NORDIC INSPIRATION

NORDIC INSPIRATION – FRESH APPROACHES TO MUSEUM LEARNING is a special issue of MID Magasin # 33, 2015. – FRESH APPROACHES TO MUSEUM LEARNING />> © MID – Museum Communicators in Denmark, www.museumformidlere.dk ISSN 1904-1721

The publication is one result of the project The best of Nordic museum communication – fresh network approaches from Nordic associations of museum education (NAME) 2015. The project aims to launch a Nordic network of museum associations in the field of education and communication. The project partners: MID - Museum Communicators in Denmark, www.museumsformidlere.dk PEDAALI. The Finnish Association for Museum Education, www.pedaali.fi FISOS – Icelandic Museums Association, www.safnmenn.is THE SECTION FOR EDUCATION, Norwegian Museum Association, www.museumsforbundet.no FUISM – The Association for educational development in Swedish museums, www.fuism.se

COVER PHOTO Museum Stavanger. Photo: Must/­Elisabeth Tønnese. Relates to article Supersans p. 53,

EDITING Tine Seligmann and Dorthe Godsk Larsen

EDITORIAL BOARD Maiju Tuisku, Eriika Johansson and Janna Jokela, Finland; Lena Lindgren and EvaTua Ekström,­ Sweden; Per Helge Nylund and Ida Lützow-Holm, Norway; Bergsveinn Þórsson and Bryndis Sverrisdóttir, Island; Dorthe Godsk Larsen and Tine Seligmann, Denmark.

TEXTS All texts and interviews are contributions from highly dedicated museum staff and educators from the Nordic countries. We thank them warmly for their contributions which have developed this publication to a high professional, academic and didactic standard.

GRAPHIC DESIGN Sysser Bengtsson, www.sysserbengtsson.dk

TRANSLATORS Finland by Bellcrest Käännökset Oy; Denmark by René Lauritsen and Lene Søby Rye Nørgaard; Iceland by Anna Yates; Sweden by Whitehouse Word Trade, Linköping; Norway by Knut-Arne­­ Hareide

PRINTED BY Grafisk Rådgivning

The project NAME, the network meetings and the publication are funded by the Nordic Culture Point, www.norden.org

NORDIC ASSOCIATIONS OF MUSEUM EDUCATION Content

FOREWORD 8

ASSOCIATIONS 10

/>> AUDIENCE DEVELOPMENT 15 SCHOOLS & EDUCATION 59 Mobile Ploys in the Museum FI / 16 Book and project: Learning Museum. Collaborative Partnerships between Museums, ­

Despiced Love. Norwegian women - German soldiers NO/ 18 Teacher Traning Colleges and Schools DA/ 60

The Smartpath – how to make a discovery walk with limited resources? NO/ 24 Master workers at the museum FI / 64

The Past on a Scroll NO/ 26 Green Actions: Arts and the Environment IS/ 70

Who has the right to name a place? SW/ 28 The Arrival SW/ 76

Uncovering History IS/ 78

Murder in the Furnace – a Criminal Dilemma from 1819 NO/ 80 COMMUNITY & COLLABORATION 33 Interface learning: Meshing communities of learning practice DA/ 86 Personal stories are the most compelling DA/ 34

Romani Voices SW/ 36

Art leaves a trace – museums as a source of well-being at work FI / 41 MUSEUM DEVELOPMENT 93

Art and Culture Companions – lead to new experiences FI / 46 Medical Museion – typically atypical DA/ 94

Meeting with memories SW/ 48 The Exhibition Points of View. Museum educator and curator working side by side IS/ 96

(be)come green! – sustainability and cultural heritage IS/ 50 Moesgaard – the museum of the future lets man take centre stage DA/ 102

Supersans (supersense) NO/ 52 The prism of sustainability – a model for research and organisational set-ups? DA/ 107

The Circus Horses are Under the Weather – a pedagogical restoration project FI / 112

Homestead – somewhere in Sweden SW/ 114

7 Foreword

/>> This publication is a selection of good practices of museum education and communica- The contributions in the publication have been grouped into three different presenta- tion from five Nordic countries. Many of the projects presented here have been awarded tion forms - articles, vox pops and photo spreads - and four different categories, to make both nationally and internationally. The publication aims to inspire museum profes- it easier for the reader to concentrate on different topics of interest. Nevertheless, the sionals and other educational staff in museums and similar cultural (heritage) institu- categories have no sharp divides, and many projects would fit into several categories. tions which are striving to engage their audiences. The selection of the projects included has been made to show the diversity, expertise and the adaptability of our profession; • Audience development: Projects which help to create solutions and methods for, in education, in society, for the individual and for museums. We wish to give credit and together with, specific audience groups; in which the goal is to include and to all the amazing work being done in museums by museum educators in the Nordic facilitate the museum experience in different ways. countries and strengthen the role and status of museum education and communica- • Community & collaboration: Projects being done in collaboration with tion within the museums organization and in the museum world in general. The pub- communities, where the goal has been to bring about change, create inclusion and lication also marks a starting point of an extended cooperation among museum educa- affect individuals and society. tors in the Nordic countries. • Schools & education: Projects done in cooperation with schools/students at different educational levels, where the goal has been formal or informal learning The organisations behind the publication are five national associations of museum and constructing knowledge, thereby highlighting the usefulness of museums as a ­education and communication professionals from Denmark, Finland, Iceland, Norway, learning environment and resource. and Sweden, most of which are funded only by membership fees. The cooperation net- • Museum development: Projects where museums have challenged themselves and work started by this publication will in the future provide further up-to-date informa- their traditional ways of working, where the goal has been to develop new methods tion, communication and peer learning possibilities to all its individual members via that can lead to a more diversified experience for the visitor. an additional, digital platform. All in all, the aim of these actions is to strengthen the professional skills of the members of the associations and to provide opportunities for co-operation across the Nordic countries and internationally. In this publication, which We would like to warmly thank the Nordic Culture Point for their support to network is available both as a hardcopy and an electronic publication, each article is printed in meetings and this publication which have given us the opportunity to contribute to the original Nordic language as well as in English to provide easy access to all interested development within the field of museum education and communication in the Nordic readers and to a broader international audience. countries and internationally.

8 9 Associations

FUISM MID - Museumsformidlere i Danmark

FUISM är en ideell förening bildad FUISM is a nonprofit organization Foreningen Museumsformidlere i MID – Museum Communicators in 1971. Föreningen är öppen för alla som formed in 1971. The association is open ­Danmark er en landsdækkende faglig Denmark­ . The association ­Museum ­arbetar med pedagogisk verksamhet to everyone working with educational ­forening stiftet i 1999, der har til for- Communicators in Denmark is a vid ­museer och andra kulturinstitu- ­activities at museums and other mål at styrke, udvikle og synliggøre national­­ professional association tioner. Syftet med föreningen är att cultural institutions. The purpose of the ­arbejdet med formidling – ­herunder founded in 1999, whose purpose is stärka musei­pedagogiskt och kultur- association is to strengthen museum- ­udstillinger og undervisning – ved to strenghten, develop and publicize pedagogiskt ­arbete och deras utövare. and cultural educational staff and their ­danske museer og lignende kulturin- ­museum communication – including ­Föreningen har cirka 250 medlemmar. professional work. The association stitutioner samt fremme samarbej- exhibitions and ­education – in ­Danish Varje år arrangeras möten, konferen- has about 250 members. Every year det om museumsformidling lokalt, museums as well as cultural insitu- ser och seminarier för fortbildning och meetings, conferences and seminars ­regionalt, nationalt og internationalt. tions, and to promote the corporation ­erfarenhetsutbyten mellan medlem- for training and experience exchange MiD har 300 medlemmer og arrangerer in museum communication ­locally, marna runt om i Sverige. FUISM delar between the members around Sweden medlems­møder, konferencer, ekskur- ­regionally, ­nationally and interna­ årligen ut priset för ”Årets pedagogiska are arranged. FUISM also annually sioner og studieture. Foreningen arbej- tionally. projekt”, som ett av flera sätt att lyfta awards the prize for ”Best educational der for ­r­epræsentation i relevante fora MiD has about 300 members and fram nyskapande och framgångsrika project”, as one of several ways to i den danske og i den internationale ­organizes members meetings, confer- projekt inom branschen. highlight innovative and successful museums­verden og arbejder endvidere ences, ­excursions and study trips. The projects in the field. for at ­repræsentere ­museumsverdenen ­association strives to be represented in På FUISM's webbplats: ­ i andre formidlingssammenhænge. the Danish and international ­museum www.fuism.se och på www.facebook. On FUISM's website: www.fuism.se and ­Foreningen redigerer og udgiver et world and on top of that works to com/fuismsverige kan du läsa mer om www.facebook.com/fuismsverige you ­medlemsblad om museumsformidling. ­represent the museum world in other vad som är på gång. can read more about what´s on. Som medlem kan optages enhver, der communcational contexts. ­arbejder med formidling på museer og The association edits and publishes lignende kulturinstitutioner.­ a members magazine on the sub- ject of museum communication. Any- Læs mere om MID på one who works with communication www.museumsformidlere.dk in ­museums or other similar cultural ­institutions can become a member.

Read more about MID on www.museumsformidlere.dk

10 11 Seksjon for Formidling under FÍSOS – Félag ­íslenskra Norges Museumsforbund safna og safnmanna

Seksjon for Formidling (SFF) er ein sek- The Section for Education, Norwegian Félag íslenskra safna og safnmanna var FISOS – Icelandic Museum ­Association sjon under Norges museumsforbund, Museum Association­ is open for all stofnað árið 1981 í þeim tilgangi að efla The Icelandic Museum Association open for alle som driv med utoverretta ­museum professionals in Norway who samstarf og menntun þeirra sem starfa includes both institutions and museumsarbeid. SFF oppstod ved at are involved in educational museum á lista-, minja- og náttúrufræðisöfnum individual members. It was founded in Norsk Museumspedagogisk Forening, work. The section was established when á Íslandi. Meginmarkmið félagsins er 1981 to enhance co-operation between NMF, og Norske kunst- og kulturhis- the Norwegian Museum Education As- að vera umræðu- og samráðsvettvangur museum professionals working in toriske museer (NKKM) gjekk saman i sociation and the Norwegian Art- and allra safna og auka veg og virðingu historical, art and natural history ­Norges museumsforbund i 1996. Cultural-history museums merged into safna og safnastarfs á landinu. Félagið museums in Iceland. The association Norsk Museumspedagogisk Forening the Norwegian Museum Association in ályktar reglulega um safnamál, annast aims to be a venue for co-operation and vart starta av ei gruppe entusiastar i 1996. samskipti við safnmenn og hliðstæð discussion between all museums and 1976. Føremålet var å arbeide for og å ut- The Norwegian Museum Education samtök erlendis. Þar að auki heldur það museum workers in Iceland. vikle det utoverretta arbeidet ved mu- ­Association was started by a group of mánaðarlega fyrirlestra og heldur uppi Its main goals are examining issues sea. Foreininga skipa studieturar til mu- ­enthusiasts in 1976. The aim was to work virkum póstlista safnmanna. in the Icelandic museum field, and to seum i inn- og utland, kurs med emne for developing public-oriented activi- Það er í stefnu félagsins að veita improve knowlegde and awareness kring alle typar utoverretta arbeid, og ties in museums. The association led starfsmönnum safna starfsfræðslu og of all things regarding museums. In årsmøte med faglege seminar. Pedimus study trips to museums in Norway and endurmenntun. Farskóli safnmanna recent years more emphasis has been on var frå starten av seksjonen sitt med- abroad, courses with themes tied to all er haldinn árlega og er hann hýstur Scandinavian and international ­ lemsblad med faglege artiklar og rappor- aspects of museum public services and af söfnum á mismunandi stöðum cooperation with similar organisations. tar frå kurs og studieturar. held an ­annual meeting with a seminar. á landinu. Á farskólanum er tekið The association organizes an annual I dag er seksjonen mest oppteken av å The journal Pedimus was published reg- á faglegu starfi safna en einnig er conference for those who work in the få i stand gode nettverk for museums­ ularly and distributed to all members. þetta verðmætt tækifæri til að hitta museum field, providing learning formidlarar, styrke merksemda om- Today, the Section concentrates on set- samstarfsfólk víða að af landinu. opportunities and continuing kring formidling i musea og gje kurs i ting up good networks for all dissemina- education. It is also a great opportunity ­relevante og aktuelle tema til medlem- tors in museums, increase the attention Frekari upplýsingar má nálgast á to network and meet other colleagues. mane. Frå 2010 av har vi delt dei beste on museum communication issues and heimasíðu félagsins: http://www. The annual conference is held at various ­formidlingsideane i landet med kvaran- offer courses in relevant and hot top- safnmenn.is locations around Iceland, hosted by dre på seksjonens ”Idetorg”, kor dei aller­ ics for our members. Since 2010 we’ve different museums each year. beste og heidrast med diplom. I styret shared the best dissemination ideas in for seksjonen freistar vi ha alle lands­ Norway at our annual ”Ideas market”, For more information, please visit the delar og alle typar museum representert. where the very best ideas get an award. association‘s website: http://www. The section has some 100+ members, safnmenn.is Les mer: www. museumsforbundet.no and in the board we aspire to have repre- sentatives from all parts of Norway and all types of museums.

Read more: www. museumsforbundet.no

12 13 Pedaali

Museopedadoginen yhdistys Pedaali The purpose of the Finnish Association Ry:n tarkoitus on edistää museo­ for Museum Education Pedaali is to pedagogista toimintaa, vahvistaa promote museum education and to museopedagogien­ ammattikunnan reinforce the identity of the museum identiteettiä ja arvostusta sekä tukea education profession and increase ­jäsentensä ammatillista kehittymistä. its overall appreciation. The goal of Yhdistys haluaa kehittää jäsentensä the association is to function as a valtakunnallista ja kansainvälistä forum for active and future museum ­verkostoa, parantaa alan ammattitaitoa educators, provide training, and work ja koulutusmahdollisuuksia. Yhdistys actively in the field to promote museum osallistuu museoiden ja muiden education. In meetings and events AUDIENCE DEVELOPMENT kulttuurilaitosten­ pedagogista organized by Pedaali the members have />> toimintaa ja yleisösuhteita koskevaan the opportunity to network, meet other keskusteluun, ottaa kantaa, tekee professionals and visit museums and yhteistyöhankkeita, tiedottaa sekä other interesting locations. Pedaali järjestää erilaisia tapahtumia ja Annual Award in Museum Pedagogy seminaareja. Yhdistys myöntää is announced every spring. The vuosittain Vuoden museopedagoginen association has it’s own publication teko -palkinnon. Yhdistyksellä on oma series Pedafooni. Pedafooni-julkaisusarjansa. The Finnish Association for Museum Yhdistys on perustettu keväällä 2005 Education Pedaali was established ja jäseniä on vuonna 2015 noin 220. in 2005. In the year 2015 we have ­Jäseneksi voi liittyä kuka tahansa approximately 220 members. Anyone ­aiheesta kiinnostunut. interested in museum education can become a member of Pedaali. Lue lisää: www.pedaali.fi Read more: http://www.pedaali.fi/en

14 AUDIENCE-DEVELOPMENT

FI /

Mobiilimetkaa museossa Mobile Ploys in the Museum

PROJEKTISUUNNITTELIJA OUTI PUTKONEN, PHOTO: KAROLIINA LEISTI, MEDIA EDUCATION CENTRE METKA. MEDIA EDUCATION LEISTI, KAROLIINA PHOTO:

TEKNIIKAN MUSEO, SUOMI CENTRE METKA. MEDIA EDUCATION LEISTI, KAROLIINA PHOTO:

BY OUTI PUTKONEN, PROJECT DESIGNER, Mediakasvattaja olet sinä! Mobiilimetkaa museossa Tarinaa rakentamassa. Työpajan viimeisessä vaiheessa media- MUSEUM OF TECHNOLOGY, FINLAND – iloa ja oppia mediavälineiden avulla -hankkees- tuotoksista koottiin näyttely. Työvaihe konkretisoi, kuinka monta sa oli tavoitteena lisätä museoalan ammattilaisten erilaista tarinaa saatiin samoista aineksista tekemällä hieman mediakasvatustaitoja sekä antaa eväitä mediakas- eri rajauksia. Kriittinen medialukutaito auttaa avaamaan näitä vatustyöhön 9–12-vuotiaiden lasten parissa. Kuvassa valintoja. hanketyöntekijät Outi Putkonen ja Minna Piirainen FAKTA / FACTS / kouluttamassa. Building a Story. In the final phase of the workshop, an exhibition Projekti: MobiiliMetkaa­ ­ Project: Mobile Ploys in the was compiled of the media content produced. This phase showed Media Educator – That’s You! The goal of the ”Mobile Museossa – iloa ja oppia Museum­ – Amusement and in a concrete manner how many stories it was possible to create Ploys in the Museum – Amusement and Education mediavälineiden­ avulla ­Education with Media Devices from the same content by choosing slightly different focal points. with Media Devices” project was to improve media Yhteistyökumppanit: Tekniikan Partners: Museum of Technology, Critical media literacy increases awareness of such choices. education skills among museum professionals and museo, Mediakasvatuskeskus Media Education Centre Metka provide them with tools for media education work Metka Ry Target group: Children aged 9–12 aimed at children aged 9–12. Pictured here are pro- Kohderyhmä: 9–12-vuotiaat Resources required: ject employees Outi Putkonen and Minna Piirainen, Tarvitaan: Hardware: Computer, tablet providing training. Työkalut: tietokone, tabletit devices (Android or iOS), (Android tai IOS), wifi / langaton Wi-Fi/wireless Internet access,

internet, väriprintteri colour printer. CENTRE METKA. MEDIA EDUCATION LEISTI, KAROLIINA PHOTO: Ohjelmisto: Aurasma Studio Software: Aurasma Studio (nettipohjainen), nettiselain, Prezi (browser-based), Web browser, Oivalluksia ja elämyksiä. Pajan (tai muu presentaatiotyökalu) Prezi (or other ­presentation työvälineet, lisätty todellisuus Sovellukset: Aurasma, Camera, software) ja Strip Designer, avasivat Strip Designer (tai vastaava Applications: Aurasma, ­Camera, vierailijoille valintojen maailman sarjakuvatyökalu Androidille), Strip Designer (or similar comic ja tarjosivat mahdollisuuden Dropbox book creator for Android), omaan ilmaisuun ja tulkintaan Dropbox­ medialukutaidon väreillessä Contact: pinnan alla. Välineet vahvistivat Outi Putkonen,­ Contact: osallistujien kykyä tulkita, projektisuunnittelija,­ Mobiilimetkaa­ Outi Putkonen, Project ­Designer, tuottaa ja jakaa erilaisia museossa -hanke Mobile Ploys in the Museum mediasisältöjä. outi.putkonen@tekniikanmuseo. outi.putkonen@tekniikanmuseo. fi, Anu Ruhala, toiminnanjohtaja, fi, Anu Ruhala, ­Executive Manager, Insights and Experiences. The workshop tools – augmented ­Mediakasvatuskeskus Metka Ry Media Education Centre Metka, MUSEUM OF TECHNOLOGY. OUTI PUTKONEN, PHOTO: [email protected] [email protected] reality and Strip Designer –

Uutta mediaa tutkimassa. Toimintamalli keskittyi ­offered visitors a world of MUSEUM OF TECHNOLOGY. OUTI PUTKONEN, PHOTO: Linkit: Mediakasvatusta lisätyn Links: Media Education through alusta asti työpajatoiminnan ja lisätyn todellisuuden choices and an opportunity ­todellisuuden avulla! Toimintamalli Augmented Reality – An ­Operating ympärille. Työpajan osiota testattiin yhdessä lasten ja for personal expression and Pintaa syvemmältä. Lisätyn todellisuuden avulla esineitä voidaan museoiden yleisötyöhön Model for Audience Work at museoalan ammattilaisten kanssa. interpretation against the rekonstruoida, tutkia pintaa syvemmältä ja niitä voidaan liikutella http://mediametka.fi/wp-content/­ Museums,­ http://mediametka.fi/ backdrop of media literacy. The ajassa ja paikassa. Oppiminen on yllätyksellistä ja mielekästä! In Search of New Media. From the very beginning, uploads/2014/12/toimintamalli_­ wp-content/uploads/2014/12/­ tools enhanced their ability to the operating model focused on workshop Scratching the Surface. Augmented reality makes it possible to mobiilimetkaa_museossa.pdf­ toimintamalli_mobiilimetkaa_­ interpret, produce and share operations and augmented reality. The workshop reconstruct objects, explore them beneath the surface and move museossa.pdf media content. element was tested in cooperation with museum them back and forth in time and place. Learning is meaningful professionals and children. and full of surprises!

16 17 AUDIENCE-DEVELOPMENT

Forelsket og foraktet. Norske kvinner – tyske soldater

Fra dialogrommet / From the dialogue room. AV ANNE HERRESTAHL & IDA LÜTZOW-HOLM, MUSEUMSPEDAGOGER FAKTA /

Bymuseet i Frognerparken i Oslo er ett av fire museer i den konsoliderte enheten NO/ I Aftenposten på ungdomssiden i 2009 skrev ”Addy” med overskriften ”En skamplett”: Oslo Museum. ”Hvorfor har ikke jeg lært om den grusomme behandlingen av tyskerjentene på sko­ - Utstillingen er et len”? 1 Det var da vi bestemte oss for at den nye utstillingen ”Forelsket og foraktet” blant Brudd-prosjekt, et nett- verk under Norsk Kultur- annet skulle ha elever i den videregående skolen som målgruppe. Og når vi nå opplever at råd som diskuterer hvordan utstillingen har truffet unge mennesker så bra, er nok noe av forklaringen at ­utstillingen man formidler vanskelige ­historier i museene. er laget for dem. Som ansvarlige for utstillingen har vi som pedagoger fått en nærhet til Målgruppen er ungdom stoffet og et eierskap som påvirker formidlingen. Vår erfaring er at museumspedagoger­ og voksne. kan ha mye å tilføre når det gjelder utstillingsproduksjon, grunnet den brede erfaringen Den kulturelle skolesekken har gitt støtte til formid- med hvordan skole og ulike publikumsgrupper bruker utstillinger. lingen til skoleklasser i den videregående­ skolen. Formidlet av ­pedagoger INTERAKSJON OG MEDVIRKNING med kulturhistoriske fag. Ved hjelp av rollespill utfordres elevene til å gå inn i historien og selv iscene­ Pedagogene har også sette enkelthendelser. Det å gå inn i roller, skjerper sansene og deltakernes hatt et hovedansvar for utstillingsprosjektet.­ oppmerksomhet. På danseplattingen får guttene ta på seg naziuniformer, Dansemoro i tyske uniformer / Dancing in uniforms from WWII. Prosjektet vant Idétorget, og fra en sveivegrammofon spilles tysk dansemusikk fra tiden. Ved å rote i museenes formidlingspris, i 2014 og står ut novem- lommene finner soldatene små gaver de kan gi til jentene, som også får på ber 2015. seg tidsriktige klær. Alle kan med egne øyne se hvor kjekke skolekamera- tene deres blir. Kontakt: [email protected] eller [email protected] FORBUDTE FØLELSER Vi forteller om de tyske soldatene som var utkommandert til Norge under

krigen, i alt 400 000 i løpet av fem lange år. De fleste var menige soldater som 1. Tyskerjentene, eller ”tysker­ slett ikke hadde spesielle ønsker om å være i Norge. Likevel var de ofte sta- tøsene” som de også ble kalt, er en samlebetegnelse på nor­ sjonert på samme sted over lengre tid. Er det rart at de ville bli kjent med de ske jenter og kvinner som på norske jentene? Soldatene var både høflige og komplimenterende; er det forskjellige vis hadde forhold til tyske soldater og offiserer under rart at jentene falt pladask? Og dessuten: Er det forbudt å forelske seg? krigen.­ I samtiden ble tyskerjentene stemplet som landssvikere på lik linje med PHOTO © EGGANS ARKIV © EGGANS PHOTO ­nazister og medløpere. Ungt, forelsket par = ”følelsesladet formidling” Vi spiller hemningsløst på følelser i formidlingen. Tema er jo kjærlighet, og

Young couple in love hvem har ikke vært forelsket? Men noen elever kan fortsatt mene at det er = ”emonional dissemination” utilgivelig det de norske jentene gjorde, og utsagnet ”Du gå’kke til sengs Forhør av en ”tyskerjente” / Interrogation of a girl. med fienden vet du!” gir grunnlag for diskusjon i gruppen. En radiostemme forteller historien om en jente som blir skamklippet. Var det en passende PHOTO C KRÜGER © OSLO MUSEUM C KRÜGER © OSLO PHOTO

18 19 AUDIENCE-DEVELOPMENT

straff? I en nisje har vi laget et forhørsrom. Tusenvis norske jenter og kvinner ble hanket igjen den farlige gruppedynamikken som gjør at mange lar seg rive med i trakasseringen inn og måtte besvare de mest intime spørsmål under forhør, før de ble internert i leire og mobbingen av jevnaldrende. Det skal ofte ikke så mange feilskjær til fra offerets side. sommeren -45. Elevene iscenesetter utspørringen på bakgrunn av originalt materiale. Det mest sentrale temaet i utstillingen er likevel den forbudte kjærligheten. Jentene var PERSONLIGE HISTORIER sammen med fienden. For de fleste nordmenn vitnet handlingene til disse kvinnene De personlige historiene i utstillingen er viktige. De viser hvor ulike skjebner tysker­ om dårlig dømmekraft og moral. Temaet utfordrer elevene til å ta stilling til en rekke jentene fikk, og hjelper oss å nyansere bildet. Det var ikke lett å finne informanter, men dilemma knyttet til svik, moral, hevn og fordømmelse. Hvorfor er det ofte slik i krig og de tre historiene vi har gir ekstra nærhet til stoffet. Når man hører om enkeltskjebner, ellers at kvinner bærer et særlig moralsk ansvar? Hvem eier kvinnekroppen? Er det fa- blir fortellingen om tyskerjentene mer virkelig og gjør veien til identifikasjon lettere. milien, nasjonen? Dette berører æresbegrepet blant annet, og er ikke en fremmed pro- Dette er historier om unge mennesker på alder med elevene selv. blemstilling innenfor mange miljøer i Norge i dag. Kjærlighet kan være svært forbudt på Her er historien om Grethe som forelsket seg i Willy på arbeidsplassen på Gardermoen. tvers av kulturer, kjønn, religion, etnisitet og familiestrukturer. Kan man forelske seg i Fordi hun giftet seg med kjæresten, var hun ikke ønsket i Norge etter krigen. Grethe hvem man vil? ­representerer alle de kvinnene som havnet i sovjetisk sone i Tyskland. De mistet sitt norske­ statsborgerskap og kunne ikke FØLELSESLADET FORMIDLING reise hjem igjen. Til slutt stiller vi det enkle, men vanskelige spørsmålet: Kunne det vært deg? Kunne du ha forelsket deg i en tysk soldat eller klippet håret av en tyskerjente…? Vi som formidlere ”Den skjulte familiehistorien” handler om kvinnen som tidlig i utstillingen opplever stor grad av åpenhet og ærlighet blant elevene. Ved hjelp av tys- under krigen giftet seg med en tysk offiser og fikk tre barn. Da kerjentenes historie lykkes vi av og til i å trykke på noen knapper, nye rom åpnes og de freden kom forsvant han. Først en gang ut på 60-tallet ga han unge deler ofte tanker og følelser med hverandre og oss. Derfor har vi nå innført det nye livstegn! begrepet ”følelsesladet formidling”, noe som vi erfarer også bidrar til å utvikle elevenes Da hadde kvinnen inngått et nytt ekteskap. I familien ble intellekt, ettersom veien mellom hjerte og hjerne ikke er så lang. Vi erfarer at temaet og dette aldri snakket om. Da historien kom fram, viste det seg vår tilnærming til stoffet også vekker følelser og tanker blant det allmenne publikum. at et bilde hadde ligget innerst i en nattbordskuff som en godt ­bevart hemmelighet; bilde av en tysk offiser i uniform med et spebarn i armene. Dette er et av mange bilder vist i utstillingen. PHOTO PRIVATE PHOTO Den best dokumenterte historien får elevene se til slutt, – en Den skjulte familiehistorien; ­digital historie om Bjørg fra Narvik som i 1942 forelsket seg i tysk offiser med sønn av den tyske musikeren og soldaten Heinz Herresthal og ble gra- ENGLISH VERSION norsk mor. vid. 19 år gammel valgte hun å reise alene til soldatens foreldre The hidden family history: ­German Officer with son of i Tyskland fordi hennes egen familie ikke aksepterte forholdet. Hun ble fratatt sitt nor- Norwegian­ mother. ske pass og levde under vanskelige forhold i Tyskland både under og etter krigen. Først Despiced Love. i 1946 ble hun og barnet gjenforent med Heinz. Historien har en lykkelig slutt. De levde etter hvert resten av livet sammen i Norge. Er dette en historie om ekte kjærlighet som Norwegian women overlever alt, selv en verdenskrig? Mange ungdommer tviler på om det finnes ekte kjær- lighet i dag. – German soldiers

AKTUELT TEMA? De fleste bildene i utstillingen forestiller unge mennesker. De taler svært direkte, og man kommer så nært innpå at det blir vanskelig å distansere seg. I tillegg har vi be-

visst brukt unge stemmer i våre audiovisuelle elementer, som i radiostemmen og til BY ANNE HERRESTAHL & IDA LÜTZOW-HOLM, MUSEUM EDUCATION OFFICERS inn­lesingen av historien om Bjørg. Vi oppdaget underveis i prosjektet hvor stor overføringsverdi temaet kan ha til de ­unges liv i dag. Tyskerjentene ble straffet med skjellsord som tyskertøs, ludder og hore, og noen In the national newspaper Aftenpos- ”Why haven’t I learned about the hide- the new exhibition ”Despiced Love” ble skamklippet av mobben. Kan det sammenliknes med det vi kjenner som netthets­ i ten, on the youth page in 2009, ”Addy” ous treatment of the ’German girls’ in among others should have pupils in dag? I sosiale medier dukker det stadig opp grove og hatefulle meldinger. Og vi kjenner wrote, under the heading ”A Disgrace”: school”? 1 That is when we decided that upper secondary school as its target

20 21 AUDIENCE-DEVELOPMENT

group. And as we now experience that any wonder that the girls fell head over lost their Norwegian citizenship and voice and for the recording of the story in the exhibition experience a great deal FAKTA / the exhibition has been such a hit heels? And besides: Is it forbidden to couldn’t return home. about Bjørg. of openness and honesty from the pu- The exhibition is held at the City Museum in the Frogner with young people, part of the expla- fall in love? At the time the ”German ”The hidden family history” is about Working on this project we discovered pils. By using the story of these girls we Park (Frognerparken) in Oslo nation is probably that the exhibition girls” were considerate traitors in line the woman who early on in the war the amount of transfer value this topic sometimes succeed in pushing a few The museum is part of Oslo has been made for them. As the peo- with Nazis and collaborators. married a German officer and had may have to the lives of young people buttons, opening new compartments Museum, a museum of cultural history. ple responsible for the exhibition, we We play uninhibited on emotions in three children. When peace came, he today. The ”German girls” were pun- and often getting the young people to Part of the Brudd network as educators have attained a closeness the dissemination. The topic is love, disappeared and didn’t make contact ished by invectives such as German tart, share their thoughts and feelings with (means ”break/fracture”) un- der the aegis of the Norwe- to the material and a sense of owner- after all, and who hasn’t been in love? again until sometime during the 60s! slut and whore, and some of them had each other and with us. As a result, we gian Culture Council, which ship which influences the dissemina- But some pupils may still feel that By then the woman had remarried. all their hair cut off by the mob. Is this have now introduced the new concept discusses and encourages dis- tion. It is our experience that museum what the Norwegian girls did is unfor- Within the family this was never dis- comparable to today’s cyberbullying? ”emotional dissemination”, which we semination of difficult themes and stories educators may have a lot to contribute giveable, and the statement ”You don’t cussed. When the story was revealed, it In social media, coarse and hate filled find contributes to the pupils’ intel- The target audience is young when it comes to creating an exhibi- sleep with the enemy, mate!” creates turned out that a photo had been lying messages appear all the time, and we lect, for, as we all know: The distance is people and adults The Cultural Rucksack, which tion, due to the knowledge we possess a basis for discussion. A radio voice at the back of a bedside table drawer as recognize the dangerous group dynam- short between heart and mind! We ex- subsidizes tours for school about how schools and different target tells the story of a girl who has all her a well-kept secret; a photo of a German ics that result in many people getting perience that this also seem to be the classes, has contributed fi- groups uses exhibitions. hair cut off. Was that a suitable pun- officer in uniform with an infant in his carried away by the harassment and case with the audience in general. nancially Disseminators are educators ishment? In a niche we have created an arms. This is one of many photos dis- bullying of people their own age. It of- with cultural history subjects 1. Tyskerjenter, derisive term used about Norwegian girls and INTERACTION AND PARTICIPATION who also were responsible for interrogation room. Thousands of Nor- played in the exhibition. ten doesn’t take many slips on the part women who got involved with German soldiers during the the exhibition With the aid of role play the pupils wegian girls and women were rounded The most well-documented story the of the victim. The most central topic of occupation­ The project won the Museum are challenged to step inside history up and had to answer the most inti- pupils get to see last - a digital story the exhibition is the forbidden love, Dissemination Prize for 2014 and themselves dramatize individ- mate questions before being sent to about Bjørg, who in Narvik in 1942 fell however. The girls consorted with the and will remain in place until November 2015 ual events. Playing parts sharpens the prison camps in the summer of -45. in love with the German musician and enemy. To most Norwegians the actions senses and the attention of the partici- The pupils dramatize the questioning soldier Heinz Herresthal and became of these women were evidence of poor Contact: [email protected] or pants. On the dance platform the boys based on original material. pregnant. 19 years old she chose to judgement and loose morals. The topic [email protected] get to put on Nazi uniforms, and from travel on her own to Heinz’ parents in challenges the pupils to make up their an old-fashioned gramophone German PERSONAL STORIES Germany because her family wouldn’t minds about a series of dilemmas con- dance music from the period is played. The personal stories in the exhibition accept the relationship. Her passport nected to betrayal, morals, revenge and By rummaging around in their pock- are important. They show how differ- was confiscated, and she lived under condemnation. Why is it that women ets, the soldiers find little presents to ent the girls’ fates were and help us difficult conditions in Germany both often seem to carry a special moral re- give to the girls, who also put on pe- nuance the picture. Finding inform- during and after the war. Not until sponsibility, and not just in wartime? riod clothes. They may all see with ants wasn’t easy, but the three stories 1946 were she and the child reunited Who owns the female body? Is it the their own eyes how handsome their we do have create an extra closeness with Heinz. The story has a happy end. family, the nation? This involves the schoolmates become. to the material. When you hear about They eventually lived the rest of their concept of honor, among other things, individual fates, it makes the story of lives together in Norway. Is this a story and this isn’t an altogether unfamil- FORBIDDEN FEELINGS the ”German girls” more real and it be- of true love conquering all obstacles, iar issue within many milieus in Nor- We tell about the German soldiers who comes easier to identify with them. even a world war? Many young people way today. Love may be very forbidden, were posted to Norway during the war, These are stories about young peo- doubt that there is true love today. across culture, gender, religion, ethnic- in all 400 000 in the course of five long ple, people the same age as the pupils ity and family structures. Are you al- years. Most of them were private sol- themselves. TOPIC OF CURRENT INTEREST? lowed to fall in love with who you like? diers who had no particular wish to be There is the story of Grethe, who fell in Most of the photos in the exhibition in Norway. Even so, they were often love with Willy at her place of work at portray young people. They speak to EMOTIONAL DISSEMINATION stationed in the same place for a pro- Gardermoen air base. Because she mar- you very directly, and you get so close In conclusion we pose the simple, yet longed period of time. Is it any won- ried her boyfriend, she was unwanted that dissociating yourself becomes a difficult question: Could it have been der that they wanted to get to know in Norway after the war. Grethe repre- real challenge. In addition, we have you? Could you have fallen in love with the Norwegian girls? The soldiers were sents all the women who wound up deliberately used young voices in our a German soldier or cut the hair off a both polite and complimentary; is it in the Soviet zone in Germany. They audiovisual elements, like the radio ”German girl”... ? We as disseminators

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1 4

NO/

SMARTSTIEN – Hvordan lage en ­ moderne natursti med begrensede ressurser? 2 The SMARTPATH – how to make a ­ discovery walk with limited­ resources?­

AV JAN HÖPER, MUSEUMSLEKTOR OG PER HELGE NYLUND, FORMIDLINGSKONSULENT, TROMSØ MUSEUM – UNIVERSITETSMUSEET. UIT NORGES ARKTISKE UNIVERSITET

BY JAN HÖPER, MUSEUM LECTURER AND PER HELGE NYLUND, EXHIBITION MANAGER,­ TROMSØ UNIVERSITY MUSEUM, 3 5 UIT THE ARCTIC UNIVERSITY OF NORWAY 2 3 4 Norges Museumsforbund kåra I løypa har vi integrert akti- Skiltene har tekst på norsk SMARTSTIEN til beste formid- viteter i uteområdene. I to og engelsk. QR-kodene eller lingsidé i 2013. I begrunnelsen sandkasser kan publikum grave NFC-brikkene kan avleses med FAKTA / FACTS / heter det bl.a: ”…den ­strekker etter steinalderfunn og fossiler, mobiltelefon eller nettbrett for Gjennomført ved Tromsø Smartpath is made at Tromsø seg ut mot publikum, og samt besøke en ekte samisk å få fordypning og flere medier Museum­ – Universitetsmuseet­ , University Museum, a scientific formidler både gammel viten gamme. Det er populært for som film, lyd, artikler, quiz. et museum for natur- og museum about nature and cul- og nye forskingsresultat på skoleklasser og familier som For eksempel kan man lytte til ­kulturvitenskap i Nord- ture of Northern Norway and en spennende og lett tilgjen- besøker museet. botanikeren som forteller om Norge og Arktis. the Arctic. gelig måte. Juryen mener dette lav i fjæra, eller se filmklipp fra Just outside the museum, two Ressurser: Prosjektleder Resources: A project leader formidlingsprosjektet har stor den gang to levende isbjørner sandboxes form a hands-on som står for redigering, ut- to choose, edit and, if need overføringsverdi både til andre ble holdt i bur ved det gamle part of the path. Visitors can 5 valg og eventuell utvikling av be, develop text, illustra- akvariet. lokaliteter””. Nettsiden er laga med tekst, bilder og video. Digi- tions and video. A digital plat- take part in ”excavations” to find archaeological objects of The signposts have text in ”responsiv design”, slik at tal plattform (vi bruker gratis form (we used free software The Norwegian Museum Asso- fossils. They may also enter a English and Norwegian. QR visningen automatisk tilpasses ­programvare som WordPress like WordPress) Manufactur- ciation gave the 2013 Award for 1 Sami turf hut. This is all very codes and NFC tags can be størrelsen til mobiltelefonen. o.l.), ­Produksjon og monte- ing and mounting of the sign- best dissemination idea to the SMARTSTIEN er ei undringsløype i naturen popular for school groups and scanned with a mobile phone Men nettsiden er også ring av fysiske skilt (inklusive posts, including QR codes and SMARTPATH. Their verdict says rundt Tromsø Museum. Løypa gir publikum både families. or tablet to get access to more tilgjengelig via vanlig PC, QR-koder/NFC-merking).­ NFC tags. ”..it reaches out to the public, naturopplevelser og informasjon om områdets information and media online, for dem som heller vil lese Målpublikum: Familier, turister, Target audiences: Families, communicating traditional kulturhistorie. Langs stien er det satt opp sju poster like videos, soundclips, in-depth innholdet hjemme, f. eks. før lokalbefolkning, skoler. Hjem- tourists, locals, schools. The knowledge and recent research der kunnskap og forskning formidles i form av skilt articles and quiz games. For og etter besøket, eller i tilfelle mesiden gir forslag til ruter Path website gives advice on in an exciting and accessible og tilleggsinformasjon på Internett. instance, you can listen to a dårlig vær. som egner seg for rullestorbru- routes suitable for wheelchair way. This idea can easily be botanist telling about lichens on kere og barnevogner etc. users and baby prams. transferred to other locations.” Made using ”responsive the shore, or see a video of the The SMARTPATH is a discovery walk through the design”, the web page will two polar bears once held in Kontakt: Jan Höper Contact: Jan Höper natural surroundings of Tromsø Museum, offering adapt to all kinds of screens; captivity by the old aquarium. [email protected] [email protected] information on both nature and culture of the area on mobile phones, tablets or as well as natural beauty. Along the path seven PCs. The opportunity to access signposts convey knowledge and science through the page from a hope PC is text, pictures in addition to digital information useful for those who want to online. plan for a visit, or in case of bad weather.

24 25 AUDIENCE-DEVELOPMENT

1 2 2 Formidler bruker dialog som metode når tidslinja formidles. Vi har en NO/ sentral gjenstand å vise frem fra hver tidsepoke. I tillegg bruker vi ei fiksjonsfortelling, som et dypdykk i en utvalgt tidsepoke – f.eks. jernalder.

Fortida på rull / The disseminator uses dialogue as method when disseminating the The Past on a Scroll timeline. We have a central artefact that we show from each time period. In addition we use a fictional story, as an immersion into a selected time period - e.g. the Iron Age. AV INGVILL NAALSUND, MUSEUMSPEDAGOG

BY INGVILL NAALSUND, MUSEUMSPEDAGOG 3+4 Gjenstandene vi har med er ­kopier, og elevene får på den måten et direkte møte med disse eldgamle FAKTA / FACTS / skattene. Elevene deles i grupper og får en pose med minst fire replikaer Stiftinga Sunnmøre The Sunnmøre Museum i. ­Sammen finner de ut: Hva er dette? Museum­ (SSM) står bak Foundation (Stiftinga Sun- 3 Hva er det laget av? Stein-, bronse- prosjektet, og har vært nmøre museum, SSM) is eller­ jernalder? i nært samarbeid med behind the project, and Vi plasserer så gjenstandene på andre museer i fylket, samt has collaborated closely tidslinjen. kulturavdelinga i Møre og with other museums in the Romsdal fylkeskommune county, as well as the cul- The artefacts we bring with us are i både utvikling og ture department of Møre replicas, and the pupils thus encoun- gjennomføring. SSM består and Romsdal County, both ter these ancient treasures directly. av 12 lokaliteter og er både when it comes to develop- The pupils are divided into groups kultur- og naturmuseum. ment and implementation. and are given a bag containing at Tema: formidling av SSM consists of 12 localities least four replicas. Together they find ­forhistoria til Norge, med and is both a cultural and a out: What is this? What is it made hovedvekt på Møre og natural museum. from? Stone, Bronze or Iron Age? Romsdal. Topic: dissemination of the We then place the artefacts on the Målgruppe: 2. til og med prehistory of Norway, with timeline. 7. trinnet. Stein- og particular emphasis on Møre bronsealder blir særlig and Romsdal 4 6 1 vektlagt Target audience: from the Tidslinja ruller vi ut på gulvet, og 5 til 2. – 4. trinnet. 2nd up through the rundt den samler vi oss på ulike Til slutt får elevene lage sin egen Jernalder blir særlig 7th grade skinn. gjenstand med inspirasjon fra stein-, vektlagt til 5. – 7. trinnet. For 2nd to 4th grade, Den er 7 meter lang, og eleve- bronse- eller jernalder, alt etter Ressurser: 1 formidler. special emphasis is placed ne får visualisert hvor lang den hvilken periode de har fokus på det Tid: 90 minutter. on the Stone and Bronze forhistoriske og kort den historiske skoleåret. Areal: klasserom, minimum Age. For 5th to 7th grade, perioden er. Tidslinja er illustrert Finally the pupils get to make their 10 meters lengde. special emphasis is placed med gjenstander, dyr, boplasser own artefact inspired by the Stone, Utstyr: 30 replika, fire on the Iron Age. og graver fra tidsepokene, og Bronze or Iron Age, depending on drakter, tidslinje, Resources: 1 disseminator. viser funn gjort i Norge. ulike skinn. Time: 90 minutes. which period receives the main focus The timeline is rolled out onto the Area: classroom, minimum that particular school year. floor, and then we gather round it Contact: 10 metres in length Ingvill Naalsund: Equipment: 30 replicas, four 5 on different pelts. pedagog@sunnmore. sets of clothing, It is 7 metres long and allows the 6 museum.no / timeline, different pelts pupils to visualize how long the Tre barn blir kledd i drakter fra stein-, ingvill@sunnmore. prehistoric period is compared to bronse- og jernalder. Formidler er the historic period. The timeline is museum.no Contact: også ikledd drakt. Vi har ”catwalk” Ingvill Naalsund: illustrated with artefacts, animals, og elevene plasserer også oss på pedagog@sunnmore. dwellings and graves from the tidslinjen. time periods, and shows finds museum.no / Three children are dressed in clothing made in Norway. ingvill@sunnmore. from the Stone, Bronze and Iron Age.

museum.no The disseminator is also dressed in period clothing. We perform a ”cat- PHOTOS: JUNE R. JOHANSEN © SUNNMØRE MUSEUM FOUNDATION walk”, and the pupils place us on the timeline as well.

26 27 AUDIENCE-DEVELOPMENT

gade barnen: Vet ni vad en slav är? Det visade sig att de allra flesta barn hade en viss för- Vem har rätt att ståelse för vad en slav är. Alla barnen var överens om att det inte var rätt att ha slavar. Att Agassiz ansåg att olika folkslag inte skulle blandas gav också upphov till diskussion namnge en plats? och jag berättade om konstnären Sasha Huber, som har en pappa från Schweiz och en mamma från Haiti. Sasha skulle inte få finnas om Agassiz fått bestämma. Barnen lyss- nade och funderade: Borde Agassiz fått namnge en bergstopp? Nej, inte om barnen fått bestämma.

AV KERSTIN GEZELIUS, KULTURPEDAGOG, BOTKYRKA KONSTHALL Därefter undersökte vi skylten som Sasha Huber satt upp på toppen av Rentyhorn, samma skylt som förekom i filmen där hon gav bergstoppen nytt namn. Tillsammans tittade vi på fotografier och filmen, innan vi gick till ateljén för fortsatt samtal och ska- SW/ Under våren 2011 visade Botkyrka konsthall utställningen Transatlantiska resor av konst- pande. nären Sasha Huber. Utställningen tog avstamp i vetenskapsmannen och rasbiologen Louis Agassiz arbete på 1800-talet. Agassiz var en etablerad forskare, vars arbete gjorde att han fick namnge ett 80-tal platser, inte bara på jorden, utan även på månen och på Mars. Konstnären Sasha Huber är född 1975 i Zürich. I sin konst ifrågasätter hon histo- rien, så som den skildrats av maktens män. Ett av Sasha Hubers verk, som visades i ut- ställningen, är en film där hon åker helikopter upp på Agassiztoppen i de schweiziska alperna och döper om toppen till Rentyhorn, efter en slav som Agassiz använde i sin PHOTO: KERSTIN GEZELIU KERSTIN PHOTO: forskning. Utställningens tema med rasbiologi och historia, gjorde att jag ursprungligen tänkt ar- beta med ungdomar. Men, det visade sig att många förskolor och skolor med yngre barn ville besöka konsthallen under våren, då konsthallens verksamhet är populär och fyller en viktig funktion för dem. Hur skulle jag göra nu? Kunde man arbeta med ett så svårt X 51 CM. HUBER, 75 © SASHA MICHEROLI, SIRO PHOTO: tema som rasbiologi med yngre barn? Jag provade! Den ingång jag valde anpassades till den nya målgruppen och frågeställningen blev då: Vem har rätt att namnge en plats?

DEN PEDAGOGISKA PROCESSEN Transatlantiska resor, barn från förskolan Kastanjen. / Transatlantic journeys, Jag började med att berätta om Agassiz, tiden han levde i och hans forskning. Därige- children from Kastanjen, a preschool. nom kom vi in på ordet slav, eftersom Agassiz använde sig av slavar i sitt arbete. Jag frå-

Sasha Huber, Rentyhorn GEZELIU KERSTIN PHOTO: - The intervention, 2008.

PHOTO: KERSTIN GEZELIU KERSTIN PHOTO: Sasha Huber, Rentyhorn - The intervention, 2008.

Karta gjord av barn. / Map made by children who participated in the project. Vem har rätt att namnge en plats? / Who has the right to name a place?

28 29 AUDIENCE-DEVELOPMENT

FAKTA / I ATELJÉN ENGLISH VERSION Projektägare: Botkyrka I ateljén hade jag täckt stora delar av golvet med ett stort vitt papper. Jag tog fram en Konsthall, www.botkyrka- karta över Botkyrka som vi studerade. Vi letade och hittade barnens förskola/skola. När konsthall.se. Målgruppen Who has the right var barn i åldrarna 5-7 år, vi hittat den på kartan började jag rita in barnens förskola mitt på pappret. Jag frågade förskola/skola.­ De resurser­ sen barnen om de hade några namn på platserna runtomkring. Om dom hade! Där fanns som krävts för genomför- Stora gungan, Stallet och Blodiga berget. Barnen började rita in platserna och fortsatte to name a place? ande var museipedagogens ­arbetstid, planering och sedan med att rita vägen hem, till sina kompisar, parker, fotbollsplaner med mera. En genomförande,­ spännpapp del jobbade själva, en del tillsammans. Det blev en karta, och en bild, av vägar, hus, träd att täcka golvet med/rita karta på, pennor att rita med. och andra detaljer som var viktiga delar av barnens närmiljö och vardagsliv. Inga externa projektmedel Jag frågade barnen vad de skulle vilja att platserna och vägarna skulle heta om de fick BY KERSTIN GEZELIUS, CULTURE EDUCATOR AT BOTKYRKA KONSTHALL användes.­ bestämma, och varför? Barnen gav nya namn till platser och vägar, ofta med vänskapen Projektledare: Kerstin som grund. På kartan fanns nu ”Jonatan och Viktorsvägen”, med motiveringen: ”För vi Gezelius, kulturpedagog, är kompisar och det här är vägen vi går till varandra”. Även vad som händer på olika plat- In the spring of 2011 the exhibition THE EDUCATIONAL PROCESS out a map of Botkyrka which we stud- [email protected] ser gav upphov till nya namn, som till exempel: ”Här är Kastanjegården för där plockar Transatlantiska resor (Transatlantic jour- I began with talking about Agassiz, ied. We searched for, and found, the jag kastanjer”. Vi avslutade med att alla barn fick visa och berätta om sin kartbild. Kar- neys) by artist Sasha Huber were on the times he lived in, and his research. children’s preschool/school. When we tan togs loss från golvet, rullades ihop och fick följa med barnen tillbaka till förskolan/ show at Botkyrka konsthall. The exhibi- Thereby I introduced the word slave had found it on the map I began to skolan där arbetet kunde fortsätta. tion initiated with scientist and eugenic since Agassiz used slaves in his work. I draw the children’s preschool in the Louis Agassiz’ work in the 19th Century. asked the children: Do you know what middle of the paper. I asked the chil- Agassiz was an established researcher a slave is? It turned out that most of dren if they had any names for the VAD BLEV RESULTATET? whose work enabled him to naming them had some idea of what a slave places around it. If they had! There Ett konkret resultat var kartan som barnen skapade, med nya namn på platser i deras some 80 places, not only on Earth but was, and all of them agreed that it was was the Big Swing, the Stable and the närmiljö. Det blev ett sätt att väcka intresse för platser runt omkring dem, få dem att even on the moon and on Mars. Artist wrong to keep slaves. Bloody Mountain. They began to draw börja fundera över varför platser heter det dom heter, och vem som har rätt att namnge Sasha Huber was born in Zürich in 1975. That Agassiz thought that different na- the places and then continued by draw- en plats. Det blev ett sätt för barnen att få ta plats i det offenliga rummet. In her art she questions history as de- tionalities should not mix also gave ing the way home to their friends, Ett annat resultat, som kan ge ringar på vattnet i framtiden, är samtalen som vi förde. fined by powerful men. One of Sasha rise to discussion, and I talked about parks, football pitches etc. Some Det blev intensiva samtal, där barnens engagemang var stort. Samtal som tog avstamp Huber’s works, which was shown in the the artist Sasha Huber, who has a father worked on their own, others together. i stora och svåra frågor som rasbiologi, men som gjordes mer konkreta och fylldes med exhibition, is a film in which she travels from Switzerland and a mother from It became a map and a picture of roads, ljus genom barnens egna tankar, idéer och namnförslag. För att kunna prata om det by helicopter up to the top of Agassiz Haiti. Sasha would not exist if Agas- houses, trees, and other details that mörka, måste det också finnas något ljust, något hoppfullt! Annars blir det för tungt att in the Swiss Alps and renames it Renty- siz had decided. The children listened. were important parts of the children’s bära, för både barn och vuxna. Att få påverka och själv ge namn till platserna i sin egen horn, after a slave that Agassiz used in Should Agassiz have had the right to local environment and everyday live. vardagsmiljö är ett sätt att låta barnen ta plats. Att ge dem makten att namnge en plats! his research. name a mountain top? No, not if the I asked them what they would like the Att låta var och en berätta för de andra i gruppen om sin väg, sina platser, ger röst och The exhibition’s theme with eugen- children were to decide. places and roads to be called if they gör att barnen tar sin stad i besittning. ics and history enticed me originally Then we examined the sign that Sa- were to decide, and why? They gave new Projektet visade att det går utmärkt att arbeta med svåra frågor med yngre elever. Jag to work with youths. But, it turned out sha Huber placed on the top of Renty- names to places and roads, often based som museipedagog kan lägga grunden till ett bra samtal genom att bjuda in, lyssna och that many preschools and schools with horn, the same sign that was in the film on friendship. The map now had ”Jo- skapa en bra dialog. Viktigt är att inte fokusera för mycket på det svåra, att inte lägga younger children wanted to visit the where she gave the mountain top a new natan and Victor’s road” with the mo- börda på deras axlar, utan att låta barnen styra samtalet. Och, att se till att det ljusa – art gallery during spring, when its ac- name. We looked at the photographs tivation: ”Because we are friends and hoppet - finns med! tivities are popular and fill an impor- and film together before we went to the this is the road we take to each other.” Projektet är avslutat för konsthallens del. Metoden med att använda svåra frågor och tant role for them. What should I do studio for continued conversation and Even what happens at various places konkretisera dem kan användas i många olika sammanhang, tillsammans med en med- now? Could one work with such a dif- workshop. gave rise to new names, e.g. ”Here is the vetenhet om vikten att låta ljuset ta plats i det mörka. Kartan kan fyllas på och fördjupas, ficult theme as eugenics with younger Chestnut farm because that is where förskolan kan använda den för gemensamma promenader och aktiviteter. Kanske kan children? I tried! The path I chose was we collect chestnuts.” We finished the det också vara ett sätt för framtidens stadsplanerare för att göra stadsplaneringsproces- adapted to the new target group and IN THE STUDIO workshop with all the children show- sen mer demokratisk och låta barnens röster höras i processen? the question then became: Who has the I had covered a big area of the studio ing and talking about their piece of right to name a place? floor with white paper, and then I took the map. The big map was then taken

30 31 AUDIENCE-DEVELOPMENT

off the floor, rolled up and taken back lead the conversation, and to make to the preschool/school where work sure that hope is included! could continue. The project is concluded regarding the art gallery. The method of using diffi- cult questions and concretizing them WHAT WERE THE OUTCOMES? can be used in many ways in the fu- A concrete result was afforded with the ture. The map can be added to and de- map the children created, with new veloped further, preschools can use names for places in their environment. it for joint walks and other activities. It became a way to evoke interest for Maybe it can also be a way for future places round them, to think about why cityplanners to make cityplanning a places have such names, and who is more democratic process by letting entitled to name them. It also became the children’s voices be heard? a way for the children to participate in public space. Another result is the conversations FACTS / we held. They became quite inten- Projectowners is Botkyrka Konst- sive, where the children’s engagement hall, www.botkyrkakonsthall.se. was most considerable. Conversa- The target group was 5-7-year olds, preschool/school. tions which initiated in big and diffi- Resources needed the museum COMMUNITY & COLLABORATION cult questions like eugenics, but were educators work hours, lining paper />> made more concrete and highlighted to cover the floor with/draw maps on, drawing pencils. No external through the children’s own thoughts, ­project funding was used. ideas, and name suggestions. In order Projectleader and article author: to be able to talk about dark and seri- ­Kerstin Gezelius, cultural educator, ous things, there must also be some [email protected] light, some hope! Otherwise it be- comes too heavy to carry, for children and adults alike. To be able to influ- ence and give names to places in their own everyday environment is a way to let children participate. To give them power to name a place, to let every sin- gle one of them tell the others about their road, their places. It gives them a voice to embrace their own town. The project showed that it is clearly possible to work with difficult ques- tions with younger children. As a mu- seum educator, I set the ground for a good conversation by initiating, lis- tening and creating an atmosphere for good dialogue. It is important how- ever, not to focus on that which is heavy and difficult, not to lay burdens on their shoulders but let the children

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cultural event in a corner for Den frivillige efterkommer lave nogle events i fremtiden dialogue entitled ”Meet one of i forbindelse med lejligheden. Evrim Citirikkaya, 21 år, er the first Turkish migrant work- Det kunne være noget musik, efterkommer af en tyrkisk ers”. Focus on the narrative workshops osv. gæstearbejder og frivillig pro- about the migrant workers Jeg føler mig overbevist om, DA / jektmedarbejder med fokus på is not the only motivation at andre efterkommere vil blandt andet formidling af lej- for Turabi’s involvement: it is se på udstillingen med stor ligheden. Han er også tidligere also about creating a wider interesse.” projektleder på Det turkise dialogue. Den personlige Telt, der er en kulturbegiven- ”It has been important for me hed, hvor den tyrkiske kultur fortælling er den SEKWATI DANIELLE FOTO: to show other people what our fejres. Evrim er til højre på Volunteering as a descendant lives were like in the first years fotografiet, hvor han sammen Evrim Citirikkaya, 21, is a Den tidligere gæstearbejder in Denmark. It is important for med en anden frivillig er med stærkeste fortælling / grandchild of a Turkish migrant my children and grandchildren til at skabe liv i udstillingen ved Turabi Dursan kom til Danmark worker, and a volunteer work- too, now that they can see in at være statister i en fotose- som en ung mand i starten af ing on the project of telling the the flat how their grandfathers rie, der skal afspejle livet som 1970’erne. Han har bidraget story of the flat. He is also a Personal stories are lived after they arrived in gæstearbejder i 1970’erne. med fortællinger, sparring, former project manager of the Denmark. genstande og netværk og væ- Turquoise Tent, a festival event the most compelling When I took part in ”Meet one ”Jeg meldte mig som frivillig, ret aktiv på andre måder, som that celebrates Turkish culture. of the first Turkish migrant fordi jeg føler, det er en rigtig ved en lokal kulturbegivenhed, The photo shows Evrim to the workers”, a lot of people asked vigtig historie at få fortalt. AF DANIELLE GULDMANN SEKWATI, i et dialoghjørne, der hed: right and another volunteer, me: Where do you come from? Demografien i Aarhus er ikke PROJEKTMEDARBEJDER, MAG. ART., ”Mød en af de første tyrkiske who helps bring the display Which country? Why did you repræsenteret i de kulturelle ­ETNOGRAFI OG SOCIAL ANTROPOLOGI gæstearbejdere”. Det er ikke to life by acting as extras in a come here? It was a good dia- institutioner, og det er vigtigt, kun fokus på fortællingen om series of photographs intended

BY DANIELLE GULDMANN SEKWATI, DEN GAMLE BY FOTO: logue. I would also like to come at de indvandrere og efter- gæstearbejderne, der motive- to reflect life for immigrant MA IN ETHNOGRAPHY­ AND SOCIAL and talk to the visitors in the kommere får et tilhørsforhold rer Turabi i sin involvering, men workers in Denmark in the ANTHROPOLOGY Projektlederen The project leader flat in the museum, so people til disse. Jeg synes også, at det det handler også om at skabe 1970s. can hear about our social situ- er utrolig vigtigt for de etniske Museumsinspektør Anne Museum Curator Anne ­Cathrine dialog mere bredt. ation and our community. It is danskere, at de også forstår ­Cathrine Lorentzen var med til Lorentzen took part when the ”I volunteered because I feel ”Det har været vigtigt for mig important that we get to know gæstearbejdernes historie. FAKTA / FACTS / at starte projektet op. project was started. we simply must get this story at kunne vise andre om vores other people instead of keep- Min rolle i projektet bestod out. The demography of Aar- Mandlige tyrkiske gæste­ Turkish men began coming ”Vi planlagde i Den Gamle ”At Den Gamle By we planned liv de første år i Danmark. ing our distance from each af at være med til at lave et åb- hus is not represented in the arbejdere ankom til Dan- to Denmark as migrant By at bygge lejligheder med to build flats showing homes Men det er også vigtigt for other. Meeting other people is ningsarrangement i forbindelse cultural institutions, and it is mark i løbet af 1960’erne og workers in the 1960s and hjem anno 1974. Blandt andet from 1974. One was the mine børn og børnebørn, der important too, because we are med åbningen af lejligheden, important that immigrants and 70’erne. Der lever i dag en 1970s. Their descendants gæstearbejderne. Vi opsøgte migrant workers’ home. We nu i lejligheden kan se, hvordan not really very different. I am men også at hjælpe til med their descendants feel they be- stor gruppe efterkommere. form a large group today. denne befolkningsgruppe, sought out people from this morfar eller farfar levede, da happy to be asked, and I have formidlingen. Jeg har været long to the institutions. I think Den Gamle By formidler hi- Den Gamle By tells the story så de kunne hjælpe med section of the population, de kom til Danmark. answers. And I have learnt med til oversætte tekster, lave it is important for ethnic Danes storien om nye borgere ved of the new citizens by ­ indretningen. Vi fandt ikke en so they could help with the Da jeg deltog i ’Mød en af de from it too.” historisk research på indsamlet to understand the migrant at genskabe en lejlighed, recreating a flat showing enkelt historie, men lavede et furnishings. We did not find a første gæstearbejdere’ spurgte materiale, finde materialer til workers’ history too. My role in der skildrer de første gæste- how the first migrant hjem med inspiration fra flere single story, but we drew in- mange om: Hvor kommer du udstillingen og generelt bruge the project was to organise an arbejderes liv. Den åbnede i workers lived. It opened in informanters fortællinger. En spiration from several different fra? Hvilket land? Hvorfor kom mit tyrkiske netværk. Det har event in connection with the juni 2015, som en del af ”Hu- June 2015 as part of ”The facebookside blev lavet for de people’s information as we put du hertil? Det var en god dia- været utrolig lærerigt at være opening of the flat, and also to set i Havnegade”. House in Havnegade”. tyrkiske gæstearbejdere. Den the home together. A Face- log. Jeg vil også gerne komme med til formidlingen af dette help with presentation to visi- Den Gamle by er et open air Den Gamle By is an open-air blev især godt modtaget af book page was set up for the og tale med besøgende i ud- projekt. Jeg håber, at vi kan tors. I have helped with trans- museum, og er et levende museum and a living picture efterkommerne. Udbyttet var Turkish migrant workers, which stillingslejligheden, så folk kan lating texts, historical research billede af livet, som det var of life as it once was, from etablering af tillid og ejerskab was welcomed especially by høre om vores sociale forhold on material that was collected, engang; fra Christian IV’s tid the time of King Christian blandt tidligere tyrkiske gæste- the descendants. What we og vores fællesskab. Det er finding materials to show, and - over H. C. Andersen - og IV, through Hans Christian arbejdere og deres efterkom- gained was the establishment vigtigt, at vi mennesker lærer generally making use of my helt op til 1974. Andersen’s time and up to mere. of confidence and identifi- hinanden at kende fremfor Turkish network. It has been a Kontakt: 1974. Det var vigtigt for informan- cation with former Turkish at have afstand til hinanden. valuable learning experience to projektmedarbejder Contact: project worker terne at blive taget alvorligt, migrant workers and their fam- Mødet mellem mennesker er take part in informing the pub- Danielle G. Sekwati; Danielle G. Sekwati; at få tid til at fortælle de små ilies. It was important for our derfor vigtigt, for folk er ikke lic about the project. I hope [email protected] [email protected] historier omkring valg, som de informers to be taken seriously så forskellige. Jeg er glad for we can set up some events in eller museumsinspektør or Museum Keeper havde foretaget, og derved få and to be given time to tell the at blive spurgt, og at jeg har future in connection with the Anna Wowk Vestergaard: Anna Wowk Vestergaard: sat et aftryk på historien. little stories behind the choices svar. Og jeg har også selv lært flat. They could involve music, [email protected] [email protected] Det er tidskrævende men vig- they had made, so they made noget.” workshops and so on. I am tigt at involvere informanterne their mark on the story. quite convinced that other Links: Links: som en del af en demokra- It is time-consuming, but vital descendants of migrants will www.dengamleby.dk/ www.dengamleby.dk/ tiseringsproces som museet to involve informers, so they The former migrant worker be very interested when they the-old-town the-old-town har ønsket at tage del i. Hvor become part of the process of see the exhibition.” hverdagsstemmerne kommer democratisation the museum Turabi Dursan came to Den- til orde, hvor det uperfekte og has aimed to take part in. mark as a young man in the skæve også får plads, hvor ste- Where everyday voices are early 1970s. He has contributed reotypierne får ”frikvarter”. heard and things that are odd with stories, strategic discus- or not quite perfect also have sions, objects and networks, their place, the stereotypes are and has been active in other set on hold.” ways, for instance at a local FOTO: POUL MADSEN FOTO:

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Katja Blomerus Katja Blomerus samtalar med och Stina Flink tar högstadieelever emot en klass från på besök från Praktiska gymnasiet Hammarby- i utställningen på skolans Roma Upplandsmuseet. kulturklass. Katja Blomerus and Katja Blomerus in Stina Flink receive a discussion with class from Praktiska secondary school gymnasiet, an upper students visiting secondary school, from Hammarby at the exhibition in School’s Roma Upplandsmuseet. culture class. PHOTO ANDERS RYMAN PHOTO BACKLUND BENGT PHOTO

gruppen. I de nya läroplanerna som kom 2011 var skrivningarna om de nationella mino- Romska Röster riteterna mycket tydligare än tidigare. Eleverna ska få ”kunskaper om de nationella mi- noriteternas (judar, romer, urfolket samerna, sverigefinnar och tornedalingar) kultur, språk, religion och historia”1 men läromedel rörande romer saknas nästan helt. Lärare som vi mötte uttryckte bekymmer över svårigheten att hitta material och uppskattning över vårt projekt som kunde möta deras behov.

AV STINA FLINK, MUSEIPEDAGOG VID UPPLANDSMUSEET

UTSTÄLLNINGEN ROMSKA RÖSTER Var och en av oss bär ett ansvar att stå upp för alla människors lika värde. Det gäller in- Parallellt med den pedagogiska verksamheten pågick arbetet med utomhusutställ-

SW/ OLLE NORLING PHOTO divider och det gäller institutioner. Som länsmuseum ska vi berätta länets historia och ningen Romska Röster med porträtt av fotografen Anders Ryman. Den öppnade på gå- till den koppla frågor om nutid och framtid. Romer har en lång historia i Sverige. Med gatan i Uppsala i maj 2013 då stora svartvita porträtt av romer ur olika romska grup- Boken Romska Röster projektet Romska Röster vill Upplandsmuseet synliggöra romer som en lika omistlig del per mötte uppsalaborna i vårhandeln. Under året visades utställningen på ytterligare med Valentino och ­­ av Sverige som av det svenska kulturarvet. Vi vill också bidra till samtal och reflektioner fyra platser i mälardalsregionen: Enköping, Tierp, Västerås och Eskilstuna. Under 2014 ­Alexander på omslaget. kring rasism, utanförskap och marginalisering. Den romska delaktigheten har varit bä- etablerades projektet nationellt och genomfördes i Luleå, Umeå, Örebro, Linköping och The book Romska Röster (Romani Voices) with rande i projektet. Katja Blomerus och Domino Kai, båda finska romer, har varit anställda Stockholm. Porträtten visades på offentliga platser och stod i ett flöde av ca 4 miljoner Valentino and Alexander som sakkunniga romska kulturbärare och bidragit med kunskaper, insikter och skapat människor. Av dessa uppskattas ca 400 000 personer aktivt ha tagit del av utställningen. on the cover. förtroende i kontakter med olika romska grupper runt om i landet. Romska Röster är ett På alla turnéplatser har lärarfortbildningar, programverksamhet för allmänheten eller projekt i flera delar med pedagogisk verksamhet, utställning och bok. Hösten 2011 arbe- pedagogisk verksamhet ägt rum. Under turnéerna, inför varje ny plats, utökades utställ- tade Katja Blomerus tillsammans med två av museets pedagoger, Stina Flink och Ville ningen med en till tre bilder med lokala porträtt av romer. Utställningen fick på så sätt Sundbom, fram ett studiematerial som kunde användas i en uppsökande verksamhet. en lokal förankring. Våren 2012 började vi tre göra besök på skolor. Det pedagogiska programmet blev snart Det pedagogiska programmet Romska Röster är ett möte i klassrummet eller på museet 1. Lgr11 (s.14), Lgy11 (s. 10) efterfrågat även av föreningar och arbetsplatser, även om skolan varit den primära mål- där två personer från Upplandsmuseet, en rom och en gajé (icke-rom), berättar om

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romsk historia och samtalar med eleverna LÄRDOMAR FRÅN PROJEKTET om mänskliga rättigheter, språk, kultur och Projektet Romska Röster har bidragit till ny kunskap och medverkat till att synliggöra den fördomar. Utgångspunkten i den pedago- romska historien och kulturen för barn, unga och en bred allmänhet. I den pedagogiska giska verksamheten är att arbeta med romer, verksamheten har vi mött cirka 8000 personer och utställningen har setts av ännu fler. inte om romer. Romer finns i klassrummet, i Vi hoppas att vi medverkar till en långsiktig positiv attitydförändring kring romers situ- Sveriges historia, i vår samtid; romer är inte ation samt medverkar till att skapa en positiv identitet för romska barn och unga. Vi be- ”några andra”. höver ha koll på vår historia om vi ska kunna förstå vår samtid och påverka vår framtid.

DE PEDAGOGISKA METODERNA Pedagogiken har utvecklats i en process un- der dessa fyra år. Från början valde vi inte ut ENGLISH VERSION någon särskild åldersgrupp utan testade oss fram med metoder och innehåll för alltifrån förskola till gymnasieklasser och SFI-grup- Romani Voices PHOTO STINA FLINK STINA PHOTO

Den romska flaggan är hissad på Upplandsmuseet den 29 september per. Efter ungefär ett år så valde vi bort de 2012, då romers 500-åriga historia i Sverige uppmärksammades. allra yngsta barnen. Det är svårt att disku-

The Romani flag is raised at Upplandsmuseet on the 29th of September tera begrepp som folk och kultur med yngre 2012, when the 500-year Romani history in Sweden was highlighted. barn utan att hamna i exotiserande och det BY STINA FLINK, MUSEUM EDUCATOR AT UPPLANDS MUSEET är svårt att prata om den diskriminering som romer har mött och möter utan att hamna i ”stackars dem”. När vi utelämnar det svåra Each and every one of us has a respon- In the autumn of 2011 Katja Blomerus THE EXHIBITION

FAKTA / blir det å andra sidan enbart ett spännande sibility to stand up for the equality of developed study material together with Parallel with the pedagogical activity, upptäckande av sakerna och kläderna som mankind. Such regards individuals as two of the museum’s pedagogues, Stina work was in progress with the outdoor Projektet Romska Röster har ­genomförts av Upplandsmuseet i finns i vårt romska studiematerial och besöket blir mest ”en kul grej”. Då tycker vi att well as institutions. As a county mu- Flink and Ville Sundbom, which could Romani Voices exhibition with photogra- ­samarbete med ­romer och fotogra- det är mer värdefullt att lägga tiden på de något äldre barnen och på ungdomar i högsta- seum we shall relate the county’s his- be used in an outreach program. In the pher Anders Ryman. It opened in May fen Anders ­Ryman samt mottagande ­museer runt om i landet. ­Målgrupp diet och gymnasiet där det går att föra mer komplicerade resonemang. tory, and in connection, questions spring of 2012 we began to visit schools. 2013, when large black and white por- för boken och det pedagogiska pro- Men var det rätt val? Hur arbetar vi egentligen bäst med fördomar? Ska vi försöka före- about the present and the future. Ro- The pedagogical program was soon in traits of Romanies from various Rom- grammet är skolor och arbetsplatser, bygga att de uppkommer eller försöka förändra dem där de finns? För att bygga ett gott manies have a long history in Swe- demand also by associations and work- ani groups met Uppsala residents dur- ­målgrupp för utomhusutställningen är en bred allmänhet. samhälle ska vi börja med barnen säger vi ofta, fördomarna överförs ju till barnen från den. With the Romani Voices project, Up- places, though schools were the prime ing their spring shopping. Throughout Projektet har genomförts med en vuxen omgivning. plandsmuseet wants to emphasize the target group. the year the exhibition was shown at ­finansiellt stöd från Statens kultur- råd och Svenska PostkodLotteriet, Vi har landat i att vända oss till åk 5 och 6 samt högstadiet och gymnasiet. Med de yngre Romanies as an inalienable part of the In the new curriculum of 2011, empha- four more places in the Mälardal re- totalt 4 717 673 kronor. Här ingår eleverna, handlar samtalen om orsaker till migration och flytt, vad en kan lära sig av kul- Swedish cultural heritage. We also want sis on national minorities was much gion; Enköping, Tierp, Västerås and Es- den pedagogiska verksamheten med turmöten och om jämförelser mellan historien och nutid. Genom dessa diskussioner to contribute to discussion and reflec- more distinct than earlier. Students kilstuna. In 2014 the project was estab- 1 055 375 kronor. Kostnaderna omfat- tar ­pedagoglöner, resor, utformning berättar vi om olika romska gruppers traditioner och livssituationer, både i Sverige och tions about racism, outsidership, and shall be afforded ”knowledge about the lished nationally and executed in Luleå, av pedagogiskt material samt bokpro- i olika delar av Europa, förr och nu. marginalization. Romani participa- cultures, languages, religion and his- Örebro, Linköping and Stockholm. duktion. Projektledare och artikelförfattare: Med de äldre eleverna arbetar vi med samma bildmaterial som med de yngre eleverna, tion has been fundamental in the pro- tory of the national minorities (Jews, The portraits were exhibited in pub- Stina Flink, musei­pedagog, men använder också värderingsövningar för att diskutera fördomar. Vi tar även upp an- ject. Katja Blomerus and Domino Kai, Romanies, indigenous Samis, ­Swedish lic places and placed in a flow of circa 4 [email protected] tiziganism, romernas utsatthet under Förintelsen och svenska statens tidigare politik i both Finnish Romanies, have been em- and Tornedal Finns)”, but teaching million people of which it is estimated och Vilhelm Sundbom, museipedagog, ­ [email protected]. form av steriliseringar, ”zigenarundersökningar” och diskriminerande lagar och praxis. ployed as expert Romani culture bear- ­material regarding Romanies was that 400.000 persons actively took part Våren 2015 flyttade utställningen in på Upplandsmuseet och det pedagogiska program- ers and have contributed with knowl- ­almost non-existent. Teachers we met of the exhibition. Further education for Mer information om projektet finns på www.upplandsmuseet.se met fick en ny inramning. Det har varit häftigt och gett ytterligare en dimension till sam- edge and insight, and have created trust expressed concern over the difficulty teachers’ activities, program activities talen att möta elever mitt bland alla porträtten, mitt i alla romska röster. Utställningen in contacts with various Romani groups in finding material and appreciation of for the public, or pedagogic activities, visas på Upplandsmuseet över sommaren. Sedan lever projektet vidare genom boken around the country. Romani Voices is a our project, which could satisfy their have taken place at all the tour places. och det pedagogiska programmet som finns kvar i vår ordinarie verksamhet, från hös- project in several parts with pedagogi- needs. Throughout the tour, prior to every new ten igen i sin klassrumsform. cal activities, exhibitions, and a book. place, the exhibition was supplemented

38 39 COMMUNITY & COLLABORATION

with one to three pictures of local por- Should we try to prevent them from uted to new knowledge and to bring traits of Romanies. The exhibition thus arising or try to change them where the Romani history to light for chil- Taide jää mieleen realized a local root. they are? In order to build a good com- dren, youths, and the general public. In munity we should begin with the chil- the pedagogical activities, we have met – työhyvinvointia dren, we often say. Prejudice is trans- circa 8.000 people, and the exhibition DE EDUCATIONAL METHODS ferred from adults to children. has been seen by even more. We hope museosta The pedagogical program Romani Voices We decided to turn to grades 5 and 6, that we contribute to a long-term pos- is a meeting in the classroom or at the lower and upper secondary school. itive change of attitude regarding the museums where two people from Up- With the younger students the conver- Romanies’ situation and also in creat- plandsmuseet – one Romani and one sation is about reasons for migration ing a positive identity for Romani chil- gaje (non-Romani) talk about Romani and moving, what one can learn from dren and youths. We need to be aware ELLI LIIPPO, TAIDEOHJAAJA, ABOA VETUS & ARS NOVA, SUOMI history and discuss human rights, lan- meeting a different culture, and about of our history in order to understand guage, culture and prejudice. The ba- comparisons between history and the the present and influence our future. sis in the pedagogical work is to work present. Through these discussions we FI / Taide jää mieleen -hankkeen valmistelu alkoi historian ja nykytaiteen museo Aboa Ve- 1. Lgr11 (p. 14), Lgy11 (p. 10), quote from Curriculum for with Romanies, not talk about them. can talk about various Romani groups’ the compulsory school, preschool class and the recreation tus & Ars Novassa vuonna 2011, jolloin Turku juhli Euroopan kulttuuripääkaupunkivuot- Romanies are in the classroom, in Swe- traditions and life situations, both in centre­ 201 taan. Juhlavuoden sloganin ”kulttuuri tekee hyvää” mukaisesti vuoden tavoite oli nos- den’s history, in our present; Romanies Sweden and different parts of Europe, taa esiin kulttuurin vaikutus ihmisten ja ympäristön hyvinvointiin. Myös Aboa Vetus

are not ”the others”. both past and present. FACTS / & Ars Nova -museossa tartuttiin aiheeseen. Näkökulmaksi valittiin työikäisten hyvin- The pedagogics have developed in a We work with the same material with vointi. Samalla haluttiin luoda toimintatapoja, joilla museo voisi vastata paremmin mu- The Romani Voices project­ has process during those four years. Ini- the older students, but also use valua- been executed by Upplands- seopedagogiikassa vähälle huomiolle jäävän työssäkäyvän aikuisväestön tarpeisiin. Yh- tially, we chose not to have any spe- tion exercises in order to discuss prej- museet in cooperation with Ro- teistyökumppaneiksi vuoden 2012 alussa käynnistyneeseen hankkeeseen lähtivät suo- manies, photographer Anders cial age group but tested methods and udice. We also examine antiziganism, Ryman, and partaking muse- malaisen työelämän tutkimus- ja kehitystoimintaa rahoittava Työsuojelurahasto sekä contents on students from preschool the persecution of Romanies during ums around the country. Turun kaupungin sosiaali- ja terveystoimi. The target groups for the book to upper secondary classes, and SFI- Kohderyhmäksi valikoitui Turun kaupungin vanhuspalveluiden alueella toimiva 20 the Holocaust, the Swedish State’s ear- and pedagogical program are groups (Swedish for immigrants). After lier policy in the form of sterilizations, schools, workplaces, and for työntekijän yksikkö. Työyhteisön valikoitumiseen vaikutti motivaatio: sekä esimies circa one year we chose not to proceed ”zigenarundersökningar” (”Gypsy” the outdoor exhibition, the että työntekijät olivat halukkaita sitoutumaan vuoden mittaiseen hankkeeseen. Edel- general public. The project has with the very young children. It is diffi- studies), and discriminating laws and been executed with financial lytyksenä mukaan lähtemiselle oli myös se, että työyhteisö oli lähtökohtaisesti hyvin- cult to discuss conceptions like people praxis. support from the Swedish Arts voiva. Viime vuosien organisaatiotason muutokset tosin aiheuttivat painetta työyh- Council and the Swedish Post- and culture with young children with- teisössä, mutta varsinaisesta kriisitilanteesta ei ollut kyse. Jo hankkeen valmisteluvai- In the spring of 2015 the exhibition code Lottery, totally 4.717.673 out ending up in exoticising, and it is was moved into the Upplandsmuseet SEK. This includes pedagogical heessa uskottiin, että museon mahdollisuudet ovat nimenomaan hyvinvointia ylläpitä- difficult to talk about the discrimina- and the pedagogical program was re- activities with 1.055.375 SEK. vässä ja tukevassa toiminnassa eikä jo syntyneiden vaurioiden korjaamisessa. The costs include pedagogue tion Romanies have met and do meet framed. It has proved very positive and wages, travelling, creation of without ending up in ”poor them”. afforded a further dimension to discus- pedagogical material, and book production. When we exclude such difficulties how- sions to meet students amidst the all TYÖAJALLA MUSEOON Projectleader and author ever, it becomes merely an exciting dis- the portraits, amidst the Romani Voices. of the article: Stina Flink, Hankkeen aikana työyhteisö kokoontui museoon kerran kuukaudessa. Tapaamiset jär- covery of the things and clothes in our The exhibition will be at Upplandsmu- museum educator jestettiin heidän työajallaan – tämän kaikki osapuolet kokivat tärkeänä. Kolmetuntisten [email protected], Romani study material, and the visit to seet throughout the summer, the pro- Vilhelm Sundbom, ohjattujen tapaamisten sisällöstä vastasi hankkeessa työskentelevä taideohjaaja. Taide- the exhibition becomes mostly ”a fun ject lives on through the book and the museum educator, ohjaaja työskenteli ryhmän kanssa tiiviisti myös tapaamisten välillä. Hän vieraili koti- vilhelm.sundbom@upplands- thing”. We then thought it better and hoitajien työpaikalla ja tutustui heidän työhönsä sekä toimitti osallistujille kotona tai pedagogical program that is retained in museet.se. more rewarding to spend the time on our regular activities in its classroom työpaikalla mietittäviä tehtäviä museotapaamisten esi- ja jälkitöiksi. somewhat older children and youths form from the autumn. For more information: ­ Tapaamisten tärkeimpänä tavoitteena oli viettää aikaa taiteen äärellä museon näytte- www.upplandsmuseet.se at lower and upper secondary school lyissä. Taiteeseen tutustumisen ohella tapaamisissa tehtiin työpajaharjoituksia, joissa where it is possible to realize more syntyneitä kokemuksia purettiin eri tavoin ja jaettiin ryhmän kanssa. Menetelmien va- complex discussions. WHAT HAVE WE LEARNED THROUGH­ linnassa lähtökohtana oli osallistumisen tekeminen mahdollisimman helpoksi. Työs- But was that the right choice? Which is THE PROJECT? kentelyssä korostui yhdessä tekeminen, työkaverin kohtaaminen ja työyhteisön mo- the best way to work with prejudices? The Romani Voices project has contrib- niäänisyyden kunnioittaminen. Tapaamista rytmittivät puolen tunnin kahvitauot, joi-

40 41 COMMUNITY & COLLABORATION

1

FAKTA /

Projekti: Taide jää mieleen – työhyvinvointia museosta Yhteistyökumppanit: Aboa Vetus & Ars Nova (historian ja nykytaiteen museo), Turun kaupungin sosiaali- ja terveystoimi, Työsuojelurahasto Kohderyhmä: Turun kaupungin kotihoidon työntekijät Lisätietoja: Janna Jokela, museolehtori, Aboa Vetus & Ars Nova [email protected]

2 3 4

työhyvinvoinnin alueilla. Myös otanta oli pieni tämän kaltaiselle lomakekyselylle. Kui- 2 Projektin aikana kerättiin tenkin osallistujien oman henkilökohtaisen kokemuksen mukaan hankkeeseen osallis- palautetta eri tavoin.

AND ABOA VETUS & ARS NOVA. NIEMINEN AND ABOA JARI PHOTOS: tuminen vahvisti työyhteisöä ja antoi voimavaroja työelämään. Taide jäi mieleen myös Different methods were museokäynnin jälkeen. used throughout the 1 project to receive feedback. Kotihoidon työnteki- jät viettivät museo- vierailuillaan aikaa den aikana ryhmä sai keskittyä vapaamuotoiseen seurusteluun ja museomiljöössä viih- MUSEO HYVINVOINTIPALVELUJEN TUOTTAJANA taiteen parissa. Kuva: 3 Jari Nieminen tymiseen. Taide jää mieleen -hanke oli myös museolle myönteinen kokemus ja vahvisti tunnetta Suurimmalla osalla osallistujista ei ollut Home care employees Säännölliset museokäynnit tutustuttivat ryhmää nykytaiteeseen sekä museoympäris- siitä, että museoympäristö soveltuu työhyvinvoinnin edistämiseen. Museon tekemän aiempaa kokemusta spent time amongst töön. Vuoden aikana ryhmä tutustui muun muassa kahden taiteilijan työskentelyyn ja työhyvinvointityön ei tarvitse olla jotain uutta ja irrallista, vaan se kumpuaa olemassa nykytaiteesta. art during their muse- toteutti oman näyttelyn museon Omatila-galleriaan. olevista sisällöistä ja palveluista. um visits. Most of the participants Aboa Vetus & Ars Nova -museon hyvinvointipalveluiden kehittäminen jatkui vuonna had no previous experience 2014 toteutetussa Euroopan sosiaalirahaston rahoittamassa Virtaa museosta -hank- with contemporary art. ONKO TAITEELLA VAIKUTUSTA TYÖHYVINVOINTIIN? keessa, jossa pilotoitiin kolmea työyhteisöille suunnattua museopalvelua. Osallistu- Vieraalta tuntunut nykytaiteen maailma muuttui helpommin lähestyttäväksi ja ym- jina oli Varsinais-Suomessa toimivia yrityksiä eri aloilta. Hankkeessa kehitettiin myös 4 märrettäväksi. Työpaikan ulkopuolella myös työyhteisönä olemiseen oli mahdollisuus vaikutusten kartoittamisen menetelmiä, koska tällaiselle työlle oli edellisessä hank- Hanke rohkaisi kokemaan taidetta yhdessä ryhmänä. keskittyä uudella tavalla, mikä toi vastapainoa työntekijöiden itsenäiseen ja kiireiseen keessa huomattu olevan tarvetta. Saadut tulokset tukivat aikaisempaa kokemusta ja The project encouraged to arkityöhön. Osallistujilta kerätyn palautteen mukaan arvokasta kokemuksessa oli ni- osoittivat, että museokäynti työyhteisön kanssa vaikuttaa myönteisesti työyhteisön discover art together, as a menomaan se, että se tarjosi uudenlaista sisältöä työpäivään. Kiitosta sai myös se, että sisäisiin suhteisiin ja ilmapiiriin sekä tarjoaa tilaisuuksia työstä irtautumiseen ja tai- group. museossa kollegan saattoi kohdata ilman työn luomia paineita ja ennakko-odotuksia. teesta ja kulttuurista oppimiseen.

Taide jää mieleen -hankkeen vaikutuksia seurattiin kymmenkohtaisella kyselyllä, joka Syksyllä 2014 Aboa Vetus & Ars Nova lanseerasi kolme työhyvinvointipakettia, jotka toteutettiin hankkeen alussa ja lopussa. Kartoituksessa sovelletun työhyvinvoinnin kuuluvat nyt museon vakituiseen palvelutarjontaan. Erikestoisissa paketeissa toimi- mittariston mukaan vuoden aikana ei olisi juurikaan tapahtunut muutoksia. Yksi syy taan museon näyttelyiden parissa ja ne keskittyvät erilaisiin työhyvinvoinnin osa-alu- tähän saattoi olla se, että työyhteisö osoittautui jo lähtötilanteessa hyvinvoivaksi eikä eisiin. Uudet palvelut on otettu hyvin vastaan ja museon tekemät hankkeet työhyvin- viisiportaisilla mittareilla pystytty osoittamaan muutoksia melko laajasti määritellyillä voinnin parissa tulevat saamaan tulevaisuudessakin jatkoa.

42 43 COMMUNITY & COLLABORATION

ENGLISH VERSION Outside the workplace, the group had Aboa Vetus & Ars Nova continued to FACTS / an opportunity to focus on the work- develop its well-being services via the Project: Art Leaves a Trace – Museums as a Source of place community in a new way, which ”Museum flow” project. Funded by Art leaves a trace Well-Being at Work was a welcome change to their busy, the European Social Fund, the project Partners: Aboa Vetus & Ars Nova independent day-to-day work. Accord- was implemented in 2014 and included museum (private museum of history and contemporary art), – museums as a source ing to the feedback collected from the the piloting of three museum services City of Turku Social Services and participants, they particularly valued ­intended for workplace communities. Health Care Department, Finnish Work Environment Fund the new content that the project had The participants included companies of well-being at work Target group: City of Turku provided to their workdays. They also operating in various sectors in ­employees in home care services appreciated the opportunity to learn Southwest Finland. The project also Contact: to know their colleagues without the developed new methods of identifying Janna Jokela, museum educator pressures and expectations related to effects, as a need for such methods at Aboa Vetus & Ars Nova [email protected] BY ELLI LIIPPO, ART INSTRUCTOR AT ABOA VETUS & ARS NOVA MUSEUM, FINLAND work. had been detected during the previous The effects of the ”Art leaves a trace” ­project. In line with earlier experiences, project were monitored using a the results indicated that museum Preparation of the ”Art leaves a trace” 12-month project. In addition, well-be- The main purpose of the meetings was ten-question survey at the beginning visits have a favourable effect on project at Aboa Vetus & Ars Nova, a mu- ing within the workplace community to spend time appreciating the art dis- and end of the project. According to relations within the workplace seum of history and contemporary art, was at a good level to begin with. Or- played at the museum’s exhibitions. In the indicators applied in the survey, lit- community and the atmosphere at the began in 2011 – the year when Turku ganisational changes carried out over addition to familiarising themselves tle change took place during the year. workplace. Museum visits also serve was celebrated as a European Capital of the previous few years had created pres- with art, the participants completed One of the reasons for this may be that as an opportunity to detach from work Culture. In line with the year’s motto, sures, but the situation had not devel- workshop exercises that enabled them well-being at work was at a high level and learn about art and culture. ”culture does good”, the goal was to fo- oped into a crisis. The assumption at to process and share experiences in var- in the group to begin with. In addition, In autumn 2014, Aboa Vetus & Ars Nova cus attention on the impact of culture the project planning stage had been ious ways. Methods were chosen that the areas of well-being at work were launched three service packages aimed on the well-being of people and the en- that the opportunities provided by the made participation as easy as possible. defined quite broadly, resulting in no at improving well-being at work. These vironment. Aboa Vetus & Ars Nova ap- museum would relate to maintaining The focus was on cooperation, learn- proven changes based on five-level in- services are now part of the regular proached the theme from the perspec- and supporting well-being, rather than ing to know one another and respect- dicators. Furthermore, the sample was range of services provided by the tive of well-being among the work- mending previous damage. ing the different voices in the workplace small for the type of questionnaire museum. The packages are of various ing-age population. It also wanted to community. Each meeting included a survey used for the project. However, durations and involve activities related develop methods to better meet the MUSEUM VISITS DURING WORKING 30-minute coffee break, which enabled when asked about their personal ex- to museum exhibitions, focusing needs of working-age people – a demo- HOURS the group to engage in more informal periences, the participants responded on different aspects of well-being at graphic that receives little attention During the project, the workplace com- discussion and enjoy the museum en- that the project had strengthened the work. The new services have been in museum pedagogy. The project was munity convened at the museum on a vironment. workplace spirit and refreshed them. well-received, and the museum will launched at the beginning of 2012. The monthly basis. The meetings were held The regular visits to the museum The art had left a trace, even after the continue to implement projects related partners included the Finnish Work En- during working hours – which all par- served to familiarise the group with museum visits. to well-being at work. vironment Fund, an organisation fund- ties considered to be important. An art contemporary art and the museum en- ing research and development projects instructor assigned to the project was vironment. During the year, the group THE MUSEUM AS A PROVIDER OF related to working life in Finland, and responsible for the content of these had the opportunity to observe two art- WELL-BEING SERVICES the city of Turku Social Services and three-hour meetings. The art instructor ists at work and hold an exhibition of The ”Art leaves a trace” project was a Health Care Department worked in close cooperation with the their own in the Omatila gallery of the positive experience for the museum as A unit of 20 home care employees from members of the group even between museum. well. It strengthened the feeling that the City of Turku field of services for the the meetings. She visited the work- museum environments are suitable elderly was selected as the target group. places of home care employees to learn DOES ART AFFECT WELL-BEING AT for promoting well-being at work. The reasons for selecting this particu- about their work and provided the par- WORK? The well-being services provided by lar group included their high level of ticipants with exercises to complete be- During the project, the world of modern museums do not need to be something motivation: the supervisor and the em- fore and after the meetings held at the art became more approachable and eas- new and different. Instead, they arise ployees were willing to commit to the museum. ier to understand for the participants. from existing content and services.

44 45 COMMUNITY & COLLABORATION

1 1 usein ongelmat menettävät accompanied and encouraged Mitä kulttuuriluotsit ovat ja merkityksensä. Kuvassa people to participate in mihin heitä tarvitaan? Kulttuuriluotsit vanhusten cultural activities since 2006 Alueen kulttuuritarjontaan kanssa taiteilija Carl Bengtsin – to go not only to museums, FI / koulutettuja näyttelyssä Keski-Suomen but also to dances, the vapaaehtoisia, jotka vievät museossa. cinema, concerts, the theatre kulttuurielämyksiin ja and the library, including Why art and culture is innostavat taiteen äärelle. reading circles. Various good for all? Cultural Monilta jää helposti kokonaan exhibition projects cooperate experiences bring joy, Kulttuuriluotsista lähtemättä kulttuurin pariin: with museum staff, artists improve self-knowledge ei ole tietoa mitä on tarjolla, and reach out to the public and the quality of life and kaveri elämyksiin ei ole ketään kaveriksi, tai voi through discussion events create stronger connections luulla, että kulttuuripalvelut have been accomplished as to the environment. They tai tapahtumat eivät kuulu well. Volunteering activity also promote tolerance and minulle. Vapaaehtoisen has spread to more than Art and Culture diversity. Participating in kaverin tai vertaisen kanssa 20 locations in Finland with cultural events is a basic lähtemiskynnys madaltuu, variety of target groups. In Companions – lead human right. Art gives people luotsin kanssa nautittuna the photo Art and Culture energy and helps them forget kulttuuri- tai taide-elämykset Companions are interviewing to new experiences about their pains and aches maistuvat kaksin verroin people for Open albums and last but not least, it’s fun paremmalta. Kuvassa -project, gathering old photos enjoyed together. In the photo Kulttuuriluotsit kierroksella and stories in the Jyväskylä HANNE LAITINEN, volunteers are accompanying ryhmänsä kanssa Keski- City Library. KULTTUURILUOTSIKOORDINAATTORI, elderly at the exhibition of 2 3 Suomen Ilmailumuseossa. JYVÄSKYLÄN KAUPUNKI, SUOMI local artist Carl Bengts in the What are Art and Culture Museum of Central Finland. BY HANNE LAITINEN, 4 Companions and why are ART AND CULTURE COMPANION COORDINATOR, Mitä yhdessä voidaan they needed? CITY OF JYVÄSKYLÄ, FINLAND tehdä? Kulttuuriluotsin They are volunteers 3 kanssa voi mennä museoon accompanying people to Miten kulttuuriluotsin saa tutustumaan perinteisiin, cultural experiences and kaveriksi? taidekierrokselle tai vaikka inspire them to enjoy art. Yhteyttä voi ottaa FAKTA / FACTS / käsityön pariin katsomaan ACCs have been provided koordinaattoreihin tai Kulttuuriluotsi/kaveritoi- Art and Culture Compan- näyttelyä ja unohtua with training on regional kulttuuriluotseihin. He minta mahdollistaa käyn- ion activity is for all! Visit- työpajaan itse tekemään. cultural activities. It is too yhdistävät pyynnöt ja tejä vapaaehtoisen kaverin ing ­exhibitions and other Tapahtumat, konsertit ja easy to skip cultural activities. vapaaehtoiset­ sekä kanssa näyttelyihin ja muihin events with a volunteer, esitykset ovat myös kysyttyjä. People are not aware of what antavat tarvittaessa tapahtumiin. Se tuo kohtaa- enjoying meeting people, Joskus on helpointa viedä is going on, have no one to kulttuurineuvontaa ja misia, virkistystä ja iloa niin ­e­xperiencing joy and feeling matkalaukkunäyttely kotiin go with or may think that menovinkkejä. Jyväskylässä luotsattaville kuin kulttuuri- invigorated, enriching expe- 4 tai palvelutaloon yhdessä cultural services and events on innostettu kulttuurin pariin luotseillekin sekä rikkautta ja riences in everyday life, pro- ihmeteltäväksi. Tarvittaessa are not for them. They’ll need jo vuodesta 2006 museoiden elämänlaatua arkeen. Lisäksi moting human rights, when kulttuuriluotsi myös hakee encouragement. A volunteer ohella tanssiin ja elokuviin, toiminta edistää tasa-arvoa also the needs of special elämyksiin kotiovelta. Kuvassa or a peer guide lowers the konsertteihin, teatteriin ja ja osallisuutta, erityisryhmät groups are taken care of. Kulttuuriluotsit tarjoavat threshold to participate kirjastoon, mm. lukupiireihin. huomioituina. tietojaan ja huomiotaan and doubles the pleasure of Erilaisissa näyttelyprojekteissa What is needed for Art luotsatuilleen Suomen enjoying visits. In the photo tehdään yhteistyötä Mitä tarvitaan kulttuuri- And Culture Companion käsityön museossa Art and Culture Companions taiteen ammattilaisten luotsi/kaveritoimintaan? ­activities to take place? and accompanied are on a kanssa ja ollaan yleisön What can you do­ ­together? • käyntikohteet, paikkakun- • Sites to visit, local speciali- tour in the Aviation Museum käytettävissä mm. With a volunteer, you can nan ominaispiirteet ties involved of Central Finland. Perjantaiporinoissa. Toiminta visit a museum to learn • koordinaatio, koordinaattori • Coordination, a coordi­ on levinnyt Suomessa jo yli about traditions, art or crafts • vapaaehtoisten peruskoulu- nator 20 paikkakunnalle. Kuvassa – and even participate in a tus ja jatkokoulutus • Basic and further training 2 Kulttuuriluotsit keräämässä workshop. Events, concerts • välitystyö: pyyntöjen ja for volunteers Miksi taidetta ja kulttuuria vanhoja valokuvia ja and performances are popular luotsien kohdistaminen, • Intermediation: matching kaikille? tarinoita Avoimet albumit as well. Sometimes the best neuvonta requests and volunteers Kulttuurielämykset tuovat -projektin tiimoilta Jyväskylän solution is to bring a suitcase • tiedotusta, mitä on me- • On going information iloa, lisäävät elämänlaatua, kaupunginkirjastossa. exhibition to a nursing home. nossa about current events itsetuntemusta, ympäristöön If needed, a companion will • verkostoyhteistyö: kohteet, • Networking widely: sites, How can I get an Art And kiinnittymistä, edistävät pick you up from your front kulttuuri- ja vapaaehtoistoi- cultural staff and volun- Culture Companion? suvaitsevaisuutta ja door. In the photo Art and mijat, sopimukset teers, agreements, local Contact an Art and Culture erilaisuuden sietämistä. Culture Companions at your associations Companion coordinator Kulttuuritapahtumiin service in the Craft Museum Lisätietoja: Kulttuuriluotsi- or even a volunteer and osallistuminen ja osallisuus of Finland, offering their koordinaattori Hanne Laiti- Contact: Art and Culture you will be matched with kuuluvat ihmisoikeuksiin. knowledge and care for the nen, [email protected] Companion coordinator a companion and also Taide auttaa jaksamaan visitors accompanied. Hanne Laitinen, provided advice and tips, if ja unohtamaan kivut ja [email protected] needed. In Jyväskylä, Art and särytkin, kulttuurin parissa Culture Companions have PHOTOS: HANNE LAITINEN. AND HANNA-KAISA HÄMÄLÄINEN HANNE LAITINEN. AND HANNA-KAISA PHOTOS:

46 47 COMMUNITY & COLLABORATION

FAKTA /

På tre år har 88 olika sorters ­museer i hela Sverige ­utbildats i att anordna specialanpassade ­visningar för demenssjuka och ­deras anhöriga. 696 visningar har hållits för ca 4 800 deltagare.­ ­Visningarna har ett inkluderande upplägg med små grupper där ett personligt ­bemötande och ­samtalet står i fokus.

Projektnamn: Möten med min- nen. Projektet drivs av Alzheimer- fonden: www.alzheimerfonden.se och Nationalmuseum:­ www.nationalmuseum.se. Målgrupp är personer med ­demenssjukdom, deras anhöriga och vårdpersonal. Projektledare är Tove Wiik Tove@alzheimerfon- den.se. Pedagogisk ansvarig är ­Jeanette Rangner Jacobsson Jeanette.Rangner@ nationalmuseum.se.

FACTS /

Over a period of three years, 88 various museums through- out Sweden have been educated in organizing especially suited ­programs for individuals with Alzheimer’s disease and their care partners. The overall goal is to improve the participants’ quality SW/ of life by positive experiences at a

museum and social interaction ALZHEIMER`S FOUNDATION SWEDISH JOHANNA WULFF/THE PHOTOS: in an accepting environment. Möten med The program focuses on dialogue and a personal approach. minnen Project name: Meetings with memories. The procejt is run by Meeting with Alzheimerfonden (The Swedish Alzheimer’s Foundation): memories www.alzheimerfonden.se and Nationalmuseum: www.nationalmuseum.se AV JEANETTE REGNER, The target group is individuals MUSEIPEDAGOG VID with Alzheimer’s disease and NATIONALMUSEUM their care partners. BY , Project leader is Tove Wiik, JEANETTE REGNER MUSEUM EDUCATOR AT [email protected] NATIONALMUSEUM and pedagogical supervisor Jeanette Rangner Jacobsson, Jeanette.Rangner@ nationalmuseum.se

48 49 COMMUNITY & COLLABORATION

3

1 IS /

(v)ertu græn(n)!? – sjálfbærni og menningararfur mætast (be)come green! – sustainability and cultural heritage

ALMADÍS KRISTINSDÓTTIR SAFNAFRÆÐINGUR

ALMADÍS KRISTINSDÓTTIR MUSEOLOGIST 2

FAKTA / FACTS /

Verkefnið var samstarf The project was a collaborative Norska hússins, Náttúrustofu venture of The Norwegian House Vesturlands og fræðsludeildar in Stykkishólmur, the West Iceland Listasafns Reykjavíkur. Unnið Centre of Natural History and the 4 var með hugtakið sjálfbærni Reykjavík Art Museum education og snertifleti þess við myndlist, department. The theme was menningar- og náttúruarf. sustainability, and its connections with art, culture and natural Norska húsið í Stykkishólmi heritage. 1 3 tilheyrir Byggðasafni 5 The Norwegian House in Dæmi um gripi sem safngestir lánuðu Tjörgun Norska hússins var innlegg í Snæfellinga og Hnappdæla ­Stykkishólmur, west Iceland, safninu fyrir grænu sýninguna. Gripirnir um ræðuna um sjálfbærni, ljósmynd af og er fyrsta tvílyfta íbúðarhús which houses the Snæfellsnes urðu að vera grænir á litinn eða þá grænir, framkvæmdinni var framlag safnsins í á Íslandi, byggt 1832 úr ­heritage museum, and was the það er að segja umhverfisvænir, endurunnir grænu sýninguna. tilsniðnum viði frá Noregi. first two-storey dwelling in eða heimagerðir. Haldið var málþing og efnt til Tarring the exterior of the museum was Iceland, built in 1832 from precut þátttöku bæjarbúa með því að Examples of objects museum guests also a part of the sustainability initiative, Norwegian timber - hence its kalla eftir ”grænum” hlutum brought to the museum to loan the and a photograph of the operation was our name. A ­seminar was held, and og sett upp ”græn” sýning ­museum during the exhibition. The objects contribution to the ”green exhibition". inhabitants of Snæfellsnes, west bæði að lit og til vekja fólk til ­needed to be green in colour and/or Iceland, were ­encouraged to umhugsunar um sjálfbærni. ”green” as in good for the environment, ­participate by ­asking them to Útbúið var kennsluefni með recycled, restored or home-made. 4 contribute ”green” objects, and sýningunni sem fyrirhugað Lánsgripirnir voru skráðir ásamt sögum setting up a ”green” exhibition – var að ferðaðist með henni en sem tengdust þeim. Skráningarferlið var which was both literally green in þau áform breyttust. Boðið 2 sýnilegt á sýningunni svo þátttakendur og 5 colour, and aimed to make people var upp á listsmiðju og spjall Ljósmyndir voru teknar af öllu grænu í aðrir safngestir fengu innsýn í safnastarf. Flökkusýning Listasafns Reykjavíkur sem think about sustainability. við umhverfisfulltrúa alla bænum og gert var bókamerki sem fékkst fjallar um sjálfbærni í myndlist. Kennsluefni An art workshop was held, as The objects were documented along fimmtudaga í hádeginu og gefins. Á bókamerkinu eru græn úrræði fylgdi flökkusýningunni með hugmyndum well as talk sessions with the with the stories connected to them. efnt til samkeppni á hönnun útlistuð en bókamerkið má einnig nota sem um hvernig hægt væri að vinna með local ­environmental officer every This process was made visible within vistvænna tauinnkaupapoka. reglustiku. Ljósmyndirnar voru teknar af viðfangsefnið í skólanum. Thursday at lunchtime, and a the exhibition, so museum guests and Seinna varð Stykkishólmur unglingum bæjarins sem fundu græna hluti competition was held to design an participants could get a feel for museum The Reykjavík Art Museum Rover Show, a plastpokalaus bær! í nærumhverfinu. environmentally-friendly shopping Að verkefninu stóðu AlmaDís work. travelling exhibition that represents issues bag. In due course Stykkishólmur Kristinsdóttir, safnstjóri, Photographs were taken of everything of sustainability through original art works. became a plastic-bag-free town! (almadis.kristinsdottir@gmail. green in the town, and were used to make A teachers’ pack with ideas for use in The project was organised by com) og Ingunn Jónsdóttir, a bookmark, which was distributed free. It schools is an important component of this AlmaDís Kristinsdóttir, museum fyrir Norska húsið lists resources for thinking green and can exhibition on wheels. director, (almadis.kristinsdottir@ ([email protected]). also be used as ruler. The photographs gmail.com) and Ingunn Jónsdóttir, were taken by local teenagers, who found for the Norwegian House all the green objects in town. ([email protected]).

50 51 COMMUNITY & COLLABORATION

1

Supersans

AV INGRID LISE TJEMSLAND, MUSEUMSPEDAGOG

NO/ Museum Stavanger (MUST) har visjon om å være levende og ledende. Det betyr at vi skal være nyskapende i bevegelse og utvikling, og ledende både faglig og organisatorisk. Vi støtter oss på ICOMS etiske regelverk om museenes samfunnsrolle i formidlings­ arbeidet: ”Museene har plikt til å utvikle sin viktige folkeopplysningsrolle og trekke til seg et bredere publikum fra lokalsamfunnet, området eller gruppen som de betjener. En integrert del av museets opplysningsoppgave består i å samhandle med det samfunnet 1 museet tjener og arbeide for å fremme dets natur- og kulturarv.” I tidligere tilskudds- I de naturhistoriske ut- brev fra Kulturdepartementet ble det spesielt uttrykt at ”Musea skal nå publikum med stillingene har elevene lært om trekkfugler kunnskap og oppleving og vera tilgjengelege for alle, mellom anna gjennom målretta og prøvd seg på ring- tilrettelegging for ulike grupper og aktuell formidling som fremjar kritisk refleksjon og merking. skapande innsikt.” At the natural history exhibitions, the pupils have learned about mi- ET SANSELIG PERSPEKTIV gratory birds and take I MUST stilte vi oss spørsmålet: Hvordan kan vi være tilgjengelige for alle? a stab at bird ringing. MUST består av museum for kulturhistorie, billedkunst, naturhistorie og sjøfarts- og in- dustrihistorie, og av flere museumsanlegg, -bygninger og -samlinger. Siden konsolide- 2 På oppdagelsesferd i ringen i 2010 har MUST hatt et sterkt fokus på tverrfaglig samarbeid mellom avdelingene, utstillingen Chromop- og i 2013 kom ideen om Supersans som et felles museumspedagogisk utviklingsprosjekt hilia – en utstilling om i MUST. Målet var å gjøre museene mer tilgjengelige, inviterende og inkluderende.­ Ved å farger i kunsten. lage et undervisningstilbud der vi formidlet våre utstillinger ved alle våre museer gjen- A voyage of discov- ery in the exhibition nom et sanseperspektiv så vi muligheten til å nå denne målsetningen.

”Chromophilia” – an Supersans omtales gjerne som den sansen som overtar dersom man har mistet en TØNNESE MUST/ELISABETH PHOTO: exhibition about colour ­annen. Men det kan også bety at man har sans for noe. I MUST har vi supersans for de in art. besøkende! Vi setter pris på å formidle våre fagområder, erverve og videreformidle og 2 debattere kunnskap- om naturen vi er en viktig del av, våre bygninger og historier, om mennesker og gjenstander fra ulike tidsperioder.

EN TRIGGER FOR SANSENE Dette tverrfaglige formidlingstilbudet drives av museumspedagogene ved totalt ti mu- seer i de fire fagavdelingene. Supersans har videre blitt utviklet til to parallelle løp med felles kjerne, der en formidlingsrekke tilbys forsterket avdeling i skole, en formidlings- rekke tilbys førskolegrupper i barnehage. Gjennom et helt skoleår formidler vi utvalgte utstillinger gjennom et sanseperspektiv til en gruppe elever som tidligere ikke har hatt et systematisk tilrettelagt tilbud i museet. Vi er på langt nær fremmede for å ta i mot disse gruppene, men har gjennom arbeidet med Supersans utviklet en formidlingsform hvor både enkeltindividets perspektiv og gruppens behov og forutsetninger danner fun- damentet og basis for møtet og formidlingen i enda sterkere og mer bevisst grad. Å tilpasse formidlingen, spesielt til elever med ulike former for autisme, elever med

52 LISE TJEMSLAND MUST/INGRID PHOTO: 53 COMMUNITY & COLLABORATION 4

3 6 6 I Stavanger maritime muse- ums aktivitetsutstilling Sjau- ing på kaien får elevene kle seg ut i klær fra 1950­-årene.

At Stavanger Maritime PHOTO: MUST/OVE MAGNUS BORE MAGNUS MUST/OVE PHOTO: ­Museum’s activity exhibi- tion ”Work at the docks”, the ­pupils get to dress up in 5 clothes from the 1950s. PHOTO: MUST/OVE MAGNUS BORE MAGNUS MUST/OVE PHOTO: PHOTO: FOTOGRAF :ANE HAUGSGJERD HAUSO, LÆRER TASTARUSTÅ SKOLE. LÆRER TASTARUSTÅ HAUSO, :ANE HAUGSGJERD FOTOGRAF PHOTO: PHOTO: MUST/ ALF TORE MJØS ALF TORE MUST/ PHOTO:

3 Downs Syndrom, med nedsatt syn, hørsel eller taleevne, har fått oss til å tenke anner- god tid før skolestart, slik at gruppene har en oversikt over alle museumsbesøkene det FAKTA / I ”Nablus - en okkupert by” ledes om vår egen formidlingspraksis. Et Supersans-besøk på museet skal skille seg fra kommende skoleåret – totalt ti besøk på ulike museumsanlegg. Museumspedagogene Supersans gjennomføres­ blir elevene kjent med Stavan- ved følgende ­avdelinger gers palestinske vennskapsby. tradisjonell museumsformidling. Hvert besøk legger opp til å være en trigger for san- tar så kontakt med skolene og sender ut en presentasjon av seg selv og detaljert infor- og museer i Museum sene. Sammen med elevene bruker vi syns-, lukte-, føle-, smaks- og lyttesansen som ut- masjon om hva som skal skje under besøket ved det enkelte museum i god tid før grup- Stavanger:­ At the exhibition ”Nablus - Avdeling for kunst: a City under Occupation”, gangspunkt. pene kommer. Oppfølgingen og kontakten med skolene er den enkelte museumspeda- Stavanger­ Kunstmuseum the pupils get to know gogs ansvar. Det er opprettet en referansegruppe fra deltakerskolene som skal gi museet Avdeling for ­naturhistorie: ­Stavanger’s twin city better. FORMIDLINGSNETTVERKET jevnlige tilbakemeldinger på formidlingstilbudet. Stavanger museum med naturhistoriske­ samlinger Formidlingsnettverket i MUST består av syv museumspedagoger. Museumspedagog­ Avdeling for kultur: Norsk 4 ene har ulik bakgrunn som dekker fagfeltene kunsthistorie, kulturhistorie, biologi, his- ERFARINGER FRA PILOTÅRET barnemuseum, Stavanger I Arbeiderboligen i Gamle skolemuseum, kongebo- Stavanger møter elevene torie, språk, pedagogikk, film- og medievitenskap på bachelor og/eller masternivå. De Erfaringene fra pilotåret 2014/2015 har lært oss mye om museets muligheter og gitt oss ligen Ledaal, redervillaen husmoren som må få hjelp til fleste har erfaring med undervisning i grunnskole, videregående skole eller universi- nye perspektiver på formidlingsformene våre. Tilbakemeldingene fra ressurspedagog­ Breidablikk, Utstein Kloster å vaske klær, som her en stor og ­Stavanger museum med mamelukk. tet. Kompetansen innen spesialpedagogikk er derimot relativt liten. Det har derfor vært ene og interne evalueringer har hjulpet oss til ytterligere å forbedre og skreddersy til- kulturhistoriske­ samlinger. In the Workers’ Dwelling in nødvendig å ha tett kontakt med spesialpedagogene på brukerskolene for å kunne legge budet på de enkelte museene, både med tanke på innhold og praktisk tilrettelegging. Avdeling for sjøfart og Old Stavanger, the pupils til rette for supersansgruppene på best mulig måte. Vi hadde blant annet satt av for liten tid til hver gruppe og for liten tidsbuffer mellom industri:­ Norsk hermetikk- museum, Arbeiderboligen i meet the housewife who hver gruppe. Erfaringen er at denne typen grupper trenger noe mer tid til garderobe, det needs help to wash clothes, Gamle Stavanger og Stavan- like this great pair PLANLEGGING å komme i gang et. c. Vi hadde heller ikke tatt høyde for ikke at disse gruppene ofte har ger maritime museum. of bloomers.­ Prosjektet Supersans startet som en pilot da vi i 2013 innledet et samarbeid med en for- en - til – en relasjon voksne/elever. Dermed ble gruppene dobbelt så store som det vi i ut- Ressurser: en prosjekt­ leder (leder av formidlings- sterket avdeling på en ungdomsskole. I løpet av skoleåret 2013/2014 besøkte ungdoms- gangspunktet hadde regnet med i planleggingen av besøket. Dette medførte at vi under- nettverket) tilsvarende 10% 5 skoleavdelingen alle involverte museer. De ansatte på avdelingen, fra nå av kalt res- veis måtte nedjustere antall deltakere i små utstillinger eller bygninger med små rom. stilling.­ Formidlingsoppleg- get inngår i museumspeda- Disseksjon av fisk gir både surspedagogene, gav nyttig tilbakemelding på hva som fungerte og hva som kunne for- Videre fikk vi tilbakemelding på at vi var for lite forutsigbare. Det viste seg at på tross av nye lukter og opplevelser, gogenes ordinære arbeids- som å finne og kjenne på bedres og videreutvikles. Skoleåret 2014/2015 utvidet vi piloten med til sammen 20 grup- at vi trodde vi hadde presentert våre museer og program før besøket, var det hovedsake- oppgaver. linsa i fiskens øye. per fra grunnskolen og noen videregående skoler. lig den praktiske tilretteleggingen vi hadde gjort rede for, ikke selve innholdet. Kontakt: Dissection of fish brought Ingrid Lise Tjemsland, about new smells and expe- PRAKTISK GJENNOMFØRING ET UTADRETTA MUSEUM ingrid.tjemsland@ riences such as finding and museumstavanger.no feeling the lens of a fish eye. Hver gruppe besøker ett museum i måneden. I løpet av èn dag kan det komme to-tre Skolene etterlyste detaljerte beskrivelser av hva som skulle foregå på hvert museum slik grupper til hvert museum. En prosjektansvarlig i MUST inviterer og booker gruppene i at de kunne hjelpe elevene med å forberede seg på det som skulle skje. Hvor skulle de

54 55 COMMUNITY & COLLABORATION

hen? Hvordan skulle de komme seg dit? Hvem skulle de møte? Nøyaktig hva skulle skje? through purposeful accommodation tion offer is run by the museum edu- ent backgrounds that cover the spe- Ord og nyanser ble viktige. I formidlingsopplegget på Norsk hermetikkmuseum der det of different groups and topical dis- cators of in all ten museums within cial fields of art history, cultural his- ble lagt opp til at elevene skulle gå inn i roller som fabrikkarbeidere, var det for eksem- semination which promotes critical the four specialist departments. Su- tory, biology, history, language, ped- pel viktig å understreke at de som ønsket det kunne kle seg ut. Løsningen ble at hver reflection and creative insight.” persans has furthermore been devel- agogy and film and media science at museumspedagog laget en enkel presentasjon med tekst og foto av seg selv og av for- oped into two parallel courses with bachelor and/or master level. Most of midlingsopplegget ved sitt museum som ble sendt til skolene i forkant av hvert enkelt a common core, one dissemination them have previously taught in ele- besøk. A SENSORY PERSPECTIVE course being offered to special educa- mentary school, secondary school or Erfaringene våre med dette tilbudet har gjort oss til et mer utadrettet museum der vi har At MUST we asked ourselves the fol- tional needs departments in school at university. Their competence when tettere kontakt med brukerne. Vi har innsett at vi ikke trenger å sitte på all kompetansen lowing question: How may we be and another dissemination course to it comes to special educational needs selv. Ved å gå i tett dialog med ressurspersoner ved skoler og institusjoner kan vi sam- available to everybody? pre-school groups in kindergarten. is rather limited, however. For this men legge til rette for å skape gode museumsopplevelser for grupper som har vært lite MUST consists of museums of cul- Through the course of a whole school reason, it has been necessary to main- påaktet i vår organisasjon tidligere. tural history, visual art, natural his- year we disseminate selected exhi- tain close contact with the special ed- tory and shipping and industrial his- bitions through a sensory perspec- ucational needs teachers at the user PROJEKTETS VIDERE LIV tory, and of several museum sites, tive to a group af pupils who have not schools in order to be able to accom- Supersans er kommet for å bli i vår organisasjon. Måten å tenke tverrfaglig på har ført buildings and collections. Since its previously been provided with a sys- modate the Supersans groups in the oss inn i nye prosjekter og vi oppretter i disse dager kontakter som skal hjelpe oss å legge consolidation in 2010, MUST has had tematically adapted offer at the mu- best way possible. formidlingen ved MUST til rette også for demente, døve og svaksynte. Men det er en an- a strong focus on interdisciplinary co- seum. We are far from alien to receiv- nen historie. operation between the departments, ing these groups, but through work- Formidlingsnettverket i Museum Stavanger består av museumspedagogene: Ingrid Lise and in 2013 the idea for Supersans as ing on Supersans we have developed PLANNING Tjemsland (leder), Kristin Vestrheim Cranner, Stine Honoré, Kine Oaland, Helga Nyman, a joint museum educational develop- a form of dissemination where both The Supersans project started as a pi- Elin Lillebråten, Lene Amalie Aadahl, Camilla Bjerk Olsen og Katharina Ueland. ment project at MUST was hatched. the perspective of the individual and lot as we entered into a collaboration The goal was to make the museums the needs and prerequisites of the with a special educational needs de- more accessible, inviting and includ- group form the foundation and basis partment at a lower secondary school. ing. By creating an education offer of the meeting and the dissemination During the course of the school year where we disseminated our exhibi- to an even stronger and more deliber- 2013/2014, this secondary school de- tions at all our museums through a ate degree. partment visited all the museums in- sensory perspective, we saw the op- Adjusting the dissemination, espe- volved in the arrangement. The em- portunity to reach this objective. cially to pupils with different forms ployees of the department, hence- ENGLISH VERSION Supersense is generally referred to of autism, pupils with Downs syn- forth referred to as the resource ed- as the sense that takes over if you drome, with impaired vision, hearing ucators, offered useful feedback on lose one of your other senses. How- or speech, has made us think differ- what worked and what could be im- Supersans (Supersense) ever, in Norwegian the word super- ently about our own dissemination proved and developed further. In the sans may also imply that you have a practice. A Supersans visit at the mu- school year 2014/2015, we expanded (super) appreciation of something. At seum should stand out from tradi- the pilot by in all 20 groups from ele- MUST we super appreciate our visi- tional museum dissemination. Each mentary and lower secondary school

BY INGRID LISE TJEMSLAND, MUSEUM EDUCATION OFFICER tors! We value disseminating our sub- visit is set up to be a trigger for the and a few upper secondary schools. ject areas, acquiring, communicating senses. Together with the pupils we and debating knowledge - about na- use the senses of vision, smell, touch, Museum Stavanger (MUST) has a vision dissemination work: ”The museums which the museum serves and strive to ture, of which we are an important taste and hearing as a point of depar- PRACTICAL IMPLEMENTATION to be a vibrant organization and leading have a duty to develop their important promote its natural and cultural herit- part, about our buildings and stories, ture. Each group visits one museum per in our field. This means that we aim to role as public educators and attract a age.” In previous letters of allocation about people and artefacts from dif- month. During the course of one be innovative, in constant motion and wider audience within the local com- from the Department of Culture it was ferent time periods. day, two to three groups may ar- development and leading academically munity, the area or group which they especially underlined that ”The muse- THE DISSEMINATION NETWORK rive at each museum. A project man- as well as organizationally. serve. An integrated part of the muse- ums should reach their audience with The dissemination network at MUST ager at MUST invites and books the We rely on the ICOM ethical guidelines um’s educational responsibility con- knowledge and experience and be avail- A TRIGGER FOR THE SENSES consists of seven museum educators. groups well in advance of the first day on the social role of museums in their sists in interacting with the community able to everybody, among other things This interdisciplinary dissemina- These museum educators have differ- of school, so that the groups have a

56 57 COMMUNITY & COLLABORATION

schedule of all the museum visits in ble. It turned out that even though we projects, and we are at present estab- the upcoming school year - in all ten believed we had presented our muse- lishing contacts that will help us adapt visits to different museum sites. The ums and programme prior to the visit, the dissemination at MUST for senile museum educators then contact the what we had primarily explained was demented people, deaf people and vis- schools and send out a presentation of the practical adaptation, not the con- ually-impaired people as well. But that themselves and detailed information tent itself. is another story. about what is going to happen dur- The dissemination network at Mu- ing the visit at the individual museum OUTWARD-FACING MUSEUM seum Stavanger consists of the mu- well in advance of the groups arriving. The schools asked for detailed descrip- seum educators: Ingrid Lise Tjemsland The responsibility to follow up and tions of what was going to take place (leader), Kristin Vestrheim Cranner, maintain contact with the schools falls at each museum so that they could Stine Honoré, Kine Oaland, Helga Ny- to the individual museum educator. A help their pupils prepare for it. Where man, Elin Lillebråten, Lene Amalie Aa- reference group from the participating were they going? How would they get dahl, Camilla Bjerk Olsen and Kathar- schools has been created which is sup- there? Who were they going to meet? ina Ueland. posed to provide regular feedback on Exactly what was going to happen? the dissemination offer. Words and nuances became important. In the dissemination scheme at the Norwegian Canned Foods Museum, for FACTS / EXPERIENCE FROM THE PILOT YEAR instance, where the idea was that the Supersans is implemented at The experiences from the pilot year pupils would assume roles as factory the following departments and SCHOOLS & EDUCATION ­museums in Museum Stavanger: 2014/2015 have taught us a lot about hands, it was important to emphasize />> Department of Art: the possibilities of the museum and that those who wanted to could dress Stavanger Art Museum have given us new perspectives on our up. The solution was that each mu- Department of Natural ­History: Stavanger Museum with its forms of dissemination. The feedback seum educator made a simple pres- ­natural history collections from the resource educators and in- entation including text and photos of Department of Cultural History: ternal evaluations have helped us to themselves and of the dissemination Norwegian Children’s Museum, Stavanger School Museum, the further improve and tailor the offer scheme at their museum, which was royal residence Ledaal, the ship- at the different museums, with both sent to the schools prior to each visit. owner’s villa Breidablikk, Utstein Monastery and Stavanger Museum content and practical adaptation in Our experiences with this offer has with its cultural history collections mind. Among other things, we had made us a more outward-facing mu- Department of Shipping and set aside too little time for each group seum in closer contact with our users. Industry:­ Norwegian Canned Foods Museum, The Workers’ and too small a time buffer between We have realized that we don’t need to Dwelling in Old Stavanger and the groups. Our experience is that this possess all the competence ourselves. Stavanger Maritime Museum Resources: a project ­manager type of group needs a little more time By entering into close dialogue with (leader of the ­dissemination in the cloakroom, getting started, etc. persons of resource at schools and in- ­network) equivalent to a 10% We also hadn’t taken into consider- stitutions, we may together make the ­position. The dissemination plan forms part of the ­museum ation that these groups often have a necessary adaptations in order to cre- ­educators’ ordinary work one to one adult to pupil ratio. As a re- ate good museum experiences for assignments.­ sult the groups became twice as large groups that have previously gone un- Contact: Ingrid Lise Tjemsland, as we had originally assumed when noticed by our organization. ingrid.tjemsland@­ planning the visit. This meant that we museumstavanger.no had to reduce the number of partic- ipants in small exhibitions or build- THE FURTHER LIFE OF THE PROJECT ings with small rooms as we went Supersans is here to stay in our organ- along. Furthermore, we were advised ization. This way of thinking in inter- that we weren’t sufficiently predicta- disciplinary terms has led us on to new

58 59 SCHOOLS & EDUCATION

kation er, at andre undervisere og museumsformidlere ved at lade sig inspirere af un- dervisningsforløb, interviews og artikler kan innovere egen undervisning. Derfor kan man sige, at denne formidling af konkrete forløb og erfaringer fra projektet bygger på idéen om peer-to-peer-formidling. Dvs. formidling af erfaringer foregår mellem men- nesker, der er ligeværdige og typisk befinder sig inden for samme fagfællesskab. I pro- jekt Learning­ Museum, og derfor også i denne publikation, er målet, at fagfolk fra forskellige faglige fællesskaber og med forskellige fag- ligheder gennem et konkret samarbejde har skullet udvikle praksis. Det er ikke intentionen, at læseren skal overtage de udviklede forløb eller produkter. Det er idéen, at læseren selv bearbejder og omsætter de beskrevne undervisnings- og praktikforløb, så de kommer til at Bog og projekt: passe til netop hans eller hendes praksis og kontekst. Learning Museum PRAKSISFÆLLESSKABER DA / Evalueringen af samarbejdet omkring realisering af det fælles Praksismanual ­projekt med fokus på uddannelsen af lærerstuderende har vist sig at være kompetenceudviklende for alle parter. Det er ikke kun de stu-

FAKTA / derende, der har fået styrket deres faglige kompetencer, men også

Information om de involverede institutioner og aktører rundt om den studerende. projekt Learning AF TINE SELIGMANN, PROJEKTLEDER OG MUSEUMSINSPEKTØR, Roller er blevet brudt op, og vi ser et tværfagligt samspil mellem Museum 2011-2013 MUSEET FOR SAMTIDSKUNST, ROSKILDE Projektejer og ­museumsdidaktik og fagdidaktik. De traditionelle barrierer mellem projektledelse: ­ fag og institutioner får en mindre betydning, når de forskellige par- Museet for Samtidskunst, ter indtager nye roller og positioner. Det innovative styrkes, når for- www.samtidskunst.dk Projektleder: Learning Museum 2011-2013 er et nationalt udviklings- og samarbejdsprojekt mellem skellige fagligheder og institutioner arbejder sammen. museumsinspektør­ 30 museer (kultur- og naturhistoriske museer og kunstmuseer) og 13 læreruddannelser. Tine Seligmann, kontakt [email protected] Formålet med projektet har været at kvalificere kommende grundskolelæreres brug af Bogen er udgivet i museerne og på sigt grundskolernes brug af museernes læringspotentialer, samtidig KÆRLIGHED OG KENDSKAB forbindelse med projekt med at museerne opkvalificerer deres undervisning til elever. Målet er, at den enkelte At lære hinandens verdner at kende tager tid, men tid skaber også Learning Museum 2011-2013 I samarbejde elev får det bedste udbytte af de mange muligheder, der ligger i kulturinstitutionerne. I tætte relationer og forståelse for dit fag og mit fag. Evalueringen har med Skoletjenesten tre år har museer og læreruddannelser arbejdet sammen om at udvikle undervisnings- vist, at noget af det vigtigste for projektdeltagerne er det personlige Bogen kan gratis downloades fra projektets på Sjælland, hjemmeside www.learningmuseum.dk under www.skoletjenesten.dk og praktikforløb for lærerstuderende på museerne. Projektet har haft et brugerinddra- møde, kendskabet og det at gøre noget sammen. Gennem work­ punkt Forskning i praksis. Bogen kan også Redaktion/tekst: gende fokus, hvor de lærerstuderende er blevet inddraget som ressourcepersoner i mu- shops og netværksmøder er der blevet skabt en platform for samar- købes som hardback. Tine Seligmann seernes undervisningsafdelinger. Museerne har inviteret de studerende indenfor, og bejde, dialog og vidensudveksling. De involverede parter har arbej- The book can be downloaded for free from Tekster: Projektdeltagere, www.learningmuseum.dk. You can also buy Learning Museum museerne er i samarbejdet blevet klogere på deres institution som læringsrum og styr- det med hver deres mindre projekter i de forskellige byer og regioner the book in hardback. 2011-2013 ket i udviklingen af relevant og interessant undervisning. Skolerne er blevet inddraget i i Danmark, og så har vi alle sammen jævnligt mødtes for at udveksle Layout: Kristin Wiborg/ Skoletjenesten forbindelse med praktiksamarbejdet, hvor de studerende har afprøvet deres læremidler erfaringer – what works? Netværkets betydning må ikke underken- Tryk: PE Offset A/S på museerne med elever. des. Vigtigt er det dog også at pointere, at måden, de gør det på i ISBN: 978-87-90690-34-2 ­Aalborg, ikke er den samme som i Esbjerg eller Vordingborg, for vi er

Projekt Learning forskellige mennesker, personligheder og fagligheder. Der er store Museum og PRAKSISMANUAL. SAMARBEJDE MELLEM MUSEER, LÆRERUDDANNELSER, SKOLER forskelle på mål og værdisæt på de enkelte institutioner, både muse- Praksismanualen er støttet af Formålet med praksismanualen er at inspirere og vejlede undervisere og studerende på erne imellem, læreruddannelserne imellem og naturligvis­ mellem Kulturstyrelsen museer, læreruddannelser, skoler og andre, der arbejder med undervisning og i bredere læreruddannelserne og museerne. Men det er lige præcis her, styr- forstand formidling på museerne. I projektet har deltagerne arbejdet med at udvikle ken ligger, og det er i den gryde, nye idéer smages til i et koncept, og innovere egen praksis. Det har de gjort gennem samarbejder om konkrete under- hvor vi kan fastholde og udvikle gode kontakter og samarbejds­ visningsforløb, oplæg, praktikophold og bachelorprojekter. Tanken med denne publi- flader.

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FRA PROJEKT TIL KONCEPT PRACTICE MANUAL ties and a greater understanding of the museum can be incorporated as Learning Museum går nu fra at være et projekt til at blive et koncept, vi alle kan være The objective of the practice manual your discipline vs. my discipline. a qualified learning space. How does med til at udvikle, ikke mindst i lyset af folkeskolereformen. Praksismanual er resultatet is to inspire and guide teachers at mu- ­Evaluation results have revealed that one write an internship invitation? af tre års samarbejde mellem en række engagerede museumsformidlere, læreruddan- seums, teacher training colleges, and some of the most important elements How does one structure and carry out a nere og lærerstuderende. I manualen er der konkrete eksempler på, hvordan undervis- schools as well as others who work for project participants have been per- visual arts educational session at a cul- nings-, praktik- og bachelorforløb kan tilrettelægges og inddrage museet som kvalifice- within teaching and/or the museum sonal meetings, establishing relation- tural history museum? How does one ret læringsrum. Hvordan skrives en praktikinvitation? Hvordan tilrettelægger I et billed- ­educational field in general. During ships, and working together. A plat- evaluate students’ teaching materi- kunstforløb på det kulturhistoriske museum? Hvordan kan I evaluere de studerendes the project, participants have devel- form for collaboration, dialogue and als? A crucial element for all collabora- læremidler? Der er også eksempler på, hvordan udvalgte læreruddannelser bruger nogle oped their own practices by working the exchanging of knowledge has been tive partnerships is to ensure that reg- samarbejdsmodeller eller strategier, der kan implementere og skabe bæredygtighed i together to produce educational offer- established by means of workshops ular meetings take place during which disse samarbejder. Et gennemgående element i alle forløb er dog, hvor vigtigt det er at ings, ­pre­sentations, academic intern- and network meetings. Participants goals, expectations, the distribution holde fast i afklarende møder omkring mål, rollefordeling og gode samarbejdsaftaler. ship programs, and other products. have all worked with their individual of roles and the establishment of good The idea ­behind this publication is that projects in different towns and regions working relationships are agreed upon other educators can be inspired by the across Denmark, and the project group by all participants. materials, interviews, and articles con- has met regularly to exchange experi-

ENGLISH VERSION tained herein, drawing on it to intro- ences and determine what works. The FACTS /

duce new facets to their own ­teaching. significance of networks should not Project Ownership and be underestimated. It is likewise im- Management:­ Museum of Contemporary­ Art, portant to bear in mind that the ways Book and project: www.samtidskunst.dk COMMUNITIES OF PRACTICE in which the project is carried out can Project Manager: Tine Based on evaluation results, inter-­ vary from city to city and region to S­ eligmann,­ Curator and Learning Museum. Head of Education, contact institutional and interdisciplinary col- ­region –we are all different individuals [email protected] Collaborative Partnerships laboration focusing on the education with ­different personalities and differ- The book has been published under the auspices of the pro- of student teachers has revealed itself ent disciplinary backgrounds. There are between Museums, Teacher ject Learning Museum 2011- to be enriching for all involved. It has also significant differences in goals and 2013, in collaboration with: Traning Colleges and Schools not only been the student teachers, but values at the individual institutions: The Danish School Services, Zealand, www.skoletjenesten.dk also the participating institutions and from museum to museum, from one Editing/Text: Tine Seligmann those within the students’ professional teacher training college to the next, or Texts: Project Participants Learning Museum 2011-2013 communities who have been able to when comparing museums to teacher Translation: Jesse-Lee Costa AF TINE SELIGMANN, PROJECT MANAGER AND CURATOR, develop skills within their disciplines training colleges. These contrasts can, Dollerup, René Lauritsen Layout: Kristin Wiborg/The THE MUSEUM OF CONTEMPORARY ART, ROSKILDE and gain a greater awareness of op- ­however, reveal the strength of col- Danish School Services, Zealand portunities offered by museums. Tra- laborative partnerships. Working and Printed by: PE Offset A/S ditional roles have been ­redistributed maneuvering within this melting pot of ISBN: 978-87-90690-36-6 Learning Museum 2011-2013 is a Dan- pils benefit from the many opportu- ums have opened their doors to stu- and interdisciplinary interplay ­between new ideas paves the way for a concept The Learning Museum pro- ish national development and col- nities offered by art and cultural his- dent teachers and have, through col- museum didactics and general didac- which encourages the development ject and The Learning Museum laboration project involving 30 mu- tory institutions. Over the course of laborative partnerships, developed tics has emerged. The traditional bar- and maintenance of good contacts and Practice Manual are funded by the Danish Agency for Culture. seums (cultural history, science and three years, museums and teacher critical knowledge and insight into riers often found between specific opportunities for development. www.kulturstyrelsen.dk art museums) and 13 teacher train- training colleges have worked to- their own institutions as learning ­disciplines and institutions become ing colleges. The goal of the project gether on the development of educa- spaces. This, in turn has strength- less significant when collaborative Information on Learning Museum 2011-2013 has been to encourage and develop tional offerings and academic intern- ened their abilities to develop rele- partners take on new roles and occupy FROM PROJECT TO CONCEPT It´s free to download the book future primary school teachers’ ship programs for student teachers vant and interesting teaching. The new positions. Learning Museum will now go from from homepage www.learningmuseum.dk, use of museums as learning spaces at museums. The project focus has schools have been directly involved being a project to become a concept. ook up for English. You can also while further professionalizing and been based on user involvement by through internships, which have al- The Practice Manual contains specific buy the book in hardback. strengthening museums’ teaching incorporating student teachers as lowed student teachers to test their PASSION AND KNOWLEDGE guidelines on how educational, intern- of primary school pupils. An overall key resource persons in museums’ materials at the museums to an au- Getting to know one another’s worlds ship and Bachelor’s thesis programs objective is that primary school pu- education departments. The muse- dience of real pupils. takes time, but its also creates close can be structured as well as on how

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1 Lähihoitajaopiskelijoita tutustumassa vammaisuuden historiasta kertoneeseen Ihan epäNormaalia -näyttelyyn.

Practical nursing students familiarise themselves with Absolutely abNormal, an exhibition on the history of disabilities.

2 Sosiaali- ja terveysalan opiskelijoille suunnatulla vammaishistorian­ kierroksella kokeillaan muun muassa näkövammalaseja ja avustamista näyttelytilassa PHOTO: EMIL LEHMUSTERÄ PHOTO: liikkumisessa. 2 Students tried on glasses for the visually impaired during nipuolisesti työelämää sekä kansalaisyhteiskuntaa. Museon toiminta-ajatus on tehdä guided tours of the exhibition on the history of disabilities. reilusti historiaa ja sen mukaisesti museoon on myös vapaa pääsy. Museo-opetukseen ja osallisuuteen liittyvää toimintaa Werstaalla on kehitetty useiden vuosien ajan. Wers- taalla toimii myös vapaaehtoistyön ohjelma Museosakki. Museossa käy vuosittain noin 3000 koululaista ja opiskelijaa kaikkiaan noin 40 000 kävijästä. Museon yleisötyössä

PHOTO: KATI LEHTINEN KATI PHOTO: 2010-luvulla on painotettu osallisuutta ja aktiiviseen kansalaisuuteen rohkaisemista. 1 Yhteiskunnallisessa keskustelussa Suomessa 2000-luvun alussa tuli esiin huoli nuorten syrjäytymisestä. Ammatillisessa koulutuksessa keskeyttämisaste oli korkea erityisesti ensimmäisenä opiskeluvuonna ja opiskelijoiden motivaation parantamisesta käytiin Mestariduunarit julkista keskustelua. Museolla koettiin, että ammatillisen identiteetin vahvistamisessa myös museolla voisi olla annettavaa. museossa TOIMINNALLISTA MUSEOPEDAGOGIIKKAA Työväenmuseo Werstaan Mestariduunari-projektissa kehitetään toisen asteen amma- tillisille opiskelijoille suunnattua toiminnallista ja moniaistillista museopedagogiik-

HANNA YLI-HINKKALA, MUSEOLEHTORI, TYÖVÄENMUSEO WESTAS, SUOMI kaa. Toiminnan tarkoituksena on ollut luoda uusia toimintamalleja sekä tukea ammat- tiopiskelijoiden ammatillista identiteettiä ja lisätä oman alan arvostusta ja opiskelu- motivaatiota. Projektista oli pilottikokeilu vuonna 2009. Kolmivuotinen projekti käyn- FI / Mitä museossa on tarjota ammattiin opiskelevalle? Työväenmuseo Werstas Tampe- nistyi huhtikuun alussa 2011. Projektia on rahoittanut Palkansaajasäätiö. Hankkeen yh- reella tarttui haasteeseen tehdä ammattitutkintoa suorittaville opiskelijoille omaa, teistyökumppanina oli Tampereen ammattiopisto, joka hankkeen aikana laajeni Tam- juuri heille räätälöityä toimintaa museolla. Syntyi Mestariduunari-toiminta, rennolla pereen seudun ammattiopistoksi Treduksi. Lukuvuonna 2014–2015 Tredussa opiskeli otteella mutta vakavasti tehtyä museo-opetusta, jossa keskitytään konkreettisiin, ih- 16 000 nuorta ja aikuista 20 toimipisteessä kahdeksalla eri paikkakunnalla. mistä lähellä oleviin asioihin ja käsillä tekemiseen. Toimintaa kehittämään palkattiin museolehtori. Pääsääntöiseksi toimintamuodoksi vakiintui museokäynti, joka koostuu opastetusta kierroksesta ja työpajasta. Museo- käynnit olivat kouluille maksuttomia. Opastettu kierros museon näyttelyssä suunni- REILUSTI HISTORIAA teltiin siten, että se vastasi mahdollisimman hyvin opiskelijoiden nykypäivässä kohtaa- Ajatus ammatilliseen opetukseen soveltuvan museo-opetuksen kehittämisestä syntyi mia ilmiöitä, ja niille rakennettiin historiallista taustaa. Kierrokset olivat keskustelevia museon teemoista ja yhteiskunnallisesta tilanteesta. Työväenmuseo Werstas tallentaa ja tunnelmaltaan rentoja. Tavoitteena saada aikaan kierroksen aikana dialogia, jota voi- valtakunnallisesti työelämään liittyviä ilmiöitä ja museon näyttelyt käsittelevät mo- tiin jatkaa ja syventää työpajassa.

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3 4 Metallin hohto Tampereella. Toinen tallennuskohde olivat lentokonea- -pajassa valetaan sentajat. Kolmantena vuonna dokumentoitiin lähihoi- hiekkavalumenetelmällä puhtaasta tinasta pieni tajaopiskelijoiden arkea. Opiskelupaikka vaihtui vanhan esine. ja perinteisen yleisen sairaalan jäädessä pois opetuskäy- In the ”Lustre of Metal” töstä. workshop, students cast Tallentaminen osoittautui hankkeen tavoitteiden kan- small objects of pure tin in sand. nalta täysosumaksi. Ammatillisen identiteetin vahvista- misen kannalta oli tärkeää, että opiskelijat kokivat tul-

4 leensa nähdyiksi ja tunnustetuiksi – että oma koulun- Jalkinelinjan opiskelijoiden käynti voi olla niin merkittävää, että sitä tallennetaan jäl- myyjäispöytä Museoiden yö kipolvien tutustuttavaksi. Museossa esillä olleet näytte- -tapahtumassa toukokuussa PHOTO: ULLA ROHUNEN. PHOTO: 2012. lyt tekivät tallennushankkeiden tuloksista lisäksi vielä todellisempia ja julkisempia. Shoemaking students’ 5 bazaar stand at the Night of the Museums event in May 2012. TOIMINNAN VAKIINTUMINEN

3 ULLA ROHUNEN. PHOTO: Mestariduunari-toimintaan osallistui kolmen lukuvuo- 5 Lentokoneasentajiksi den aikana lähes 5000 opiskelijaa yhteensä yli 300 ryh- opiskelleet muuttivat mästä. Ryhmien opettajilta kerättiin palautetta, jossa toisiin tiloihin ja av- Opastetulla kierroksella tutustuttiin esimerkiksi lukuvuonna 2011–2012 museossa esillä tiedusteltiin kierroksen sopivuutta opetukseen ja tun- opiskelijat tallensivat heidän opiskeluaan uusissa tiloissa. olleeseen Ihan epäNormaalia -näyttelyyn, joka kertoi vammaisuudesta ja sen historiasta nelmia työpajatyöskentelystä numeroarvioilla. Erityistä

Aircraft technician ihmisoikeuksien toteutumisen näkökulmasta. Käynnistä tuli erityisen suosittu sosi- kiitosta opettajilta sai oppaan keskusteleva ote ja työpa- students were transferred aali- ja terveysalan opiskelijoiden keskuudessa, koska näyttely tarjosi aiheeseen sellai- jatoiminta. Mestariduunari-toiminta koettiin pääsään- to different premises, sen kulttuurisen näkökulman, jota koulun opetuksessa ei pystytty käsittelemään. Ihan töisesti hyvin opintoihin nivoutuvaksi ja oppilaiden ta- and audiovisual students recorded their life in the epäNormaalia käsitteli ilmiötä, jolla oli opiskelijoiden omaan elämään suora linkki. son ja ammattialan huomioon ottavaksi. Opettajien pa- new location. Työpajoissa keskityttiin erityisesti kädentaitoihin. Vammaisuutta käsittelevään näyt- lautteissa oltiin myös tyytyväisiä siihen, että koulun ul- ULLA ROHUNEN. PHOTO: telyyn liittyvässä työpajassa tehtiin koskettelukirjoja. Ne ovat alun perin näkövam- kopuolella järjestettiin jotain suoraan alaan liittyvää toi-

maisille lapsille tarkoitettuja kuvakirjoja, joita voidaan käyttää myös muistisairaiden mintaa. FAKTA /

tai kielellisistä vaikeuksista kärsivien aikuisten kanssa. Ideana on kosketeltava kuva, Erityisesti hankkeen alkuvaiheessa osoittautui vaikeaksi Mikä: Mestariduunari-hanke jonka viesti välittyy ilman näköaistia. Kirjojen tekemisen yhteydessä oli mahdollista vakuuttaa ammatillisen koulutuksen opettajakunta mu- Milloin: 2009, 2011–2014 Työväenmuseo myös jatkaa keskustelua näyttelyn herättämistä ajatuksista. Moni sai työpajasta konk- seossa käymisen mielekkyydestä. Toiminta oli alussa Toteuttaja: Werstas, Tampere reettista apua omaan tulevaan ammattiin. Kosketeltavien kuvien lisäksi Mestariduu- tuntematonta ja vaati museolehtorilta paljon kouluissa Kohderyhmä: ammattiin opis- nari-pajoissa on muun muassa valettu metallia, kirjailtu radikaaleja ristipistoja sekä ra- kiertämistä ja sinnikästä viestintää. Ongelma oli myös kelevat Mitä tehtiin: toisen as- kennettu unelmakarttoja tulevasta ammatista. ammatillisten opettajien suuri vaihtuvuus vuosittain. teen ammatillisille opiskeli- Useiden vuosien jälkeen toiminta on kuitenkin saatu va- joille suunnattua toiminnal- lista ja moniaistillista mu- kiinnutettua ja museo on monille opettajille tuttu paikka, seopedagogiikkaa; museo- ARJEN TALLENNUS jonka sisällöt on helppo nivoa osaksi omaa opetusta. käyntejä, käytännön työpa- Osana hanketta tehtiin myös nykyajan dokumentointia. Yhteistyössä tallennettiin Ammatilliset opiskelijat ovat jatkossakin Werstaan kes- joja ja tallennushankkeita opiskelun arjesta. Toimin- opiskelun arkea ja materiaalista tehtiin myös museolle pienoisnäyttelyt. Tuotokset tal- keinen ja tärkeä kävijäryhmä ja heille suunnitellaan omaa taan osallistui hankkeen ai- lennettiin museon kokoelmiin. Tallennuksessa tehtiin osittain yhteistyötä audiovi- pedagogista ohjelmaa. Toiminnasta on tullut vakiintu- kana lähes 5000 opiskeli- jaa. Mestariduunari-toiminta­ suaalisen alan opiskelijoiden kanssa. Tallennuksessa keskeistä oli oppilaiden oma ääni nut osa Werstaan museo-opetusta ja museossa käy sään- ­jatkuu Werstaalla edelleen. ja opiskelun arki. Dokumentoinnit tehtiin kuvaten, videoiden ja haastattelujen kautta. nöllisesti ammattiopetuksen ryhmiä. Hankkeen aikana Dokumentoinnin ja näyttelyn merkitys opiskelijoiden itsetuntoa ja oman alan arvos- aloitettiin myös yhteistyö ammatillisen opettajakoulu- Lisätietoja: museolehtori tusta vahvistavana tekijänä oli suuri. Tallennettavaksi valikoituivat opintolinjat, jotka tuksen kanssa. Tulevat ammattiopettajat käyvät vuosit- Hanna Yli-Hinkkala, olivat läpikäymässä jonkin ison muutoksen. Ensimmäisenä vuonna tallennettiin jalki- tain tutustumassa opiskelujensa yhteydessä museon hanna.yli-hinkkala@ tyovaenmuseo.fi nelinjan arkea. Linjaa oltiin lopettamassa kokonaan ja opiskelijat olivat alan viimeisiä mahdollisuuksiin oppimisympäristönä.

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ENGLISH VERSION tile picture through which a message Documentation proved to be an ideal easy to integrate with their teaching. can be conveyed without using the way of promoting the project goals. Vocational students will continue to sense of sight. While producing tac- In terms of strengthening vocational be a key visitor group for Werstas, and Master workers at the museum tile books, students also had the op- identities, it was important that the a specific pedagogical programme is portunity to discuss their thoughts students felt they had been seen and being planned for them. The activi- about the exhibition. The workshops acknowledged – that their education ties have become an established part provided many students with practical was important enough to be recorded of museum education at Werstas, and

BY HANNA YLI-HINKKALA, MUSEUM EDUCATOR, THE FINNISH LABOUR MUSEUM WERSTAS, FINLAND skills that will come in handy in their for future generations. The exhibitions groups of vocational students visit the future professions. In addition to cre- at the museum made the results of the museum on a regular basis. In addi- ating tactile pictures, students partic- documentation projects even more tion, the project saw the start of coop- How can museums be of benefit to In the early 2000s there had been much A museum lecturer was hired to de- ipated in casting metal, cross-stitch- real and public. eration with vocational teacher train- ­vocational students? The Finnish concern in Finland about social exclu- velop operations. Museum visits be- ing radical embroideries and creating ing programmes. Trainee vocational ­Labour Museum Werstas has taken on sion among young people. Dropout came a primary form of activity, con- treasure maps about their future ca- teachers visit the museum annually as this challenge by tailoring its activi- rates were high in vocational educa- sisting of guided tours and workshops. reers. ESTABLISHED OPERATIONS part of their studies, to learn about the ties specifically for students pursuing tion, particularly during the first year, The museum visits were free-of-charge Nearly 5,000 students from more than opportunities the museum offers as a a ­vocational degree. The Master Worker and public discussion therefore ad- for schools. Guided tours of museum 300 groups participated in Master study environment. programme was created: a serious but dressed the need to improve student exhibitions were designed to corre- DOCUMENTING DAILY LIFE Worker activities over a period of three laid-back museum educational pro- motivation. The museum felt that it spond as closely as possible to the Students also documented their daily academic years. Teachers were asked to gramme that focuses on practical, man- had something to contribute in terms phenomena that students encoun- lives and prepared small exhibitions of numerically grade the suitability of the ual tasks that relate to everyday life. of strengthening a sense of vocational ter in their daily lives, and a histori- these materials for the museum. The tour for education and their feelings FACTS / identity. cal background was added. The tours exhibits were included in its collec- about the workshops. They were par- What: Master Worker project included discussions, and the atmo­ tions. In documenting their daily lives, ticularly pleased with the discursive When: 2009 and 2011–2014 FAIR HISTORY sphere was laid-back. The goal was to the students cooperated with audio- approach of the guides and with the Organised by: Finnish Labour­ ­Museum Werstas, Tampere The idea of developing museum ACTIVITY-BASED MUSEUM visual students. The key elements workshop activities. Most of the teach- create a dialogue that could be contin- Target group: Vocational ­education as an aid for vocational ­PEDAGOGY ued at a deeper level in a workshop. were their voices and day-to-day study ers felt that the Master Worker activi- students­ ­education arose from a considera- The Master Worker project of the Finn- During the tours, students familiarised routines. Their daily lives were docu- ties were well aligned with the educa- Content: Activity-based, multisensory­ museum pedagogy­ tion of the museum and its relation- ish Labour Museum Werstas develops themselves with exhibitions such as mented using images, videos and in- tion provided at their institutions and for upper-secondary-level ship to Finnish society. The Finnish activity-based, multisensory museum Absolutely abNormal, which dealt with terviews. The documentation and ex- with the capabilities and vocational ­students in vocational ­education programmes – museum visits, Labour ­Museum Werstas records the pedagogy for upper-secondary-level disabilities and their history from the hibition had a significant effect on im- fields of the students. They were also practical workshops and pro- history of work throughout Finland, students in vocational education pro- perspective of human rights. This exhi- proving their self-esteem and appre- pleased with out-of-school activities jects documenting the day-to- and its exhibitions deal with work- grammes. In addition to creating new bition was particularly popular among ciation of their fields of study. Study being organised that were directly re- day lives of students. Nearly 5,000 students participated in ing life and civil society in a multifac- ways of studying, the purpose is to social and health care students, as it programmes that were undergoing a lated to their fields. the ­project. Werstas continues eted ­manner. It operates on the princi- support the creation of vocational offered a cultural perspective that their major change were selected for docu- However, convincing teachers of the to ­offer Master Worker activities. ple of ”fair history”­ – as is ­reflected by identities and increase students’ moti- mentation. For example, everyday life relevance of museum visits for voca- educational programme was unable Contact: its free ­admission policy. Thus, Wers- vation and appreciation of their fields to offer. Absolutely abNormal dealt with in the shoemaking programme was tional education was difficult, particu- Hanna Yli-Hinkkala, tas has emphasized educational and of study. A pilot project was imple- phenomena that were directly related recorded in the first year. This pro- larly in the early stages of the project. Museum Lecturer, hanna.yli-hinkkala@ participatory activities for ­visitors for mented in 2009, and a three-year pro- to the students’ day-to-day lives. gramme was about to be discontin- There was much ignorance concern- tyovaenmuseo.fi several years. It also runs a ­volunteer ject started at the beginning of April The workshops focused on manual ued, and its students were the last in ing such activities, which required the ­programme for enthusiasts, dubbed 2011. The project was funded by the skills. Tactile books were produced in the field in Tampere. The life of aircraft museum lecturers to visit schools fre- ”Museosakki”. The museum hosts Employee Foundation. The ­project workshops related to the Absolutely technicians was recorded in the second quently and engage in persistent com- around 40,000 visitors every year, partner was Tampere College, later abNormal­ exhibition. Tactile books are year and the life of practical nurses in munication. The high annual turnover ­including about 3,000 ­schoolchildren renamed­ Tampere Vocational College picture books originally intended for the third. Practical nursing students of vocational teachers presented prob- and students. And in the 2010s, it Tredu due to an expansion of activi- visually impaired children, but which were being relocated, as the traditional lems as well. Now, several years later, has focused increasingly on encour- ties. In the 2014–2015 academic year, can also be used for adults suffering location – the general hospital – was activities are well-established, and the aging participation and ”hands-on” Tredu’s 16,000 students had classes in from memory disorders or linguistic no longer available for educational museum is a familiar place for many activities.­ 20 locations in eight districts. difficulties. The idea is to create a tac- purposes. teachers, providing content that is

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Græn sköpun: 1 listir og ­umhverfið – samstarf Grasagarðs, listkennsludeildar Listaháskóla Íslands og Laugarnesskóla á Barnamenningarhátíð Reykjavíkur

HILDUR ARNA GUNNARSDÓTTIR VERKEFNASTJÓRI FRÆÐSLU OG MIÐLUNAR

IS / Litríkir árhringir, mengunaræta, klósett fyrir gæsir og blaktandi þvottur á snúrum eru meðal áhugaverðra gripa sem bæst hafa tímabundið í hóp safngripa Grasagarðs Reykjavíkur undanfarin þrjú ár. Í tilefni af árlegri Barnamenningarhátíð í Reykjavík hefur Grasagarðurinn átt í öflugu samstarfi við listkennsludeild Listaháskóla Íslands og Laugarnesskóla. Allar tilheyra stofnanirnar sama borgarhverfi og eru í göngufæri við 1 hver aðra. Samstarfið hefur verið afar lærdómsríkt og skemmtilegt. Á sýningardegi kynna nemendur verkefnin sín fyrir samnemendum, kennurum, foreldrum og NÁTTÚRUFRÆÐI OG LISTIR öðrum ættingjum. 2 Grasagarðurinn er lifandi safn undir berum himni. Auk söfnunar og varðveislu On opening day the projects were presented er miðlun og fræðsla ein af meginstoðum starfseminnar. Garðurinn hefur átt for other schoolchildren, í fræðslusamstarfi við fjölda einstaklinga og stofnana. Undanfarin þrjú ár hafa Í samstarfinu hafa árlega tekið þátt: teachers, parents and Grasagarður, listkennsludeild Listaháskóla Íslands og Laugarnesskóli unnið saman • 70-80 nemendur í 5. eða 6. bekk Laugarnesskóla other relatives. að stóru verkefni á Barnamenningarhátíð Reykjavíkurborgar þar sem náttúrufræði- og • 12-16 listkennslunemar LHÍ (og árið 2015 voru 6 gestanemendur frá listgreinakennslu er tvinnað saman á skapandi hátt í rannsóknar- og listasmiðjum í Finnlandi) 2 Draumaplantan garðinum. Stundatafla nemenda í skólanum er brotin upp í vikutíma að vori og þau verja • 1-2 kennarar úr listkennsludeild Listaháskóla Íslands mengunaræta skóladögunum þá viku í Grasagarðinum með listkennslunemum Listaháskólans við • 2-3 starfsmenn Grasagarðsins (Comedere herbum rannsóknir og listsköpun í vinnusmiðjum. Í vikulokin setja nemendurnir upp sýningu, • 3 umsjónarkennarar og aðstoðarkennarar úr Laugarnesskóla pollutio) er virk í framleiðslu á súrefni úr sem opnuð er með formlegum hætti. Sýningin stendur opin gestum garðsins í þrjá daga. • 140-200 ættingjar grunnskólanemendanna mengun. Hún er frá Mars • Fjöldinn allur af almennum sýningargestum Grasagarðsins og verður að meðaltali 800.000.000 alda Markmið samstarfsins frá upphafi var að gefa: gömul. • Grasagarðinum tækifæri til þess að opna garðinn fyrir annarri nálgun á

Pollution-eating plant fræðslustarfið með nýrri tengingu náttúrufræði og listsköpunar; FRAMKVÆMD VERKEFNIS (Comedere herbum pol- • listkennslunemendum Listaháskólans, sem eru listafólk í meistaranámi í Í listkennsludeild Listaháskólans nemur menntað listafólk listkennslu lutio) actively produces oxygene out of pollution. listkennslufræðum, tækifæri til þess að vinna að listkennslu utan skólans með á meistarastigi. Kennsla grunnskólanemendanna er í þeirra höndum It comes from Mars grunnskólanemendum með áherslu á endurnýtingu og sjálfbærni; þessa viku. Verkefnastýra verkefnisins af hálfu Listaháskólans og and reaches the age of • Laugarnesskóla tækifæri til þess að brjóta upp hefðbundið skólastarf innan kennari listkennslunemanna hefur undirbúið allt samstarf við 800.000.000 years. fjögurra veggja skólastofunnar, vinna verklegar náttúrufræðirannsóknir, kynnast umsjónarkennarana í Laugarnesskóla. Nemendahópnum hefur verið skipt upp þvert nærumhverfi sínu og tjá sig með listsköpun. á bekki í minni hópa og þrír til fjórir listkennslunemar vinna með hverjum hópi. Listkennslunemarnir undirbúa kennsluna þessa viku og er innlögn námsefnis í þeirra höndum.Verkefnin sem unnin hafa verið eru fjölbreytt og framsækin; nefna má rannsóknir

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3 3 Ljósmyndir sem teknar Barnamenningarhátíð Reykjavíkur er haldin í apríl á ári hverju. Rannsóknar- og FAKTA / hafa verið af vinnuferlinu listasmiðjurnar eru starfandi í þrjá kennsludaga, mánudag-miðvikudags. Á fimmtudegi Grasagarðurinn er lifandi eru plastaðar og safn undir berum himni. Barnamenningarhátíðar er ávallt hinn íslenski hátíðisdagur Sumardagurinn fyrsti og hengdar upp í garðinum Auk söfnunar og varðveislu fyrir nemendur og eru landsmenn þá í fríi frá skóla og vinnu. Strax á föstudagsmorgninum er sett upp er miðlun og fræðsla ein af sýningargesti. sýning á verkum nemendanna, sem bjóða foreldrum, systkinum og öðrum ættingjum meginstoðum starfseminnar. Í tilefni af árlegri Photographs taken og aðstandendum til formlegrar sýningaropnunar. Krakkarnir sjá svo um að leiðsegja during the process are Barnamenningarhátíð plastered and hung up gestum um sýninguna og eru það hátíðlegar stundir og mikið stolt í lofti. Listaverkin í Reykjavík hefur Grasagarðurinn átt í öflugu for display. fá svo að standa áfram í garðinum yfir helgina fyrir almenna gesti og alla þá sem ekki samstarfi við listkennsludeild komast á opnunina. Verkin veðrast þá oft og breytast. Á sýningardegi eru prentaðar og Listaháskóla Íslands og 4 plastaðar ljósmyndir hengdar upp í garðinum og garðskálanum. Við sýningarlok eru þær Laugarnesskóla. Allar tilheyra stofnanirnar sama Trommusett sem notað bundnar saman í bók sem færð er skólabókasafni Laugarnesskóla. var við taktfastan borgarhverfi og eru í listgjörning í skóginum. göngufæri hver við aðra. Samstarfið hefur verið afar Aldur trésins má auðveldlega lesa úr lærdómsríkt og skemmtilegt. ÁNÆGJA MEÐ SAMSTARFIÐ lituðum árhringjum. Samstarfið hefur gengið framar vonum og allir aðilar hafa lýst yfir ánægju með Nánari upplýsingar um Colourful growth-rings verkefnið veita: made up this drum set samstarfið og áhuga á frekara samstarfi. Verkefnið hlaut hvatningarverðlaun Skóla- og Hildur Arna Gunnarsdóttir, which was used for a frístundasviðs Reykjavíkur árið 2015. Og við erum strax farin að skipuleggja og hlakka til verkefnastjóri fræðslu rhythmical arts perfor- og miðlunar í Grasagarði Barnamenningarhátíðar vorið 2016. mance in the woods. Reykjavíkur: hildur.arna. Hvað Grasagarðinum viðkemur þá hefur það komið á óvart hversu áreynslulaust [email protected] samstarfið hefur verið. Grasagarðurinn er lifandi safn og plönturnar sem hann geymir Ásthildur Jónsdóttir, lektor við 5 listkennsludeild Listaháskóla Gæsaskítur á á draumaplöntum, ævintýrafugla, mosa, sögu Þvottalauganna í Laugardal og lífsferli eru skráðir safngripir, flestir viðkvæmir og margir hverjir afar fágætir. Plöntur má ekki Íslands: [email protected] göngustíg vakti trjáa. Niðurstöður rannsókna hafa ýmist verið túlkaðar með sköpun þrívíðra verka, ritun slíta upp og efnivið má ekki taka út úr garðinum. Því þarf að taka tillit til umhverfisins athygli nemendanna sem ákváðu að hanna sagna, flutningi dansverka og eða söng. Umsjónarkennarar grunnskólanemendanna við verkefnavinnuna. Reglur eru þær sömu fyrir alla gesti: mold og beð eru svæði huggulegt klósett fyrir hafa verið einstaklega jákvæðir gagnvart verkefninu og aðstoða eftir þörfum en halda plantnanna en allir göngustígar og grasflatir eru fyrir fólk. Öllum takmörkunum hefur gæsirnar í skjóli trjánna. sig að öðru leyti til hlés á meðan kennaranemarnir vinna með nemendum þeirra. verið mætt af mikilli nærgætni nemenda og kennara. Goose droppings on Starfsfólk Grasagarðsins býður upp á stutta fyrirlestra og fræðslu um einstaka efnisatriði a walk path caught the students attention fyrir þá sem þess óska; svo sem um lífsferil plantna, trjátegundir, tvínafnakerfið, fugla- which decided to create og smádýralíf í garðinum og íslensku flóruna. Hafa listkennaranemarnir þá bókað tíma LÆRDÓMUR 4 this comfy goose toilet. fyrir fræðsluna fyrsta daginn. Grasagarðurinn er með aðstöðu fyrir hópana bæði úti og Afar áhugavert er að upplifa ár eftir ár að hægt sé að opna safnið með inni. Gamalt íbúðarhús í garðinum, garðskálinn og lystihúsið verða rannsóknar- og þessum hætti fyrir þennan fjölda nemenda og kennara í þetta langan listamiðstöðvar í eina viku, undirlagðar af skapandi nemendum og listkennaranemum. tíma. Vika Barnamenningarhátíðar er orðin tími sem starfsfólk garðsins Við verkefnavinnunna leggja allir áherslu á nærgætni við umhverfið, endurnýtingu og hlakkar til því þá fyllist garðurinn af áhugasömum nemendum sem sjálfbærni. gera safnið að sínu í nokkra daga ásamt kennurum sínum með forvitni og sköpunarkraft í fararbroddi.

KRAKKARNIR SJÁ UM AÐ LEIÐSEGJA GESTUM Efnisveitur eru settar upp í sameiningu í garðinum. Grasagarðurinn sér um að útvega VINNAN LIFIR ÁFRAM 5 allan náttúrulegan efnivið sem settur er upp í hrúgur á einum stað í garðinum: Hvað Grasagarðinum viðkemur þá höfum við ­eignast marga trjástubbar, trjágreinar, kurl, mold, sandur, möl og grjót. Listaháskólinn sér um að áhugasama hollvini í nemendunum og ­öllum sem að verkefninu útvega málningu, textíl, endurnýtanlegt efni eins og flöskur, dósir og plastumbúðir og koma. Grasagarðurinn verður ­mikilvægur fyrir þessa nemendur sem annað sem verkefnin kunna að krefjast. Og allir aðilar koma saman upp verkfæralager með veru sinni þar og ­verkefnavinnu eignast í safninu stóra hlutdeild­ með úrvali af sögum, borvélum, skrúfum og skrúfjárnum, nöglum og hömrum. og fá að kynnast krókum og kimum garðsins sem þau hefðu kannski Á meðan á verkefnavinnunni stendur hafa verkefnastýrur úr Grasagarðinum og ekki annars haft tækifæri til. Einnig hefur­ sú þróun verið ánægjuleg Listaháskólanum séð um að taka myndir af ferlinu og halda úti Facebook-síðu fyrir að þrjú sumur í röð hafa ­áhugasamir listkennslunemar staðið fyrir aðstandendur með myndum og upplýsingum. Einnig hafa listkennslunemarnir verið vikulöngum ­sumarnámskeiðum í samstarfi við Grasagarðinn. ötulir við að taka og deila myndum af ferlinu. Hafa þessi námskeið orðið hluti af viðburðadagskrá garðsins.

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ENGLISH VERSION The art education students are respon- tive pupils and art education students. FACTS / sible for teaching the school­children In working on the projects, all partici- The Botanic Garden is a living for the week of the project. The ­project pants place emphasis on treating the open-air museum. In addition Green Actions: Arts and the Environment to collection and conservation, organiser for the Academy and the environment with care, recycling and education and outreach are vi- – a collaborative project of the Reykjavík Botanic ­Garden, the Department students’ supervising tutor makes all sustainability. tal aspects of the museum’s ac- tivities. preparations for collaboration with of Arts Education at the Iceland Academy of the Arts, and Laugarnes ­Compulsory School, On the occasion of the ­annual the class teachers at Laugarnes School. THE CHILDREN AS GUIDES Reykjavík Children’s Culture Fes- at the Reykjavík ­Children’s ­Culture Festival. The children are divided up into small Materials are provided collaboratively tival, the Botanic Garden has undertaken an ambitious col- groups (breaking up their school in the Botanic Garden. The Garden pro- laborative ­venture with the De- classes), and three to four art education vides all natural materials, which are partment of Arts Education at the ­Iceland Academy of the students work with each group. The piled up in one part of the Garden: tree Arts and the Laugarnes Com- BY HILDUR ARNA GUNNARSDÓTTIR PROJECT MANAGER students prepare their teaching for the stumps and branches, woodchips, soil, pulsory School. All three bod- week, and they handle the introduction sand, gravel and rock. The Academy of ies are located in the same dis- trict of Reykjavík, and are within of the study material to the pupils. The Arts provides paint, textiles, recyclable walking distance of each other. Colourful growth-rings, a pollution-­ the Arts, and the Laugarnes Compul- • Laugarnes School and its pupils the projects undertaken have been diverse materials such as bottles, cans, plastic The collaboration has proved a highly ­enjoyable learning ex- eating plant, a goose-toilet, and laun- sory School have collaborated on a ma- opportunity to make a change from and avant-garde; for instance a study of packaging, and anything else required perience. dry flapping on washing lines are jor project for the Reykjavík Children’s conventional classroom work, to dream-plants, fantastical birds, moss, for the projects. All the collaborat- among the interesting objects which Culture Festival, creatively combin- carry out hands-on natural science the life cycle of trees, and the ­history ing bodies jointly provide a tool-kit of For further information on the project contact: have been temporarily added to the ing teaching of natural sciences and studies, to learn more about their of the Laundry Springs adjacent to saws, drills, screws, screwdrivers, nails Hildur Arna Gunnarsdóttir, collection of the Reykjavík Botanic Gar- arts in research and arts workshops nearby environment, and to express the Gardens, where women used to and hammers. ­project manager, ­education and outreach, Reykjavík ­Botanic Gar- den in the past three years. On the oc- in the Garden. For one week in spring themselves through art. bring laundry to wash in the natural During the progress of the assign- den: hildur.arna.gunnarsdottir@ casion of the Reykjavík Children’s Cul- the pupils’ timetable of lessons is set hot water of the springs. The findings ments, project managers from the reykjavik.is ture Festival, the Botanic Garden has aside, and for that week they spend Each year the participants in the of the studies have been presented in ­Botanic Garden and the Academy of Ásthildur Jónsdóttir, assistant professor, Department of Arts undertaken an ambitious collaborative their schooldays in the Botanic Garden ­collaborative project have been: the form of three-dimensional works, Arts take photographs of the process, Education, venture with the Department of Arts with art education students from the • 70-80 pupils in year 5/6 at Laugarnes writing of stories, and performances and present a Facebook page with pho- Iceland Academy of the Arts: [email protected]­ Education at the Iceland Academy of Academy of Arts, carrying out research School (aged 10-12) of dance or singing. The pupils’ class tos and information. The art education the Arts and the Laugarnes Compul- and creative work in workshops. The • 12-16 students of art education at teachers have been remarkably posi- students have also taken photos of the sory School. All three bodies are lo- week concludes with an exhibition pre- the Iceland Academy of the Arts. In tive regarding the project, and assist work and posted them online. cated in the same district of Reykjavík,­ sented by the pupils, after an opening 2015 also six visiting students from as required, but otherwise remain in The Reykjavík Children’s Culture Fes- projects remain on show in the Garden and are within walking ­distance of ceremony. The exhibition is open to Finland­ the background as the art education tival takes place in April each year. over the weekend, for the general pub- each other. The collaboration has visitors to the Botanic Garden for three • 1-2 faculty members from the ­students work with their pupils. Study and art workshops are held on lic and those who could not get to the proved a highly enjoyable learning days. ­Academy of the Arts Department of Botanic Garden staff offer short lec- three school days, Monday to Wednes- opening. The works may change due to experience.­ Art Education tures and provide information on day. The Thursday of the Children’s weather over those days. On the exhi- From the outset the objective of the • 2-3 Botanic Garden staff ­specific subjects as required: for Culture Festival falls on the First Day bition day, printed laminated photo­ collaborative project was to give: • 3 class teachers and teaching assis- ­instance the life cycle of plants, tree of Summer (the Thursday between graphs are hung up in the Garden and NATURAL SCIENCES AND ARTS • the Botanic Garden the opportunity tants from Laugarnes School species, the Latin binomial nomen- 19 and 25 April), a traditional Icelan- the Greenhouse. After the exhibition The Botanic Garden is a living open- to open up to a new approach to ed- • 140-200 relatives of pupils clature of species, birdlife and other dic public holiday when schools and these are bound together into a book, air museum. In addition to collection ucation, through a new connection • Numerous members of the public,­ ­animal life in the Garden, and Icelandic workplaces are closed. On Friday morn- which is presented to the library of and conservation, education and out- between natural science and art; visitors to the exhibitions at the flora. The art ­education students book ing the pupils’ projects are set up in Laugarnes School. reach are vital aspects of the muse- • art education students at the Botanic­ Garden. such lectures for the first day of the an exhibition, and the children invite um´s ­activities. The Botanic Garden ­Academy of Arts (artists who are MA project. The Botanic Garden has facili- their parents, siblings and other mem- has ­collaborated with many individ- students in art education) the oppor- ties for groups, both indoors and out: bers of their families to a formal open- SUCCESSFUL COLLABORATION uals and bodies on educational activ- tunity to work in art teaching with THE PROJECT IN PRACTICE an old house in the Garden, together ing ­ceremony. The children then guide The collaboration has exceeded all ex- ities. For the past three years the Bo- schoolchildren outside the Academy, At the Department of Art Education with the display greenhouse and a their guests in groups around the exhi- pectations, and parties involved have tanic Garden, the Department of Arts with the emphasis on recycling and at the Icelandic Academy of the Arts, small pavilion, become centres of study bition. It is a day of pride and celebra- declared themselves pleased with the Education at the Iceland Academy of sustainability; ­artists study art education at MA level. and art for the week, taken over by crea- tion for all concerned. The children’s collaborative project, and stated that

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SW/ skulle känna att deras bilder blev they are interested in further collaboration. tagna på allvar. Att utställningen In 2015 the project received the Incentive­ blev just på biblioteket tyckte jag var extra bra eftersom det Award from the Education Council of Rey- är en plats som väldigt många kjavík. And we are already planning for the Ankomsten besöker.” next Children’s Culture Festival in April 2016.

We have been pleasantly surprised by the ease The Arrival Maria Malmberg Wallin, art of the collaboration. The Botanic Garden a educator, Bror Hjorts Hus. living open-air museum and its plants make BY MARIA MALMBERG ”I was the initiator and art edu- WALLIN, ART EDUCATOR up a ­catalogued botanical collection: many cator who met the students, and AT BROR HJORTS HUS also the exhibition coordinator. It are ­delicate, and some very rare. Such plants AV MARIA MALMBERG was very enjoyable to work with must not be pulled up, and material must not WALLIN, MUSEIPEDAGOG Shaun Tan’s book ”Ankomsten” (The Arrival), with students who be ­removed from the Garden. Hence account VID BROR HJORTS HUS The Arrival Anna-Klara Ehn Ericson, Maria Malmberg Wallin, Bibliotekarie, Stadsbiblioteket museilektor/konstpedagog och have recently experienced arriv- must be taken of the environment in the work is an art- and Uppsala. projektansvarig, Bror Hjorths ing in a new homeland. I think it on the projects. The same rules apply to all vis- Hus. is important to have contact with FAKTA / languageproject,­ ”Vi, det vill säga Stadsbibliote- newly arrived Swedes in their itors: soil and beds are for plants, while paths ket, tillhandahöll en utställnings- ”Jag var initiativtagare och den teenage years, a target group Projektet Ankomsten, yta under sommaren 2014, och konstpedagog som träffade that we otherwise do not meet and grass are for people. All such restrictions drevs av Bror Hjorths Hus, based on the marknadsförde utställningen eleverna, samt samordnare av very often at the museum. I visit- www.brorhjortshus.se. have been accepted with great sensitivity and book by Shaun som ungdomarna gjort i samver- utställningen. Det var väldigt ed the students at their schools. Målgruppen var nyanlända kan med Maria Malmberg Wallin roligt att få jobba med Shaun They engaged themselves in the ­respect for the Garden by pupils and teachers. ungdomar, 16-20 år, Tan with the vid Bror Hjorts hus. Vi arrange- Tans bok ”Ankomsten” till- book’s story, and saw things that språkintroduktion. rade tillsammans en vernissage. sammans med elever som just I had not noticed earlier. They Projektansvarig var same title. / Personal från biblioteket gjorde upplevt det där med att få ett drew pictures of things that look Maria Malmberg Wallin, också enstaka korta visningar av nytt hemland. Jag tycker att det different in Sweden compared LESSONS LEARNED konstpedagog, Ankomsten är ett utställningen. Utställningen fick är angeläget att nå nyanlända with their own original home- [email protected] It is most interesting to discover that the konst- och språk­ ett mycket positivt mottag- svenskar i tonåren, en målgrupp lands. Their pictures depicted ­museum can be opened up in this way, year ande och väckte stort intresse, som vi annars inte träffar så ofta everything, from different projekt, baserat både för projektet i sig och för på museet. Jag besökte eleverna after year, for a large number of pupils and kitchen equipment, toilets, and FACTS / bildernas utformning och den på deras skolor. De engagerade mobile telephones, to the differ- teachers, for such a prolonged event. The på författaren symbolik besökarna tyckte sig sig i bokens berättelse och såg The project named ence in the weather and religion. finna i motiven.” saker som jag inte lagt märke It was an enjoyable and easy way week of the Children’s Culture Festival has be- The Arrival, was run by Shaun Tans bok till tidigare. De tecknade själva Bror Hjorths Hus, to discuss pictures. When the come a time that the Garden staff looks for- bilder av saker som ser olika ut www.brorhjortshus.se. med samma titel. students then visited the Shaun ”The youth’s pictures were ex- i Sverige jämfört med i deras ward to – as the Garden fills up with interested The target group was Tan-exhibition in Bror Hjorth’s hibited in the City Library exhibi- gamla hemländer. Elevernas young refugees, Hus we already knew each other ­pupils, who make the museum their own for tion area during the summer of bilder visade allt från skillnader 16-20 years, who had a little bit, and it was easier to a few days together with their art education 2014. We provided the area, and i köksutrustning, toaletter och recently arrived in talk and for the students to feel included the exhibition in our mobiltelefoner, till skillnader i ­teachers, full of curiosity and creativity. Sweden, language­ secure. Their lack of language marketing. In cooperation with väder och i religion. Det blev ett introduction classes. skills became more noticeable the Bror Hjort´s Hus in Uppsala, roligt och lättsamt sätt att prata Projectleader was at the museum. In school I had we arranged the opening of the om bilder. När eleverna sedan Maria Malmberg Wallin, a simply formulated task. At exhibition. Our staff also gave vid andra tillfället besökte Shaun the museum I had planned to PROJECT AFTERLIFE art educator, short, individual introductions Tan-utställningen i Bror Hjorths [email protected] talk about superstition, but that The Botanic Garden has made many avid of the exhibition. The exhi- Hus kände vi redan varandra became far too abstract for the new friends among the pupils and other par- bition was received in a very litegrann och det blev enklare students. We wanted to show positive way by our audiences, att prata och för eleverna att the students’ pictures to the ticipants in the project. The Botanic Garden and awoke an interest for both känna sig trygga. Elevernas public. Both because the public ­becomes an important place for the pupils, the project itself, and for the bristande språkkunskap blev should get an opportunity to pictures and the symbolism the tydligare i museet. I skolan hade who by spending time in the Garden and see them, but also so that the audience thought they´d found jag en enkelt formulerad uppgift, students would feel that their working on their projects gain a share of the in the pictures.” i museet hade jag tänkt prata pictures were taken seriously. Garden, and get to know the nooks and cran- om skrock, men det blev alldeles That the exhibition was held at för abstrakt för eleverna. Vi the library was, I thought, very nies not normally accessible to the public. ville gärna visa elevernas bilder positive since it is a place that a A most satisfying development is that moti- för allmänheten. Både för att great many people visit.” allmänheten skulle få ta del av vated art education students have held sum- dem men också för att eleverna mer courses in collaboration with the Botanic Garden: courses that have become a feature of the Garden’s event programme.

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IS / Sagan grafin upp Uncovering History

Rætt við Sólrúnu Ingu Traustadóttur, fornleifafræðing Talk with archaeologist Sólrún Inga Traustadóttir

FAKTA / FACT /

Sagan grafin upp er verkefni Uncovering History is a project á vegum Borgarsögusafns of the Reykjavík City Museum in Reykjavíkur unnið í samstarfi collaboration with archaeologists með fornleifafræðingunum Sólrún Inga Traustadóttir and Sólrúnu Ingu Traustadóttur Eva Kristín Dal. og Evu Kristínu Dal. The project aims to introduce Verkefnið felur í sér að kynna children to archaeology through börnum fyrir fornleifafræði participation in an archaeolo­ Af hverju er mikilvægt hunting Indiana Jones version, skipti miklu máli í því að fá börnin teachers’ participation, interest með beinni þátttöku í rannsókn gical research using a recreated/ að nemendur kynnist but the more important human til að taka virkan þátt í verkefni af and willingness are vital in á tilbúnum fornleifauppgreftri. readymade archaeological fornleifafræði? quest for knowledge of past þessu tagi. Það að fá sérfræðinga encouraging the children to Þátttakendur kynnast site. The participants learn cultures. Archaeology is a highly inn í kennslustofunatil að kynna participate actively in a project ”Það er mikilvægt að nemendur vísindalegum vinnubrögðum about the scientific methods diverse discipline, as it relates to starf sitt hefur góð áhrif á of this nature. Additionally, fái innsýn í hinn sanna heim fornleifafræðinga frá of archaeology from discovery, subjects both in humanities and nemendur því þeir fá innsýn í bringing experts into the fornleifafræðinnar sem einkennist uppgötvun, skráningu, ­cataloguing and interpretation natural science, and so it offers hvers konar verkefni sérfræðingar classroom to talk about their ekki af fjársjóðsleit Indiana túlkun til framsetningu to ­presentation of their final pupils the opportunity to explore fást við og einnig að kynnast work has a positive effect on Jones heldur mikilvægari niðurstaðna. Áhersla er lögð findings. The creative aspects their areas of interest in greater þeim af eigin raun. the pupils, as they gain insight leit mannsins að þekkingu á skapandi þátt vísindalegra of scientific methods are depth. This may help pupils in Í framhaldi af þessu var into archaeological practice, and um forna menningarheima. vinnubragða, einkum í túlkun highlighted, with respect to due course when they come ákveðið að útbúa svokallaða learn about it first-hand. Fornleifafræðin er afar fjölbreytt og framsetningu. interpretation and presentation. to choose the course of their fornleifakassa sem kennarar Our next stage in the project was Hvert ert meginmarkmið What are the main objectives fræðigrein þar sem hún tengist Verkefnið var fyrst framkvæmt The project was first carried out further studies. geta pantað hjá Borgarsögusafni to prepare ”archaeology boxes” verkefnisins? of the project? bæði viðfangsefnum á hug- á Barnamenningarhátíð at the Children’s Culture Festival It is also important that pupils með viðeigandi verkefnum which teachers can collect from og raunvísindasviði og gefur í Reykjavík árið 2014. in Reykjavík in 2014, with the ”Meginmarkmið verkefnisins ”The main objective of the (and the general public) should og ítarlegum leiðbeiningum. the Reykjavík City Museum, nemendum því tækifæri á að Verkefnið var þá unnið með participation of schoolchildren er að auka þekkingu nemenda project is to enhance pupils’ be aware of historical sites in Verkefnin sem fylgja kössunum together with appropriate kynnast betur áhugasviðum grunnskólanemendum í in Year 5 (aged 10-11). It á fornleifum og fornleifafræði, knowledge of ­archaeology, their environment, and acknow­ eru byggð á þeim sem nemendur assignments and detailed sínum. Þetta getur aðstoðað fimmta bekk sem lauk með ­concluded with an exhibition stuðla að þjálfun í gagnrýnni ­archaeological sites and ledge their value. Knowledge and unnu með fornleifafræðingum guidelines. The assignments nemendur við val á námsleiðum í sýningu á hátíðinni sjálfri during the ­festival, presented by hugsun á það sem fyrir augu artefacts, to promote their understanding of archaeology fyrir Barnamenningarhátíð 2014 relating to the boxes are based framtíðinni. sem nemendur settu upp á the ­children at the Settlement ber og að hvetja nemendur til development of critical thinking and archaeological remains will og samanstanda af jarðlaga- upon those carried out by pupils Það er einnig mikilvægt að Landnámssýningunni í miðbæ ­Exhibition in central Reykjavík. að kanna og nýta sköpunargáfu as well as encourage the pupils support heritage protection in og gripaverkefnum; þar þurfa with archaeologists for the nemendur (og almenningur) borgarinnar. The Settlement Exhibition, sína í útfærslum verkefna. to explore and utilise their the future.” nemendur að lýsa, mæla, teikna Children’s Culture Festival in þekki minjar í umhverfi sínu og Borgarsögusafn Reykjavíkur which is part of the Reykjavík Nemendur læra að draga creativity in the assignments. og túlka gripi og jarðlög, setja 2014. They comprise assignments viðurkenni gildi þeirra. Þekking rekur Landnámssýninguna City Museum, tells the story of ályktanir og setja fram eigin Pupils learn to draw reasoned í samhengi og að lokum segja on soil layers and artefacts: og skilningur á fornleifum sem segir frá landnámi í the settlement of Reykjavík in tilgátur byggðar á þeim conclusions, put forward their sögu.” pupils describe, measure, draw og fornleifafræði stuðlar að Hvernig gekk framkvæmdin Reykjavík á 9. öld. Þungamiðja the ninth century. The ­focus rannsóknargögnum sem verða own ­hypotheses based upon and interpret artefacts and soil minjavernd í framtíðinni.” með skólahópnum og hvert sýningarinnar er skálarúst frá of the exhibition is a Viking til í verkefninu og koma þeim á the research data, and present How did the project work in layers, place them in context, and verður framhaldið? árinu 930 sem er varðveitt á Age longhouse dating from framfæri í orðum, teikningum them through words, drawings practice with school groups? finally uncover a story.” sínum upprunalega stað. about 930 AD, which has been og myndum. and images. Uncovering History Why is it important for ”Framkvæmd verkefnisins gekk And what is the next step? preserved­ in situ. Sagan grafin upp gefur tækifæri provides an opportunity for ­schoolchildren to learn about vonum framar og voru nemendur, ”In practice the project exceeded Fyrir ítarlegri upplýsingar á fjölbreyttum kennsluaðferðum diverse­ ­teaching methods, and archaeology? kennari og aðstandendur our expectations, and pupils, sendið tölvupóst á For more detailed og því ættu allir að finna thus it should offer something verkefnis afar ánægðir með ”It’s important for students to teachers, and archaeologists [email protected] information please email eitthvað við sitt hæfi á meðal for everyone in the assignments útkomuna. Það hefur sýnt sig að gain insight into the real world of were very pleased with the [email protected] þeirra verkefna sem í boði eru.” available.” þátttaka, áhugi og vilji kennara archaeology – not the treasure- results. It transpired that

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Mordet i masovnen – et strafferettslig dilemma fra 1819

TEKST: HEIDI HALVORSRUD ARILD, MUSEUMSPEDAGOG

NO/ ”En av mine arbeidere har tilstått at han i går ettermiddag kastet et fattigbarn på 11 år Formidler Tor Granerud med levende ned i den brennende masovnen, der han omkom øyeblikkelig.” museets kopi Jernverkseier Jacob Aall i brev til lokale myndigheter rett etter den tragiske av en gammel hendelsen på Næs Jernverk i Norge, 14. mai 1819. skarpretterøks. Disseminator Tor Granerud with Historien om ”mordet i masovnen” var kjent både i lokalmiljøet og for oss på Næs Jern- the museum’s verksmuseum. Da en etterkommer etter jernverksarbeiderens bror bestemte seg for å replica of an old grave i kildene og skrive bok om masovnsmorderen, innså vi at denne 200 år gamle straf- executioner’s axe. fesaken kunne brukes i en pedagogisk sammenheng. Morderen (en voksen familiefar) ble dømt til døden, men dommen ble anket. Saken gikk gjennom tre rettsinstanser før høyesterett konkluderte med at mannen ikke var til­ regnelig, og derfor ikke kunne straffes. Vi startet med kildestudier og idémyldring. Vi definerte ungdom i videregående skoler og voksne som målgruppe. Fokus skulle være på humanisme og kildebruk, og på selve

Omtrent slik kan det ha sett ut på historiefaget. Andre stikkord var samfunnsforhold, lovgivning, straff, hevn og psykisk masovnskransen der gutten Johan helse. ble kastet ned og døde I stedet for et tradisjonelt undervisningsopplegg valgte vi å lage en slags ”omvendt This may be approximately what the krimgåte” med mange åpne spørsmål. Vi ønsket diskusjon og bevisstgjøring, og vi ville furnace rim looked like where the boy Johan was thrown in and died. at tematikken skulle framstå som relevant og spennende for unge i vår tid.

FORHÅNDSOMTALE TIL SKOLENE Tidlig i prosessen skrev vi forhåndsomtale til skolene: ”Ved hjelp av fortellinger, originalt kildemateriale, bilder/gjenstander og diskusjoner i plenum og grupper ledes elevene gjennom en ”historisk labyrint” der en faktisk krimi- nalsak fra 1819 står i fokus. En arbeider ved Næs jernverk kaster en gutt i masovnen, og UVENTET AKTUALITET gutten dør. Hvordan vet vi at det har skjedd? Hvorfor skjedde det og hvem var der? Hva Mens vi arbeidet med stoffet og med pedagogiske grep skjedde det utenkelige; terror- slags straff venter gjerningsmannen? Hvilke konsekvenser får det for de involverte og handlingene i Oslo og på Utøya 22. juli 2011 der 77 mennesker ble drept. Mange var ung- familiene deres? Hvilke lover, samfunnsforhold og personlige egenskaper hadde betyd- dommer. Gjerningsmannens tilregnelighet ble et hovedtema etter tragedien og under ning for sakens utfall? rettssaken som fulgte. Vi så tydelige paralleller mellom kildenes omtale av tilregnelig- Gjennom dette opplegget ønsker vi å skape nysgjerrighet rundt fortida og historiske kil- het, straff og humanisme i 1819, og den offentlige debatten omkring de samme temaene der, og dermed selve historiefaget. Elevene får også innblikk i hvordan straffeloven og etter terrorhandlingene i Norge. Dette ga vår gamle kriminalsak en utilsiktet aktualitet, straffemetodene har endret seg over tid, og de oppfordres til å reflektere over begreper og vi måtte diskutere om - og hvordan - vi skulle fortsette arbeidet. Vi valgte å fortsette, og fenomener som opplysning, hevn, humanisme og dødsstraff både i fortid og nåtid.” fordi vi mener at museer ikke skal være redde for å ta opp kontroversielle og dagsaktu-

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lykke. Diskusjon om journalistikk, sannhet og kilder ledet videre til den historiske hen- FAKTA / delsen, oftest presentert gjennom en rollefigur. Så lot vi elevene jobbe seg videre derfra Målgruppe: Elever i videregående­ skole mens vi supplerte med spørsmål, kommentarer og kildemateriale. Viktige grep har vært (16-19 år) / DKS at elevene tidlig skulle ”dømme” morderen gjennom aktivt valg av straff, at de skulle Museum: Næs Jernverks- begrunne og forsvare sine valg, og at de deretter fikk se skarpretter-øksa og bli nærmere museum (kulturhistorisk industrimuseum)­ kjent med lovverk og omstendigheter. Resultatet var mange interessante diskusjoner Utvikling/formidling: og skiftende standpunkter før vi var ute av ”labyrinten”. Heidi Halvorsrud Arild og Tor ­ Granerud Ressurser: Én formidler, KONKRETISERING AV OPPLEVELSEN enkelt lokale, effekter til De aller sterkeste møtene var kanskje med voksenopplæringens elevgrupper; flykt­ levendegjøring­ (tidsriktige klær, øks og hoggestabbe), ninger og innvandrere fra ulike land. Flere av dem hadde et engasjement og en nær- klassesett av arkivmateriale het til tematikken som var både utfordrende og givende. Men også de norske ungdom- og oppgaver. www.jernverksmuseet.no mene lot seg fascinere og engasjere, og deltok villig i praktiske aktiviteter og demonstra­ [email protected] sjoner. I hver klasse valgte vi for eksempel ut en elev som hadde omtrent samme stør- eller­ [email protected] relse og kroppsfasong som morderen, og lot ham komme fram og innta ”dårekisten” ”Et Afsindigheds Værk - mordet i masovnen” (dvs seilduken). På en enkel måte fikk vi demonstrert en straffemetode, og konkreti- (Jakob Aall-skriftserien sert den klaustrofobiske opplevelsen ved å være isolert og innesperret i et bittelite rom. nr. 1, Næs Jernverksmuseum 2009) Noen ganger brukte vi enkle rollespill med elever i roller fra høyesterett eller fra jern- verket. Elevene fikk alltid vite hva som faktisk skjedde til slutt; at morderen ble bedømt som ”afsindig” (utilregnelig) og skulle sendes hjem, men døde i arresten i 1820.

STARTSKUDD FOR FRUKTBARE REFLEKSJONER Mordet i masovnen har blitt levendegjort, analysert og diskutert gjennom flere ­sesonger på turné for den kulturelle skolesekken i Aust-Agder, og med grupper på jernverks­ museet. Formen var krevende, men morsom for oss pedagoger, og ble godt mottatt. Næs Jernverksmuse- um anno 2014, med Våre arbeidsmetoder bør ha overføringsverdi til andre (dramatiske) historiske gjenreist masovns- ­enkelthendelser, som kan være utgangspunkt for fruktbare refleksjoner over allmenn- bygning i forgrun- nen, og boligen til elle temaer. Vi leste mye for å være trygge både i historiske, juridiske og politiske spørs- gyldige og dagsaktuelle problemstillinger. Kombinasjonen av kildegransking/forsk- jernverkseier og mål, og vi diskuterte virkemidler. ning og formidlingskompetanse kan gi spennende resultater. eidsvollsmann Jacob Da vi kom på at vi ville få laget en kopi av en skarpretterøks og ta med ut i klasserom- Aall i bakgrunnen. mene, ble det nye diskusjoner – om etikk, og om praktisk gjennomførbarhet. Vi stop- Næs Iron Foundry Museum in 2014, pet ikke der heller – øksa ble bestilt og skarpslipt. Vi mente at den ville være viktig som Utsnitt av original ministe- with the rebuilt dramaturgisk virkemiddel, for å skape tidskoloritt, for å konkretisere alvoret i en døds- rialbok for Holt 1819, med furnace building in teksten: ”Johan Christian the foreground and straff, og for å skape ”turning points” og framdrift i klasserommet. Tour. Alder 10 1/4 år. Hans the dwelling of the dage endtes ved at blive kastet i masovnen.” foundry owner and KVALIFISERT IMPROVISASJON constituent assembly Section of the original member Jacob Aall Slik ble utstyrslista til slutt (alt ble ikke brukt hver gang): ministerial book for Holt in the background. Skarpretterøks, hoggestabbe, enkle plagg + korte tekster til pedagogen (morderens 1819, including the text: kone, morderen selv, jernverkseieren, en arbeider, en nabo, en dommer), et stykke seil- ”Johan Christian Tour. Age 10 1/4 years. His days were duk med mål som en ”dårekiste” (en liten fengselscelle), klassesett med kopi av origi- ended by being thrown nalkilder i plast, ppt-fil (bilder, tekster, kilder og spørsmål), og noen oppgaver og rolle- into the furnace.” kort for elever. Vi brukte ikke manus eller fast kjøreplan. Vi valgte å stole på at de historiske og peda- gogiske kunnskapene og gjenstandene vi hadde med oss ville bære i en ”kvalifisert im- provisasjon” i møte med ulike klasser og grupper. Vi startet møtet med elevene i nåtid, med en fiktiv nyhetsmelding om en arbeidsu-

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ENGLISH VERSION criminal case, and we had to discuss different classes and groups. Sometimes we used simple role play- whether - and how - we should proceed We started the meeting with the pupils ing with pupils in roles from the Su- with the work. We chose to carry on, be- in the present, with a fictitious news preme Court or from the iron foundry. Murder in the Furnace cause we feel that museums shouldn’t bulletin about a work-place accident. The pupils were always told what ac- be afraid to address controversial and A discussion about journalism, truth tually happened in the end - that the – a Criminal Dilemma topical issues. We did a lot of reading and sources led us on to the histori- killer was judged to be afsindig (insane) in order to be on top of relevant his- cal event, usually presented through a and was to be sent home, but died in from 1819 torical, legal and political issues, and character. Then we let the pupils work jail in 1820. we discussed the feasibility of different their way onward from there while we measures. supplied them with additional ques- DEPARTURE FOR FRUITFUL When we got the idea to have a replica tions, comments and source mate- ­REFLECTIONS made of an executioner’s axe and bring rial. Measures which proved impor- The murder in the furnace has been

BY HEIDI HALVORSRUD ARILD, MUSEUM EDUCATION OFFICER. it into the classrooms, new discussions tant were to have the pupils at an early brought to life, analyzed and discussed ensued - about the ethical side of it, stage ”sentence” the killer through the through several seasons on tour for and about whether it was practicable. active choice of punishment, to have the Cultural Rucksack in Eastern Agder ”One of my workers has confessed that yes­ humanism and source criticism and on personal qualities were of importance to Once again, we didn’t shy away from them give reasons for and defend their County, and with groups at the Iron terday afternoon, he threw a pauper of 11 history as a subject. Other key words the outcome of the case? possible controversy - the axe was or- choices, and then to let them see the Foundry Museum. The form was de- alive into the fiery furnace, where he perished were social conditions, legislation, pun- Through this teaching scheme we wish dered, and sharpened. We felt that it executioner’s axe and familiarize them- manding but fun for us educators, and immediately.”­ ishment, revenge and mental health. to awaken the pupils’ curiosity about would be important as a dramatic de- selves with the legal system and the was well received. Iron foundry owner Jacob Aall in a let- Instead of a traditional teaching scheme the past and about historical sources, vice, in order to create a period feel, in circumstances of the crime. This re- Our work methods should have trans- ter to local authorities right after the we chose to create a sort of ”mystery in and consequently about history as a order to concretize the seriousness of sulted in many interesting discussions fer value to other (dramatic) single his- tragic occurrence at Næs Iron Foundry, reverse” with a lot of open-ended ques- subject. The pupils will also gain insight a death sentence and in order to create and changes of opinion before we were torical events, which could form the ­Norway, 14th May 1819 tions. We wanted to encourage discus- into the way in which the penal code ”turning points” and progress in the out of the ”maze”. point of departure for fruitful reflec- sion and to build awareness, and we and forms of punishment have changed classroom. tions on universal and topical issues. The story of the ”murder in the fur- wanted the topic to appear as relevant over time, and they are encouraged to The combination of investigation of nace” was known both to the local com- and exciting to young people of today. reflect upon concepts and phenomena CONCRETIZE THE EXPERIENCE sources/research and dissemination munity and to us at Næs Iron Foundry such as enlightenment, revenge, hu- QUALIFIED IMPROVISATION Perhaps the strongest meetings were competence may yield exciting results. Museum. When a descendant of the manism and capital punishment both Here is what the final equipment list the ones with the adult education foundry worker’s brother decided to ADVANCE REVIEW FOR THE in the past and the present.” looked like (not all items were used groups - refugees and immigrants from delve into the sources and write a book SCHOOLS each time): different countries. Several of them FACTS / about the furnace killer, we realized that Early on in the process we wrote an ad- Executioner’s axe, chopping block, sim- displayed a passion and a closeness Target audience: Pupils in upper this 200-year-old criminal case could be vance review for the schools: UNINTENDED RELEVANCE ple garments + short texts for the edu- to the thematics that were both chal- secondary school (16-19 years)/ The Cultural Rucksack . used in an educational context. ”Through the use of stories, original As we were working on this material cator (about the killer’s wife, the killer lenging and rewarding. The Norwegian Museum: Næs Iron Foundry source material, pictures/objects and and on educational measures, the un- himself, the foundry owner, a worker, youths were fascinated and passion- ­Museum (museum of industrial culture) OPEN-ENDED QUESTIONS discussions in plenary and in groups, thinkable happened; the acts of terror in a neighbour, a judge), a piece of sail- ate as well, however, and took willing Heidi Halvorsrud Arild and Tor The killer (an adult family man) was the pupils are guided through a ”his- Oslo and on Utøya 22nd July 2011, where cloth with the measurements of a con- part in practical activities and demon- Granerud sentenced to death, but the sentence torical maze” where an actual criminal 77 people were killed. Many of them finement crib (a small prison cell), class strations. For instance, in each class Resources: One disseminator, ­basic locale, props to make the was appealed. The case went before case from 1819 is the focus of attention. were youths. The sanity of the perpetra- set of copies of original sources lami- we picked out a pupil who had approx- past come to life (period clothes, three separate courts before the Su- A worker at Næs Iron Foundry throws a tor became a main topic after the trag- nated in plastic, ppt file (pictures, texts, imately the same size and body shape axe and chopping block), class set of archive material and exercises preme Court concluded that the man boy into the furnace, and the boy dies. edy and during the following trial. We sources and questions) and some exer- as the killer, and had him step forward www.jernverksmuseet.no was not of sound mind and therefore How do we know that it has happened? saw clear parallels between the way the cises and role cards for pupils. and enter the confinement crib (i.e. the Næs Iron Foundry Museum: could not be punished. Why did it happen, and who was there? sources reasoned about sanity, punish- We didn’t use a script or a fixed sched- sailcloth). In a straightforward manner or Heidi Halvorsrud Arild: [email protected]. Starting with the study of sources and What kind of punishment awaits the of- ment and humanism in 1819, and the ule. Rather, we chose to trust the his- we were able to demonstrate a form of ”Et Afsindigheds Værk - mordet i brainstorming, we defined upper sec- fender? What will be the consequences public debate concerning the same is- torical and educational knowledge and punishment and concretize the claus- masovnen” (”The Works of a Mad- man - Murder in the Furnace”) ondary school youths and adults as our for the people involved and their fam- sues following the acts of terror. This objects we brought with us to support trophobic experience of being isolated (The Jakob Aall publication no. 1, target audience and our focus to be on ilies? What laws, social conditions and lent unintended relevance to our old a ”qualified improvisation” as we met and locked up in a tiny space. Næs Iron Foundry Museum 2009)

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jøers iboende forskelligheder som læringssteder og læringsrum. I nærværende artikel er Interface-læring det vigtigt at forstå dem som to organisationer med hver sin læringspraksis. Når fagfolk fra henholdsvis et gymnasium og et museum samarbejder om at planlægge – når to læringsmiljøer og udføre undervisningsforløb, der inddrager begge miljøers læringspraksis, skabes en unik mulighed for læring for eleverne. Og det viser sig, at elevernes læringsudbytte svækkes eller styrkes betragteligt afhængigt af kvaliteten af lærernes og museumsin- griber ind i hinanden spektørernes samarbejde.

INTERFACE - LÆRINGSRESULTATER

AF LEKTOR SALLY THORHAUGE, PH.D. Mine forskningsresultater i Ph.d.-afhandlingen Interface learning – New goals for museum and upper secondary school collaboration bygger på analyser af data fra online-spørgeske- maer, feltarbejde og interviews med lærere, museumsfagfolk og elever fra fem partner- DA / ”Interface-læring” er den læringsoplevelse, der kan opstå i grænsefladen mellem to væ- skaber, der alle opererer inden for foreningen intrface. Analyseresultaterne viste, at samt- sensforskellige læringsmiljøer, når de mødes og griber ind i hinanden. Et gymnasium lige 29 interviewelever erfarede, at det var en lærende proces at gennemføre undervis- og et museum er eksempler på to sådanne læringsmiljøer. Skolen defineres typisk som ningsforløb på deres skoles partnermuseum. Afbrækket fra den daglige rutine og ople- et formelt læringsmiljø, mens museet defineres som et uformelt læringsmiljø. At defi- velsen af at være sammen med deres klassekammerater i de nye rammer på museet var nere dem på denne måde er at oversimplificere deres kompleksitet og funktioner. Ikke motiverende for dem. Deres lærere bemærkede, at mange elever syntes at være mere desto mindre er ordene formel / uformel nyttige som betegnelser for de to læringsmil- opmærksomme og aktive på museet, end når de var på skolen. På tværs af alle undersø-

En studerende parat til at fortælle om sit projekt til forældredagen på Shoresby Museum. Dampteknologi og fysikkens love bliver konkret anskuelige på Shoresby Museum. A student ready to tell about his project at Shoresby Museum, on Parents´Day. Steam engine technology and physics become concrete at Shoresby Museum.

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inspektørerne et læringsmiljø, der legitimerede eleverne som kompetente medspillere i FAKTA / forhold til deres egne grupper såvel som i forhold til museet og skolen. 1) Thorhauge, Sally: Læringen optimeredes, når der i elevernes undervisningsforløb var indarbejdet praksis- Interface learning – New ser fra begge læringsmiljøer, og når deres gruppearbejde var tilrettelagt med henblik på goals for ­museum and at aktivere forskellige læringsstile og udfordre dem til at trække på forskellige kompe- upper­ secondary­ school collaboration­ (Læring i græn- tencer. Interviewene med eleverne viste, at deres læringsudbytte i sådanne tilfælde var sefladen - nye mål for sam- stort og varieret. De lærte for eksempel at forholde sig kritisk til historiske kilder, at se arbejde mellem museer og gymnasieskoler), Ph.d.-af- forskellige emner fra mere end én vinkel, at forstå forbindelsen mellem forskning og vi- handling, november 2014. in- den, at forstå forskellen mellem ekspertviden og generalistviden og at indse vigtighe- trface er et samarbejde mel- den af teamwork og af at trække på hinandens styrker. lem danske museer og gym- nasieskoler, som i fællesskab ska- ”Vi lærte noget om hinandens forskelligheder … i vores gruppe fandt vi for eksempel ud af, at én ber ­museumsbaserede og undervisningsrelevante­ for- af os var god til at tegne, så han tegnede, og én af os var særligt god til at regne, så han tog sig løb for eleverne. Selv om de af det.”(Felix, 1.g elev, Hammersby Gymnasium) fem partnerskaber, denne un- dersøgelse omhandler, alle tilhører intrface-samarbej- Elevernes selvtillid som lærende blev styrket, når de oplevede at undervisningsforløbet det, er undersøgelsens re- På Shoresby Museum modtager en gruppe elever fra Cranwell gjorde dem i stand til at anvende deres læringsstrategier på nye måder, eller når arbej- sultater relevante for ­ethvert førstepræmien for deres video om en udstillet genstand. samarbejde mellem skoler og det lagde op til, at de trak på deres tidligere erhvervede viden, færdigheder og erfaring. museer. At Shoresby Museum, a group of Cranwell students are awarded At blive vurderet er en central del af et formelt skoleforløb. Ved at give eleverne mulig- 1st prize for their video about a museum exhibit. hed for at blive vurderet uden for klasselokalet, på et sted hvor flere læringsstrategier Kontakt: [email protected]

bringes i spil, bliver det muligt for forskellige typer af elever at tiltrække sig positiv op- Se www.intrface.dk mærksomhed. Afhandlingen (på engelsk) findes på http://pure.au.dk/ Elevernes læringsresultater blev optimeret, når undervisningsforløbet understøttede portal/files/85300766/PhD_ gelsens fem cases var der elever, som fortalte, at de følte sig ligestillede med hinanden, de sociale aspekter af deres gruppearbejde. Det kunne for eksempel ske ved at lærerne Interface_Learning_New_ når de arbejdede på museet, for her var de alle nybegyndere. Dette nedbrød indgroede sørgede for, at der i hver gruppe var elever med forskellige kompetencer og at hver af goals_for_museum_and_ upper_secondary_school_ sociale hierarkier i klasserne. disse kompetencer var nødvendig at trække på for at gruppen kunne løse opgaverne. collaboration.pdf Gruppearbejdet fungerede særligt godt, når de produkter, som eleverne skulle nå frem ”Jeg følte, at gruppearbejdet [på museet] gjorde det nemmere for én at få ret og at få lov til at til, tjente to formål: 1) som fagrelevante opgaveløsninger og 2) som reelle og skattede have sin egen personlige holdning … jeg har ikke noget tæt forhold til dem, jeg arbejdede sam­ bidrag til museet. Opgaver af denne art knyttede elevernes aktiviteter på skolen og mu- men med i min gruppe, men jeg syntes virkelig at jeg kunne tale frit med dem der, fordi vi lige­ seet sammen, styrkede deres fornemmelse af tilknytning til museet og passede til deres som havde lov til at sige, hvad vi følte…”(Aretha, 1.g. elev, Brigby Gymnasium) identitet som elever.

”Jeg synes virkelig at det var så cool at de [museet] overhovedet gad tænke på os som nogen, der INDRE MOTIVATION OG UNDERVISNINGSFORLØBETS DESIGN kunne hjælpe dem i deres arbejde, at de stolede nok på os til at give os deres jordprøver at arbejde Studerende fra Hammers- Forskningsresultaterne viste, at eleverne, som havde de stærkeste og mest mindevær- med – det var så cool. Det gjorde os virkelig bevidste om, at vi havde et ansvar her – det her var by Gymnasium kigger på dige læringsoplevelser, var dem, hvis arbejdsindsats var drevet af indre motivation. Den seriøst arbejde, ikke bare lidt sjov i laboratoriet. Det fik os til at føle, at der virkelig var mening arkæologiske udgravnin- ger som en del af deres indre motivation blev fremmet, når eleverne selv fik medansvar for, hvordan deres ar- med det, vi gjorde; at vores arbejde og resultater rent faktisk ville blive brugt til noget i virkelig­ emnearbejde om historisk bejde skulle udføres. Dette øgede deres fornemmelse af selvbestemmelse og gav dem en heden.”(Naomi, 3. g elev, Westby Gymnasium) kildemateriale. følelse af ejerskab i forhold til såvel arbejdsprocessen som det endelige resultat. Det var Students from Hammers- også stærkt motiverende for eleverne, når de oplevede at blive stillet autentiske spørgs- by Gymnasium explore archaeological exca- mål og opgaver og når deres svar blev taget alvorligt af både læreren og museumsin- LÆRINGSRESULTATER AFHÆNGER AF SAMARBEJDETS KVALITET vations as part of their spektøren. For eksempel ved, at deres produkter blev udstillet på museet, eller registre- Forskningsresultaterne viste, at kvaliteten af elevernes læring stod i forhold til kvalite- subject-related­ work with historical sources. ret som en del af museets arkivalier, eller når museet brugte deres laboratorieresultater ten af samarbejdet mellem skole og museum. Samarbejder, der blev forstyrret eller af- til at kontrollere egne testresultater. Deltagerinddragende aktiviteter af denne type var brudt af andre begivenheder resulterede i mangelfuld kommunikation eller sågar ned- ikke kun yderst motiverende; de styrkede også elevernes evne til at tænke over, forstå og brud i kommunikationen mellem partnerne. Dette førte ofte til svækket eller ligefrem styre deres egen læring. I undervisningsforløb som dette skabte lærerne og museums- negativ læring for eleverne.

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I interviewene gjorde eleverne det klart, at det var demotiverende, hvis de ikke var or- When professionals from each com- have a personal opinion … I don’t have their own groups as well as in the mu- denligt klædt på i forhold til at skulle gennemføre de museumsbaserede undervisnings- munity collaborate in the planning a very personal relationship with the seum and at school. forløb. Det samme gjorde sig gældende, hvis sammenhængen mellem undervisnings- and carrying out of coursework which people I worked with in my group, but I Learning was optimised when the stu- forløbet på museet og elevernes timer på skolen ikke var tydelig for dem. Et andet for- meshes the learning practice of both, really think that I could talk with them dents were doing coursework that had hold, som skabte forvirring, var hvis eleverne ikke fik tilstrækkelig støtte og opsyn på students are provided a unique oppor- there because we were more allowed to been specifically designed to incor- museet fra såvel lærere som museumsinspektørerne. I de tilfælde, hvor lærerne forholdt tunity for learning. Furthermore, stu- say what we felt.” (Aretha, 1st year porate the practices of both learning sig udeltagende eller var fraværende fra museet, fik det nogle af eleverne til at forholde dent learning outcomes are strength- student, Brigby Gymnasium) environments, and when their group sig ligegyldigt over for undervisningsforløbene - hvis lærerne ikke var engagerede, hvor- ened or weakened considerably de- work was designed to activate differ- for skulle de så være det? pending on the quality of the teach- ent learning styles and challenge the Omvendt prioriterede de samarbejdspartnere, som var opsatte på at skabe mindevær- ers’ and the museum professionals’ INTRINSIC MOTIVATION AND COUR- students to draw on different compe- dige læringsoplevelser for eleverne, deres fælles forehavende højt. De investerede både collaboration. SEWORK DESIGN tences. When this was the case, stu- tid og ressourcer i at udarbejde undervisningsforløbene sammen. Når forløbet så skulle The research findings showed clearly dent interview responses indicated gennemføres på museet, var begge parter oprigtigt engagerede i at gøre forløbene til en that the students who had the most a wide variety of important learning vellykket og positiv læringsoplevelse for eleverne. Eleverne fandt det motiverende, når INTERFACE LEARNING OUTCOMES memorable learning experiences were outcomes such as becoming critical deres lærere og museumsinspektørerne var begejstrede for undervisningsforløbet. Det The research findings presented in those whose work was intrinsically of historical sources, learning to see var partnerskaber af denne kaliber, der udviklede undervisningsforløb, som kombine- my PhD dissertation Interface learning motivated. Intrinsic motivation was topics and subjects from more than rede de særlige styrker ved begge læringsmiljøer og derved skabte unikke læringsople- – New goals for museum and upper second­ promoted when the students were one angle, understanding the con- velser for eleverne i grænsefladen mellem dem. ary school collaboration are based on the given a wide scope of action by being nection between research and knowl- analysis of data generated via online put in charge of organising how to do edge, understanding the difference questionnaires, field notes and inter- at least some of their work. This in- between expert knowledge and gener- views with teachers, museum profes- creased their sense of self-determina- alist knowledge and realizing the im- sionals and students from five part- tion and gave them a sense of owner- portance of teamwork and drawing on nerships working within the ­intrface­ ship of the work process and the end each other’s strengths. association. The findings revealed product. Another important motivat- ENGLISH VERSION that without exception, all 29 inter- ing factor was when at least part of ”We got to know each other’s differen­ viewed students felt that it was a the coursework was organised in such ces … in our group, for example, we learning experience to visit and work a way that the students were asked found out that one of us was good at Interface learning: at their school’s partner museum. The authentic questions and were set au- drawing, and so he drew, and one of break in the daily routine of classes thentic tasks, and their answers and us was especially good at math, so he Meshing communities and being with their classmates in products were taken seriously by their was in charge of that.” (Felix, 1st-year the new surroundings of the museum teachers and the museum profession- student,­ Hammersby Gymnasium) of learning practice were motivating factors. Their teach- als. A few examples of this were when ers noticed that many of the students’ the students’ products were displayed Students’ self-confidence as learn- level of attention and activity seemed at the museum or were registered as ers was strengthened when they dis- higher while they were at the museum archival material, or when students’ covered that the coursework enabled than when they were in school. Stu- laboratory test results were used by them to apply their learning strategies dents across all cases said that they the museum to double-check its own in a novel way or apply a wider array of BY SENIOR MASTER SALLY THORHAUGE, PH.D. felt equal to one another when work- test results. Besides being highly mo- learning strategies, or when doing the ing together in the museum learn- tivating, participatory activities of this coursework invited them to draw on ”Interface learning” is the learning vironment, and a museum another. formal / informal are useful as indi- ing environment because they were sort enhanced the students’ abilities their prior knowledge, skills and ex- that can occur when two ordinarily The former is commonly defined as a cators of their integral difference as all newcomers there. This eroded in- to think about, understand and man- perience. separate and characteristically differ- formal learning environment, the lat- places and spaces for learning. In the grown within-class social hierarchies. age their own learning. In coursework Assessment is an integral part of for- ent learning environments meet and ter as an informal learning environ- context of the present article, the im- like this, the learning environment mal schooling. Giving the students mesh with the purpose of generating ment. Defining them thus is to over- portant thing is to understand them ”I felt that the group work [at the mu­ created by the teachers and museum an opportunity to be assessed out- learning experiences. An upper sec- simplify their complex organisation as two communities of learning prac­ seum] made it more possible for a per­ professionals legitimised the stu- side the classroom, where more learn- ondary school is one such learning en- and functions, but the designations tice. son to be right and to be allowed to dents as competent fellow players in ing strategies could be brought into

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play, made it possible for many dif- the students was proportionate to the strengths of both learning environ- ferent types of students to draw fa- quality of the collaboration between ments, allowing students to apply dif- vourable attention to themselves, not the partners. Partnership collabora- ferent learning strategies. Partnership only those who normally did well in tion that was interrupted by other collaboration of this calibre created school. events or appointments or was sim- unique learning experiences for the Student learning outcomes were op- ply given too little attention resulted students at the interface between the timised when the coursework sup- in insufficient communication or museum and school. ported the social aspect of their even breakdowns in communication learning. For example when teach- between the partners. This often re- ers organised groups in such a way sulted in weak or even negative learn- FACTS / that students with different compe- ing outcomes for the students. 1) tences worked together, and when the In their interviews, student responses Thorhauge, Sally: New Goals coursework was organised in such a made it clear that not being properly in Museum and ­Upper Sec- way that each of those competences prepared to do the museum-based ondary School Collaboration, PhD dissertation, ­November was necessary for the group to do the coursework was de-motivating. This 2014. ­intrface is an asso- tasks. Group work functioned espe- was also the case if the connection ciation of Danish muse- ums and upper secondary cially well when the products the stu- between coursework and students’ schools who work together dents were required to make served lessons at school was unclear. An- to ­produce school-related, two purposes: 1) as subject-related as- other factor that caused confusion museum-based­ course- work for students . Al- signments, and 2) as real and appre- was when students did not receive though the five partner- MUSEUM DEVELOPMENT ciated contributions to the museum. enough supervision and support at ships used as case material />> for the PhD project belong This bound their activities at school the museum from the teachers and to the ­intrface ­association, and the museum together, strength- museum professionals, especially if the ­research findings are ened their connection to the museum the students had not been sufficiently relevant and ­applicable in ­relation to any ­working part- and aligned itself with their identity prepared to do the coursework. Teach- nerships between schools as students. ers who chose to remain passive or and museums.

were often absent from the museum Contact: [email protected] ”Honestly, I think it was so cool that while their students were working they [the museum] would even consi­ there caused some students to be- Please see www.intrface.dk The dissertation is ­available der us as someone who could help them come indifferent to the coursework – at http://pure.au.dk/portal/­ with their work, that they entrusted us if the teachers weren’t bothered, why files/85300766/PhD_­ Interface_Learning_New_ with their soil samples – that was so should they be? goals_for_museum_and_ cool. That made us feel an important However, partners who were keen to upper_secondary_school_­ responsibility – it was serious work, create memorable learning experi- collaboration.pdf not just fun and games in the labora­ ences for the students generally gave tory. It made us feel like there was a real high priority to the joint enterprise purpose to our work, that our results of their partnership. They invested would be used for something for real.” time and effort to produce the course- (Naomi, 3rd year student, Westby work together, which meant that Gymnasium) when it was carried out with the stu- dents, both partners were substan- tially engaged in making it a success. LINK BETWEEN LEARNING Students were motivated by seeing ­OUTCOMES AND PARTNERSHIP that their teachers and the museum COLLABORATION professionals were excited about the The research findings showed that the coursework. It was also these part- quality of the learning experiences of ners whose coursework combined the

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Hvorfor er riske nervesystem fungerer i en fysisk udstilling, men som en ’anden hjerne’ i det er i høj grad også et DA / Museions­ maven. Hvad nu hvis vores projekt, hvis formidling udstillinger­ opførselsmønstre opstår i starter langt før den et kompliceret sammenspil første genstand overhove- vigtige? mellem hjerne, mave og det er udvalgt. I arbejdet bakterier?” med udstillingen vil vi Medicinsk Museion Why are the forsøge at blande kunst, exhibitions­ videnskab og kulturarv, i – det atypiske er et forsøg på at løfte forsk- held at the Adam Bencard, assistant ningsformidling ud af en professor at the Medical Museion­ im- traditionel snævert didak- Museion and curator of det typiske tisk og nyhedsfokuseret portant? Mind the Gut. ramme. Projektets første ”At the Museion we believe Daniel Noesgaard. skridt gik ud på at lave en Adam Bencard. Adjunkt that new ways of present- Museumsinspektør, online platform, hvor ud- på Medicinsk Museion og Medical Museion ing health research results webkurator på Medicinsk viklingen kan følges helt kurator for Mind the Gut. are required – ways that Museion. åbent. Vi har valgt Tumblr – typically atypical ”På Museion mener vi, at involve more than dietary ”Det typiske ved et Me- som platform, da den der er brug for nye måder advice, admonishments, dicinsk Museion projekt giver mulighed for at nå at formidle sundhedsvi- directions for healthy er vel næsten, at det er længere ud og tappe ind i denskabelig forskning på, lifestyles and statistics. atypisk. Udstillingspro- eksisterende communities FAKTA / FACTS / der indeholder mere end We believe that there is a jektet Mind the Gut er et vha. hashtags.” Medicinsk Museion blev The Medical Museion kostråd, livsstilsanvisning­ need to create new spaces projekt, der skal udmunde grundlagt i 1906 som me- was founded in 1906 as er, løftede pegefingre og (figuratively and literally) dicinskhistorisk museum, a museum of medical statistik. Vi mener, at der where the public can meet Daniel Noesgaard, men har de seneste godt history, but over the skal skabes nye rum (helt the research being done ­curator and web curator ti år udviklet en vision for course of the last decade bogstaveligt talt), hvor and the researchers be- at the Medical Museion. et moderne universitets- it has developed a vision offentligheden kan møde hind it. A place that allows museum, der beskæftiger that sees the venue as forskningen og ­forskerne. better scope for reflec- ”The most typical thing sig med medicinens kultur a modern university Et sted, hvor der er bedre tion and discussion. The Det er ikke sikkert, vi som physical objects is a good about a Medicinsk Mu- og historie og sundheds- museum that addresses plads til refleksion, om- exhibition project Mind publikum kommer til at place to start. Having seion project is probably videnskabelig forsknings- the culture and history tanke og diskussion. Med the Gut sees the Medical forstå teknikkerne fuldt ud, something physical to the fact that it is atypical. kommunikation i ­museale of medicine, and which udstillingsprojektet Mind Museion experimenting men bare det at se gen- show gives visitors a more The exhibition Mind the rammer. Medicinsk presents health-related the Gut eksperimenterer with the exhibition format standene fra et forsøg og immediate sense of what Gut is a project that will ­Museion modtog i 2015 research and studies in a Medicinsk Museion med, itself and with how sci- blive præsenteret for den the research is about – and give rise to a physical ex- som de første Bikubenfon- museum setting. In 2015 hvad en udstilling er, og ence is presented to the data forskerne arbejder in connection with Mind hibition, but it is also very dens udstillingspris Vision the Medical Museion hvordan viden- public. The exhibition will med, giver en lidt større the Gut it will probably be much a project where the til realisering af udstillings- was the first recipient skab formidles. challenge our view of our- fornemmelse for, hvad der interesting to look at how learning and interpreta- projektet Mind the Gut, of Bikubenfondens Udstillingen vil selves as human beings by foregår. Udstillingen kom- researchers study intesti- tion activities begin well der tager udgangspunkt i udstillingspris­ Vision, udfordre vores focusing on the very latest mer dog ikke til at kopiere nal bacteria. As observers before the first exhibit has aktuel biomedicinsk forsk- a grant that will help syn på os selv studies on the interaction forskningen én til én – vi we may not be able to been selected at all. While ning i sammenhængen the museum realise the som mennesker between stomach, brain henter genstandende ind fully understand the tech- working on the exhibi- mellem hjernen, maven og exhibition project Mind ved at sætte and bacteria. Most people på museet og eksperimen- niques, but the simple fact tion we will seek to mix de bogstaveligt talt trillio- the Gut – a project based fokus på hel ny will be startled to learn Bente Vinge Pedersen. terer til stadighed med at of seeing the objects used art, science and cultural ner af bakterier og andre on the latest biomedical forskning i inter- that the human body con- Udstillingsleder på finde udstillingsmetoder, in studies and tests and heritage in an attempt mikroorganismer, der lever research on the link aktionen mellem tains approximately ten Medicinsk Museion. der fremhæver deres being presented with the at presenting research in i tarmsystemet between the brain, the mave, hjerne og times as many microbial æstetik, materialitet og data used during research new ways – lifting it out of ”Udstillingsprojektet Mind stomach and the trillions bakterier. Det er cells as it contains cells of funktion.” will give us a stronger its traditionally restrained the gut bygger videre på Kontakt: of bacteria and other ny og overra- human DNA, and that the sense of what is going on. framework, which usually vores erfaringer med at udstillingsleder Bente microorganisms that live skende viden for so-called enteric nervous Even so, the exhibition focuses on didactics udstille spritny forskning Vinge Pedersen in the human intestines. de fleste, at der system acts as a ‘second Bente Vinge Pedersen, will not be a one-to-one and news value. The med fokus på forsknings- [email protected] og er omkring 10 brain’ in our stomach. head of exhibitions at replica of the research first stage of the project processen. Vi går forskerne kurator Adam Bencard Contact: gange så mange What if our patterns of the Medical Museion being done – we will bring focuses on creating an i bedene og ser på, hvor- [email protected] Bente Vinge Pedersen mikrobielleceller behaviour are governed various objects into the online platform where dan forskning bliver til, og ”The exhibition project [email protected] and i kroppen, som by a complicated interplay museum setting and are the development work is her er jagten på de fysiske Mind the Gut is based on Links: Udstillingen åbner curator Adam Bencard der er celler med between brain, belly and always experimenting with conducted in a complete- genstande et godt sted at our past experience with i 2017, men kan allerede [email protected] menneskeligt ar- bacteria?” exhibition methods that ly open, transparent way. starte. Det fysisk konkrete presenting the very latest nu følges på mindthegut. vemateriale, og at can serve to accentuate We chose Tumblr as our giver publikum en fornem- research while focusing museum det såkaldte ente- their aesthetics, material platform because it offers melse af, hvad forskningen on the research process Links: The exhibition will properties and function.” the opportunity to extend handler om – i forbindelse itself. We peek into the open in 2017; preparations our reach and to tap into med Mind the gut vil det researcher’s working and progress can be existing communities by være interessant at finde processes, looking at how followed at mindthegut. means of hashtags. ud af, hvordan forskerne research is done, and in museum undersøger tarmbakterier. this context the hunt for

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1

Sýningin Sjónarhorn Samvinna safnkennara og sýningarstjóra

HLÍN GYLFADÓTTIR SAFNFRÆÐSLUFULLTRÚI

IS / Sýningin Sjónarhorn er ferðalag um íslenskan myndheim fyrr og nú. Sýningin er 1 Nemendur að leggja samstarfsverkefni Þjóðminjasafns Íslands, Listasafns Íslands, Náttúruminjasafns 2 litapúsl. Íslands, Stofnunar Árna Magnússonar í íslenskum fræðum, Landsbókasafns Íslands Children studying - Háskólabókasafns og Þjóðskjalasafns Íslands. Sýningin spannar ólíkar safneignir ­colours by laying a þessara stofnanna og safnfræðslan endurspeglar sjónræna nálgun sýningarstjóra á mosaic. gripi sýningarinnar. Sýningin er staðsett í Safnahúsinu við Hverfisgötu í Reykjavík en

Þjóðminjasafn Íslands annast rekstur þess. 2 Nemendur velta fyrir sér valdamiklum persónum úr sögunni. UPPHAFLEG MARKMIÐ SAFNFRÆÐSLU SÝNINGARINNAR Children looking at Frá upphafi var lagt upp með að safnfræðslan yrði samofin sýningunni Sjónarhorn á sem pictures of president fjölbreyttastan hátt og að safnfræðsluefnið yrði unnið samhliða sýningarundirbúningi Vigdís Finnbogadóttir and several other­ í samvinnu við sýningarstjóra. Að auki lá fyrir að safnfræðslan yrði þróuð út frá powerful­ people. kenningum hugsmíðahyggju. Í húsinu eru fjögur fræðslurými auk fræðslustöðva sem eru staðsettar inni á sýningunni. Stefnt var að því að sem flestir gætu nýtt sér fræðsluefnið, nálgast það út frá sinni eigin 3 Eitt af fræðslurýmun­ reynslu og bætt við þekkingu sína og færni. um fjórum er helgað náttúrufræði.

3 One of the educational SKREF Í ÁTT AÐ MARKMIÐUM spaces is dedicated to natural history. Safnfræðslufulltrúi kom að verkefninu vorið 2014 á meðan sýningin var enn í mótun. Fulltrúinn sat sýningarstjórnarfundi þar sem hugmyndir sýningarinnar og val á gripum var rætt. Safnfræðslufulltrúi og sýningarstjóri unnu síðan hlið við hlið næsta árið, fram að sýningaropnun. Það var mjög dýrmætt fyrir safnfræðsluna að vera hluti af því skapandi ferli sem felst í sýningarundirbúningi. Líkt og sýningarundirbúningur er gerð safnfræðsluefnis skapandi ferli og til að samnýta hugmyndirnar sem verða til er eðlilegt að sýning og fræðsla þróist á sama tíma og í samtali en ekki hvort í sínu lagi eins og oft er gert. Aðskilnaður þessara þróunarferla felur í sér að klippt er á skapandi möguleika samtalsins og þess í stað er ætlast til að skapandi ferli safnfræðslunnar fari af stað eftir að sýningarþróunarferlinu hefur að mestu leyti verið lokað, þegar flestir hlutir hafa verið ræddir, þróaðir og ákveðnir. Slíkur aðskilnaður felur í sér tvíverknað og tvöfalda hugmyndavinnu fyrir sömu sýninguna. Næsta skref í átt að markmiðum safnfræðslunnar var að ramma verkefnið inn fræðilega PHOTOS: ÞÓRDÍS ERLA ÁGÚSTSDÓTTIR. PHOTOS:

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FAKTA / og tryggja markvissa vinnu. Því var eitt af fyrstu verkefnum safnfræðslufulltrúans að DÆMI UM FRÆÐSLUEFNI móta fræðslustefnu fyrir verkefnið í samráði við sviðsstjóra miðlunarsviðs. Stefnan var Í einum hluta sýningarinnar gengur sýningarstjóri út frá sjónarhorni þess sem horfir Sýningin Points of View í Safnahúsinu í Reykjavík er byggð á fræðslustefnu Þjóðminjasafnsins og smíðuð út frá hugsmíðahyggju, námskrá upp, upp til hins veraldlega eða andlega valds. Þar eru myndverk sem sýna birtigarmyndir samstarfsverkefni margra og áherslu sýningarinnar á sjónræna nálgun. Lykilatriði í safnfræðslunni voru sett upp í valdsins í bland við myndmál þeirra sem horfa á valdið gagnrýnum augum. Í salnum eru ólíkra menningarstofnana. Safnfræðslan er samofin skema sem allar hugmyndir að safnfræðsluefni voru bornar saman við til að meta hvort óvenju mörg fígúratív verk og fljótt fæddist sú hugmynd að nýta persónur verkanna í ­sýningunni og unnin fræðsluefnið uppfyllti sett markmið og væri í samræmi við fræðslustefnu. fræðslunni. Úr varð borðspilið Valdapíramídinn á þríhyrningslaga spilaborði þar sem 21 í náinni samvinnu við persóna úr verkum sýningarhlutans eru leikmenn eða peð. Fólki býðst að raða persónum sýningarstjórann allt frá upphafi. ­Kenningar verkanna upp í valdastöðu samkvæmt eigin mati og spila svo spilið eftir settum reglum. hugsmíðahyggju liggja til Tilgangur leiksins er að velja sér persónu og reyna að koma henni upp metorðastigann, grundvallar safnfræðslunni og hún er mótuð með efst á topp valdapíramídans. SAFNFRÆÐSLUSKEMA námskrá grunnskóla í huga auk þess sem áhersla er lögð á að draga fram Endurspegla áherslur sýningarinnar Kunnugleiki / framandleiki Þátttaka / tilraunir / leikur Samskipti Valdapíramídinn borinn saman við skema safnfræðslunnar: sjónarhorn safngestsins/ 1. Völd og valdabarátta eru aðalatriði spilsins sem endurspeglar þannig efnistök þessa nemandans. Börn 1-12 ára sýningarhluta. Nánari upplýsingar 2. Þátttaka sýningargesta er í gegnum leik og er lagskipt. Fólk getur skoðað spilið án Unglingar 13-18 ára um ­sýninguna og þess að snerta. Fólk getur raðað persónum verkanna í valdaröð og látið þar við sitja. safnfræðsluna má finna á vefsíðu hússins Fullorðnir Fólk getur ákveðið að spila leikinn eftir reglum spilsins. Hjá hverri persónu er spurt: www.safnahusid.is Getur þú fundið mynd af þessari persónu í þessum sal? og fólk getur gengið um ­ salinn í leit að persónum spilsins. Spilið virkar fyrir einn leikmann eða hóp fólks. ÚTSKÝRINGAR: 3. Í flestum tilfellum eru verk þessa sýningarsalar framandi fyrir hinn almenna Endurspeglun á áherslum ­gestir geti tengt hið nýja (þ.e. Samskipti. Rannsóknir sýna var oft leitast við að skapa sýningargest. Tilgangur fræðslunnar er að kynna þessi verk fyrir gestum og það er sýningarinnar­ . Aðalmarkmið­ það efni sýningarinnar sem að sýningargestir læra mest aðstæður fyrir gesti til að fræðsluefnisins er að veita ­sumir gestir geta upplifað sem þegar þeir eru í samskiptum fikra sig áfram í myndrænum gert í gegnum kunnuglegt form borðspilsins. ­gestum stuðning í ­könnun nýtt og framandi) við það sem við annað fólk. Á sýningunni lestri á verkum og gripum 4. Það er hægt að nota fræðsluefnið í einrúmi án samskipta við aðra en það býður upp sinni á sýningunni. Efnið þarf þau þekkja fyrir. Tilgangurinn er unnið markvisst að því að sýningarinnar. að endurspegla­ áherslur­ er að breikka skilning gesta skapa aðstæður fyrir samskipti á samskipti með keppni og sameiginlegu verkefni, að meta valdastöðu persónanna ­sýningarinnar og gera þær og gefa þeim möguleika á að og auka þannig möguleikann á Ein afleiðing vel heppnaðs þegar þeim er raðað eftir valdastöðu. ­aðgengilegar á margvíslegan ­tengja hið nýja við hið gamla. námi. Um leið þarf þó að vera fræðsluefnis er að gestir hátt. rými fyrir þá gesti sem kjósa að Safnahússins verja lengri tíma 5. Að auki felur fyrsta skref spilsins í sér myndlestur þegar leikmenn spilsins eru beðnir Þátttaka, tilraunir og leikur. upplifa sýninguna í einrúmi. inni á sýningunni en ella. Kunnugleiki / framandleiki. Rannsóknir á námi sýna að að meta valdastöðu persóna myndaspjaldanna og raða þeim upp í valdaröð. Fræðsluefnið þarf að búa ­virkir nemendur læra meira en Að auki skipaði myndlestur yfir kunnugleika, tengingum óvirkir. Tilraunir og leikir skapa stóran sess í smíði fræðsluefnis við fyrri þekkingu gesta og tækifæri fyrir gesti til að öðlast sýningarinnar og hefði í raun Valdapíramídinn var unninn á löngum tíma í samtali á milli safnfræðslufulltrúa og reynslu­heim þeirra. Á sýn­ reynslu og skapa sér merkingu átt heima í skemanu hér að sýningarstjóra. Hugmyndirnar þróuðust og sú útgáfa sem birtist sýningargestum ingunni er unnið að því að úr henni. framan. Með fræðsluefninu er nokkuð ólík hugmyndunum sem kastað var fram í upphafi. Safnkennarar Þjóðminjasafnsins unnu einnig að útfærslu spilsins með safnfræðslufulltrúanum.

REYNSLA OG EFTIRFYLGNI Við undirbúning sýningarinnar varð mikilvægi samvinnu vel ljóst. Því meiri samvinna og samráð því fleiri hugmyndir og þar af leiðandi betra safnfræðsluefni. Veikir hlekkir í fræðsluefninu koma í ljós þar sem samráð skortir. Það hefði t.d. verið betra að hafa samráð við skólafólk við vinnslu verkefna fyrir skóla. Greinargóðar leiðbeiningar voru settar á netið fyrir kennara, en ætlast er til að þeir sjái sjálfir um fræðsluna á safninu með aðstoð starfsfólks sýningarinnar. Ekki vannst tími til að fá rýnihópa í safnfræðslu fyrir opnun, en betra hefði verið að prófa efnið fyrir sýningaropnun. Nokkrir skólahópar hafa heimsótt sýninguna og ýmist nýtt sér fræðsluefnið eða notið leiðsagnar starfsfólks hússins og hefur það gengið vel til þessa. Eftirfylgni með safnfræðsluefninu verður sett í gang með haustinu þegar skólar taka að heimsækja sýninguna fyrir alvöru og þá verður það lagfært sem betur má fara.

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MUSEUM EDUCATION SCHEME

ENGLISH VERSION Reflects focuses of exhibition Familiarity / unfamiliarity Participation / experiment/play Communication The Exhibition Points of View Children 1-12 years Teenagers 13-18 years

Museum educator and curator Adults

working side by side NOTES: Reflection of focuses of exhi- tent of the exhibition which Communication. Research One of the principles behind bition. The principal objective some visitors will experience shows that exhibition visitors the education material was to of the educational material is as new and unfamiliar) with learn most when they are in create conditions for visitors to to provide visitors with sup- what they already know. The communication with others. feel their way forwards in ”rea- port in their exploration of the objective is to broaden visi- The exhibition systematically ding” the works and exhibits

BY HLÍN GYLFADÓTTIR MUSEUM EDUCATOR exhibition. The material must tors‘ understanding and enable seeks to establish conditions on display. reflect the focuses of the exhi- them to connect the new with for communication, thus en- bition, and make them accessi- the old. hancing the potential for lear- One of the indicators of suc- ble in diverse ways. ning. At the same time, there cessful educational mate- that museum education would be curator then worked closely together Participation, experiment, must also be space for visitors rial is that visitors to the Cul- Familiarity/unfamiliarity. The play. Research on learning in- who wish to experience the ture House spend more time The exhibition Points of View is a jour- an ­i­ntegral part of the exhibition for the next year, until the exhibition educational material must dicates that active students le- exhibition on their own. in the exhibition than would ney through Icelandic art and visual Points of View, with the maximum opened. It was of great value to the have a quality of familiarity, arn more than passive ones. In addition, the reading of ima- otherwise be the case. and a connection with visitors‘ Experiments and games pro- ges has an important place in culture from the settlement to the ­diversity – and that the material for museum ­education ­department to existing knowledge and their vide an opportunity for visitors the making of educational ma- present day, facilitated by coopera- museum ­education should be pro- be part of the creative process of pre- experience. The exhibition se- to gain experience and con- terial for the exhibition; in fact, tion between six cultural institutions duced in ­parallel with the prepara- paring an exhibition. Like exhibition eks to enable guests to con- struct meaning from it. it should have been included in nect new things (i.e. the con- the schematic diagram above. in Iceland: the National Museum (cul- tion of the ­exhibition itself, and in planning, the preparation of educa- tural history), the National Gallery ­collaboration with the curator. In tional material is a creative process; (art), the National Archives (docu- ­addition, it was a premise from the and in order to achieve synergy in use ments and letters), the National and start that the ­museum ­education of ideas, it is natural that the exhibi- University Library (books), the Árni should be ­developed on the principles tion and the educational aspect should seum educator to formulate an edu- ­curator takes the perspective of a per- higher up the pyramid of power, and Magnússon Institute (manuscripts) of ­constructivist theory. develop at the same time and in dia- cational policy for the project, in con- son who looks upwards – to secular or preferably all the way to the top. and the Icelandic Museum of Natural The building has four educational logue – and not separately, as tends sultation with the National Museum’s spiritual authority. This includes works History. All these different categories spaces, in addition to educational to be the case. Keeping these devel- Head of Communication and Public of visual art which show different man- of objects are shown, not chronolog- ­”stations” located within the exhibi- opmental ­processes separate entails Programmes. The policy was based ifestations of power, juxtaposed with POWER PYRAMID ASSESSED IN ically or typologically, but in mixed tion. The objective was that as many a disjuncture in the creative potential upon the museum‘s educational pol- the imagery of those who question VIEW OF THE MUSEUM EDUCATION groups, presenting different points of people as possible should be able to of the ­dialogue; instead the expecta- icy, and constructed using constructiv- and challenge authority. The gallery in- SCHEME: view. Even the visitor is invited to ex- make use of the educational material, tion is that the process of museum ist theory, the school curriculum, and cludes an unusually large number of Power and power struggles are the press his/her own point of view. approach it on their own terms, and education will begin after the pro- the exhibition’s emphasis on a visual figural works; and the idea arose of us- main subject of the game, which thus The exhibition is located in the Cul- enhance their knowledge and skills. cess of ­developing the exhibition is approach. Key points in museum edu- ing the figures portrayed in the works reflects the approach of this part of the ture House in the centre of Reykjavík. largely complete – when most ­issues cation were set up in a schematic form, in the educational material. This gave exhibition. The Culture House is managed by the have been discussed, ­developed and and all ideas for museum education rise to a board game, Valdapíramídinn Participation by visitors is through National Museum of Iceland, which is STEPS TOWARDS OBJECTIVES ­decided. This separation of the pro- materials were tested against them, in (The Power Pyramid): a triangular play, and is on various levels. People responsible for its public programmes A museum educator joined the pro- cesses entails ­unnecessary repeti- order to judge whether that material board on which 21 characters from can look at the game without touch- and education. ject in the spring of 2014, when the tion of tasks, and doubles the work fulfilled the stated objectives and was the works in this part of the exhibi- ing. They can arrange the figures in a exhibition was still at the planning ­involved in ­developing the ­exhibition. consistent with the educational policy. tion are the ”pieces.” Visitors are in- hierarchy of power, and leave it at that. stage. The educator was present at The next step toward the objectives vited to arrange the characters in posi- They can decide to play the game by INITIAL OBJECTIVES OF MUSEUM meetings with the exhibition com- of museum education was to frame tions of power according to their own the rules. For each character, the ques- EDUCATION IN CONNECTION WITH mittee, where ideas about the exhi- the project in scholarly terms, and en- AN EXAMPLE OF EDUCATIONAL ideas, and then play the game by cer- tion is asked: ”Can you find a picture of THE EXHIBITION bition and selection of exhibits were sure effective working methods. It was ­MATERIAL tain rules. The player chooses a charac- this person in this room?” and visitors From the outset the concept was discussed. The museum educator and thus one of the first tasks of the mu- In one part of the exhibition, the ter, and strives to advance that person can walk around the room, looking for

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the characters. The game works for Extensive guidance was placed on- DA / one person or a group. line for teachers, who are expected to In most cases the works in this gal- carry out their own teaching at the lery are unfamiliar for the average exhibition, with the assistance of Moesgaard visitor. The objective of education is exhibition­ staff. to present these works to the visitor, Time did not allow for focus groups – på ­fremtidens and that is done through the familiar in museum education before the museum­ er form of a board game. ­exhibition opening; it would have It is possible to use the educational been preferable to try out the mate- mennesket i material alone, without communi- rial ­before the opening. centrum­ cation with others, and it also offers A number of school groups have opportunities for communication ­visited the exhibition, and either through competition, and through made use of the educational material Moesgaard collaboration, to judge the position or been guided by staff; and this has – the museum of power of the characters and place been successful so far. Follow-up on them in order. the educational material will begin in of the future In addition, the first stage of the the autumn, when school visits will lets man take game entails reading of images, start in earnest at the beginning of when players judge the position of the new school year. This will offer centre stage power of the characters and place the opportunity to rectify problems them in order. that emerge. The Power Pyramid was developed over a long time in dialogue between the museum educator and curator. FACTS / Ideas gradually evolved, and the ver- The Exhibition Points of View in sion presented to exhibition visitors ­ the Culture House in ­Reykjavík centrum is facilitated by coopera- differs somewhat from the idea as tion between six ­different cultural first proposed. Museum education institutions in Iceland. The educa- MUSEUM MOESGAARD DUE, FOTO/MEDIEAFDELINGEN, JACOB FOTO: tional ­programs were produced staff at the National Museum were in parallel with the ­preparation of also involved in the development of the exhibition itself, and in close the game. collaboration with the curator. The educational ­policy was con- structed using constructivist the- LESSONS LEARNED AND PROJECT ory, the school curriculum, and the exhibition’s emphasis on a visual AFTERLIFE approach. Ansigt til ansigt med en nær slægt- Come face to face with a close relative of Homo Sapiens that During the preparatory process for ning af Homo Sapiens, der levede lived some 180,000 years ago. The people who came long be- the exhibition, the vital importance Further information can be found for 180.000 år siden. De mennesker fore us are vividly brought to life in these exhibitions, helping us on www.culturehouse.is. der har været her før os træder frem identify with and understand the past that shaped our present. of collaboration was clearly revealed. i udstillingerne, til identifikation The pathway to the main exhibition areas goes down the ‘steps The more cooperation and consulta- og forståelse af den fortid, der har of evolution’, featuring seven ultra-realistic statues of hominids tion, the more ideas, and hence the skabt vores nutid. Vejen til udstil- from our extended family tree. Digital dioramas bring their lingerne går ad evolutionstrappen stories to life. better museum education material. med syv naturtro menneskearter />> Weak points emerge in the educa- fra vores store familiehistorie. Deres levende historier opleves i digitale tional materials where collaboration dioramaer. has been lacking; it would, for exam- ple, have been preferable to consult with schools and educators in prepa- ration of projects for schools.

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1 FOTO: JACOB DUE, FOTO/MEDIEAFDELINGEN, MOESGAARD MUSEU

2

FAKTA / FACTS /

Moesgaard Museums nye udstil- Moesgaard Museum’s new exhi- FOTO: JACOB DUE, FOTO/MEDIEAFDELINGEN, MOESGAARD MUSEU lingsbygning åbnede i 2014. Med bition building opened in 2014. udgangspunkt i museets egen ud- ­Created by the museum’s own stillingstegnestue er det ambitio- exhibition design office, the new nen, at de nye udstillinger om old- exhibitions on prehistory and tid og etnografi skal placere sig ethnography are intended to be blandt de bedste i Europa, være among the best in Europe, to help med til at sætte nye standarder for raise the bar for museum learning museumsformidling, og sikre en and interpretation activities, and bred folkelig interesse for kultur- to ensure widespread general inte- historien. rest in cultural history. Det samlede udstillingsareal er ca. The total exhibition area spans 4800 m2, inklusiv et 900 m2 stort ­approximately 4,800m2, including særudstillingslokale. 900m2 dedicated to special ex- Name of the museum: hibitions. Moesgaard Museum Name of the museum: Partners: Moesgaard Museums Moesgaard Museum udstillingstegnestue. Partners: Moesgaard Museum’s ex- 1 2 Target group, audience: hibition design office. Fra mosens gyngende grund er der kig ned til Grauballemanden, Moesgaards berømte jern­ Varierede scenograferede miljøer danner abstrakte Kulturhistorisk formidling for Target group, audience: Learning aldermoselig. På væggene aktiveres animationer af jernaldermenneskenes ofre til guder og og konkrete stemninger over natur og kultur. Fra tre generationer. and interpretation on cultural his- ånder gennem mosens vand. Genstandene og forskningen udfordres og tilføres fiktive fortol- toppen af bronzealderhøjen under nattens stjer- www.moesgaardmuseum.dk tory, aimed at three generations. kende lag, med en tolkning af oldtidens små og store begivenheder. nehimmel og billedfortælling af solens rejse er der www.moesgaardmuseum.dk udsigt over jernalderens moselandskab. Udstillinger- More information: ne er udviklet af en bred vifte af museale og kreative Pauline Asingh, Afdelingsleder More information: Standing on the soft, yielding marshland floor, visitors can look down at the museum’s famous fagligheder på Moesgaards udstillingstegnestue. Publikum og udstillinger. Pauline Asingh, department head – Iron Age bog body, the Grauballe Man. The walls display animated sequences, activated by vi- [email protected] audiences and exhibitions. sitors, that chronicle how Iron Age man made sacrifices to gods and spirits through the waters A range of varied and highly atmospheric settings Ole Birch Nielsen, Leder af [email protected] of marshes and bogs. Archaeological objects and research are challenged and supplemented evokes nature and culture from the past. From the ­Moesgaard Museums udstillings- Ole Birch Nielsen, head of the by fictitious layers of interpretation that offer readings of events, both big and small, from the top of the Bronze Age hill beneath the starry skies tegnestue. Moesgaard Museum exhibition ancient past. and a visual representation of the journey of the sun, [email protected] design office. visitors enjoy a view of the marshland landscape of [email protected] the Iron Age. The exhibitions were designed by a wide range of creative museum and design profes- sionals at the Moesgaard exhibition design office. />>

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Forskere er til stede overalt i udstillingerne med nyeste forskning, Bæredygtighedens prisme enten på ekspert- skærme eller, som her, iscenesat i det forhisto- - en model for forskning riske landskab og den arkæologiske situation. Her redegøres for og organisering? ofringer af faldne kri- gere, de udstillede fund beskrives, naturviden- skabelige iagttagelser på knogler udpeges og kommenteres på AF KAREN GRØN, DIREKTØR, TRAPHOLT - MUSEUM FOR MODERNE BILLEDKUNST,­ bagvæggen. ­KUNSTHÅNDVÆRK, DESIGN OG MØBELDESIGN OG BERIT ANNE LARSEN, FORMIDLINGSCHEF, ­STATENS MUSEUM FOR KUNST The presence of resear- chers is felt everywhe- re in the exhibition, offering the results of the most recent DA / SITUATIONEN research. They may Udviklingen af danske museer har en strukturel forhindring i forhold til at sætte fokus do so on interactive screens featuring a på forskning i formidling. På trods af en stigende bevågenhed og anerkendelse af, at for- wealth of experts, or midlingen på museerne er essentiel i forhold til at gøre vores kulturarv relevant og in- their research may be translated into other teressant for et bredt publikum, er forskningen indenfor dette felt stadig en undseelig formats, such as in this lillebror i sammenligning med forskningen i selve genstanden. Fagfeltet museumsfor- staging of a prehisto- midling er præget af flotte engangsprojekter, som er fine i sig selv, men de efterlader sig ric landscape and of archaeological digs. sjældent varige spor i praksis og struktur på museerne, da der ikke forskes systematisk i Explanations are pro- formidling på og blandt museumsformidlere. Uden valide data og strukturel udvikling vided for the sacrifices of fallen warriors, the og praksisændring på museerne er forandring ikke mulig. exhibits are described, and scientific observa- tions about the bones are provided on the FORSKNINGSKLYNGEN: BÆREDYGTIGHEDENS PRISME back wall. ”Bæredygtighedens prisme – program for dansk museumsformidlingsforskning” er et etårigt ambitiøst pilotprojekt, der har haft til formål at skabe et stærkt formidlingsforsk- ningsmiljø blandt museer på tværs af Danmark. Pilotprojektet er i sidste fase, men hå- bet er, at projektet og ideen kan leve videre. Der er tale om en centerkonstruktion uden mursten, hvor kræfterne bruges på udvik- ling af den menneskelige, faglige ressource blandt museumsmedarbejdere i hele landet. Ambitionen er, at de forskningsmæssige erkendelser på museumsformidlingsområdet ikke, som i dag, bliver i et specifikt, museologisk universitetsmiljø fjernt fra den daglige praksis, men bliver til på museerne og arbejdes direkte ind i de deltagende museers ku- ratoriske praksis med efterfølgende intern refleksion og udvikling til følge. Det centrale omdrejningspunkt er at styrke integrationen mellem deltagende museers forsknings-, udstillings- og formidlingsaktiviteter. Formidlingsforskningen flyttes fra at være et biprodukt til at være udviklingsgenerator institutionelt. Med Bæredygtighe- Henning Larsen Architects har tegnet den 16.000 m2 store bygning, der rejser sig af bakken nord for herregården Moesgaard. Under det skrå tag er moderne publikumsfaciliteter og nytænkt kulturhistorisk dens Prisme etableres således nye, bæredygtige bud på museumspraksis forankret i va- formidling, hvori historier om oldtidens mennesker foldes kraftfuldt ud for tre generationer på én gang. lid formidlingsforskning, implementeret i konkrete udstillinger og publiceret i interna- Henning Larsen Architects designed the 16,000m2 building, which rises out of a hill north of the Moes- tionale forskningstidsskrifter med henblik på at skabe strukturel transformation i det gaard manor house. Underneath the sloping, grass-clad roof you will find sophisticated audience facilities samlede museumsfelt. and innovative learning and interpretation activities in which narratives about the people of the distant past unfold powerfully, capturing the interest and attention of three generations at the same time.

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1 1 EN NY BÆREDYGTIG MODEL FAKTA / Seminar på Medi- Projekt: Statens Museum For cinsk Museion med Modellen for projektet er en klyngestruktur, der tilgodeser forskellige institutionelle og Kunst og Trapholt - besøg af en faglige blik på formidlingen – deraf navnet prisme – og en dynamisk arbejdsform via den Museum for moderne af ­projektets føl- lille skala frem for det store administrativt tunge organisatoriske set up. Den lille skala billedkunst,­ kunsthåndværk, geforskere, Sandra design og møbeldesign er Dudley fra School giver mulighed for kvalificerende kritiske udvekslinger med alle deltagere samt deres projektejere på forsknings- of Museum Studies tilknyttede følgeforskere. Kvaliteten i arbejdet er helt central, og derfor valgte vi at ar- klyngen: Bæredygtighedens­ på University of Prisme. Projektet er et etårigt Leicester. bejde med et call for paper, der sikrede at de bedste cases lige nu var de partnere, vi kunne pilotprojekt realiseret med tage ind i projektet. Kravet om at levere en international følgeforsker og en peer reviewed Seminar at the midler fra Kultur­styrelsen, Medical Museion, artikel, der udkommer i efteråret 2015, har vist, at et kvalitativt internationalt løft har ac- (900.000 kr. til hver af de to attended by one celleret den forandringsproces, vi ønskede at igangsætte med projektet. museer). I løbet af projektpe- of the international rioden er der ­afholdt 4 semi- researchers attached narer med ­deltagelse af de to the project: internationale­ følgeforskere. 2 Sandra­ Dudley Det er håbet, at der kan rej- Disse elementer er alle vigtige grundkomponenter from the School of ses flere midler, således at Museum­ Studies i projektets bæredygtighed og fremtid: projektet og ideen kan leve at University of • Afsæt i museal formidlingskontekst videre. Leicester. Partnere: Medicinsk Museion • Forskning (peer reviewing) og Det Kongelige Bibliotek • Klyngestruktur – dynamik og organisatorisk lethed 2 Kontakt: • Internationalt samarbejde Seminar på Berit Anne Larsen, Medicinsk­ Museion. • Professionalisering [email protected]

Seminar at the­ 3 Publikation: Developing Medical­ Museion. Research in the Museum, LEARNINGS Reflections from the UK and Denmark, TATE 2015 3 Erfaringerne fra pilotprojektet viser entydigt, at refleksionsniveauet omkring formid- Seminar om forsk­ lingsforskning blandt danske museer er relativt lavt, og fødekæden op til forskning på Links: THE TATE RESEARCH ningsdesign­ med CENTRE: LEARNING www. Signe Pihl-Thingvad, højt niveau er svag. Centerstruktur med fælles vidensudveksling og workshops internt tate.org.uk/research/res SDU på Trapholt. efterfulgt af offentlige foredrag var en givende struktur, som medførte vidensudveks- earch-centres/learning- Seminar on research ling og reel feed back mellem deltagende institutionerne. research design conducted by En forskningsklynge på fire museer var en perfekt størrelse, idet hver institution bidrog Signe Pihl-Thingvad, SDU at Trapholt. med flere deltagere, hvilket på den lange bane sikrer institutionel forandring og overfør- selsværdi. Det er erfaringen, at fire institutioner (ca. 12 personer) giver kritisk masse og PHOTOS: METTE HANGHØI, TRAPHOLT PHOTOS: stadig en størrelse, der er fleksibel planlægningsmæssigt. En arbejdsform, der var afgørende for etableringen af forskningsmiljøet, som de delta- gende institutioner opbyggede undervejs, var et stærkt gensidigt udvekslende forsk- DYNAMISK SAMSPIL ningsmiljø, hvor inddragelse af internationale forskere var afgørende. De tilførte både Tanken er at accentuere det dynamiske, horisontale samspil mellem de fem museums- helt nye vinkler og ny viden samt holdt niveauet højt gennem hele forløbet. Repetition søjler: indsamling, bevaring, forskning, formidling og udstilling. Samspillet mellem indledningsvis af videnskabelige metoder, såsom forskningsdesign og litteratursøg- søjlerne er sammenfattet i fire centrale indsatser og betoninger: 1) Professionalisering – ning, var med til at opbygge et fælles sprog og skærpe fokus blandt deltagende museer forskning 2) partnerskaber 3) bæredygtighed og 4) internationalisering. Museumsloven på, at museumsbaseret formidlingsforskning implementeret i udstillingspraksis også blev i Danmark revideret i 2012, og projektet Bæredygtighedens prisme skriver sig der- er under udvikling i andre lande. med ind i den nye museumslovs forandringsagenda. Pilotprojektet blev kontaktet af Head of Learning and Research på Tate, Emily Pringle, Vi er optaget af, hvordan vi kan skabe en smidig og værdibringende samarbejdsstruktur som er ansvarlig for forskningsgruppen THE TATE RESEARCH CENTRE: LEARNING med for formidlingsforskning på højt niveau med internationale perspektiver blandt prak- et ønske om samarbejde mellem den danske klynge. Vi ser store perspektiver i at lade tiserende museumsfolk med interesse for integration af genstandsfaglig- og formid- klyngen knopskyde i form af et samarbejde med TATE, eller ved at to af de nuværende lingsforskning i udstillingspraksis i Danmark. Fokus har således været på at udvikle et partnere via et nyt call for paper og med afsæt i en for dem relevant og aktuel formidlings- højt niveau for formidlingsforskning på museerne og et internationalt forskningsmiljø case byder to nye ind. blandt museerne.

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ENGLISH VERSION fessionals who are interested in inte- • International co-operation the participating museums’ awareness grating all fields of museum research • Professionalisation of the fact that museum-based research The prism of sustainability - a model for (including research on learning and in- on learning and interpretation imple- terpretation) in actual museum prac- mented in exhibition practices is also a research and organisational set-ups? tices in Denmark. Emphasis has been LESSONS LEARNT growing field in other countries. placed on developing high-level re- The lessons learnt during this pilot The pilot project was contacted by search on learning and interpretation project clearly demonstrate that re- Emily Pringle, Head of Learning and Re- at museums and on forging links to an search on learning and interpretation search at the Tate and head of THE TATE BY KAREN GRØN, DIRECTOR, TRAPHOLT – MUSEUM OF MODERN ART, APPLIED ART, DESIGN AND ARCHITECTURE international research community. attracts little attention and reflection RESEARCH CENTRE: LEARNING, invit- AND BERIT ANNE LARSEN, DIRECTOR OF LEARNING AND INTERPRETATION, STATENS MUSEUM FOR KUNST among Danish museums, and that the ing collaboration with the Danish hub. support system necessary for high- We see major perspectives in allowing THE SITUATION mark” is an ambitious one-year pilot opment and change. Thus, The Prism A NEW, SUSTAINABLE MODEL level research is weak. The project’s the hub to grow by entering into collab- Structural issues impede the develop- project aiming to create and nurture a of Sustainability programme sets out The project is based on a hub structure centre structure – based on knowledge oration with the Tate, or by having two ment of Danish museums as regards strong learning and interpretation re- new, sustainable takes on museum that accommodates a range of different sharing and in-house workshops fol- of the present partners invite two new the opportunities for greater focus on search community among Danish mu- practices anchored in valid research institutional and professional points lowed by public lectures – proved valu- partners through a new call for papers research within the field of learning seums. The pilot project is now enter- on learning and interpretation, im- of view on learning and interpretation able, prompting real feedback and ex- based on a current, relevant learning and interpretation. While there is in- ing its final stage, but there is a strong plemented in actual exhibitions and – hence the ‘Prism’ aspect of the name changes of lessons learnt between the and interpretation case study. creasing attention to and recognition wish to see the project and its underly- published in international research – and a dynamic, agile working method participating institutions.

of the fact that learning and interpreta- ing ideas live on. journals with a view towards effecting facilitated by the small-scale set-up, Having a research hub consisting of FACTS / tion activities at museums are essen- The programme consists of a research structural transformations in muse- unimpeded by dense administration. four museums proved an ideal size: Project: Statens ­Museum For Kunst tial in order to make our shared cul- centre that is not based at a particu- ums as such. The small-scale set-up allows for qual- each institution contributed several (SMK – the National Gallery of Den- tural heritage relevant and interesting lar location, but on networking: all en- ified critical exchanges that involve all participants, which helps promote mark) and Trapholt – ­Museum of Mod- ern Art, Applied Art, ­Design and Archi- to a broad audience, research within ergy is channelled towards developing participants and the researchers asso- long-term institutional change and en- tecture are project owners for the re- the field remains something of a step- the human and professional resources DYNAMIC INTERPLAY ciated with them. Ensuring high-qual- sures that the work done is passed on search hub known as The Prism of Sus- tainability. The one-year pilot project child compared to the research efforts of museum professionals throughout The overall idea is to accentuate the ity work was a key concern; hence the to more members of staff at the par- was realised with funding from the Dan- devoted to the museums’ exhibits and Denmark. The ambition is to ensure dynamic, horizontal interplay between decision to employ a call for papers to ticipating institutions, including new ish Agency for Culture (DKK 900,000 collections. As a professional field, mu- that research and research-based in- the five pillars of museum work: collec- ensure that the partners incorporated ones. Having four institutions (approx- for each of the two museums). Four seminars have been held over the seum learning and interpretation is sights into museum learning and in- tion, conservation, research, learning into the project represented the best imately twelve individuals) proved to course of the project period, each at- characterised by an array of splendid terpretation should no longer be the & interpretation, and exhibition. The cases available. The requirements stat- be enough to ensure the necessary crit- tended by the international research- ers attached to the programme. There individual projects that are excellent exclusive province of academic muse- interplay between these five pillars is ing that the project must have an inter- ical mass while still facilitating flexible is a great wish to see additional funding in and of themselves, but which rarely ology studies conducted at university described and summed up in four key national researcher attached and also planning. raised in ­order to ­allow the project and have a permanent impact on the prac- settings far removed from everyday focus areas: 1) Professionalisation – publish a peer-reviewed article (sched- One of the crucial methods for estab- its underlying idea to live on. Partners: Medical ­Museion and the tices and structures at museums be- practices; instead such research should research, 2) partnerships, 3) sustain- uled for the autumn of 2015) have lishing the research community built Royal Library (National ­Library of cause no systematic research on learn- be conducted at the museums and be ability, and 4) internationalisation. helped accelerate the process of change during this project was the set-up of ­Denmark and Copenhagen University Library)­ ing and interpretation is conducted directly embedded into the curatorial The Danish Museum Act was revised we wished to launch with this project. a research scene based on mutual ex-

by those who practise it. Without valid practices at participating museums, in 2012, which means that The Prism changes and on the involvement of Contact: Berit Anne Larsen, data, structural developments and new prompting subsequent in-house reflec- of Sustainability project inscribes it- The following elements are key compo- international researchers; this last is- [email protected]

practices at the museum, no change is tion and development. self within the new act’s agenda for nents for the project’s sustainability sue was of particular importance. In- Publication: Developing Research in possible. The key focus of this project is to en- change. and future: ternational input offered entirely new the Museum, Reflections from the UK and ­Denmark, TATE 2015 hance integration between the par- We are interested in how we can create • Using the museums’ specific learn- avenues of approach and new knowl-

ticipating museums’ research, exhi- and nurture an agile, value-generating ing and interpretation contexts as edge, and it also served to maintain Links: THE TATE ­RESEARCH CENTRE: RESEARCH HUB: THE PRISM OF SUS- bitions, and learning and interpreta- structure for collaboration that sup- the starting point high-quality work throughout the pro- LEARNING www.tate.org.uk/research/ research-centres/learning-research TAINABILITY tion activities. Research on learning ports high-quality research on learning • Research (peer reviewing) cess. Brief initial refresher courses on ”The Prism of Sustainability – pro- and interpretation should be trans- and interpretation; research that has • A hub structure – ensuring a scientific methods, such as research de- gramme for research on museum formed from being a side effect to be- an international outlook and is con- ­dynamic set-up and organisational sign and literature searches, helped es- learning and interpretation in Den- come a driver for institutional devel- ducted among practicing museum pro- agility tablish a shared vocabulary and raised

110 111 MUSEUM DEVELOPMENT ?

FI /

Sirkushevoset Sirkushevoset sairastaa­ -projektissa konservoitiin sairastaa Suomessa Keravalla – pedagoginen sijaitseva­ Heikki Häiväojan­ ja Antero Poppiuksen konservointiprojekti Sirkusmuistomerkki­ (1979). Prosessi­ The Circus Horses avattiin yleisölle ja sitä are Under the Weather seuraamaan kutsuttiin – a pedagogical kummiluokka paikal­ lisesta koulusta. restoration project Projektin toteuttivat Keravan taidemuseo­ ja Helsinki ­Metropolia

FAKTA / FACTS / Ammattikorkeakoulun­

Sirkushevoset sairastaa The Circus Horses Are Under esinekonservoinnin­ linja. -projektin toteuttivat Kera- the Weather project was im- van taidemuseo ja Helsinki plemented by the Kerava Art The Circus Horses are Mitä projekti antoi teille,­ Miksi julkisen taideteok- Heikki Häyhä, esinekonser- Why was a public work of Heikki Häyhä, Lecturer, Metropolia Ammattikorkea- Museum and students from projektin­ kummiluokalle? sen konservointi tehtiin voinnin lehtori, Metropolia art restored through an Conservation of Cultural koulun esinekonservoinnin the Helsinki Metropolia Uni- Under­ the Weather project ­ avoimena prosessina, johon Ammattikorkeakoulu. open process? Historical Objects, Helsinki osasto. Projektissa konser- versity of Applied Sciences’ Hanna-Maria Antikainen, involved­ the restoration­ ihmiset saivat osallistua? Häyhä vastasi hankkeessa Metropolia University of voitiin viidestä lasikuituhe- degree programme in Object kummiluokan opettaja, Kera- Laura Kauppinen, ­ konservoinnin suunnitte- Applied Sciences. vosesta koostuva Sirkus- Conservation. The project in- of the Circus ­Monument, van keskuskoulu 5–6b. Laura Kauppinen, Museum Lecturer, lusta. Häyhä was responsible for muistomerkki vuodelta 1979. volved the restoration of the ­museolehtori ja hankkeen Project Coordinator, a commemorative work ”Projekti antoi sellaisia käy- the project’s conservation Projektiin osallistui kummi- Circus Monument (1979), a koordinaattori, Keravan ”Konservoinnin kannalta oli Kerava Art Museum. tännön tietoja ja taitoja, joita planning. luokka, joka seurasi projektia work consisting of five fibre- erected by Heikki Häiväoja­ taidemuseo. tärkeää, että ymmärtäisim- ei voi omaksua pelkästään ”The Kerava Art Muse- sen alusta loppuun saakka. glass horses. A class from a me syvällisesti millaisesta ”In terms of conservation, it oppikirjoista. Pääsimme ”Keravan taidemuseo um wanted to familiarise He osallistuivat myös kon- local school was invited to fol- and Antero Poppius in teoksesta oli oikeastaan is important to understand tutustumaan käytännössä halusi avata museotyötä people with museum servointiin, näyttelyn raken- low the process from begin- kyse. Muistomerkki kuuluu the history of the work. Kera­va in 1979. The resto- konservointiin ja opimme sekä jakaa tietoa hieman operations and provide in- tamiseen sekä hankkeen tie- ning to end. The pupils also kaupunkilaisten arkeen ja The monument is part of julkisista taideteoksista sekä unohduksiin painunees- formation about public art dottamiseen. Hanke kutsui participated in the restoration ration process was open kaupunkilaiset ovat sen the everyday lives of local paikallishistoriasta.” ta Sirkusmuistomerkistä and the Circus Monument, paikalliset ihmiset mukaan. work, the preparation of the ”käyttäjiä”. He auttoivat people, and they are its to the public, and a class sekä julkisesta taiteesta. whose condition has dete- He jakoivat muistojaan ja va- related exhibition and the pro- näkemään teoksen aineet- ”users”. They helped us Muistomerkki tuli aikoinaan riorated somewhat. Local lokuviaan muistomerkistä. vision of information about from a local school was in- toman kulttuuriperinnön realise the value of its cul- How did pupils benefit from Keravalle paikallisten ihmis- people played an important Projektia ja konservoinnin the project. Local people were ja sitä kautta auttoivat tural heritage and helped the project? ten ponnistusten tuloksena, role when the monument etenemistä pystyi seuraa- invited to participate in the vited to follow it. The work konservointitoimenpiteiden us plan the conservation joten sen konservoiminen was originally placed in maan projektin blogista: sir- project – to share memories Hanna-Maria Antikainen, suunnittelussa.” measures.” was carried out by the yhdessä keravalaisten Kerava. Its restoration in kushevosetsairastaa2013. and photos of the monument, Teacher, Kerava Central kanssa oli luonnollinen cooperation with locals was blogspot.com. for example. Project ­progress Kerava Art Museum and School 5–6b. jatkumo tälle osallistumisen a natural continuation of was reported in a blog at ­students from the Helsinki­ perinteelle. Tavoitteemme this tradition of partici- Lisätietoja: museolehtori s­ irkushevosetsairastaa2013.­ ”The project provided pu- oli myös jakaa paikallista pation. In addition, our Laura Kauppinen, blogspot.com. Metropolia University of pils with practical skills and kulttuuriperintöä uusille Keravan taidemuseo, knowledge that cannot be goal was to provide new keravalaisille.” residents with information [email protected] Contact: Laura ­Kauppinen, Applied Sciences’ ­ degree­ acquired from textbooks about the local cultural Museum Lecturer, programme in object alone. We had an opportu- Kerava Art Museum, nity to learn about conser- heritage.” [email protected] conservation.­ vation in practice, as well as about public works of art and local history.

112 113 MUSEUM DEVELOPMENT

Annica Carlsson Bergdahl, SW/ producer, Rot Production.

”Homesteads are excellent initiating points for increasing participation in communities. Hembygd After a considerable amount of meetings with both young and – någostans old, this standpoint becomes more and more clear. A home- i Sverige stead does not only relate to a place. Near and dear ones who live in the place are a part of the homestead. What one has done Homestead and does at the place together with others who live there is also – somewhere a part of one’s homestead. A homestead can be among red cottages out in the countryside in Sweden Annica Carlsson Bergdahl, or outside Umeå, in the Million producent, Rot Production. Program area Hammarkullen in AV ANNICA CARLSSON BERGDAHL, ”Hembygden är utmärkt ut- Gothenburg, in a terraced area ­PRODUCENT, ROT PRODUKTION gångspunkt för att öka delaktig- in Växjö or Kalmar, Kurdistan heten i samhället. Efter åtskilliga and Falun at the same time. It is BY ANNICA CARLSSON BERGDAHL, möten med såväl ung som about feeling at home. Where PRODUCER, ROT PRODUCTION gammal lyser denna ståndpunkt does one do that? Who am I in allt klarare. Hembygden utgör my homestead? Am I part of it? inte bara en plats. Nära och kära If I am met with skepticism when

FAKTA / FACTS / som bor på platsen är en del av I come to a new place it is not hembygden. Vad man har gjort easy to have warm feelings for Hembygd – någonstans i Homestead – somewhere och gör på platsen tillsammans my new homestead. My home- Sverige, ett projekt initie- in Sweden, a project ini- med andra som bor på platsen stead is part of my identity. rat, producerat och som tiated, produced and run är också en del av ens hem- 1.500 youths from various parts Vanja Bolme, ­ Vanja Bolme, drivs av Rot produktion/An- by Rot Production/An- bygd. Hembygden kan vara of Sweden have given their Stockholm, Stockholm, nica Carlsson ­Bergdahl och nica Carlsson Bergdahl bland röda stugor ute på landet picture of their homesteads. In projektdeltagare. project participant. Jerker­ Andersson. and Jerker Andersson. The utanför Umeå, i miljonpro- addition to our meetings, where Projektet består av en project consists of an ex- gramsområdet Hammarkullen i we interviewed and filmed, they Vart skulle du fly om det Where would you go if ­utställning som turnerar på hibition that tours around Göteborg, i ett radhusområde themselves photographed their blev krig? there was a war? landets museer, en ­mindre the country’s museums, a i Växjö eller i Kalmar, Kurdistan homestead. Over 1.000 upper ”Någonstans som är så ”Somewhere as similar utställning som turnerar smaller exhibition that tours och Falun samtidigt. Det hand- secondary school students likt Sverige som möjligt, to Sweden as possible på bibliotek och kultur- around libraries and cul- lar om att få känna sig hemma. in practical and theoretical för att få känna mig in order to feel at home. hus i samarbete med Väs- ture houses in cooperation Var gör man det? Vem är jag i educational programs have hemma. Instinktivt tänker Instinctively I think of tarvet, boken ­Hembygd with Västarvet (the Western min hembygd? Är jag en del av written about their homesteads, jag på Danmark, för att Denmark, because I have – ­någonstans i Sve- Heritage), the book Hem- den? Möts jag med skepsis när their neighbors, and what they jag har släkt där eller relatives there, or Nor- rige, ­utgiven på ­Carlsson bygd – någonstans i Sverige jag kommer ny till en ort är det do in their spare time. We met Norge för att jag har way because I have been ­bokförlag, samt en digi- (Homestead – somewhere inte lätt att få varma känslor för enthusiasm, and got access to an varit där mycket. Tanken there a lot. The thought tal pedagogisk plattform in Sweden), published by min nya hembygd. Hembygden unending amount of stories. The att behöva fly härifrån är of having to leave here med nedladdningsbart Carlsson publishing house, är en del av min identitet. museum educators work is based fruktansvärd. Att tvingas is terrible. To be forced pedagogisk­ material: and a digital pedagogical 1500 ungdomar från olika delar on the educational material pro- lämna den lilla, lilla delen to leave the tiny, little www.någonstansisverige.se platform with downloadable av Sverige har gett sin bild av duced while working with school där jag har vuxit upp place where I grew up pedagogical material. hembygden. Utöver våra möten, classes of all ages, with local känns så himla jobbigt. feels very difficult. To www.någonstansisverige.se. där vi intervjuade och filmade, Dima Eek, Nödinge, Dima Eek, Nödinge, folklore societies, senior groups, Att då lämna ett helt leave a whole country, a fotograferade de unga själva sin projektdeltagare. project participant. politicians etc. The youths’ voices land. En hel kultur. Otro- whole culture – incred- Contact: hembygd. Över 1000 gym- awaken thoughts, insights and ”Jag har ingen plats som spelar ”I don’t have a place that means ligt jobbigt! Jag vet inte ibly difficult! I don’t [email protected] nasieelever på praktiska och opinions.” någon roll för mig. Det är hos much for me. It is together with vad jag kommer att göra. know what I would do. I teoretiska program har skrivit den jag älskar och som älskar the person whom I love and Jag kommer försöka att would try to maintain my Kontakt: om sin hembygd, sina grannar mig, som jag känner mig trygg who loves me, that I feel secure upprätthålla min kultur native culture as much as [email protected] och vad de gör på fritiden. och säker. Hos honom har jag and safe. With him I have found hemma så mycket som possible.” Vi mötte entusiasm och fick funnit det hem som jag har the home I have longed for all möjligt.” tillgång till oändligt antal be- saknat i mitt liv.” my life.” rättelser. Museernas pedagoger jobbar utifrån det pedagogiska materialet med skolklasser i alla åldrar, med hembygdsförening- ar, seniorgrupper, politiker med flera. De ungas röster väcker tankar, insikter, åsikter.”

114 JERKER ANDERSSON PHOTOS: 115 MUSEUM DEVELOPMENT

Pierre Vornanen, Pierre Vornanen, Jönköping, Jönköping, projektdeltagare. project participant.

”Jag vet inte vart jag tar ”I don’t know where I will vägen eller om jag ens go or if I even will be able kommer att kunna fly. Jag to leave. I only know that I vet bara att jag kommer will try to get to a country försöka ta mig till ett or a place where I will land eller en plats där jag escape war and feel safe. slipper kriget och kan vara Maybe I will be the first tar- säker. Kanske blir jag första get. How will I react? Maybe måltavlan. Hur kommer jag it is just me getting away. att reagera? Kanske är det Maybe I will never meet my bara jag som kommer iväg. family and friends again. Kanske kommer jag aldrig Will I be able to psycholog- att möta min familj och ically handle not knowing mina vänner igen. Kommer if they are still alive? How jag att psykiskt klara av att will I handle the knowledge Sahand Sadeghian, Sahand Sadeghian, inte veta om de fortfaran- that I don’t have anything Oxie, projektdeltagare. Oxie, project participant. de lever? Hur hanterar jag left? Will I be able to find vetskapen om att jag inte the strength and willpower ”Från Käglinge till Kris- ”From Käglinge to Kris- har någonting kvar? Kom- to build up something new? tineberg till Fåraparken tineberg, to Fåraparken to mer jag att vilja och orka Will I have the power to till Oxie centrum. Jag har Oxie center. I have so many bygga upp någonting nytt? return? I don’t know what så många minnen från så memories from so many Kommer jag att ha kraften I will encounter. Above all, många olika ställen. Jag places, and I know them like att ta mig tillbaka? Jag vet I don’t even know if I will kan stället som min egen my own pocket. If I should inte vad jag kommer att survive.” ficka. Om jag någon gång move from here sometime, stöta på. Framförallt vet jag flyttar härifrån kommer jag I will look back with a broad inte ens om jag kommer att att blicka tillbaka med ett smile on my lips, because I överleva.” stort leende på mina läppar am really grateful to have för jag är verkligen tacksam grown up here. I have för att jag är uppvuxen här. learned a lot about myself Jag har lärt mig mycket om and the community. Oxie will mig själv och om samhället. always be my homestead, Oxie kommer alltid att vara even if I move from here my min hembygd, även om jag heart will always be there.” flyttar härifrån kommer mitt hjärta alltid att finnas här.”,

PHOTOS: JERKER ANDERSSON PHOTOS: 116 117