guide communicates
immediate rapport with the group, is able to make the students feel at ease, and a pleasant timbre, and is able to engage the students through his or her intonation, connections, and to answer questions. (if necessary) with security guards and follows their instructions.
maintains this during the tour. rhythm, timing, and mimics. The guide knows how to use his or her voice without 23 Use of curricular knowledge The museum guide has knowledge about the 38 Cooperation with teachers The museum guide adjusts the program with the
3 Assessing the group The museum guide has knowledge about the target group damaging it. curriculum and is capable of using this knowledge to connect the tour to the visiting teacher and gives the teacher an appropriate role during the tour.
and can make an estimation of the interest, expectations, and level of the group 17 Careful listening The museum guide listens carefully and sincerely and uses the curriculum. 39 Reliability The museum guide is reliable, loyal, punctual, sticks to the
by asking questions and ‘reading’ their non-verbal communication. input of the group to enrich the dialog. 24 Use of knowledge of the collection The museum guide has knowledge about the agreements made with the museum, and gives the tours in accordance with
4 Interest in the group The museum guide takes the students seriously and shows 18 Linguistic skills and use of language The museum guide is linguistically skilled, collection and is capable of using this knowledge in a flexible way to give meaning the designed program.
interest in the ideas, questions, and backgrounds of the students. has an extensive general and specialized vocabulary, and adjusts his or her use of to objects, contextualize objects, make connections, and to answer questions. 40 Flexibility The museum guide is flexible and has an open attitude towards
5 Creating a safe environment The museum guide is capable of creating a safe language to the level and perceptions of the students. 25 Creating a common thread The museum guide uses his or her knowledge to create change.
learning environment in which students can participate in an equal way and in 19 Conversation techniques The museum guide is skilled in starting and facilitating an common thread in the tour. 41 Represent the museum The museum guide is aware of his or her role as an
which their input is dealt with in a respectful way. a conversation in different ways and is capable of encouraging participation of the 26 Stimulate an open attitude The museum guide is capable of inspiring the students ambassador of the museum and behaves accordingly.
6 Creating a positive and relaxed atmosphere The museum guide is able to create a students. to have an open attitude towards new experiences. 42 Reflecting on personal performance The museum guide reflects on his or her
relaxed and positive atmosphere, for example, by using humor. 20 Non-verbal communication The museum guide gives clear non-verbal cues to the 27 Explaining The museum guide is capable of translating his or her knowledge to the own practices and is aware of his or her own strengths and areas for improvement.
7 Enthusiastic and energetic The museum guide is energetic and enthusiastic about students, and the non-verbal communication (e.g., body language, mimics, posture) level and perceptions of the target group and ensures everyone’s understanding. 43 Giving and receiving feedback The museum guide is open to feedback, uses
the things he or she tells, and knows how to kindle enthusiasm in the students. is in line with the verbal communication. 28 Storytelling The museum guide is capable of telling stories in relation to an object this feedback to improve, and is willing to give feedback to other guides
8 Sensitive to the group dynamics The museum guide has a certain sensitivity for 21 Awareness of one’s own communication The museum guide is aware of his or in an engaging way. (and educators).
the group dynamic and is capable of adjusting his or her behavior to the situation. her own posture, use of voice, and body language and is capable of adjusting this 29 Asking questions The museum guide is capable of using questions to activate the 44 Professional development The museum guide uses the opportunities for
9 Coping with resistance The museum guide knows how to cope with resistance or to the situation knowledge of the students, to give room for different perspectives, and (depending professional development offered by the museum and is actively looking for ways
inappropriate remarks and tries to use these remarks to enrich the dialogue. on the goals) to prompt students to create associations, reason, think out loud, to develop his or her competencies.
10 Taking the lead The museum guide takes the lead and is clear about the program, analyze, contextualize, interpret, reflect, and use their imagination. 45 Contribute to improving tours The museum guide critically reflects on tours and
rules, and expectations towards the group, without putting him or herself above 30 Stimulate students to carefully look The museum guide is able to let students uses this reflection and his or her knowledge of pedagogy to contribute to
the group. carefully look at an object and encourages them to actively make meaning of that redesigning a program.
11 Protecting the objects The museum guide is consciously aware of the safety of the object.
objects and corrects possibly dangerous behavior of the students. 31 Contextualizing objects The museum guide finds a balance between looking at
12 Time management The museum guide is capable of using the time efficiently, and objects and contextualizing them.
the tour has a clear beginning, middle, and end. 32 Using objects as a window The museum guide can use an object as a window to a
13 Awareness of the environment and positioning The museum guide is flexible and historical period or event.
capable of dealing with the busyness in the museum. The guide positions him or 33 Using objects for critical analyses The museum guide can use objects to critically
herself and the group in front of the object in a way such that all students can see the analyze how art and history are represented and interpreted.
object without blocking the passage for other visitors. 34 Usage of learning activities The museum guide uses learning activities and
14 Keeping an overview The museum guide keeps an overview of the group, makes exercises that are fitted to a certain group, the moment, and the object and (in this
sure all students are following, and ensures the students do not bother other visitors. way) provides for variation.
35 Balance between interaction and explaining The museum guide searches for a
balance between explaining and interaction and ensures that there are enough
opportunities for the students to experiences art and history.
Area 1 Area 2 Area 3 Area 4
Handling the group within the museum Communication skills Knowledge and pedagogy Professionalism
environment
1 Open attitude The museum guide is relaxed, approachable, and has an open 15 Clear talk The museum guide speaks clearly, audibly, and with an appropriate 22 Use of knowledge The museum guide has general knowledge of culture, art history, 36 Cooperation with other guides The museum guide consults with other guides
attitude towards the group and the diversity of persons and views within the group. intonation. and history and is capable of using this knowledge in a flexible way, tailored to about the route and takes other guides into account during the tour.
2 Making an immediate rapport The museum guide is capable of establishing an 16 Vocalization and expression The museum guide breathes quietly, speaks with different groups, to give meaning to objects, contextualize objects, make 37 Cooperation with security guards The museum guide communicates
immediate rapport with the group, is able to make the students feel at ease, and a pleasant timbre, and is able to engage the students through his or her intonation, connections, and to answer questions. (if necessary) with security guards and follows their instructions.
maintains this during the tour. rhythm, timing, and mimics. The guide knows how to use his or her voice without 23 Use of curricular knowledge The museum guide has knowledge about the 38 Cooperation with teachers The museum guide adjusts the program with the
3 Assessing the group The museum guide has knowledge about the target group damaging it. curriculum and is capable of using this knowledge to connect the tour to the visiting teacher and gives the teacher an appropriate role during the tour.
and can make an estimation of the interest, expectations, and level of the group 17 Careful listening The museum guide listens carefully and sincerely and uses the curriculum. 39 Reliability The museum guide is reliable, loyal, punctual, sticks to the
by asking questions and ‘reading’ their non-verbal communication. input of the group to enrich the dialog. 24 Use of knowledge of the collection The museum guide has knowledge about the agreements made with the museum, and gives the tours in accordance with
4 Interest in the group The museum guide takes the students seriously and shows 18 Linguistic skills and use of language The museum guide is linguistically skilled, collection and is capable of using this knowledge in a flexible way to give meaning the designed program.
interest in the ideas, questions, and backgrounds of the students. has an extensive general and specialized vocabulary, and adjusts his or her use of to objects, contextualize objects, make connections, and to answer questions. 40 Flexibility The museum guide is flexible and has an open attitude towards
5 Creating a safe environment The museum guide is capable of creating a safe language to the level and perceptions of the students. 25 Creating a common thread The museum guide uses his or her knowledge to create change.
learning environment in which students can participate in an equal way and in 19 Conversation techniques The museum guide is skilled in starting and facilitating an common thread in the tour. 41 Represent the museum The museum guide is aware of his or her role as an
which their input is dealt with in a respectful way. a conversation in different ways and is capable of encouraging participation of the 26 Stimulate an open attitude The museum guide is capable of inspiring the students ambassador of the museum and behaves accordingly.
6 Creating a positive and relaxed atmosphere The museum guide is able to create a students. to have an open attitude towards new experiences. 42 Reflecting on personal performance The museum guide reflects on his or her
relaxed and positive atmosphere, for example, by using humor. 20 Non-verbal communication The museum guide gives clear non-verbal cues to the 27 Explaining The museum guide is capable of translating his or her knowledge to the own practices and is aware of his or her own strengths and areas for improvement.
7 Enthusiastic and energetic The museum guide is energetic and enthusiastic about students, and the non-verbal communication (e.g., body language, mimics, posture) level and perceptions of the target group and ensures everyone’s understanding. 43 Giving and receiving feedback The museum guide is open to feedback, uses
the things he or she tells, and knows how to kindle enthusiasm in the students. is in line with the verbal communication. 28 Storytelling The museum guide is capable of telling stories in relation to an object this feedback to improve, and is willing to give feedback to other guides
8 Sensitive to the group dynamics The museum guide has a certain sensitivity for 21 Awareness of one’s own communication The museum guide has general in an engaging way. (and educators).
the group dynamic and is capable of adjusting his or her behavior to the situation. knowledge of culture, art history, and history and is capable of using this 29 Asking questions The museum guide is capable of using questions to activate the 44 Professional development The museum guide uses the opportunities for
9 Coping with resistance The museum guide knows how to cope with resistance or knowledge in a flexible way, tailored to different groups, to give meaning to objects, knowledge of the students, to give room for different perspectives, and (depending professional development offered by the museum and is actively looking for ways
inappropriate remarks and tries to use these remarks to enrich the dialogue. contextualize objects, make connections, and to answer questions. on the goals) to prompt students to create associations, reason, think out loud, to develop his or her competencies.
10 Taking the lead The museum guide takes the lead and is clear about the program, analyze, contextualize, interpret, reflect, and use their imagination. 45 Contribute to improving tours The museum guide critically reflects on tours and
rules, and expectations towards the group, without putting him or herself above 30 Stimulate students to carefully look The museum guide is able to let students uses this reflection and his or her knowledge of pedagogy to contribute to
the group. carefully look at an object and encourages them to actively make meaning of that redesigning a program.
11 Protecting the objects The museum guide is consciously aware of the safety of the object.
objects and corrects possibly dangerous behavior of the students. 31 Contextualizing objects The museum guide finds a balance between looking at
12 Time management The museum guide is capable of using the time efficiently, and objects and contextualizing them.
the tour has a clear beginning, middle, and end. 32 Using objects as a window The museum guide can use an object as a window to a
13 Awareness of the environment and positioning The museum guide is flexible and historical period or event.
capable of dealing with the busyness in the museum. The guide positions him or 33 Using objects for critical analyses The museum guide can use objects to critically
herself and the group in front of the object in a way such that all students can see the analyze how art and history are represented and interpreted.
object without blocking the passage for other visitors. 34 Usage of learning activities The museum guide uses learning activities and
14 Keeping an overview The museum guide keeps an overview of the group, makes exercises that are fitted to a certain group, the moment, and the object and (in this
sure all students are following, and ensures the students do not bother other visitors. way) provides for variation.
35 Balance between interaction and explaining The museum guide searches for a
balance between explaining and interaction and ensures that there are enough
opportunities for the students to experiences art and history.
The importance of a common language
A list of relevant competencies for a museum guide has practical value in

a variety of ways. Firstly, it provides educators and museum guides with a
shared language, a framework to consider the profession of guide from the
same common vision. Having a common language also means that you
can talk about things: by explicitly listing what the profession of museum
guide involves, it structures a conversation about the qualities required
by museum guides. It also provides museum guides and educators with
a means of reflecting on specific skills. This enables a museum guide to
identify their strengths and areas that need improving, gives an educator
a clear idea of the aspects that require improvement and, together, they
can look at ways in which a museum guide can enhance his qualities.
Conversely, the museum guide can use the list to tell the educator what
he needs to be able to do his work well. For a novice guide, the list of
competencies can clarify the skills needed to perform this complex
profession well. It can also serve as a basis for courses aimed at training The museum guide creates a safe environment in which each student feels
staff for educational roles in a museum. able to express themselves
Work of art: Pablo Picasso, Femme assise au chapeau en forme de poisson, 1942
Handling the group within the museum environment: Creating a safe environment
Museum guide: Knowledge and pedagogy: Creating a common thread
‘Tim, 11 years old, and visiting the Rijksmuseum with his grade seven ‘I’m going to show you how to spot a painting by Van Gogh’, says the

class. He is quiet, often looks away, and when he says his name, does so in museum guide at the start of his tour. By saying this, he establishes a
a quiet voice. From time to time, I try to coax him into giving an answer clear common thread, and directs students’ expectations. The tour begins.
or sharing his thoughts by asking him what he thinks, but he doesn’t The museum guide talks enthusiastically, and gives detailed answers to
respond. After about forty-five minutes, we reach the Night Watch. It’s the many questions raised. What really happened to Van Gogh’s ear? Was
busy, so I ask the group to sit close to me. Tim practically sits at my side. he able to earn a living as an artist? The museum guide also gives them
When I ask the group what they think is going on in the painting, I see Tim several assignments, and turns the tour into an active hour: they cover
cautiously put up his hand. It’s the first time… he does it another couple a lot of ground, and the pupils observe the paintings closely. But, in his
of times. The answers given by Tim, and the others, I throw back into the desire to answer the students’ questions, the museum guide loses track of
group. Who thinks the same thing? Who thinks it might be different? The his plan: to encourage the pupils to recognise the characteristics of a Van
pupils respond to each other’s answers and, together, we come up with an Gogh painting. So, although the tour was rich and engaging, it lacked a
interesting interpretation of the painting. While on our way to the next structured narrative.
painting, I suddenly feel a little hand in mine. I look sideways and see Tim
beside me, looking straight ahead. He walks at the front for the rest of the
tour.’
36 37
Professionalism: Reflecting on personal performance
Knowing how to ask the right question is a discipline in its own right.
Because of this, at the Stedelijk Museum, trainings and intervision
meetings regularly focus on inquiry based learning. During these sessions,
the museum guides consider the purpose behind asking questions, and
how to formulate intriguing questions. The pitfalls are also discussed
– such as how asking questions shouldn’t be a fake strategy for the
museum guide to tell his story. Divided into small groups, the museum
guides practice in the museum. One begins, and receives feedback from
the others. The next one can immediately integrate that feedback into
her practice session. If, for instance, the first museum guide didn’t leave
sufficient time for the group to respond, the next guide can pay extra
attention to this, and the group gets to experience the kinds of effects that
pauses can have. The museum guides find this type of training inspiring. It ‘You need to build up questions. Starting with a philosophical
helps them break out of their routine, learn about the museum’s artworks question doesn’t work very well – you won’t get an answer.
from different angles, and get a clear idea of how they can put this method It’s best to begin with something concrete: “Was it painted
into practice.
quickly or slowly, with a thick or fine brush, where does
the light come from?” You have to make sure you don’t give
the answer away in the question. And don’t make it too easy
or they’ll lose interest.’

By making connections between the paintings, the museum guide creates
a common thread
38 39
40
Chapter 4
Professionalism
41
Museum guiding means staying up-to-date Trial guided tour
The Rijksmuseum uses three forms. First, applicants give a trial guided
Museums stay connected with the outside world for the sake of their tour of around fifteen minutes. The visitors are played by a group of
visitor policy. For museum tours, this means always ensuring an museum staff from different departments, including Education. They ‘are’
optimal match between museum guide and visitor. In this sense, too, the envisaged group of visitors, and respond to what the guide does and
the profession of museum guide is the same as any other; it must stay says; they ask unexpected questions, wander off if their attention wanes,
current. Whether the museum guide is a member of staff, a freelancer and so on. Although this is a role-playing game, it immediately flags up an
or a volunteer, for every museum, the quality of the museum tour lies aspiring guide’s strong points, and areas in which they are weaker. Next
in the match between guide and visitor. Professionalism rests on three comes a follow-up conversation in which the applicant is presented with
cornerstones: the basis (where it begins), quality enhancement, and the group’s feedback. This provides a clear impression of his or her capacity
relevance. for self-reflection. The conversation ends with a playful approach to testing
the applicant’s on-hand expertise and their readiness to expand their
knowledge. For example, by asking the applicant to tell a story by placing
several objects in the museum, in sequence.
Rondleider:
‘We’ve reached the end of the tour.’ Language
Language is a vital aspect of a tour, and should not act as a barrier to sharing
Pupil:
information. That’s why the guide must be fluent in a language: he must
‘Already?’ speak clearly and understandably, have a pleasant voice and engaging
presentation, and an extensive vocabulary. To measure foreign language
proficiency objectively, the Van Gogh Museum uses the model developed
by the Common European Framework of References for Languages,
Guiding is a profession Chapter 4 Professionalism

Step 1: BASIS which comprises different level categories and standardised testing. The
museum guides have a language proficiency score of at least C1+, and have a
Selection certificate to this effect.
First of all, you want to review all the applications and select the museum
guides who already possess the basic qualifications (see the sixteen basic
competencies, after page 34). And you want the best for your museum, Embedding in the organisation
for your audiences, with the languages, knowledge and personality that
you’re looking for. How do you find out whether an applicant has these For the optimal performance of their role of intermediary, besides
competencies? A letter and CV do not offer insights into a person’s ability, knowledge of the collection and the mission of the museum, museum
for instance, to uncover connections between objects, translate specialist guides naturally need to maintain contact with key members of staff,
knowledge to the level of the visitor, or engage with the visitor. However, such as curators and educators, and also be encouraged to build rapport
you can structure the interview in such a way as to gain an impression of with service staff and the security team.
those qualities through the use of a knowledge test, presentation film,
trial tour, language test, and so on.
42 43
Step 2: QUALITY ENHANCEMENT
Training competencies
There are countless ways in which museum guides and educators can
enhance the tour guide profession.
For instance, one of the most obvious ways to improve quality is by
involving educators and curators to organise intervision sessions, give
lectures on general key themes or give an introduction to a specific
exhibition. But many times, a museum won’t have staff with the expertise
needed to strengthen specific competencies; inviting specialists from
other professional fields such as caring for the elderly, psychology,
philosophy, the hospitality industry and so on, to develop trainings can
bring to light fascinating insights. Below is a selection of different types of Museum guides taking part in a training about older people and ageing:
training, some more well-known than others, organised into the four main they experience the physical restrictions that go hand in hand with
competency areas. getting older
Handling the group within the museum environment Knowledge and pedagogy
- I Ask: a method to stimulate openness, bring preconceptions to the - Lectures on art, history, and restoration techniques
surface, and nuanced thinking - Lectures on school curricula
- Dealing with resistance, by a specialist from the activist NGO sector - Training in Visual Thinking Strategies
- Hospitality, by specialists from the hospitality industry - Training in Visible Thinking

- Introduction to ageing and the elderly, by specialists in the elderly - Philosophising
care sector - Q&A hour with curator
- Training on how to create a common thread
- Training on giving a tour for children, using a glove puppet
Communication skills
- Storytelling training, by actors
- Dealing with students with special educational needs, by educational Professionalism
psychologists - Informal meetings when museum guides share their specific expertise
- Training in conversation techniques - A website or closed Facebook page where information about the
- Non-verbal communication training to understand visitor behaviour, profession is shared between museum staff and guides and/or between
by a choreographer guides
- Training in dealing with specific demographics such as people with, - Notifications up-dating guides on the museum’s policy decisions
or in the early stages of, dementia - Using the self-evaluation form (see page 51) used by museum guides,
and defining personal learning goals
44 45
Learning from and with each other
Given that the profession of museum guide is a solitary one, opportunities

for museum guides to share expertise and experiences are invaluable.
Information-sharing happens at the water cooler or in the bar, but it can
occur in an organised way, too. A tried and tested method is intervision:
a form of peer coaching in which guides learn from, and with, each other
by sharing experiences. Because intervision focuses on museum guides
exchanging their experiences, it’s crucial that it occurs in an atmosphere
of safety, and the guides can talk openly, in an environment in which
everyone feels equal.
Learning from and with each other can also take place with professionals,
outside the museum. Teacher training courses and courses in the field of
heritage, art and history, for instance, focus on similar questions. How
can you motivate children and young people to take an interest in art and
Museum guides being trained to use a glove puppet history? What makes a conversation about an artwork or historic object a
rich learning experience?
At the Rijksmuseum, in what’s known as Cups of Wisdom, museum guides

regularly give lectures to their peers in an informal setting. This is one way
in which they can share their expertise. Participation is voluntary, and
guides can lecture on the subject of their choice.

Teenager after a tour:
‘That’s wasn’t so bad.’

‘You have to be able to play with the content, because if you
keep saying the same thing every day, you die a little bit
too. I see it as something organic that is always changing,
and becomes stronger because of it.’
Museum guides discuss what they have just seen during a museum tour,
and share each other’s experiences
46 47
Museum guide:
A professional learning community can also be set up with people with ‘When you’re starting out as a museum guide, this type
different areas of expertise, so they can learn from and with each other. of self-evaluation is definitely a great idea. And if you’ve
This working method is useful for the design or redesign of a tour. Museum
been a guide for a while, it can also help to keep you sharp
guides can offer their expertise, and receive theoretical contexts from
students, educators and teacher training professionals. Students can and perhaps see certain things you’re not as aware of.
(re)design the working practices used in tours, and thereby learn from Because everything’s so clearly defined, you can touch on
museum guides, educators and teacher training professionals. Educators specific points, bring them to life and make them explicit,
and teacher trainers can share ideas on the latest developments in the
and that’s something everyone can benefit from, I think.’
profession, on requisite or desired goals – from the perspective of both the
museum and the teacher training programme. This also further develops
museum didactics.
Design
The Stedelijk Museum often involves museum guides in developing tours
and workshops. On some occasions, museum guides participate in the
initial brainstorming, to generate as many ideas as possible, followed
by one of them structuring the ideas into a cohesive whole. Making use
of guides’ experiences and expertise in this way, makes the programme
richer, and more workable in practice.
Visual coach

The Van Gogh Museum uses visual coaching, working with groups of five
guides or less. Each museum guide is filmed during the tour. The museum
guide analyses the footage, and picks two he wants to use during the
intervision meeting. These are used to discuss the learning questions that
have been raised. The visual coach leads the meeting, in which the guides
offer feedback. The guide then formulates the action points he wishes to
work on.
Intervision
At the Rijksmuseum, a guide gives a tour to a group of two or three
colleagues, who pick up on particular facets, and give feedback: the tops
and the tips. The findings are shared with the other museum guides during
a larger intervision meeting.
Museum guides during an inspiration-session: looking from a different
perspective
48 49
Observation and post-observation conversation assessment, but to learn from practical experience. In which the
self-evaluation form is particularly useful: it gives the guide an
Another way of learning from and with peers, is through observation and opportunity to learn from his own experience and, where necessary,
a post-observation conversation. For use as an aid, as part of the PhD make changes based on the observed experience. These tools can also
research, two tools were developed, to be used in combination: the be integrated into intervision coaching activities.
self-evaluation form, and the observation form.
Abridged version of the self-evaluation form

The full-length version of the self-evaluation form can be downloaded from
www.lkca.nl/guiding-is-a-profession
This self-evaluation comprises scaled questions and open questions. You, as

a museum guide, are asked to evaluate your level of proficiency in the stated
competencies. The scale ranges from Insufficient (=1) to Excellent (=5).
After completing the scaled questions there is space to add comments

or to explain a specific competency. You are then asked, per area, to list a
number of competencies in which you’re proficient, and aspects that you
can, or would like to, improve (accompanied by an explanation).
A museum guide and an educator during a post-observation conversation
On the basis of your self-evaluation, you will have a post-observation
conversation with the educator at the museum where you work. This will

Museum guide: be based on your self-evaluation. You will go through each area with the
‘The self-evaluation offers structure to the conversation. educator, talking about the competencies you excel at, and those that
you feel need improving. The educator does not read your self-evaluation
It’s not about defending yourself the whole time, but about
beforehand.
talking objectively about specific aspects. I found it useful,
and there’s also room for you to say “yes, but I look at this,
or that, this way”. Very helpful.’ Area 1: Handling the group within the museum environment
1. Open attitude
Where possible, these 45 competencies (see after page 34) are formulated You are relaxed, accessible, and are open to the group and the diversity of
in terms of observable behaviour, whereby each competency can be individuals and range of ideas.
evaluated on a 5-point scale. The advantage of these tools is that they
Insufficient Excellent
facilitate a structured conversation between educator and museum
guide (see page 36 on the importance of a common language). They also 1 2 3 4 5
enable this conversation to become part of a development process: even
though the answers are given scores, the aim isn’t to arrive at a one-sided
50 51
Abridged example of the observation form The impact of all these forms of quality enhancement are two-fold:
The full-length version of the observation form can be downloaded from on the one hand, they provide tools for increasing museum guides’
www.lkca.nl/guiding-is-a-profession self-awareness, while on the other, inspire educators to work with
museum guides on the design, or redesign, of a tour.
This observation form can be used by the educator to make notes
during the tour, and was developed to be used in conjunction with a Museum guide:
self-evaluation during a post-observation conversation between an
‘I’ve been a museum guide for a long time, and this is a
educator and museum guide. During the post-observation conversation,
the museum guide brings up the strengths and points for improvement new way to challenge me to improve my performance.’
for each area, based on his/her self-evaluation. The educator uses the
observation form to add to, or adjust, how the museum guide gauges
his or her own performance. Step 3: RELEVANCE
The world will continue to change, and museums will change with it,
Circle the scores: 1 (=Insufficient) 5 (=Excellent) evolving new insights on ways to share information, focusing on new
Handling the group within the museum environment audience groups and reflecting social or political developments. Keeping
pace with change means always knowing your current audiences and their
No Competency Score Comments
interests and needs, and those of new visitor groups. And always looking
1 Open attitude 12345 for new ways to touch and inspire your audience, even if that demands
2 Makes immediate rapport 12345 new kinds of tour guiding, and specific training for new groups of visitors.
Which is why the third cornerstone of professionalism is the perennial
3 Assesses the group 12345 question: do the choices made still hold good, and which adjustments, if
4 Shows interest in the group 12345 any, need to be made.

5 Creates a safe environment 12345
6 Creates a positive and relaxed

atmosphere 1 2 3 4 5
7 Is energetic and inspiring 12345
8 Is sensitive to the group dynamics 12345
9 Is able to cope with resistance 1 2 3 4 5
10 Takes the lead 12345
11 Protects the objects 12345
12 Provides a clear beginning, middle,

and end 12345
13 Is aware of the environment and

positioning 12345
14 Keeps an overview 12345 A guided tour for people with Alzheimer’s

52 Work of art: Karel Appel, Man and animal, 1949 53
Further reading
As a museum guide or museum educator you always search for new inspi- Dutch websites on domain specific learning in art and history
ration and perspectives. Here are some reading tips in English and Dutch www.expertisecentrum-kunsttheorie.nl
that might contribute to this. www.ivgd.nl
Articles resulting from the research project

Schep, M., van Boxtel, C., & Noordegraaf, J. (2014). Wat je kunt leren van
een educatieve rondleiding in het museum. Cultuur+Educatie 42, 33-54.
Schep, M., van Boxtel, C., & Noordegraaf, J. (2017). Competent museum
guides: defining competencies for use in art and history museums. Museum
Management and Curatorship. doi:10.1080/09647775.2017.1387590.
On learning and teaching in history museums

Van Boxtel, C., Grever, M., & Klein, S. (2016). Sensitive Pasts. Questioning
Museum guide:
Heritage in Education. New York/Oxford: Berghahn.
Grever, M., & van Boxtel, C. (2014). Verlangen naar tastbaar verleden: erfgoed, ‘I read a lot, because if you have a great deal of knowledge
onderwijs en historisch besef. Hilversum: Verloren. at your fingertips, it’s easier to improvise, and easier to
Marcus, A.S., Stoddard, J.D., & Woodward, W.W. (2012). Teaching History with make connections between things. You can also offer guests
Museums. Strategies for K-12 Social Studies. New York/London: Routledge.
something more than the standard story. You always need
On learning and teaching in art museums juicy stories, which you can often find in (old) books and art
Burnham, R., & Kai-Kee, E. (2011). Teaching in the art museum. Interpretation as journals.’
Experience. Los Angeles: J. Paul Getty Museum.
Ritchhart, R., Church, M., & Morrison, K. (2011). Making thinking visible: How
to promote engagement, understanding, and independence for all learners.
Guiding is a profession Further reading

San Francisco: Jossey-Bass.
Ward, O. (2014). Ways of Looking: How to Experience Contemporary Art. London:
Laurence King Publishing Ltd.
De Rynck, P., & Adriaenssens, I. (Eds.). (2001). Volgt de Gids? Nieuwe
perspectieven voor educatie en gidsing in kunstmusea. Brussel: Koning
Boudewijnstichting.
On the professionalization of tour guides

Katzenstein, P., & Koster, I. (2014). I ask for open minds. Amsterdam: Joods
Historisch Museum.
Grenier, R.S. (2009). The Role of Learning in the Development of Expertise
in Museum Docents. Adult Education Quarterly 59(2), 142-157.
54 55
Colophon Fabian Landewee
Berbe Rinders
This publication contains an abridged version of the results of the PhD Brenda Roos
research conducted by Mark Schep from 2014 to 2017 into the competencies Kees Steenman
required of a good museum guide. The research was initiated by the Bibi Veth
Rijksmuseum, the Stedelijk Museum and the Van Gogh Museum in Tomek Whitfield
Amsterdam, and the University of Amsterdam. The research was made
possible by Design
Taluut Ontwerp, Utrecht
Print
Drukkerij Zalsman, Zwolle
Website
The forms listing competencies and learning outcomes, and the evaluation
forms, can be downloaded from www.lkca.nl/guiding-is-a-profession
© Copyright 2017 2017 publication and texts Rijksmuseum Amsterdam,

Stedelijk Museum Amsterdam, Van Gogh Museum, University of
Amsterdam
© Copyright 2017 image Rijksmuseum Amsterdam, Stedelijk Museum
Editors Amsterdam, Van Gogh Museum
Mark Schep, Pauline Kintz Permission to reproduce the work by artists affiliated with a CISAC
organisation was arranged through Pictoright, Amsterdam
With contributions by © c/o Pictoright Amsterdam 2017
Noortje Bijvoets
Carla van Boxtel ISBN/EAN 978-90-5006-201-5
Herman van Gessel
Frouke Jorna The quotes in this publication are from museum guides who work for
Guiding is a profession Colophon

Marie-Thérèse van de Kamp the Rijksmuseum, the Stedelijk Museum and the Van Gogh Museum in
Marie-José van Schaik Amsterdam.
Translation Dutch-English
Lisa Holden All rights reserved. No part of this publication may be reproduced, stored
in a retrieval system, or transmitted in any form, or by other means,
Photography electronic or otherwise, without the prior written permission of the
Tomek Dersu Aaron publisher.
Ernst van Deursen
Vera Diest
Hélène de Koekkoek
56 57
Thanks to
the museum guides, workshop docents and actors who work for the Elke Kuiper Charlotte ten Raa
Rijksmuseum, the Stedelijk Museum and the Van Gogh Museum in Amsterdam. Paul van der Laan Anita Rademakers
Charlotte Labrie Mick Rijnders
Michelle van Aggelen Stefanie van Gemert Ruud Lanfermeijer Lisa de Rooy
Faustina Alonso de Florida Thijs Gerbrandy Jolinda de Lang Inge Roseboom
Esmé Apeldoorn Rian Gerritsen Eva van Leeuwen Monica de Ruiter
Leontien Apekrom Maaike Glerum Tyas Leeuwerink Amber van Schagen
Vanessa Barbera Femke Goedhart Martine Lemmens Inge Schagen
Elena Beckman Caroline de Graaf Anita Liemburg Rogier Schippers
Tessel Beek Marije Gubbels Yuri van der Linden Henny Schueler
Marleen van Beek Marie-Claire Guy Tjyying Liu Marlieke Schoen
Henk van der Beek Marion Hamburg Mirjam Lobbes Mirte Simons
Robert Beekelaar Cécile van Hanja Rocco van Loenen Isabel Sluitman
Marjorie van Beekum Aart van Harten Fatin van de Luijster Johannes Steendam
Jorinde ten Berge Michelle Heemeijer Anita Manshanden Véronique Steijn
Toon Berghahn Peter van Heeringen Anna Martens Bastiaan Steverink
Sarah Boccardo Dorine Henning Mieke Marx Viktor Tans
Sarai van de Boel Teun Hibma Suzanne Mascini Elle Tat
Sjoukje Böing Frans Henk Hoekstra Anne Masselink Angela Tellier
Natasja Boezem Iona Hogendoorn Annette Matser Lisouk Thörig-van de Pol
Bo Bojoh Meinke Horn Odile Matteoda-Witte Anita Twaalfhoven
Marloes Bolink Lot Houtepen Vera van de Meeberg Robert Uterwijk
Agnes Bompy Minus Huynh Franziska Menge Frouke ten Velden
Ina Brekelmans Elma van Imhoff Sjoukje van der Meulen Lotte Verdonk
Frédérique Brinkerink Carien Kanters Judith Montens Roos Verkleij
Wouter Brouwers Lianne Karel Romy Muste Bregtje Viergever
Guiding is a profession Thanks to

Esther Bruggink Brian Kersbergen Maya Mutlu Isabelle Vigier
Lottie de Bruijn Stan Klamer Noor Nuyten Anneloes Vink
Wilma Caris Albert Klein Kranenburg Alexandra Oostdijk Anne van Vlerken
Frédérique Chauvet Margreet Koeman Barbara Oudejans Judith Vogels
Melanie Ciuraj Tineke Koldewey Ingrid Pasmans Irma de Vries
Evelyn Cnossen Dennis Költgen Maartje van Peijpe Femke van der Waa
Chantal Cossais-Giel Ute Kohlmann Peter Pelkmans Micha van der Wal
Sander Daams Marten Koning Hugo Penning Lisanne Wepler
Nynke Deinema Arnout van Krimpen Paola Pirovano Marijke Westerveen
Anne Dozy Yvonne Kuhfus Annick van Pol Lies de Wolf
Morena van der Duin Robin Kuhlemeier Cindy Pols Floortje Zonneveld
Anna Florido Natalie Kuik Sabien Poutsma Noek Zwaan
58 59
The museum guide
in art and history
museums

Museum guide speaking about the profession: Museum guide speaking about the profession:
‘It’s so amazing to start with an object, let the children ‘I always ask myself: why am I doing this? To make children
experience all sorts of things, and then return to the object. aware of their surroundings, and how they think. And
This interaction makes it so rich: looking, feeling, discovering, encourage them to think critically and pro-actively, I think
imagining, and then going back to looking.’ that’s essential, because that’s what matters in life, not dates
and facts.’

Guiding Is A Profession

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Guiding is a profession

The museum guide

Editors Mark Schep, Pauline Kintz

With contributions by Noortje Bijvoets, Carla van Boxtel, Herman van

Editors Mark Schep, Pauline Kintz

With contributions by Noortje Bijvoets, Carla van Boxtel, Herman van

Chapter 2 What do you learn? 17

Guiding is a profession Content

Guiding is a profession Introduction

Faculty of Social and Behavioural Sciences UvA

Faculty of Humanities UvA

Guiding is a profession Introduction

Guiding is a profession Chapter 1 Identity

What do you hope to achieve?

What can you tell people with your collection?

What do you hope to achieve?

Guiding is a profession Chapter 1 Identity

And the museum tour?

And the museum tour?

Guiding is a profession Chapter 1 Identity

Learning can be approached in a variety of ways, and works differently for

Guiding is a profession Chapter 2 What do you learn?

Guiding is a profession Chapter 2 What do you learn?

Object based learning in the museum

Category Learning outcome Category Learning outcome

The pupil The pupil

Skills 13 learns to situate the emotions, the thinking and the

Guiding is a profession Chapter 2 What do you learn?

Develops creative thinking skills

Guiding is a profession Chapter 2 What do you learn?

The competencies of a museum guide

Guiding is a profession Chapter 3 Competencies

Guiding is a profession Chapter 3 Competencies

Girl, aged four, after a tour:

Guiding is a profession Chapter 3 Competencies

The museum guide encourages the students to participate

The synergy of competencies

All competencies can reinforce and compensate each other. A strong

Guiding is a profession Chapter 3 Competencies

When creating a common thread, a number of different competencies also

Flexibility is the core of all competencies

in art and history museums. Museum Management and Curatorship. doi:10.1080/09647775.2017.1387590.

of the museum guide in art and history museums

To cite this list:

in art and history museums. Museum Management and Curatorship. doi:10.1080/09647775.2017.1387590.

of the museum guide in art and history museums

To cite this list:

A list of relevant competencies for a museum guide has practical value in

Guiding is a profession Chapter 3 Competencies

Guiding is a profession Chapter 3 Competencies

Guiding is a profession Chapter 4 Professionalism

Guiding is a profession Chapter 4 Professionalism

Given that the profession of museum guide is a solitary one, opportunities

At the Rijksmuseum, in what’s known as Cups of Wisdom, museum guides

Guiding is a profession Chapter 4 Professionalism

Museum guide speaking about the profession:

Guiding is a profession Chapter 4 Professionalism

Abridged version of the self-evaluation form

This self-evaluation comprises scaled questions and open questions. You, as