Education has become an important issue in present museum activities. However, the perception of a museum educator has changed over the last decades. Responding to the needs, museums have changed the scope and the form of their educational effort. Using the basic curriculum of general education in primary schools, the archeoWZORY Project has developed a wide educational offer promoting interdisciplinary approach to prehistory themes (Fig.1, 2).
The project concept was explained using the case study of the most popular activity, i.e. ”Peru Pattern Book”, It discusses, among other things, artefacts from The Peru collection of Władysław Kluger (Fig. 3).
The aim of the archeoWZORY educational project is also to implement two tasks: ”inspirations” and”reconstructions”. The frst task is aimed to raise the awareness of extraordinarily rich sources of prehistoric patterns and ornaments as a collection of motifs inspiring their free processing and use to create a new quality (Fig. 4–6). Another objective is to familiarise the participants with the specific handicraft technique, its origins and development, which can be implemented in a few different aspects (Fig. 7–9).

Education has become an important issue in present museum activities. However, the perception of a museum educator has changed over the last decades. Responding to the needs, museums have changed the scope and the form of their educational effort. Using the basic curriculum of general education in primary schools, the archeoWZORY Project has developed a wide educational offer promoting interdisciplinary approach to prehistory themes (Fig.1, 2).
The project concept was explained using the case study of the most popular activity, i.e. ”Peru Pattern Book”, It discusses, among other things, artefacts from The Peru collection of Władysław Kluger (Fig. 3).
The aim of the archeoWZORY educational project is also to implement two tasks: ”inspirations” and”reconstructions”. The frst task is aimed to raise the awareness of extraordinarily rich sources of prehistoric patterns and ornaments as a collection of motifs inspiring their free processing and use to create a new quality (Fig. 4–6). Another objective is to familiarise the participants with the specific handicraft technique, its origins and development, which can be implemented in a few different aspects (Fig. 7–9).