ORDISK USEOLOGI Jonathan Westin & Gunnar Almevik 37 Tilbakeføring Av Museumsgjenstander Fra Nasjonale Samlinger Til Lokalsamfunn I Norge

INDHOLD FORORD 1 Brita Brenna Nordisk Museologi Tema: ARTIKLER 3 Presentation of Gudrun D. Whitehead Gudrun D. Whitehead 5 Encountering the vitrine Distance and proximity effects in museum vitrines Ane Pilegaard 2017 • 2 22 A virtual diorama Mapping archives in situ at places of cultural significance The Journal Nordic Museology Nordic The Journal ORDISK USEOLOGI Jonathan Westin & Gunnar Almevik 37 Tilbakeføring av museumsgjenstander fra nasjonale samlinger til lokalsamfunn i Norge

N Jus, etikk, politikk, praksis og verdisyn M Nanna Løkka The Journal Nordic Museology Nordic The Journal 55 Digitalisering av kulturarv – gör alla på samma sätt och av samma skäl? Bengt Wittgren 2017 • 2 70 Nu er vi del af Danmarkshistorien Et eksempel på samskabelse mellem borgere og museum Anneken Appel Laursen, Danielle Guldmann Sekwati & Simone Søndergaard Bertelsen USEOLOGI 88 Contemporary collaborations between museums and universities Experiences from a large Danish research program Line Vestergaard Knudsen & Celia Ekelund Simonsen 105 Born to be OPTI A new model for participatory museum management Lorena Sancho Querol, Kalle Kallio & Linda Heinonen M 124 Walking and sensing at Faaborg Museum Atmosphere and walk-along interviews at the museum Tina Anette Madsen PROJEKTER 142 Ulleråker – kulturarv, genus och funktionsnormer Cecilia Rodéhn 148 Our Museum Studying museum communication for citizen engagement Kirsten Drotner ANMELDELSER Udstillinger 156 documenta 14: Learning from Athens Helene Larsson Pousette Bøger 162 Marie Riegels Melchior & Birgitta Svensson (eds.) 2017 • 2 ISSN 1103-8152 Fashion and Museums. Theory and Practice. ORDISK Inger Sjørslev The archive photos explored through a Virtual Reality view lined up to the physical chancel at the site of Södra Råda. Photograph by Gunnar Almevik. N Nordisk Museologi 2017 • 2

Forord

Ingenting føles bedre enn å sette pennen til papiret, å starte med blanke ark, og fylle det opp med meningsfulle tegn. Nå er det jo ikke ofte vi setter pennen til papiret lenger, vi skriver på datamaskin, vi som lever av å skrive. De fleste av oss skriver likevel med papir så å si for øyet: Når vi åpner et nytt dokument i Word-programmet framstår det som et blankt ark, et bilde av et papir som vi kan fylle med bilder av skrift. Vi fyller ikke lenger arket med mer eller mindre leselige håndskrifter, men med fonter – noen sverger til Times New Roman, andre til Geneva. Vi setter pennen til papiret, men vi har verken penn eller papir innen rekkevidde. Papir, avledet av papyrus, ble først brukt i Kina og kom til Europa i middelalderen. På 1800-tallet ble tremasse den viktigste ingrediensen for produksjon av papir. I dag blir 35 prosent av alle felte trær brukt til papirproduksjon, 40 prosent av søppel i USA er papir, og papirproduksjonen har økt med 400 prosent på 40 år – alt i følge den elektroniske plattformen Wikipedias norske oppslag for ”papir”. Og likevel drømmer jeg om å sette pennen på papiret. I skrivende stund står Nordisk Museologi overfor avgjørelsen om vi skal bli et papirløst elektronisk tidsskrift. Selv ønsker vi også å være et papirtidsskrift, men nå finnes det svært begrensete muligheter for støtte til å publisere tidsskrifter på papir. Faktisk finnes det knapt noen muligheter for å fortsette å bli gitt ut på papir. Vi er innhentet av en ny plattform, et nytt medium, og vi går motstridende med på endringen. Hvorfor er papiret så vanskelig å legge bort? Hvorfor strider det mot vår idé om å være et tidsskrift at vi om kun kort tid vil måtte se bort fra de stive permene, legge fra oss diskusjonene om papirkvaliteter, tenke bort at vi aktivt velger å sette sammen et gitt antall artikler som skal kunne leses etter hverandre i en meningsfull rekkefølge? Digitale teknologier muliggjør: Museene får nye formidlingsformer, nye inn- samlingsprosjekter, nye bevaringsstrategier, nye opplevelsemåter, for å nevne noen. Museer utvikler seg sammen med teknologiformene. Det gjør også forskningen. Vi har i dag helt nye muligheter for å spre våre forskningsresultater, få nye lesere, og samle inn opplysninger og analysere informasjon. Open Access gjør det mulig å hente ned en artikkel fra et annet kontinent med et klikk. Nor- disk Museologis artikler kan bli lest av hvem som helst som har internettilgang, kunnskapen blir gjort tilgjengelig. Så hvorfor er det motstrebende vi går med på endringen? Er det noe annet enn et konservativt sinnelag? Vi tror det. Medier har ulike materialiteter, de muliggjør ulike opplevelser. Kunnskap er ikke bare innhold, det er også form. Forord

2 Og kanskje synes vi det er spesielt vanskelig fordi museologien nettopp er opptatt av dette, av forholdet mellom medium og innhold. Av å behandle, konservere og utstille gjenstander både som budbringere og som ting. I dette nummeret av Nordisk Museologi presenterer vi et bredt knippe av artikler, et veritabelt mangfold som problematiserer grunnleggende problemstillinger for museumsforskning og museumspraksis. Ikke minst problematiserer de museer, materialitet og mediering. Vi håper våre lesere vil møte dem med like stor interesse som vi gjør, enten det er på papir eller på skjerm.

Brita Brenna Nordisk Museologi 2017 • 2, s. 3–4

Presentation of Gudrun D. Whitehead

Dr Gudrun D. Whitehead is an Assistant past (academic history) and present (public Professor in Museum Studies at the University history) to merge in a unified narrative. of Iceland. She has worked there in various Currently, she is developing this research roles, since being awarded a Ph.D. in Museum further, extending it to Norway and focusing Studies from the University of Leicester. She more thoroughly on Viking exhibitions as has taught a variety of courses, including a platform for negotiating heritage in a way Trash Cultures, Museum Education, Museum that suits the needs of both an external and Studies Theories and Professional Occupations internal audience. This will demonstrate the in Museums. She is also involved in developing inherent tension between the two in relation distance learning teaching methods in the to tourism and heritage marketing. Museum Studies programme at her university. Along with Dr Julia Petrov, Whitehead Currently, she is the deputy (assistant) head of is co-editing a volume, Fashioning Horror. the Folklore and Museum Studies programme, Dressing to Kill on Screen and in Literature, as well as being a deputy member of the which is being published with Bloomsbury in University of Iceland’s research ethics review December 2017. Their introductory chapter committee. Whitehead is also the project introduces the horrors of fashion and the manager in the University of Iceland and fashion of horror through the ages, focusing National Museum of Iceland’s collaborative particularly on the use of horror in daily committee. life and marketing strategies. Whitehead Whitehead’s background in literary and has also been involved in several other folklore studies has had an impact on her editing projects, including being a member research interests. She has focused on of the board of editors and a contributor to subculture, the uncanny and disruptive Safnablaðið Kvistur (2014–2016), the Icelandic elements of society, such as Vikings, horror, museums magazine. In 2015, she co-edited punk and unconventional museum displays. (with Sólrún Traustadóttir) a special issue of She is particularly interested in cultural Ólafía, the Icelandic archaeological society’s stereotypes, such as Vikings and their uses official journal, titled: Tími, rými og sýnileiki in the heritage industry and society in [Time, Space and Visibility]. She is the leading general. During her Ph.D. studies, Whitehead editor of a forthcoming special edition of researched the image of Vikings in Icelandic Museum & Society, A Child’s Eye View of and English society and museums in relation Museums. Remembering Elee Kirk, which will to visitor and staff responses to Viking related be published in 2018. Other forthcoming exhibitions. In other words, Viking identity is publications include “We come from the performed in museums, catering for foreign land of the ice and snow. Icelandic heritage and domestic visitor markets. This allows the and its usage in present day society”, a book Presentation av Gudrun D. Whitehead

Fig. 1. Gudrun D. Whitehead. Photo: Kristinn Ingvarsson, University of Iceland.

chapter included in the Heritage Reader in horror in museums, and more. A range of the Leicester Museum Studies Series, to be topics, relating to the representation and uses published by Routledge in 2017. of cultural heritage in Icelandic museums, have Whitehead is also currently concluding also been thematised in her contributions to research on the Saga Museum, Reykjavík, recent conferences as the SIEF 2017 congress Iceland, where she explores the visual in Gottingen, Germany, the Uartic 2017 representation of Iceland’s literary past, using conference, University of Aberdeen, Scotland, multifarious storytelling devices, including and the ICOM Germany and ICOM Nord theatrical techniques, auditory and textual 2017 conference in Helsingborg, Sweden. elements and macabre realism. The museum is shown to represent locally important (hi) stories, rooted at the core of the local, national Dr Gudrun D. Whitehead character and external tourism character traits. [email protected] Other research projects include subversive exhibition methods at the Icelandic Punk University of Iceland Museum, ethical considerations regarding Sæmundargata 2 human remains in museums in Iceland (along IS-101 Reykjavík, Iceland with Joe Wallace Walser III), the display of Nordisk Museologi 2017 • 2, s. 5–21

Encountering the vitrine

Distance and proximity effects in museum vitrines

Ane Pilegaard

Abstract: This article analyses spatial dynamics in museum vitrine design through the lens of art theorist Rosalind E. Krauss’ grid concept. Due to the regularity of shelves, compartments and lattice framework, vitrines are characterized by a grid structure which, following Krauss’ conceptualization, has a double function: it frames a space within, and at the same time, extends outwards beyond its own framework. While museum literature often tells us that vitrines have a distancing effect, this article argues that because of their dual ability to frame and create focus, together with their grids’ extension into the space in which the museum visitor moves, vitrines can also generate a sense of bodily proximity. This argument draws on Walter Benjamin’s distinction between optical, distanced focus and haptic, proximate distraction. However, rather than maintaining an opposition between distance and proximity, the article emphasizes the oscillation between simultaneous distance and proximity effects in museum vitrine design.

Keywords: Museum vitrine, exhibition design, grid, Rosalind E. Krauss, Walter Benjamin, anatomical collection display.

Vitrines, along with other types of exhibition be seen to epitomize a rather outdated, purely cases, are fundamental components of many visual technique of museum display (Hooper- museum exhibitions. When of older date, they Greenhill 1992). These negative connotations tend to manifest themselves as antiquated, easily lead to an understanding of the vitrine yet impressive, testimonies of a museum’s as a necessary evil, with the primary functions long history. While in museums where the of keeping the objects from being touched, modernist ideal of transparency has had its protecting them from dust, and regulating influence, vitrines are often stripped down to climate. However, this article argues that the be as invisible as possible (Carroll 2013). The vitrine can also be considered in more positive vitrine is connected to the visual hegemony terms. It can focus visitor attention and frame of museums (Brenna 2014), which has often exhibition content, and might, in fact, contri- been criticized for inhibiting touch and other bute to creating a sense of proximity to objects types of multisensory engagement with objects on display. If we limit ourselves to considering on display (Classen & Howes 2006, Levent & vitrines as an unfortunate, although necessary, Pascal-Leone 2014). Furthermore, vitrines can exhibition element, we miss the chance to take Ane Pilegaard

Fig. 1. Museum Vrolik: Grid structure in vitrines. Photo: Ane Pilegaard, 2015.

advantage of the more productive potential and the grid object, which is highly relevant to of vitrine spatiality and its effects on museum museum display. In her analytical approach, visitor perception. the perception of the grid is considered to be The purpose of this article is to unpack and affected by specific distances and viewpoints of investigate the spatial complexities of museum the subject, and this understanding of spatial vitrines, and to find ways to talk about them. subject-object relations and how they are For the purpose of developing a model for this negotiated by vitrines is used for grasping the vitrine analysis, I adopt Rosalind E. Krauss’ dynamics of visitor perception in museums.1 seminal concept of the grid, which is used Under the heading of Krauss’ grid concept, as a conceptual tool to unlock and grasp the I argue that vitrines create oscillations between spatial complexities in vitrine design. The grid distance and proximity effects, inwards and is characterized by its dual ability to direct and outwards dynamics, and that these might concentrate itself “within-the-frame”, while, at address various perception modes in the the same time, extending outwards “beyond- museum visitor. The latter will be discussed the-frame” (Krauss 1986:21). This double func- by drawing on Walter Benjamin’s thoughts on tion is, as we shall see, very much present in optical contemplation versus haptic distraction, museum vitrines. Furthermore, Krauss’ grid which he puts forth in his seminal Work of concept addresses the important aspect of the Art essay. Here Benjamin connects focused spatial relation between the viewing subject optical contemplation to the ‘auratic’ object, Encountering the vitrine

which he defines by its “unique manifestation between distance and proximity and the contrast 7 of a remoteness, however close it may be” between optical focus and haptic distraction (Benjamin 2008:9). The aura concept is implied in Benjamin’s writings. Thus, I will sometimes used to describe the way museum argue that spatial oscillations in vitrine design vitrines can enhance the sense of authenticity are the product of distance-proximity and and preciousness of objects on display focus-distraction alliances. (Henning 2006, Endt-Jones 2013), and can thus be considered a positive outcome of museum First encounters vitrines’ distance effects. Adding further nuance to its application, museum scholar Gottfried For the purpose of developing and demon- Korff has used Benjamin’s aura concept to talk strating an analytical model for capturing about “the oscillation between near and far that spatial dynamics in museum vitrines, I analyze is particular to things in the museum. Things a series of vitrines at three medical museums: are near to the observer spatially (graspable) Museum Vrolik (Amsterdam), Hunterian but mentally and cognitively distant and alien” Museum (London), and Musée Testut Latarjet (Korff 1999:268). This idea of a continuous (Lyon). The vitrines are all designed and oscillation between distance and proximity used for the display of human and animal effects will also be discussed in this article. specimens, such as body parts preserved in However, whereas Korff (and Benjamin before glass jars to show anatomical/pathological him) attaches the sense of distance to conceptual details. Thebody-to-body encounter between reception, and proximity to actual perception, the museum visitor body and the specimens thus presenting a curious mix of abstract and (mostly human) that these vitrines produce, concrete experience modes, I will consider is likely to have a strong emotional impact both distance and proximity as concrete spatial on the museum visitor.2 Thus, in terms of effects within a physical, graspable domain. distance and proximity effects, one might This approach challenges the binary opposition argue that in the case of human specimens, some sense of distance is necessary in order Fig. 2. Museum Vrolik: Nineteenth century vitrine for a non-medical public to cope with what placed as centrepiece amidst contemporary vitrine they encounter. However, this article focuses design. Photo: Ane Pilegaard, 2015. solely on how the vitrines affect the viewer in terms of aesthetic composition and, thus, does not go into ethical or anthropological- sociological questions of encountering the dead, medicalized body, nor does it unfold the psycho-sensory aspects of such an encounter. Anatomical collection vitrines make good case studies for comparative aesthetic analyses since the objects they contain are relatively similar and they are, at least the examples analyzed here, curated in a rather modest and homogenous way. In other words, when comparing vitrines in the three museums, the Ane Pilegaard

Fig. 3. Musée Testut Latarjet: Dense composition of nineteenth century vitrines. After my visit in 2015 the Testut Latarjet collection has been moved to new domiciles and will be part of Lyon’s future Musée des Sciences Médicales et de la Santé (Museum of Medical Sciences and Health). Photo: Ane Pilegaard, 2015.

objects they display look fairly similar, thereby medical collections, where similar specimens making it possible to detect differences and are organized in groups and series in order effects that rely on the vitrine designs as such, to be compared (Forgan 1994, Psarra 2009, rather than in the curated objects. Tybjerg 2016). Unlike many other museum Moreover, the grid structure might be types, medical museums have, to a large said to manifest itself especially clearly in extent, maintained these display strategies for anatomical collection displays due to the rigid their anatomical collections, which, of course, regularity of the often rectangular glass jars relates to the fact, that the specimen objects that conveniently fall in line with the overall were originally produced – by technicians and vitrine grid. As such, the repetitive aesthetics scientists – for the purpose of comparative of the grid connects well to museum display display and analysis. As such, the vitrine taxonomies and, especially, to the scientific in anatomy displays shares the logic of the categorizations within natural historical and preservation jars containing the specimens. Encountering the vitrine

Like the glass jars that sit on the vitrine shelves, 9 the vitrine stabilizes objects in space and time and enables us to look at the objects inside (Putnam 2009:15). Thus, due to their prominent grid structures, anatomical collection vitrines present a particularly pertinent case for the analysis of grid composition in vitrine design. However, the inward and outward functions of the grid can be found in many other types of museum vitrines as well. When comparing vitrines in the three medical museums, the dichotomy between old and new is immediately apparent. Whereas the old vitrines (fig. 2 and 3) appear almost as museum objects in themselves, evoking cultural-historical associations with the past, the newer ones (fig. 1 and 4) connect to a more modern understanding of the cool rationality in natural sciences. However, vitrine design, and how it affects our perception of the objects they contain, is not just a matter of old versus new, wood versus steel, and the culturally coded connotations that these material characteristics Fig. 4. Hunterian Museum: The illuminated, steel suggest. The ways in which the vitrines are structure displaying human and animal specimens has been named the Crystal Gallery. © The Hunterian spatially structured are just as important. This Museum at the Royal College of Surgeons. is the case both internally – the way objects are placed and organized within the vitrine – and externally – the vitrines’ scale and layout like sculptural entities, or, alternatively, by within the surrounding space. Therefore, when considering the extending structures of the examining how old vitrines can appear as modern vitrine systems at Museum Vrolik and museum objects in themselves, it is not simply Hunterian Museum, they can be approached due to their strong historical material presence, in terms of (modern) architectural design. but also has to do with the way the vitrines Thus, when looking at vitrines as designed are placed within the exhibition space. This aesthetic objects, vitrines can be seen to is exemplified at Museum Vrolik, where one resemble both sculpture (enclosed space in vitrine is positioned as a centerpiece between front of the museum visitor) and architecture other, less distinct, vitrines (fig. 2), while others (space around, in which the museum visitor are placed by themselves, detached in space moves). Additionally, because of the flatness of as secluded objects (fig. 6 and 7). From this the vitrine surface, and the way it delineates a perspective, vitrines can be considered in two certain framed space, vitrines can also resemble distinct ways: either they can be seen as pieces of the picture plane in painting. Of course, these bounded furniture that close in on themselves are very simplified understandings of sculpture, Ane Pilegaard

10 architecture and painting and, certainly, in movement, thereby taking both objective and modern/contemporary art these categories subjective aspects into account. continuously break their own boundaries. The In relation to the grid concept, Krauss simplification may, however, be productive develops an analytical approach to Minimalist when architecture, sculpture and painting art and architecture (Agnes Martin’s paintings are used as analytical categories, representing and Mies van der Rohe’s architecture, to be differing spatial structures. However, as we shall more specific) that mends the rift between see, the argument of this article does, in fact, objectivist and subjectivist approaches in support the project of dissolving the boundaries art theory. This approach, which she calls between them. “objectivist opticality”, can be taken as an analytical method of oscillating between different viewing distances. Building on Alois Oscillating distances Riegl’s art theory, especially his thoughts on The three categories of sculpture, architecture, relief sculpture, Krauss writes: “Since the and painting (the latter understood with figure/ground fluctuation varies with the an emphasis on the framed picture plane stance of the viewer, one might argue that the rather than pictorial qualities or painting object, now fully dependent upon its perceiver, technique) are used in the following analyses has become entirely subjectivized.” By this as tools for concretizing spatial structures “objectivist opticality”, or “phenomenology of in vitrine design. However, the purpose is seeing”, as she also calls it, Krauss proposes not to simply categorize different vitrines as “an attempt to discover – at the level of pure either sculptural, architectural, or as paintings. abstraction – the objective conditions […] Indeed, the different categories tend to merge for the purely subjective phenomenon of and transform into each other, influenced by vision itself.” This drive towards an objective the changing positioning of the viewer’s body. understanding of the art work, she states, is In order to capture these transformations, of course “impossibly outmoded, formalist, the concept of the grid is used because it determinist, empty”. However, as she also can negotiate between and across the three argues, its typical alternative has limitations categories. In other words, whereas sculpture, as well: “the rush to move beyond the architecture and painting are concepts that circumscribed aesthetic sphere to the hors- separate differing spatial structures, the grid texte, the context, the legitimating ‘real’ is what binds these structures together. Thus, text, often produces superficial readings” if one were to create a mental image of the (Krauss 1996:116–119). Krauss’ notion of article’s analytical framework, it would unfold how oscillation between different distances/ as a three-dimensional matrix directing itself viewpoints extends the structural system of inwards, where it captures and organizes the the aesthetic object so as to include the viewing vitrines’ internal spatial structures, while subject is highly useful for analyzing museum also extending outwards, where it grasps vitrines. It makes it possible to maintain a the viewing body and the external spatial focus on the vitrines as designed objects, while setting. Thus, my analytical framework is quite also taking a phenomenological perspective on similar to the vitrine grid itself, and situates the museum visitor’s situatedness into account. the analyses in terms of viewer position and Building on this approach, the following Encountering the vitrine

analyses progress in three steps, zooming in qualities to the large vitrine system at the 11 through three different viewing positions: Hunterian, which functions somewhat like a distant-sight, middle-sight and near-sight. room-within-a-room. In contrast, the vitrines These viewing positions might, at first, be at Testut Latarjet present themselves more seen to correspond to different types of like sculptural object entities dispersed in the aesthetic objects. For instance, distant-sight exhibition room – at least when the vitrines might be seen to best capture the larger scale are viewed separately. But the vitrines at Testut of architecture, while near-sight suits the Latarjet are not viewed separately. Due to the perception of smaller sculptures or paintings. comprised layout of the room, the distanced However, as we shall see, when taking viewing position that such a view would entail is simply positions into account, rather than building the not possible. Or, at least not before you walk analyses on pure objectivism, the individual up the stairs to the balcony above. From this vitrines tend to oscillate between aesthetic view the vitrines on the ground floor can be categories. overlooked and comprehended as separate sculptural entities (fig. 5). Similarly, at the Hunterian, the Crystal Distant-sight: Approaching the Gallery also shifts between architectural vitrine and sculptural modes as you move between In the first analysis, the viewing subject is different floor levels. However, here the best placed in distant-sight, although rather than overview of the vitrine system – comprehended adopting a static point of view, this distant- as an object – is gained on the lower floor, sight is performed by the viewer’s moving inside the cubical vitrine room, by looking body as the vitrines are approached. Since the up and around. Despite the vitrine system’s analysis builds on my own encounter with function as an architectural enclosure, its the vitrines, I myself constitute this viewing readily recognizable cubical shape presents subject, though, of course, the notion of a itself as a sculptural entity. When viewed from more general museum visitor subject guides outside this cubical enclosure, however, the the analytical perspective. vitrine system appears more like typical wall Depending on the overall spatial layout and vitrines, since the ceiling/floor that separates size of the room in which the exhibition takes the museum’s two stories prevents the full place, some exhibitions allow for more distant overview of the vitrine cube. Clearly, the views than others. For instance, the Crystal position and movement of the viewing subject Gallery at Hunterian (fig. 4), with its two is crucial for how the vitrine designs in the two story vitrine room, is spacious enough for the museums appear. However, the design of the museum visitor to keep a certain distance from vitrines themselves, their shapes and lines, is the objects on display. At Testut Latarjet, on the also highly significant. This is where the formal other hand, you enter a much more cramped principles of Krauss’ grid concept become room, in which the vitrines are placed no more useful. than one meter apart, allowing only narrow The grid, Krauss states, both has “centrifugal” passages between them (fig. 3). From the and “centripetal” functions. Centrifugal in that idea of architectural vs. sculptural spatiality it “extends, in all directions, to infinity” and it seems obvious to ascribe architectural presents itself “as a mere fragment, a tiny Ane Pilegaard

Fig. 5. Musée Testut Latarjet: View from the balcony. Photo: Ane Pilegaard, 2015.

piece arbitrarily cropped from an infinitely Now, lets see how these oscillations between larger fabric”. At the same time the grid is centripetal and centrifugal functions occur centripetal, taking on a “within-the-frame” when coming closer, while also assuming a attitude: “The grid is an introjection of the more static viewing position. boundaries of the world into the interior of the work; it is a mapping of the space inside Middle-sight: Arrested attention the frame onto itself” (Krauss 1986:18–21). It is exactly this double function that makes When viewing Museum Vrolik, movement the grid concept truly interesting in terms of is frequently arrested. This is partly due to museum vitrine design. Vitrines both have the the objects themselves; for instance, a row of ability to seclude themselves from their spatial dissected hands or a pair of conjoined twins context, and the ability to extend into and that catches the eye and makes the viewer stop integrate with the space in which the museum to look. However, the old wooden vitrines have visitor moves. This can explain why the same a similar affect. They also arrest attention, both vitrines appear to oscillate back and forth because of their dissimilarity to other more between sculptural and architectural modes. modern vitrines, and due to their placement Encountering the vitrine

Fig. 6. Museum Vrolik: Original collection vitrine from eighteenth century. Photo: Ane Pilegaard, 2015.

Fig. 7. Museum Vrolik: Reconstruction of original collection vitrine. Photo: Ane Pilegaard, 2015. as either secluded, detached objects (fig. 6 and 7) or symmetrical centerpiece (fig. 2). The way these vitrines demarcate themselves in space – aided by their heavy wooden framework – make them present themselves as solid, static shapes, which encourages the viewer to stop and take a position in front of them. This is especially the case with the vitrines in fig. 2 and 6, which appear almost like framed paintings on a wall. It might exactly be because of this flat and framed appearance that the viewer stops to look – contemplating the vitrine as a whole – as one would do when looking at a painting. Ane Pilegaard

14 Krauss connects the concept of the grid how it relates to its spatial context, just as it is to that of the window, which opens up affected by the (changing) viewing position of another dimension, namely the space – or the museum visitor. the illusion of a space – beyond the gridded surface. However, still stressing the grid’s Balancing surface and lens double function, she writes: “the window is When comparing the vitrines in fig. 6 and experienced as simultaneously transparent 7, it is clear how these three parameters of and opaque. […] the window is this matrix material design, spatial context, and viewing of ambi- or multivalence, and the bars of the position affect the opacity/transparency of the windows – the grid – are what help us to see, two vitrines. Both vitrines are old-fashioned to focus on, this matrix” (Krauss 1986:16–17). in style. The one in fig. 6 dates back to the Again, it must be mentioned that Krauss is eighteenth century, while the vitrine in fig. talking about painting and that the window, 7 is a reconstruction of an old vitrine design which she finds in symbolist art, of course does from the nineteenth century. However, the two not completely correspond to the glass panes vitrines also differ in numerous ways. First of of museum vitrines. However, the conceptual all, the vitrine in fig. 6 is placed against the pairing of the grid and the window can, wall, while the vitrine in fig. 7 is freestanding, indeed, inform the analysis of vitrine design. thereby allowing the museum visitor to walk Like windows, the vitrine has the ability to around it. Secondly, there is no internal direct focus and frame a space that is markedly lighting in the wall vitrine, meaning that the different than the space in which the viewer is objects are lit from the outside, whereas, in positioned. the freestanding vitrine, internal lighting has This connection between Krauss’ grid- been installed, which makes the vitrine appear window in painting and the grid of the vitrine as an illuminated entity in the otherwise dim has also been pointed to by art historian Elyse exhibition space. Thirdly, the way in which Speaks, who discusses the use of vitrines objects have been arranged inside the vitrines in contemporary art, more specifically, in differs. In the wall vitrine, the objects are relation to works by Damien Hirst (whose placed in rigid rows on the shallow shelves, artworks relate to the anatomical displays close to the glass front and in an externally discussed here, as they also display (animal) oriented way, which is especially evident in the body specimens). Speaks writes: “the vitrine case of the outwards facing sculls on the upper operates in contemporary art as both surface rows. By contrast, in the freestanding vitrine, and lens, […] providing structure through the objects are distributed on the broad shelves which the gaze can pass, but also a frontier (part of them on an elevated podium along the at which movement is arrested” (Speaks central axis) in a manner that sets the objects 2013:232). This dual function of allowing the back from the glass fronts of the vitrine. Some gaze through, but arresting bodily movement are grouped in terms of object type (for instance is, indeed, a basic vitrine attribute. However, bones in one group and specimens in glass the balance between these two functions is jars in another), thereby creating internally far from static. The way vitrines manage their oriented spatial orders within the vitrine. functions as opaque surface and/or transparent Thus, comparing the grid structures of the two lens depends on the specific vitrine design and vitrines, one might say that the rows of objects Encountering the vitrine

in the wall vitrine complement and underline is the grid structure that is lit up and in focus, 15 the surface grid, whereas, in the freestanding at least before the viewer hones in on the vitrine, the objects fill up the internal space of objects inside. Functioning as a lens, the grid the vitrine without complying, or at least not structures not only the vitrine surface but complying as rigidly, with the external lattice also the objects within, as well as the spatial grid. positioning of the museum visitor in relation When considering Krauss’ idea of the to these aspects. window-grid as having both transparent and Again, it becomes evident how vitrines can opaque qualities, it might be tempting to have the ability to concurrently frame their simply state that the freestanding vitrine is own space and invite the viewer’s gaze and transparent since its internal lighting and the body into that space, thereby creating a view- open space around makes it see-through and, ing situation that oscillates between two poles conversely, consider the wall vitrine opaque of perception: distanced overview and proxi- because of its rather dark and obscure internal mate inspection. However, as we have just seen, space. However, Krauss’ point is exactly that the way in which the different vitrines succeed the window is both transparent and opaque, in balancing these two poles vary. Whereas the and the same can be said about the vitrines wall vitrine uses its transparent and opaque analyzed here. The freestanding vitrine, qualities in a manner in which they reinforce although allowing the gaze to pass through, each other productively, the opaque and also closes in on itself, thereby making it transparent functions of the freestanding vitrine difficult for the gaze to find a point of entry. seem to, instead, be somewhat contradictory. This quality of opacity is due to the fact that The contrast between the illuminated, inwards the vitrine’s gridded surface and, thereby, its oriented objects inside the vitrine and the ability to direct and extend its grid out towards darkened space outside the vitrine (resulting, the viewer, is somehow outmaneuvered by also, in a darkened grid surface), is simply too the luminance of the internal lighting and great for the vitrine’s grid to negotiate. This is the inwards orientation of the objects. Thus, something that, of course, cannot be attributed the vitrine presents itself as an independent entirely to the vitrine’s design and spatial sculptural object, around which the viewing surroundings, but also has to do with the body circles. Even though this activity of viewer’s subjective movement patterns. Once circling around might be said to manifest the again, the vitrines oscillate between opacity kind of centrifugal power that Krauss attributes and transparency and between centripetal the grid, this is not exactly the case, since the and centrifugal functions, depending on both centrifugal dynamics derive from within the objective design features, spatial surroundings, vitrine, rather than from the grid structure of and subjective viewing positions. the vitrine surface. Conversely, even though Let us now move to the last stage of the the wall vitrine appears rather opaque when it analytical “zoom in”, where the viewing body first arrests the viewer’s attention and, thereby, gets so close to the vitrine surface that it is no presents itself as a somewhat impenetrable longer able to apprehend its delimiting frame. surface, it is partly the sense of something In this proximate position, body movement is lurking inside that makes the viewer focus arrested, but the eye’s gaze continues to move and move to an even closer position. Here it to a greater depth. Ane Pilegaard

16 Near-sight: Extending the grid it becomes a matter of tuning the eye so that different objects – in the front, in the middle, When stepping in close, one becomes aware or in the back – come in and out of focus, that there is also space behind the vitrine. For thereby blurring the singular surface grid of instance, the modern vitrine system at Vrolik, the vitrine. which fills up the large central space of the Under consideration here is a three-dimen- exhibition room, enables views across space sional grid that is simultaneously blurry and from one vitrine element to the other (fig. 1). On sharp, transparent and opaque, and it raises the level of exhibition content, this can be seen the possibility – indeed, the necessity – of to accentuate the way anatomical collections thinking about distance-proximity oscilla- constitute a scientifically structured body of tions in exhibition design in a manner that human material distributed out through space. goes beyond individual vitrine design. When Additionally, when looking at exhibition form, decreasing the body’s distance to one vitrine, these visual axes can also be seen to rupture a new depth reveals itself through and behind the bounded shape of the singular vitrine body, that vitrine. In that sense, the vitrine grid which brings us back to the grid concept and deviates from Krauss’ understanding of the its ability to extend centrifugally beyond its grid in modern art, which is mainly tied to own frame. In this section the analysis stresses the two-dimensional surface of painting. the third dimension of the grid’s extension in Krauss notes about the grid, that it “displays depth. perfectly the conditions of what could be This feature of extension in depth is also called the visual – the simultaneity of vision’s apparent at Testut Latarjet (fig. 8). Despite grasp of its field dissolving the spatial the many reflections in the glass (which is old (tactile) separation of figure against ground and, therefore, slightly hazy) and the blue back into the continuous immediacy of a purely panels in the specimen jars, it is still possible optical spread” (1986:118). However, unlike to see through to the vitrine behind and, in a painting of Piet Mondrian, whom Krauss some instances, even further, to the third and uses to exemplify this “optical spread”, the fourth vitrine in the row. The viewer sees, then, vitrines at Testut Latarjet do not present grid upon grid, or if focusing on the vitrines’ us with a flat spread in which figure and spatial interconnection, a continuous grid ground are superimposed on each other. On in three dimensions. This three-dimensional the contrary, they draw vision into depth, grid is composed of both opaque surfaces into their complex spatial grids, which also and transparent windows that open up in the anticipates an extension in time. For while gaps and interstices between the specimens. standing in front of one vitrine, the idea of The grid, perhaps, owes its three-dimensional continuing the walk and encountering the appearance exactly to the interplay between other vitrines behind and around it is implicit. opacity and transparency, since the opaque At Vrolik the modern vitrine system presents surfaces are precisely what frames the us with a labyrinthine structure waiting to be transparent windows between them. (This explored, whereas the readily comprehensible effect is less apparent at Vrolik, where vitrines row of vitrines at Testut Latarjet makes it easy and glass jars are generally more transparent.) to anticipate a further stroll along the narrow When looking in and through these vitrines passages. Encountering the vitrine

opticality” this vitrine design surely makes “the 17 optical a function of the tactile (kinaesthetic) field of its viewer”. Furthermore, it connects to another aspect of the “tactilization” that Krauss identifies in modern art, where the “logic of vision” becomes “infected by the tactile” (1986:118–119). This infection (which she frames positively), depends on the manner in which the grid coincides with its material support; a quality that is easily recognized in the vitrines at Testut Latarjet. Enhancing the obvious material support of their grid Fig. 8. Musée Testut Latarjet: Close-up view showing provided by their solid wooden construction how visual axes continue through and behind the (which is also a quality in the old vitrines at vitrine. Photo: Ane Pilegaard, 2015. Vrolik), these vitrines literally turn the optical encounter with the grid into a tactile one. Touching the grid This tactile encounter can be seen to At Testut Latarjet this bodily involvement is exemplify an extreme case of the kind of haptic further enhanced by the vitrines’ invitation to proximity that Walter Benjamin connects with touch. Due to their horizontal side slopes and architectural perception. Building on Riegl’s solid wooden construction, it is possible to ideas of near-sight (Nahsicht) and distant-sight lean over with the upper part of the body and/ (Fernsicht) (as did Krauss), but subverting the or grab the vitrine edges with the hands. The original scheme, in which Riegl traces an art vitrines do not merely engage the eye, but also historical development from haptic Nahsicht allow, or even encourage, touching with the (in ancient Egyptian art) to optical Fernsicht (in hands. Thus, unlike the vertical glass surfaces late Roman art) (Riegl 1985:24–27), Benjamin of the vitrines at Vrolik and Hunterian, these connects the proximity of the tactile sensory vitrines allow for a different level of bodily mode (Nahsicht) to the distracted perception engagement, which is also a function of simple of the modern masses (Iversen 1993:16). matters of scale. Compared to the grandiose Distraction, Benjamin states, is also constitutive architectural scale of the Crystal Gallery at for the kind of habitual use-perception that Hunterian, the dimensions of the vitrines at architecture addresses, and is thus formulated Testut Latarjet relates more readily to the hu- as a counterpoint to the optical contemplation man body. Also, the close-up tactile encounter that aura invites (2008:34–35). at Testut Latarjet is supported by the fact that This binary conceptualization of optical the vitrines are placed relatively close together, contemplation on the one hand, and haptic thereby hindering a distanced stroll. With just distraction on the other, presents a way of one tiny step forward and the curiousness of understanding distance and proximity effects one’s hands, the arrested optical attention of in museum vitrines. As we have seen, vitrines middle-sight is very easily turned into a tactile have the ability to frame and direct focus in encounter within the range of near-sight. a way that enables a contemplative overview. Following Krauss’ thoughts on “objectivist At the same time, via the effect of spatial Ane Pilegaard

18 interconnectedness with other vitrines, as break with Benjamin’s binary differentiation, well as the possibility of touch, vitrines can his thoughts on film technique can help us also address a less optically dependent mode come to grips with the complex spatial effects of of perception, which could be understood in museum vitrines. Benjamin writes: “the camera terms of haptic proximity. Yet, the analyses have intervenes with its different aids, its plunging also shown that this simple binary paring of and soaring, its stretching and condensing of focus with distance and distracted movement the process, its close-ups and its distance shots” with proximity does not always hold. Focus (2008:30). The technique he describes seems to does not cease when the vitrine is approached capture the oscillating effects of the museum up close, but rather, through zooming and vitrine and how it can arrest attention, invite tuning in, it extends in depth. Likewise, the for casual strolls, draw the body close and bodily-engaged viewer’s distracted perception direct the gaze. Furthermore, Benjamin uses does not only occur within the proximity of surgical dissection (which resonates well with touch, but is also an effect of a more distanced the anatomical content of the vitrines analyzed stroll through the spatial complex of vitrines. here) as a metaphor for film technique, as Thus, when Benjamin differentiates between he notes how the cameraman “penetrates architecture and painting by accentuating deep into the subject’s tissue.” This does not how architectural structures are experienced merely make possible a closer, clarifying “without the distancing effect of the frame of the look, but completely alters the matter at hand: pictorial space” (1999:90), he omits the vitrine “enlargement is not really concerned with grid’s ability to negotiate and bridge different simply clarifying what we glimpse ‘anyway’ aesthetic categories (architecture, sculpture, but rather brings out wholly new structural painting) and modes of perception (focus and formations in matter” (2008:25, 29). distraction; distance and proximity).3 This Jonathan Crary, in his thinking on modern discrepancy can, of course, be explained by vision, adds a further layer to this perspective, the fact that Benjamin, in his historiographic when suggesting that “long fixation sets the approach to questions of aura, combines world in motion” by which “parts of the visual ideas of space and time, resulting in a mix of field begin vibrating and oscillating” (Crary both concrete and abstract understandings 2001:300). Unlike common notions of visual of distance and proximity, whereas this perception that link fixed, immobile vision article seeks to maintain a grasp of distance with the “conceptual mastery of phenomena” and proximity as matters of actual, situated (similar to a traditional understanding of spatiality. Furthermore, while Benjamin con- museum logic and the function of the vitrine, siders painting and architecture within their as well as to Benjamin’s aura concept and the socio-cultural contexts, the present study turns associated notion of optical contemplation), them into detached “models”, in order to make Crary argues that once the eye stops moving them applicable as analytic tools. a more volatile, disintegrated vision takes place. On the contrary, he says, it is the mobile eye that preserves a pre-constructed Dissecting the vitrine understanding of the world, since the mobile While the vitrine grid’s oscillations between eye “habitually, familiarly caresses objects, architecture, sculpture, and painting seems to extracting only previously established relations Encountering the vitrine

from among them” (Crary 2001:299–300). analyses have also shown. Thus, vitrine design 19 On the one hand this proposition subverts (and its surrounding spatial design) marks the Benjamin’s implied association of static focus boundary conditions of the spatial set-up in with distanced contemplation but, on the which the camera’s dissection knife is admitted other hand, it connects to his thoughts about to operate. In other words: the grid marks the the zooming camera’s ability to bring out cut, thereby helping the museum visitor to frame “new structural formations in matter”. This and sharpen the lens. However, while camera proposition might enhance our understanding work and dissection are most often guided by of how material objects in museums are, or specific intention (for instance, zooming in on might be, perceived. the main character in a film or cutting out a Thus, following Benjamin and Crary, mu- certain organ), the act of encountering museum seum perception can be seen to depend on the vitrines, with its distracted, even unconscious, “camera technique” of the museum visitor’s embodied responses and instances of blurred movements, gaze and touch, where the long disintegration, will often be much less structured fixation of the immobile focus can be used and willed. for its ability to destabilize matter and reveal otherwise unnoticed material details in the Conclusion objects before us.4 For instance, this technique may operate by revealing the delicate texture of When making exhibitions, we usually want a heart specimen, or the bundle of tendons in visitors to focus and recognize the authenticity a dissected foot, so that these objects become and importance of the things we show them. more than simply a heart or a foot on display.5 Vitrines can help us do that. On the other However, this idea of the camera eye also hand, they can also be criticized for addressing presents a risk of upholding the optical regime a distanced optical gaze and for not allowing that museums are currently trying to leave a proximate bodily encounter with objects on behind, and might fail to capture the embodied display. This, however, is not all that vitrines and multisensory aspects of the museum can or cannot do. In this article, I have encounter. In order to emphasize this embodied questioned simple notions of museum vitrines mode of perception, as well as continuing and, instead, developed and demonstrated with Benjamin’s surgery analogy, the vitrine an analytical model that unfolds their spatial can also be seen as a body under dissection complexities. The analyses have exemplified and the museum visitor as the hand that does how simple distinctions between distance the cutting. Similar to the process of medical and proximity, focus and distraction, vision dissection that produced the specimens in the and touch, seem to dissolve in the complex first place, the embodied gaze of the museum spatial oscillations of vitrine grids, and that visitor – moving and pausing, stretching and these conceptual dualities become productive condensing – can be understood as a gradual allies rather than conflicting opposites. As an disclosure of what the vitrine bodies contain, overarching analytical tool, Krauss’ concept of continuously oscillating between the poles of the grid has captured diverse spatial dynamics distanced overview and proximate inspection. and allowed passages and bridges between However, the shots and cuts that the vitrines aesthetic categories (architecture, sculpture, invite, or even allows, of course varies, as these painting), and between the opposing modes Ane Pilegaard

20 of perception that these can be seen to Notes address. Thus, the grid concept has made it possible to talk about the intrinsic oscillations 1. When using Krauss’ concept of the grid I, of between different vitrine effects and modes course, have no intention of ascribing the article’s of perception, rather than getting stuck with purpose, nor the vitrine designs in question, to strict oppositions. any modernist project in which the artists Krauss A notable insight from the analyses has been, discusses might have been involved. that these oscillations seem to depend on how 2. See Alberti (2007) and Brooks & Rumsey (2007) the vitrines manifest the double function of for thoughts on the emotional response to their grids – that is, the extent to which they anatomical collection displays. manage to, simultaneously, direct themselves 3. For complementary discussions of Benjamin’s inwards and outwards. In some ways, it seems writings in relation to vitrines and transparency, that the grids have manifested themselves see Welchman (2013). more clearly in the old vitrines, partly because 4. For a similar analogy between film technique and of the way their heavy wooden lattices make exhibitions, see Bal (2007). up a convincing material support for the grid 5. I have proposed similar points about how display structure. On the other hand, one might argue design can emphasize and support material that new vitrine systems present their objects object qualities in Pilegaard (2015). better: more clearly and in better light. However, from the perspective of this particular study, Literature with its emphasis on spatial complexity and oscillations, a proposition could be that even Alberti, Samuel J.M.M. 2007. “The museum affect. lighting and unobtrusive steel constructions Visiting collections of anatomy and natural might, in fact, flatten the productive spatial history.” In Aileen Fyfe & Bernard Lightman impact of vitrines. When unobtrusive trans- (eds.). Science in the Marketplace. Nineteenth- parency is strived for – based on the idea Century Sites and Experiences. Chicago: that the disappearance of the glass plane will University of Chicago Press, 371–403 . lessen the sense of distance to the objects on Bal, Mieke 2007. “Exhibition as film.” In Sharon display – we risk missing out on the multiple Macdonald & Paul Basu (eds.). Exhibition effects and variations in perceptual modes that Experiments. Malden: Blackwell Publishing, 71–93. the spatial complexity of museum vitrines can Benjamin, Walter 1999 [1933]. “The rigorous study generate. Moving through the analytical matrix of art.” In Walter Benjamin. Selected Writings, of this article, concepts and terms for talking Volume 2, 1927–1934. Cambridge, Mass.: The about this spatiality have been presented that Belknap Press of Harvard University Press, might help us grasp and understand aspects 666–672. of the otherwise rather elusive spatial effects Benjamin, Walter 2008 [1936]. The Work of Art in the of museum vitrines. This perspective is crucial Age of Mechanical Reproduction. London: Penguin if we want to use vitrines for their generative Books. potential, rather than simply – and uncritically Brenna, Brita 2014. “Nature and texts in glass cases. – employing them for their ability to establish a The vitrine as a tool for textualizing nature.” sense of aura, or, alternatively, criticizing them Nordic Journal of Science and Technology Studies, on grounds of their distancing effects. 2:1, 46–51. Encountering the vitrine

Brooks, Mary M. & Claire Rumsey 2007. “Who knows Krauss, Rosalind E. 1996. “The grid, the /cloud/, and 21 the fate of ones bones? Rethinking the body on the detail.” In Detlef Mertins (ed.). Presence of display: Object, art or human remains?” In Simon Mies. New York: Princeton Architectural Press, J. Knell, Suzanne Macleod & Sheila Watson (eds.). 110–126. Museum Revolutions. How Museums Change and Levent, Nina & Alvaro Pascual-Leone (eds.) 2014. are Changed. London: Routledge, 343–354. The Multisensory Museum. Cross-Disciplinary Carroll, Khadija von Zinnenburg 2013. “Vitrinen- Perspectives on Touch, Sound, Smell, Memory, and denken. Vectors between subject and object.” In Space. Lanham: Rowman & Littlefield. G. Ulrich Grossmann & Petra Krutisch (eds.). Pilegaard, Ane 2015. “Material proximity. The Challenge of the Object, Congress of the Experimenting with material strategies in spatial International Committee of the History of Art. exhibition design.” Museum Worlds, 3, 69–85. Nuremberg: Germanisches National Museum. Psarra, Sophia 2009. Architecture and Narrative. Classen, Constance & David Howes 2006. “The The Formation of Space and Cultural Meaning. museum as sensescape. Western sensibilities and London: Routledge, 137–158. indigenous artifacts.” In Elizabeth Edwards, Chris Putnam, James 2009. Art and Artifact. The Museum as Gosden & Ruth B. Phillips (eds.). Sensible Objects. Medium. New York: Thames & Hudson. Colonialism, Museums and Material Culture. Riegl, Alois 1985 [1901]. Late Roman Art Industry. Oxford: Berg, 199–222. Rome: Giorgio Bretschneider. Crary, Jonathan 2001. Suspensions of Perception. Speaks, Elyse 2013. “The transparent signifier. Hirst, Attention, Spectacle and Modern Culture. invisibility, and critique.” In John C. Welchman Cambridge Mass.: The MIT Press. (ed.). Sculpture and the Vitrine. Farnham: Endt-Jones, Marion 2013. “Between Wunderkammer Ashgate, 231–249. and Shop Window. Surrealist Naturalia Cabinets.” Tybjerg, Karin 2016. “The landscape of disease.” In In John C. Welchman (ed.). Sculpture and the Karin Tybjerg (ed.). The Body Collected. The Raw Vitrine. Farnham: Ashgate, 95–120. Materials of Medical Science from Cadaver to Forgan, Sophie 1994. “The architecture of display. DNA. Copenhagen: Medical Museion, 49. Museums, universities and objects in nineteenth- Welchman, John C. (ed.) 2013. Sculpture and the century Britain.” History of Science, 32:2, 139–162. Vitrine. Farnham: Ashgate. Henning, Michelle 2006. Museums, Media and Cultural Theory. Maidenhead: Open University Press. Ane Pilegaard, cand. design, Ph.D. candidate, Hooper-Greenhill, Eilean 1992. Museums and the Medical Museion, University of Copenhagen Shaping of Knowledge. London: Routledge. [email protected] Iversen, Margaret 1993. Alois Riegl. Art History and Theory. Cambridge Mass.: The MIT Press. Medical Museion Korff, Gottfried 1999. “Reflections on the museum.” Fredericiagade 18 Journal of Folklore Research, 36:2/3, 267–270. DK-1310 København K, Denmark Krauss, Rosalind E. 1986. The Originality of the Avant- www.museion.ku.dk Garde and Other Modernist Myths. Cambridge Mass.: The MIT Press. Nordisk Museologi 2017 • 2, s. 22–36

A virtual diorama Mapping archives in situ at places of cultural significance

Jonathan Westin & Gunnar Almevik

Abstract: Using the wooden church of Södra Råda as a case study, this article concerns new applications of technology to contextualise and activate archive material in situ at places of cultural significance. Using a combination of augmented reality and virtual reality, we describe a process of turning historical photographs and two-dimensional reconstruction drawings into three-dimensional virtual models that can be lined up to a physical space. The leading questions for our investigation concern how archive material can be contextualised, and how the result may be made accessible in situ and contribute to place development. The result of this research suggests possibilities for using historical photographs to faithfully reconstruct lost historical spaces as three-dimensional surfaces that contextualise documentation and offer spatial information.

Keywords: Virtual reality, augmented reality, diorama, archive, technology, context.

The archive is often considered to be a and activate archive material in situ at places repository of the past, a collection of material of cultural significance. As such, it focuses pertaining to an era, a place, occurrence, on the results of an explorative study where person or community, that could be probed historical photographs and two-dimensional and questioned but should not be disturbed. reconstruction drawings were activated by However, as philosopher Jacques Derrida being processed into three-dimensional virtual notes, archives are not created to serve the models and then mapped onto a physical space past, but instead the future: What uses can be using a combination of augmented reality and drawn from our documentation and how can virtual reality. As a case study, we have worked it be activated to bridge the present state and with various processes of the reconstruction the past to advance our knowledge (Derrida of the wooden church of Södra Råda, which 1995)? However, in many cases, not least so was burned to the ground in 2001 by an when it comes to historical documentation, the act of arson (fig. 1). The church was one of documents of the archive are divorced from approximately twelve medieval log timber their physical place of origin and that which churches still preserved in Scandinavia, and they represent. This article concerns new was recognised foremost for its distinctive wall applications of technology to contextualise paintings, making it an important destination A virtual diorama

Fig. 1. Historical photo of the church of Södra Råda. Photo: ATA, photographer and date unknown. CCPD, ATA Riksantikvarieämbetet. point for tourism in the region. By the late reconstruction and what will activate this place nineteenth century the church had already when the attraction of the reconstruction been deconsecrated and transformed from a effort comes to an end. There is a saying among place of worship into a heritage museum. As children that applies here: “It’s more fun to such the building continued to serve the local build the hut than to play in it.” community for events like concerts, weddings, Arguing that reconstructions have a valid and baptisms. Being an important node in place in heritage management, archaeologist the local community, the National Heritage and historian Neil Silberman writes that Board took a decision that the church should be reconstructed as a pedagogical example when based on adequate research – in addition to to enhance craft practice and historical the documented testimony of tradition bearers – knowledge of medieval churches. reconstructed buildings can provide an immersive, The full-scale reconstruction of the timber multisensory environment in which visitors […] building now being erected on the site can acquire a heightened understanding of local focuses on the potential benefits of advancing culture and a more palpable sense of the place and research and developing skills in historical of its past (Silberman 2015:5). woodcraft procedures. As the project is nearing completion, the stakeholders have raised the Hence, the reconstruction is seen as a tool question of what will happen to the physical through which to overcome, or perhaps mend, Jonathan Westin & Gunnar Almevik

24 rifts in the cultural continuity of a place, and 1997, Bengtsson Melin 2014). In our use, can as such be used to encourage the public the virtual diorama is a technique through to value heritage rather than just “sanctifying which to contextualise an artefact or milieu by original fabric” (Silberman 2015: 5). Silberman bringing it together with digital representations argues that reconstruction is not a conservation of materiality that have been lost or removed. approach but rather “an engagement approach This entails a documentation process where that can help reconnect people with place, surviving artefacts are inventoried and scanned. history and landscape” (Silberman 2015:5). The documentation is then assembled in a However, at its core, the reconstruction needs virtual 3D space matched up to a physical place. to be based on careful and well-documented Hence, like the traditional diorama, artefacts research. According to Silberman, the credibility, are displayed through a visual narration of or the reliability, of the reconstruction is thereby context. The final physical reconstruction of an important asset upon which the positive Södra Råda church will be of bare timber, engagement, the reconnection to place, rests. which means that the interior wall paintings, The title of the article refers to the tradi- an important characteristic of the church, will tional museum diorama in which artefacts not be reconstructed. To mitigate this, and bring or specimens are mixed with artificial con- context to the reconstructed space, the research structions and matte painting to create a seeks feasible ways to combine the physical scene that communicates a context within reconstruction with digital layers that let present the confinements of a display. The diorama and future visitors experience the wholeness of is neither the specimen nor the background, this exquisite architecture. but the hybrid of these that situates the specimen, making it inseparable from a Research aim context. Dioramas are not limited to displays that one looks into from the outside, but could Södra Råda was one of the best-documented be immersive experiences when combined buildings in Sweden, and the bulk of the with a cyclorama – a huge panoramic matte archival material concerns the interior wall painting surrounding the visitor – or when paintings. The Heritage Board’s archive presented as a delimited space reconstructed preserves over a thousand original photos of from both artefacts and new constructions. the interior from various decades of the last However, like the Atlanta Cyclorama from century. Furthermore, in 2007, the Heritage 1886 reconstructing the Civil War Battle of Board published an illustrative volume with Atlanta, the former seldom incorporate full reconstructions of the chancel paintings scale or authentic artefacts in their associated by conservator Hans Peter Hedlund done dioramas. The latter, in contrast, are often full- in conjunction with a paint conservation scale scenes of interior spaces, such as The action in 1995. The leading questions for our Country Church at the Historical Museum in investigation concern how such historical Stockholm, where artefacts have been arranged photographs can be processed, contextualised, as part of a room-scale reconstruction. and used as analytical visualisations by being Through the concept of diorama, we align translated into virtual models, and how the ourselves with a well-established practice and result may be made accessible in situ and theorisation within museology (see Hägerstrand contribute to place development. The research A virtual diorama

Fig. 2. The richly decorated interiors of Södra Råda church. Photo: ATA, photographer unknown, 1908. CCPD, ATA Riksantikvarieämbetet. has focused so far on the historical timber distinctive and artistically refined in all of construction and craftsmanship, but an urgent Swedish architectural painting (Ullén 1979). need for the future management of the site is The painter is unknown but the style associates how to visualise and communicate the brightly to the French illustrated bibles and devotional coloured lime paintings that covered the tracts that were common and widely spread walls and wooden trefoil vaults in both nave in early fourteenth century (Hedlund 2007). and chancel once constituting the primary Characteristic is the depiction of architectural cultural historical value of the church (fig. 2). features, the picturesque character of coloured The total painted area covers more than five or patterned backgrounds, and the wordless hundred square meters of narrative religious banners. They used blue azurite, green scenes. According to an inscription, the chapel malachite, and red vermilion, but it was the paintings date to 1323. The paintings were last of these that was preserved throughout dedicated to the Virgin Mary and depicted the centuries, described by the Swedish art her death, ascension, and coronation. This historian Bengt Söderberg “as if painted in suite of Virgin Mary was considered the most fresh strawberry juice” (Söderberg 1951). Jonathan Westin & Gunnar Almevik

26 In this study we have investigated a method of processing the archival material depicting these lime paintings into a spatial reconstruction that can digitally be mapped on top of the bare timber of the reconstructed chancel. Our method involves the manual modelling of a virtual backdrop from the measurements in survey drawings onto which we project textures derived from the archival material. The backdrop has then been activated using an augmented reality (AR) platform to establish a relation between the visualisation and the physical reconstruction of the church of Södra Råda, and a virtual reality (VR) platform to present the archive material of the Fig. 3. The unadorned virtual projection surface. historical wall paintings. Model by Jonathan Westin and Gunnar Almevik. While visualisations, 3D models, and prototypes have found prominent use in hu- 2015) or bringing access to the digitally manities research (Mahony & Boddard 2010:7, obtained or modelled material through various Westin & Eriksson 2010, Madsen & Madsen interfaces (Cecconello & Spallazzo 2010, 2013, Nygren, Foka & Buckland 2015), and Ghadban et al. 2013), these almost exclusively have facilitated critical discussions on the use the technology to separate the documenta- application of digital tools in the context of tion from the physical site. museology or the narratives of digital heritage (Liestøl 2011), there are still a number of A virtual backdrop with textures use cases to explore and evaluate in the field from historical photographs and of heritage management and conservation drawings science. Our study, which draws on recent projects and research in the digital humanities, Södra Råda is located in the town of Gullspång, virtual archaeology, museology and heritage which is in Värmland County and the studies (Imitatio Maria at HumLab in Umeå, administrative region of Västra Götaland. In Via Appia project at Amsterdam university, 1858 a new stone church was built in the parish, Pompeii project at HumLab in Lund, CHESS and the old wooden church was taken out of project at New Acropolis Museum, MATRIX use. The church had a log-timbered structure project at Michigan State University), serves to dating to about 1309, which at the time was one both assess and inform emerging perspectives of the few oldest existing church buildings in on the uses of technological tools in cultural the world with log timber structure and corner heritage display, education, and humanistic joints. The log timber construction had a total research. While several ongoing projects are length of sixteen meters with a 10.6 x 8.5 m nave either making use of sophisticated scanning and 5.3 x 5.6 m chancel. The steeply pitched techniques of objects and entire sites (Forte roof occupied half of the building’s height et al. 2013, Heuberger et al. 2015, Zhang et al. and reached twelve meters above the ground. A virtual diorama

The interior church space was distinctive not Råda was systematically surveyed in 1908–09 27 only for the extensive paintings but for its by Ragnar Hjorth and Carl Nyqvist at the inner trefoil vaults made of wood. While it is Royal Superintendent’s Office, and Gunnar possible to obtain a 3D model of Södra Råda Wirsén at the National Heritage Board further from analogue historical photography using documented the building in 1982–83, exact Structure-from-Motion (SfM), individual sets dimensions could be obtained. of photographs from specific photographers or To function as a backdrop onto which collections of photographs that document the to project the two-dimensional archival appearance of the church in a certain year or documentation, the unadorned 3D model decade have proven too delimited to produce based on these documentations was modelled any reliable result (Almevik & Westin 2017). using the barest minimum of polygons to Furthermore, alternative visual documenta- describe the inner walls of the chancel, thus tions, such as reconstruction drawings, cannot avoiding structural details and depth beyond be processed through SfM. In response to the curvature of the vaulted ceiling and the this, a virtual projection surface, what we call direction of the walls. This approach, resulting a backdrop, was modelled after the chancel in a model akin to a structure made of folded interior architecture in Strata Studio CX7. paper, played to the idea of putting the archival Since the historical construction of Södra documentation front and centre, where the

Fig. 4. The UV maps of the vaulted ceiling and the four walls. Drawings by Hans Peter Hedlund. Jonathan Westin & Gunnar Almevik

Fig. 5. The rectified reconstruction drawings and historical photographs projected onto the backdrop using UV maps. View towards the east wall. Model by Jonathan Westin and Gunnar Almevik, drawings by Hans Peter Hedlund, and photographs by Marianne Bratt Gustafsson and Gabriel Hildebrandt.

structure is just a canvas for the drawings in conjunction with the measurements taken and photographs (fig. 3). To map the two- during the paint conservation work of 1995, dimensional material onto this backdrop, the Hans Peter Hedlund’s reconstruction drawings model was used to render six unique UV maps from 1995 were inserted into the UV map as of the geometry, one for each wall and two for a guide for two sets of archival photographs the vaulted ceiling. A UV map is like the sheet (fig. 4): black and white 35 mm photographs of an unfolded box on which the surfaces of a by Marianne Bratt Gustafsson shot in 1959 and 3D model are presented in 2D space. colour slide images by Gabriel Hildebrandt Using an SfM model as a rough reference shot in 1992. Both Hildebrandt and Bratt A virtual diorama

Gustafsson were professional photographers can then overlay information in relation to 29 at the National Heritage Board. The archival said marker when recognising it through the photos were then analysed and grouped device’s camera. However, AR does not require according to the photo set to which they belong a screen as the underlying concept of the and the boundaries of the architectural surface technology can be delivered just as effectively in the UV map. The selected photos were through audio (see Kahr-Højland 2007, Poole stitched together in Photoshop CC 2016 by the 2017), something that has been realised automatic merge procedure. If an image could through audio guides at museums for half a not be merged by the automated procedure it century (Proctor 2009). was later manually cut and pasted into the UV Using AR as a visualisation tool in historical map. disciplines, virtual artefacts or monuments can While this procedure resulted in large sheets visually be placed in the physical world in real of stitched-together photos, these needed to be time. This has several advantages as it is not warped to fit the boundaries of the UV map limited to the contextualisation of scale, shape, and the distortion caused by the vaulted roof. and colour that traditional photography-based To correctly rectify the photo sheets we used reconstructions can convey (Cohen 1985, the already rectified reconstruction drawings Frizell & Westin 2009): In addition to being by Hedlund. The photo sheets were put in three-dimensional, the virtual AR object can semi transparent layers on top of Hedlund’s be made interactive and thus be virtually drawings, and then warped to fit these manipulated and studied in different ways using the Photoshop tools Free Transform, while both protecting the physical artefact and Warp, and Puppet Warp. Finally, the layered being displayed in its natural context (Santos document was used to export several sets of 2012:13). UV maps as high-resolution images; one for However, marker-based AR is primarily only the reconstruction drawings and one for functional in scenarios where the device each rectified photoset with outlines of the through which the AR overlay is projected is reconstruction drawing filling out the lacunas either fixed at a certain distance and angle, (fig. 5). or allowed to circle the marker and present an object from the outside. In the case of the chancel of Södra Råda, the virtual backdrop Bringing the archive back to the would need to surround the person holding chancel the device, effectively placing the person inside There is a growing list of projects where AR the augmented reality scene, which makes is utilised to bring digitised or born digital tracking by markers difficult if not impossible material to a physical site (Martinez et al. 2015, as the visual connection between device and Canciani et al. 2016, Kasapakis et al. 2016, marker must be maintained. Using a visual- Zikas et al. 2016). AR is primarily associated inertial odometry tracking system, such as with layering place-specific visual information Apple’s ARKit (based on technology developed on top of a live video feed obtained through by Metaio), or Simultaneous Localisation And a smartphone or tablet computer to augment Mapping (SLAM), sidesteps the use of markers the vision of reality. By creating a marker as all horizontal surfaces in a space are mapped recognisable to the software, the software in 3D. Essentially this creates a large amount Jonathan Westin & Gunnar Almevik

30 of markers all around the device in 3D space, being presented as a game engine, Unity has which are continuously tracked and compared seen wide adaptation as a research-driven with motion detecting data. However, while visualisation tool. these technologies allow for well-anchored However, without outer sensors, the VR and immersive AR content to be displayed, view will always use the same x-axis direction they are not place-specific they way marker- as point of origin, no matter the direction based solutions are. For place-specific marker- of the device. Hence, if the VR camera in less content, AR and Virtual Reality (VR) the VE is facing east but the device is facing can make use of external sensors to track the south when the application is started, there movement of the device creating an outside-in will be a mismatch between the physical and system for position tracking. These are mainly the virtual environment (fig. 6). To overcome based on commercial camera-based motion this limitation, we created a mixed reality capture systems, such as Vicon, Optitrack, application that a) makes use of AR to calibrate Openstage and Microsoft Kinect (see Younes the direction of the handheld device and the et al. 2016). However, even the less advanced VE, and b) transitions to a VR scene when indoor positioning systems (IPS) based on the calibration is done. Though presenting a iBeacons or wifi-triangulation, which only three-dimensional full frame VR scene and roughly track the position of the device, come not a hybrid which combines reality with an with both deployment and maintenance costs. information overlay, this solution is closely To design a solution that would be both cost related to what Wither, Tsay & Azuma calls effective and easy to deploy and maintain, Indirect AR (2011). Indirect AR, in their we explored a hybrid solution using an AR definition, serves up a pre-annotated panorama platform (Vuforia) in conjunction with a VR image of the surroundings, thus creating a implementation (GoogleVR). stable relation between the information overlay VR is a broad term, and there is great and the captured vision of the surroundings. variation in the proposed definitions (see As the augmentation of information is not Guttentag 2010). Here we define VR as the live matched to physical reality this avoids any presentation of a Virtual Environment (VE) tracking problems (Wither, Tsay & Azuma from a first-person perspective, where the 2011:810). As a technique it is also applicable point-of-view, the viewport, is updated as to to Situated Simulations, which usually employs follow the natural movements of a person in real time rendered 3D scenes (see Liestøl real-time, thus lending a tangible connection 2014). However, Indirect AR does not solve between the physical movements of the the problem of automatically matching up the user and the VE. When presented through a panorama with the surroundings, but often handheld device rather than a head mounted rely on manual interaction such as touch- display, as we opted for in our implementation, dragging the virtual setting (see Madsen & the effect is akin to holding a small portal Madsen 2013). through which one can peek into the VE. To Our solution entailed using Vuforia, an create a VE containing the virtual backdrop AR SDK from Qualcomm, to create a marker of the chancel, and match it to the physical based on the outer bezel of the east facing position and orientation of the person holding window frame in the chancel. This marker was the device, we used Unity. Though primarily then imported into Unity. Two scenes, which A virtual diorama

trigger reacting to when the device is pointed 31 towards the AR marker. This trigger is in turn connected with a script that transitions the view to Scene Two and initiates the VR camera if the device has been focused on the south

Real East window for more than two seconds. During these two seconds, visual cues are presented Virtual East to the user as an incentive to keep the device focused on the window. This setup, together with a circular marker centrally placed on the floor, marking the best place to experience the VE, allows us to predict the position of the device (centrally in the room), and make sure it is lined up with the direction of the VR camera (the east facing window) for the transition to the VE in Scene Two. Due to the lack of positional tracking to Fig. 6. The physical (unbroken line) and the virtual reflect translational movements of the device, a environment (dotted line) not matching up, thus feature that modern, desktop VR solutions are breaking the illusion of a connection between the two. Illustration by Jonathan Westin. able to provide by utilising external cameras trained on the headset, the user is required to keep within the centre of the room for the in Unity are organisational units, were created; relation between VE and physical space to be one with the AR marker (hereafter Scene One), maintained. While this is a serious limitation and one with the virtual backdrop (hereafter that motivates further research into cost Scene Two). In Scene Two, the virtual effective solutions using either inside-out or backdrop was textured with the UV maps outside-in sensors such as iBeacons or cameras created from the drawings by Hedlund. The (see Zikas 2016), in this case it is mitigated UV maps stitched together from the photos by the use of handheld VR, forgiving as it is. by Hildebrandt and Bratt Gustafsson were As Wither, Tray & Azuma write, drawing also imported but were at this point not used comparison to a camera, though the viewfinder as textures. A camera was placed in the centre presents a view modified by the lens system of the virtual backdrop, and turned facing the and is not an unmediated and transparent east window. This camera was connected to view of the world, the bezel around the screen the Inertial Measurement Unit (IMUs) of the helps over bridge the two visions (2011:810). handheld device through the GoogleVR SDK Furthermore, the very context of Södra which allowed it to perform rotational tracking Råda constitutes a mitigating circumstance: and manage orientation changes. churches, such as Sant Ignazio in Rome, Santa In Scene One an AR camera was placed Maria presso San Satiro in Milan or the Old and trained to recognise the AR marker Whaling church in Edgartown, have a history corresponding to the east facing window. of making use of interior pictorial decoration This allowed us to serve up an invisible event carried out in perspective to create a false depth Jonathan Westin & Gunnar Almevik

Fig. 7. The archive photos explored through a Virtual Reality view lined up to the physical chancel at the site of Södra Råda. Photograph by Gunnar Almevik.

to the architecture, a technique that hark back Discussion to the advent of the Second Pompeian Style. In the nineteenth century, at a time when In these churches, there are often a circular traditional scientific illustration was becoming marking on the floor indicating the optimal increasingly abstract and restrained in style, the position from which to experience the trompe reconstruction drawing, at first in the fields of l’oeil. palaeontology and geology but soon thereafter Since each photo-set had been processed in prehistoric archaeology as well, gained into a unique UV map, these were made ground as an unparalleled technique to lend interchangeable to allow the visitor to switch life and context to scientific findings (Moser between them by tapping the virtual projection. 1998). The diorama, a three-dimensional Hence, as an overlay on the unadorned physical equivalent of the reconstruction drawing, reconstruction, the historical documentation was during this era adopted by museums of is brought back not only to the site of origin natural history as a tool through which to but also to the precise position, contextualising create a mixed reality where specimens and not only the physical space but also the archival constructed sceneries where brought together. material (fig. 7). This article has presented working techniques A virtual diorama

using AR and VR for transforming archival human life (Schriebman, Siemens & Unsworth 33 material into models that bring life and 2004, Drucker 2011). In parallel with the context both to the material and to a physical increased scholarly production within the field, space by bringing them together. The result of an effect of imaging technologies becoming this research suggests possibilities for using more affordable, and spurred on by the nearly historical photographs to faithfully reconstruct ubiquitous presence of smartphones and high- lost historical spaces as three-dimensional speed internet access, heritage institutions surfaces that contextualise documentation and are increasingly embracing technological offer spatial information. solutions. As anthropologist Graeme Were By establishing a virtual backdrop onto writes, “The ‘recoding’ of culture to its digital which several different texture sets, as UV counterpart thereby signals a significant shift maps, can be projected, the material could be towards a new kind of heritage experience, contextualised manually. It is thus possible to one that is marked by heightened mobility, systematically process the archive of images on-demand availability and virtuality” (Were and keep the different sources separate. Since 2015:153). Presently the prototype application the photographs on a UV map do not need has only been used on site by a limited group to overlap, or even be connected, all unique of test persons on an equally limited number photographs in an archive could potentially be of devices. Future challenges include enticing used. Even if a series of historical photographs a visitor to download the application onto her fails to cover all details, leaving patches device, and, unguided, discover the functions. uncovered, these lacunas could either be For this process to feel obvious, heritage sites emphasised or filled with other types of and monuments must start to be seen as the visual documentation such as reconstruction natural inroad to archival information. drawings. With a manually constructed 3D The legitimacy of cultural heritage sciences model one is free to expand the structure grows in a situation where the research ensures beyond what is covered by the available sustainability and provides knowledge of photographs. Furthermore, as the virtual objects that people value as cultural heritage. backdrop does not contain any depth or details While collections of historical photographs are beyond a smooth surface, the end result is low a rich source of information, the information on polygons and thus scalable to a number of stored in archives is often fragmented and mobile platforms. inaccessible to the stakeholders of cultural The working procedure through which to heritage. Just as the diorama is a hybrid in connect and contextualise archival material which an artefact and its backdrop charge in situ at places of cultural significance each other with meaning, the archival photos presented in this article have a wide scope and reconstruction drawings come alive in the field of cultural heritage conservation when given a spatial context. The 3D model and management, as well as cultural tourism. becomes a diorama both in its own right, as Considerable growth can be expected in the it lends context to each individual photo in coming years as technology becomes more the archive, and in communication with the accessible, making possible new forms of physical reconstruction. Furthermore, by knowledge and novel insights of various being displayed in situ at the reconstruction aspects of both the built environment and of Södra Råda, the archive is activated as a Jonathan Westin & Gunnar Almevik

34 narrative device that lends history and context Archives to the reconstructed space; the photographs and the drawings tie the reconstructed church From the National Heritage Board’s Archive (ATA): together with the church that burned, bridging K 1 C: 830-833 Södra Råda G:A Gr 1-12: Ragnar the distance between them, and the individual Hjorth och Carl Nyqvist 1908–1909, CD 1547 scenes in the painted roof and walls can be Axel Nilsson 1908, CD 1546–1548 read in their original setting. Marianne Bratt Gustafsson 1959, CD 1547–1552 This is of great importance for the awareness Rolf Hintzes 1979, SvK Vr, Acc.nr 95-260-29-591 of our cultural heritage, since it is context Sture Warmenius 1981, Vol. 122, mag. 6–9 Södra Råda that brings meaning. Mapping the virtual Gunnar Wirsén 1982–1983 reconstructions and documentation to the Gabriel Hildebrandt 1992, CD 20010711001– physical reconstruction may re-establish a 20010712001 and 881731212382:077 momentary thereness, a “presence effect” in the words of literary theorist Ulrich Gumbrecht, Literature in which the visitor experiences not only the remains but also the space as it once was Almevik, Gunnar 2011. “Södra Råda. Rekonstruktion (Gumbrecht 2004:79). VR in conjunction with som hantverksvetenskaplig metod.” In AR provides new opportunities to assemble Hantverkslaboratorium. Mariestad: CraftLab, and contextualise the archival information in University of Gothenburg, 157–174. direct relation to the tangible cultural object, Almevik, Gunnar 2012. Byggnaden som kunskapskälla. whether reconstructed or not, and thereby Gothenburg: Acta Universitatis Gothoburgensis. increase the knowledge-based perception and Almevik, Gunnar & Jonathan Westin 2016. “Södra valuation. Råda. A virtual diorama in time-space.” Nordic Digital Humanities Conference. Oslo: Oslo University, 15–17 March, http://www.hf.uio.no/ Acknowledgements iln/english/research/networks/digital-humanities/ We wish to acknowledge the staff at National news-and-events/events/2016/pdf/bofab.pdf Heritage Board’s Archive and their help with the (accessed 14 November 2017). historic photographs of Södra Råda. Jonathan Almevik, Gunnar & Karl-Magnus Melin 2015. Westin is funded by the Södra Råda Trust and “Traditional craft skills as a source of historical part of the experimental research project linked to knowledge. Reconstruction in the ashes of the the reconstruction of the timber church in Södra medieval wooden church of Södra Råda.” Mirator Råda. This article is also part of Gunnar Almevik’s 16:1, 72–102. research fellowship at the Royal Swedish Academy Bengtsson Melin, Pia 2014. Medeltiden on display. of Letters, History and Antiquities and the research Uppställningar och utställningar av äldre project Wooden Building Culture. Finally, we would kyrkokonst från omkring 1850 fram till i dag. like to thank our anonymous peer reviewer who Stockholm: Runica et Mediævalia, Centrum för offered many insightful and constructive comments medeltidsstudier. on our original manuscript, which helped us refine Canciani, Marco, Elisa Conigliaro, Monica Del Grasso, our arguments. Pa Papalini & Mauro Saccone 2016. “3D survey and augmented reality for cultural heritage. The case study of Aurelian Wall at Castra Praetoria A virtual diorama

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36 Martínez, José L., Sonia Álvarez, Jaime Finat, from the other side of the digital divide.” Francisco Delgado, & Javier Finat 2015. International Journal of Heritage Studies, 21:2, “Augmented reality to preserve hidden vestiges 153–165. in historical cities. A case study.” ISPRS – Westin, Jonathan & Thommy Eriksson 2010. “Imaging International Archives of the Photogrammetry, the Sanctuary of Hercules Victor”. Archeomatica, Remote Sensing and Spatial Information Sciences, 2, 58–62. XL-5/W4, 61–67. Wither, Jason, Yun-ta Tsai & Ronald Azuma 2011. Nygren, Thomas, Anna Foka & Philip Buckland 2014. ”Indirect Augmented Reality.” Computers & “The status quo of digital humanities in Sweden. Graphics 35, 810–822. Past, present and future of digital history.” Zhang, Yingchun & Zongjie Wu 2015. “The H-Soz-Kult, Humbolt University. http://hsozkult. reproduction of heritage in a Chinese village. geschichte.hu-berlin.de/index. Whose heritage, whose pasts?” International Poole, Steve 2017. “Ghosts in the garden. Locative Journal of Heritage Studies, 22:3, 228–241. gameplay and historical interpretation from Zikas, Paul, Vasileios Bachlitzanakis, Margarita below.” International Journal of Heritage Studies. Papaefthymiou & George Papagiannakis 2016. http://dx.doi.org/10.1080/13527258.2017.1347887 “A mobile, AR inside-out positional tracking (accessed 2 October 2017). algorithm (MARIOPOT), suitable for modern Proctor, Nancy, 2011. Mobile Apps for Museums. affordable cardboard-style VR HMDs.” Lecture The AAM Guide to Planning and Strategy. Notes in Computer Science (including subseries Washington, DC: AAM Press. Lecture Notes in Artifical Intelligence and Lecture Santos, Alexis 2012. Creating an Interactive Past. Notes in Bioinformics), vol. 10058, 257–268. Digital Technologies for Public Representation of Archaeological Sites and Artifacts. Sarasota: New College of Florida. Jonathan Westin, fil.dr, research fellow Silberman, Neil 2015. Light at the End of the [email protected] Labyrinth? From Historic Preservation to Heritage Placemaking. New Approaches to the Interpretation Gunnar Almevik, fil.dr, senior lecturer of Historical Authenticity. Amherst: University of [email protected] Massachusetts. Söderberg, Bengt 1951. Svenska kyrkomålningar från University of Gothenburg medeltiden. Stockholm: Natur och Kultur. Department of Conservation Ullén, Marian 1979. Södra Råda gamla kyrka och Box 130 dess målningar [The old church at Södra Råda.]. SE-405 30 Göteborg, Sweden Stockholm: Riksantikvarieämbetet. Were, Graeme 2014. “Digital heritage in a Melanesian context. Authenticity, integrity and ancestrality Nordisk Museologi 2017 • 2, s. 37–54

Tilbakeføring av museumsgjenstander fra nasjonale samlinger til lokalsamfunn i Norge Jus, etikk, politikk, praksis og verdisyn

Nanna Løkka

Title: Repatriation of museum objects from national collections to local communities in Norway

Abstract: In this article, I examine ongoing debates in Norway on repatriation of cultural heritage in the form of antiquities. The focus is however not on international debates regarding colonial looting or indigenous’ rights to manage their own heritage as is usually the case within this topic, but rather on local claims for the return of cultural treasures from national museums. In cases such as those examined here, local institutions (museums and churches) have requested central museums to return cultural antiquities to the local community claiming that this is where they originally were in use and therefore belong. In this article I take a closer look at the arguments given by the local and the central stakeholders in heritage management. The arguments and practice reveal ideologies and ethical principles at work within the sector, but also show how these are constantly shifting. Further on, I discuss this practice in relation to Norwegian heritage politics.

Keywords: Cultural heritage, heritage management, heritage politics, repatriation, regionalization.

Rett før denne artikkelen skulle ferdigstilles, let om eierskapet til møblene, er anmodnin- ble tematikken rundt tilbakeføring og utlån gen om tilbakeføring avvist. Det er imidlertid av museumsgjenstander aktualisert i mitt eget vanskelig å forstå hvorfor Norsk folkemuseum lokalsamfunn. Møbler fra Heddal stavkirke ikke kan ha disse møblene fast utstilt i eller ved befinner seg ved Norsk folkemuseum i Oslo, stavkirken uten å oppgi eierskapet. Det finnes og disse møblene ønskes plassert i kirken el- allerede et møbel av tilsvarende type der, de ler det tilliggende formidlingssenteret der et kan tilby et visningssted som plasserer møble- tilsvarende møbel allerede befinner seg. Med ne i en viss stedlig kontekst, tusenvis av turister henvisning til en juridisk klausul fra 1880-tal- kommer årlig til stavkirken og lokalsamfunnet Nanna Løkka

38 synes å være villig til å mobilisere privat kapi- re grunner til dette, men en forklaring er at tal. Svaret på spørsmålet om hvem som bør eie det nasjonale verdigrunnlaget i ideologi og og forvalte kulturminner er komplisert og be- politikk i mange sammenhenger er tonet ned finner seg i skjæringspunktet mellom ideologi, til fordel for det lokale/regionale, uten at det jus, etikk, politikk og praksis. nasjonale forvaltningsparadigmet er forlatt. I denne artikkelen vil jeg se nærmere på En prioritet i dagens kulturarvspolitikk er at nettopp disse forholdene slik de kommer til regioner og lokalsamfunn skal bruke kultur- utrykk i relasjonen mellom lokale og sentrale minner til å skape verdier lokalt. I skjærings- forvaltningsaktører. Det innledende eksempe- punktet mellom ideologi, politikk og forvalt- let viser tematikkens aktualitet, men artikkelen ning har det oppstått et dilemma for sektoren. er avgrenset til forholdet mellom universitets- I det følgende vil jeg analysere et utvalg museene og lokale aktører, og til løse kultur- saker der lokale aktører har anmodet om minner som stammer fra tiden før 1537, altså tilbakeføring fra nasjonale institusjoner og reformasjonen i Norge. Hvilke argumenter fø- diskutere argumentene som føres fra begge res for og mot tilbakeføring av gjenstander fra sider, for så å bruke dette som grunnlag for sentrale institusjoner til lokalsamfunn? Hvilke en diskusjon om verdigrunnlaget i dagens for- verdier og ideologier er argumentene forank- valtningspraksis. Denne diskusjonen vil i sin ret i og hvordan henger disse sammen med tur holdes opp mot kulturminnepolitikken. dagens kulturminnepolitikk? Jeg mener diskusjonen viser at det er på tide Med hjemmel i Kulturminneloven er det i å drøfte hvorvidt dagens forvaltningsstruktur Norge universitetsmuseene (også kalt lands- er tilpasset dagens samfunn både med tanke delsmuseene) som på vegne av staten har på den kompetanse som i dag finnes regionalt/ hovedansvar for forvaltningen av det før-re- lokalt, museumsreformen, opprustingen av formatoriske gjenstandsmaterialet. Universi- stavkirkene og de nye forventningene til bruk tetsmuseene står i de fleste tilfeller også som av kulturminner og lokalhistorie i regional/ juridisk eier av disse gjenstandene. De aller lokal utvikling. fleste før-reformatoriske gjenstander i Norge befinner seg av den grunn i universitetsmu- Empiri og metode seenes samlinger. Noen av dem er utstilt for publikum, men størsteparten er i museenes Empirien er primært hentet fra Kulturhistorisk magasiner. På et eller annet tidspunkt har disse museum i Oslo (KHM) og utgjøres av korre- gjenstandene hatt tilholdssted utenfor museet, spondanse mellom KHM og lokale enheter, og og lokalsamfunnet der gjenstanden kommer i noen tilfeller også leserinnlegg og avisoppslag fra, ønsker i noen sammenhenger å føre gjen- knyttet til saken. Fra en oversikt over alle saker standen tilbake dit. Slik er universitetsmuse- om tilbakeføring som KHM har behandlet fra ene ikke bare rom fylt med før-reformatoriske 2008 til 2016, og arkivmapper til et utvalg av skatter, de er også aktører i pågående makt- disse, har jeg valgt ut fire av ni saker for nær- kamper mellom staten og lokalsamfunn om studier. Jeg tok ikke med de sakene som gjaldt bestemte kulturminner. samisk materiale og heller ikke de som gjaldt Problemstillingen rundt eierskap til og for- tilbakeføring til et annet universitetsmuseum, valtningsansvar for kulturminner er gammel, siden disse handler om andre prinsipper enn men har fått økt aktualitet. Det kan være fle- de som opptar meg her. Ytterligere tre saker Tilbakeføring av museumsgjenstander

ble valgt bort, for å avgrense materialet. I til- Bakgrunn og teoretiske 39 legg har jeg sett på én sak fra 2002, knyttet perspektiver til treskulpturen St. Nikuls fra Eidsborg i Te- lemark. Denne har jeg gått i dybden på også Selv om det ble fremmet tilbakeføringskrav historisk, siden det er søkt om tilbakeføring lenge før 1980-tallet, fikk problemstillingen av statuen i flere omganger. Arkivmappen til virkelig aktualitet med det koloniale oppgjøret denne saken har jeg fått tilgang på fra Vest-Te- og gjennombruddet for såkalt post-kolonial telemark museum. Utover arkivstudiene har jeg ori. Kulturskatter fra hele verden var blitt hen- gjennomført intervjuer med en person til- tet ut under kolonitiden og samlet på vestlige satt ved KHM og med museumsdirektør på museer. Tilbakeføringskrav har blitt fremmet Vest-Telemark museum. Jeg har også utveks- av stater, ulike organisasjoner og privatperso- let mail med saksbehandler og koordinator ner og urbefolkninger som hadde blitt tappet for Utlånsutvalget ved KHM. Videre har jeg for kulturskatter under de store innsamlings- sett på eksisterende retningslinjer om utlån og periodene på 1700- og 1800-tallet. Det finnes tilbakeføring for museene. Tilbakeførings- og ulike synspunkt også om dette, men generelt utlånspraksis ble utredet av et nasjonalt utvalg kan vi si at det i dag er bred politisk konsensus i 2000. Dette arbeidet er nedfelt i Utlån og av- om at nyere stater, gamle kolonialiserte stater hending fra museenes samlinger utgitt av Norsk og urbefolkninger prinsipielt har rett til å for- museumsutvikling i 2000 som museene kan valte sin egen fortid (Eriksen 2001:53), slik for se til hvis de etablerer egne retningslinjer og eksempel opprettelsen av Norsk skogfinsk mu- praksiser. KHM har utarbeidet egne retnings- seum og Sørsamisk museum og kultursenter er linjer for utlån, ”Generelle retningslinjer og hjemlige vitnesbyrd over. betingelser for utlån”. Jeg har også sett på de I Norge ble gjenstander av kulturhistorisk andre universitetsmuseenes retningslinjer for verdi hentet fra lokalsamfunnene med det til dette, i den grad de har noen. Av mailkorre- hensikt å skape nasjonale samlinger. ”De his- spondansen med universitetsmuseene om det- toriske vitenskapsfabrikkene, deriblant muse- te tema, har det fremkommet at alle fører en ene, som ble etablert på 1800-tallet fikk som restriktiv tilbakeføringspraksis. Tilbakeføring sentrale oppgaver å forsyne nasjonen og na- i betydning overføring av juridisk eierskap er sjonalkulturen med en tidsdimensjon, altså å ikke behandlet i noen av universitetsmuseenes påvise vitenskapelig at det nasjonale særpreg egne retningslinjer, kun utlån er beskrevet som ved den ene eller annen stat kunne føres langt en aktuell praksis, noe annet gjelder for samisk tilbake i tid og dermed fremstod som ube- materiale. Ellers har de internasjonale etiske stridelig”, skriver kulturhistoriker Anne Erik- retningslinjene for museer formulert av In- sen (2001:57–58). Prosjektet med å skape en ternational Council of Museums (ICOM), de nasjonal tidslinje kom blant annet til uttrykk nasjonale retningslinjene Etiske retningslinjer gjennom opprettelsen av universitetsmuseene for norske museer og Kulturminneloven vært (eller landsdelsmuseer) og den rollen de ble relevant bakgrunnsmateriale. Forvaltnings- gitt i forvaltningen av automatisk fredete kul- strukturen og praksis for tilbakeføring holdes turminner. Universitetsmuseene skulle ha de opp mot kulturpolitiske og museumspolitis- fremste fagmiljøene og forske fram og vise de ke dokumenter som offentlige utredninger nasjonale sammenhengene og skape nasjonal (NOU’er) og stortingsmeldinger. identitet. For hundre år siden var med andre Nanna Løkka

40 ord etableringen av nasjonale opphavsmyter verk om kulturminner og tilbakeføring/for- en sentral del av nasjonsbyggingen. I boka Lo- valtningsrett er Jeanette Greenfields The Re- kalt kulturliv i endring diskuterer Olaf Aage- turn of Cultural Treasures (første gang utgitt i dal myter og myteskaping i relasjon til dagens 1989) og Who Owns the Past? Cultural Policy, lokalsamfunn (2009:190). En av mytene som Cultural Property and the law, redigert av Kate lokalsamfunn i dag skaper og spiller på, er Fitz Gibbon (2005). Greenfields bok kan langt nettopp opphavsmyter. Opphavsmyter er en på veg sees som et forsvar for tilbakeføring og av de viktigste midlene for identitetsdannelse lokalsamfunns rett til å forvalte sin egen kul- og følelsen av felleskap (f. eks. Anderson 1983, turarv, mens artiklene i Fitz’ bok i større grad Hylland Eriksen 1995:64). Som jeg skal kom- forsvarer de store samlingene. Nyere bidrag er me tilbake til, kan ønsket om selv å forvalte van Burdens Treasures in Trusted Hands. Nego- praktgjenstander fra eldre tid, forstås i et slikt tiating the Future of Colonial Cultural Objects perspektiv – lokalsamfunn ønsker å styrke sin (2017) som kritiserer tidligere kolonimakter for egen historie. Dessuten kan dagens tendens til ikke å ta et endelig oppgjør med denne delen å skape lokale opphavsmyter også ha en poli- av kolonialismen og tilbakeføre hele samlinger. tisk forklaring i fokuset på regional og lokal Forholdet mellom lokalsamfunn og sentrale stedsprofilering. forvaltningsaktører har, sammenlignet med de I Norge har de koloniale tilbakeførings- post-koloniale problemstillingene om tilbake- diskusjonene i første rekke dreiet seg rundt føring, blitt behandlet i forskningslitteraturen forvaltningen av samiske gjenstander (Østby i mindre grad. Nylig har det imidlertid blitt 2002:42), men også om tilbakeføring av norske skrevet en doktoravhandling om emnet sett gjenstander fra de svenske samlingene (Om- fra svensk side (Jörgensen 2017). For norske land 2005). Tilbakeføringskrav fra lokalsam- forhold har saken i liten grad vært diskutert i funn, som vi her skal befatte oss med, har vært forskningslitteraturen. fremmet helt fra begynnelsen av 1900-tallet, men synes nå å komme stadig oftere (jf. inter- Norsk lovgivning og vju, KHM).1 Gjenstandene på universitetsmu- forvaltningspraksis seene har kommet museene i hende på ulikt vis. En stor del av det arkeologiske gjenstandsma- For å diskutere spørsmålet om eierskap til og teriale har tilkommet museet gjennom senere tilbakeføring av historiske gjenstander, må vi utgravninger, men mye av det før-reformato- se nærmere på lovgivningen og forvaltnings- riske materialet ble samlet inn på 1800-tallet. strukturen for kulturminner i Norge. Selv om Store deler av den bevarte kirkekunsten fra både nasjonal identitet og regional utvikling middelalderen ble for eksempel samlet inn på er viktige verdier og ideologier i dagens kul- denne tiden fra lokalsamfunn som i liten grad turminneforvaltning, er det aller viktigste var interessert i ta vare på det gamle. prinsippet i norsk kulturminnevern uten tvil Spørsmålet om eierskap og forvaltningsrett beskyttelse og vern. Det bærende prinsippet til kulturminner er et aktuelt forskningstema. for hele sektoren er at levningene fra fortiden Faglitteraturen er betydelig, og tematikken skal beskyttes, fordi de er ikke-fornybare kil- har blitt behandlet fra en rekke ulike fagfelt der til fortiden. Kulturminneloven som skal som museologi, kulturarvstudier, arkeologi, sikre dette, ble vedtatt allerede i 1905. Fram kunsthistorie jus og etikk. Viktige referanse- til det var eierskapet for kulturminner uklart, Tilbakeføring av museumsgjenstander

og grunneier hadde sterke rettigheter. Forstå- Universitetsmuseene skiller seg fra de øv- 41 elsen av kulturarvens betydning for nasjonen, rige museene både strukturelt og funksjonelt. trumfet imidlertid den private eiendomsretten Strukturelt sett tilhører de universitetene og gjennom noe som i ettertiden har blitt kalt for ligger derfor under Kunnskapsdepartemen- et kupp (Vedeler 2009:14). Staten har dermed tet, til forskjell fra de fleste andre museer som rett til å ekspropriere verdier av kulturell art i ligger under Kulturdepartementet. Univer- Norge, i motsetning til for eksempel naturres- sitetsmuseene kan dermed sies å være en del surser. Dette gjør at Norge i dag har to forskjel- av en annen sektor og en annen politikk. Også lige ideologier for forvaltning av natur- og kul- funksjonelt skiller universitetsmuseene seg turarv. Naturen og naturressursene forvaltes i fra de andre museene. Det henger blant annet all hovedsak av grunneier, mens de eldste kul- sammen med nettopp den delegerte myndig- turminnene forvaltes av staten. heten universitetsmuseene har rundt oppføl- Da Kulturminneloven ble vedtatt, ble det ging av Kulturminneloven. Universitetsmu- også etablert en forvaltningsstruktur med sen- seene har blant annet ansvar for en rekke av trale landsdelsmuseer med primært forvalt- landets arkeologiske utgravninger og altså for ningsansvar for det eldste materialet (Vedeler forvaltningen av eldre tids kulturminner. De 2009:13–14). I henhold til Kulturminneloven øvrige museene var tidligere mindre profesjo- eier Staten disse gjenstandene, men loven gir nelle og mindre forskningstunge enn univer- det ansvarlige departement mulighet til å de- sitetsmuseene. Som vi skal komme tilbake til, legere myndighet til museer. Det er universi- er dette skillet i dag langt på veg visket ut blant tetsmuseene som i hele lovens historie har hatt annet gjennom museumsreformen, selv om de denne delegerte myndigheten. Med hjemmel to museumstypene nok har ulike faglige tyng- i kulturminneloven befinner således universi- depunkt blant de ansatte. tetsmuseene seg på toppen av forvaltningshi- For å oppsummere: Universitetsmuseene erarkiet når det kommer til løse, før-reforma- har den juridiske og formelle makten over de toriske kulturminner. I stedet for å ha ett eller aller fleste gjenstander fra før-reformatorisk to nasjonalmuseer i hovedstaden, slik mange tid i Norge. De er også saksbehandlere i tilba- sammenlignbare land har, har Norge fem sen- keføringssaker. Universitetsmuseene er med trale, statlige landsdelsmuseer knyttet til uni- andre ord både interessent og dommer i dette versitetene, Oslo, Trondheim, Bergen, Stavan- systemet. ger og Tromsø.2 Det er disse fem som har ansvar for forvaltningen av størstedelen av det Argumentene for og mot før-reformatoriske gjenstandsmaterialet i Nor- tilbakeføring ge i dag. Det viktige forvaltningsmessige skillet mellom før- og etter-reformatoriske kultur- I det følgende skal jeg presentere et utvalg ca- minner har å gjøre med det politiske klima un- ser der lokalsamfunn ber om å få tilbakeført der opprettelsen av Kulturminneloven i 1905, gjenstander fra KHM i Oslo. da sterke stemmer var imot loven og i hvert fall mot automatisk lovhjemlet vern av nyere tids St. Nikuls (Nikolas) fra Eidsborg kulturminner (Myklebust 1999:11). Nyere tids St. Nikuls fra Eidsborg i Vest-Telemark er en kulturminner ble derfor holdt utenfor loven, malt treskulptur fra middelalderen. Statuen sto og grensen ble satt ved reformasjonen. opprinnelig i Eidsborg stavkirke. Både kirken Nanna Løkka

42 og skulpturen er datert til slutten av 1200-tal- rende besøkstall tross beliggenhet, profesjonell let. Kirken antas å ha vært viet til St. Nikolas, ledelse, tipp-topp moderne verksted og gode men dette kan ikke sies med sikkerhet (Morten bevaringsforhold”.3 NIKU (Norsk institutt for 2008:48 med referanser). I tillegg til å være et kulturminneforskning) har godkjent museet sjeldent objekt fra middelalderen er det et rikt som forvaltningssted for andre gjenstander fra tradisjonsmateriale også fra nyere tid knyttet middelalderen, blant annet en sammenlignbar til figuren (Morten 2008:66, 74ff., 115). Statu- figur, et krusifiks av tre fra 1200-tallet. Dette en ble brakt til Oldsakssamlingen (nå KHM) sto opprinnelig i Skafså kirke, men oppbevares i 1837 og er formelt anmodet tilbakeført fire i dag i monter på Vest-Telemark museum. ganger: 1927/28, 1930, 1964 og 2001. Resul- Da saken om St. Nikuls ble behandlet første tatet av søknaden i 1964 var at man besluttet gang, på slutten av 1920-tallet, var det et sen- å lage en kopi av statuen. I dag står denne i tralt moment hvorvidt statuen hadde kommet kirken. Selv om det ikke er sendt inn anmod- universitetsmuseet i hende på lovlig vis. Under ninger om tilbakeføring etter 2001, sier muse- den første søknaden om tilbakeføring, i 1927, umsdirektøren at de etter fire søknader mener ført i pennen av sognepresten, hevdes det at en en tilbakeføring av statuen bør oppfattes som lensmann nærmest hadde stjålet helgenstatuen et stående ønske fra lokalsamfunnet og muse- fra kirken og leverte den til samlingen i Oslo et (intervju 22. juni 2015). I de tre første søk- (Morten 2008:191–192). Statuen er Eidsborg nadene ble helgenbildet anmodet tilbakeført kirkes eiendom, konstateres det i søknaden. til kirken. I den siste søknadsrunden var det Det var Anton W. Brøgger som behandlet sa- Vest-Telemark museum som søkte, da med ken hos Oldsakssamlingen den gangen. Han ønske om at statuen ble plassert inne i det ny- tok saken med stort alvor og svarte på søk- åpnede samlingsmuseet i Eidsborg om lag 100 naden med et brev på 28 (!) sider (datert 14. meter fra kirken. desember 1927, fra Vest-Telemark museums Eidsborg stavkirke står fortsatt, og utgjør arkiver). Han skriver at han gjør det så om- i dag en del av Vest-Telemark museum – et stendelig, nettopp fordi saken er prinsipiell typisk folkemuseum ”med gamle bygninger og kan tjene som mønster for senere saker kombinert med systematiske kulturhistoriske av tilsvarende karakter. Brøgger konkluderer samlinger” (Shetelig 1944:191). Den gamle med at det ikke foreligger dokumentasjon på stavkirken er en del av bygningstunet som lig- at lensmannen agerte mot lokalbefolkningens ger rundt museets hovedbygning i Eidsborg. ønske i 1837, og det hadde også gått nesten 100 Kirken er imidlertid fortsatt i bruk av menig- år uten at noen hadde protestert. Han under- heten, med andre ord er den kirke og museum streker at saksbehandleren i 1837 ikke mottok på samme tid. Vest-Telemark museum har et noen innvendinger i saken, og at skulpturen nytt museumsbygg med gode muligheter for derfor anses som en gave fra Eidsborg til mu- både formidling og sikker oppbevaring, sam- seet. I tillegg betoner Brøgger at de nasjonale tidig påpekes det i Kulturrådets vurdering fra samlingene må bestå, at de skal være utgangs- 2015 at museet har stort etterslep på samlings- punktet for forskning ved Universitetet i Oslo, dokumentasjon, og at det mangler tilsatte med og at kirken på Eidsborg er brannfarlig. førstekompetanse. Museet ble kåret til ”Årets Det viktigste argumentet som har blitt ført museum” av Norges museumsforbund i 2012, for tilbakeføring, er imidlertid at gjenstanden hvor de blant annet ble berømmet for ”impone- etter lokale oppfatninger faktisk hører hjem- Tilbakeføring av museumsgjenstander

Fig. 1. Eidsborg stavkirke er en del av Vest-Telemark museum. Det er etablert et bygningstun rundt kirken samt et moderne museumsbygg. I tillegg til å utgjøre en del av museet, er kirken fortsatt en brukskirke. I mu- seumsbygget står det utstilt et krusifiks i tre fra 1200-tallet. Inne i stavkirken står det en kopi av helgenfiguren St. Nikuls, originalen står utstilt på Kulturhistoriske museum i Oslo. Hverken museet eller kirken oppfyller kravene for tilbakeføring. Museet er ikke en autentisk bygningskontekst, mens kirken oppfyller ikke kravene til sikkerhet. Foto: © Falk Lademann (Creative Commons). me i Vest-Telemark, og er viktig for den lokal eit viktig samlingspunkt. For bygdefolket i Eidsborg identiteten. Retorikken i de omtalte søknade- og ellers i Vest-Telemark har Nikuls verdiar langt ne handler om å bringe gjenstanden hjem til utover det estetiske og kunsthistoriske (Kvifor bør Vest-Telemark. Dette argumentet var også det Nikuls få koma heim? Telemarksavisa 20. juni 2001). viktigste da museumsdirektør Rorgemoen tok opp saken i 2001. Rorgemoen vektlegger først Rorgemoen vektlegger også sikkerhet i søkna- og fremst at skulpturen hører hjemme i Eids- den. Han skriver at skulpturen eventuelt skal borg og formulerte seg slik i et leserinnlegg: få plass i museet og ikke i kirken – et nybygd museum med gode bevaringsforhold og et sted Det er i Eidsborg Nikuls høyrer heime og det er her der skulpturen vil bli formidlet i sin hjemli- segnene og historia om Nikuls er levande. Nikuls har ge kontekst. Han understreker at museet har opp gjennom hunderåra vore eit viktig symbol og kompetanse og tekniske forhold til god og sik- Nanna Løkka

Fig. 2. Dovre kirke ønsker å få tilbakeført en Mariafigur i tre fra middelalderen med det til hensikt å bruke henne liturgisk. Kirken er imidlertid fra 1700-tallet, og utgjør således ikke en autentisk bygningskontekst for figuren. Foto: © Erlend Bjørtvedt (Creative Commons).

ker forvaltning av den unike middelaldergjen- felles nasjonal ressurs. Ytterligere argumenter standen. I denne siste søknadsrunden brukte er sikkerhet og bevaringsforhold, og at skulp- universitetsmuseet flere argumenter mot tilba- turen står i den faste middelalderutstillingen. keføringen, men størst plass vies argumentet Til slutt understrekes det at skulpturen er til- om at skulpturen tas ut av sitt ”opprinnelige tenkt en sentral plass i det nye museet som skal miljø”, all den tid den skal stå inne på muse- stå ferdig på Sørenga i 2011. et og ikke i kirken. Med henvisning til utredningen fra 2000 konkluderer KHM (da kalt Madonna fra Dovre UKM, Universitetets kulturhistoriske museer): I 2011 henvendte Dovre kyrkjelege råd seg til ”Et musealt kirkeinteriør vil selvsagt aldri bli KHM for å undersøke muligheten for å få en autentisk. På Vest-Telemark museum vil Niko- madonnastatue fra middelalderen tilbakeført las-skulpturen fortsatt være en museumsgjen- til Dovre kirke. I brevet fra kirkevergen (da- stand og stå utenfor en liturgisk kontekst” (svar tert 11. mai 2011) oppgis det at treskulpturen på søknad datert 28. mai 2002.) Det vektlegges ble hentet fra Dovre domkirke i 1863, kirken også at KHM må balansere ønsker om utlån er datert til 1736. Den gamle stavkirken fra mot mandatet om å forvalte samlingen som en middelalderen skal ha blitt revet i 1740 (www. Tilbakeføring av museumsgjenstander

kunsthistorie.com), med andre ord var ma- 45 donnaen enten plassert i den nye kirken eller bortgjemt da den ble hentet midt på 1800-tallet. Dovre menighetsråd har religiøse grunner for å ønske madonnaen tilbakeført: De øn- sker å bruke henne liturgisk. Videre viser de til Hedalen kirke i Valdres som i dag har en middelaldermadonna stående i kirken. Heda- len kunne nemlig samme år feire sin madon- nas hjemkomst, etter 20 år i hovedstaden med konservering og forskning hos både Riksanti- kvaren, NIKU og KHM. Hun ble gjenplassert i Hedalen kirke i 2011. KHM avviser søknaden med to ulike begrunnelser og en oppklaring (brev datert 09. juni 2011). For det første viser de til at dagens kirke ikke vil være en autentisk kontekst for figuren. ”Maria med barnet høyrer til katolsk tradisjon, og har truleg vært plassert i den rivne Dovre stavkyrkje. Ut får ein kulturhistorisk vurdering er det ikkje rett å plassere originalen i dagens Dovre kyrkje”, står det i brevet. Dette er i tråd med utredningens syn på betydningen av en autentisk kontekst, som vi også kjenner igjen i den siste vurderingen om tilbakeføring av St. Nikuls-statu- Fig. 3. Madonnaen fra Hedalen, datert til 1160, ble en. Dernest sier museet at tilbakeføring ikke aldri en del av universitetsmuseenes samlinger på 1800-tallet. Denne er derfor plassert inne i stavkir- er vanlig praksis, derimot kan gjenstander ken, som i likhet med de øvrige stavkirkene i Norge lånes ut. I dette tilfellet er dette likevel ikke har vært gjennom et nasjonalt restaureringsprogram. aktuelt, siden kirken på Dovre ikke oppfyller Foto: © Riksantikvaren. kravene til klima og brann-/tyverisikring. Til argumentet om at Hedalen har sin middelal- krav herfra ble også fremmet i 2002). De tok dermadonna stående i kirken sies følgende: kontakt med KHM med det til hensikt å få ”Hedalsmadonnaen har aldri vært en del av tilbakeført en alterfrontale fra middelalderen Kulturhistorisk Museum sine samlingar, og er til ”sitt rett miljø”, i Tingelstad gamle kirke, difor ikkje relevant som grunnlag for saman- anslagsvis datert til 1220 (brev datert 23. juni likning i denne saken” (brev fra KHM datert 2008). Frontalet ble hentet ut av den gamle 9. juni 2011). kirken i 1869, da en ny kirke overtok som ho- vedkirke i sognet. Den gamle kirken brukes i Tingelstadfrontalen dag til sommergudstjenester, bryllup og inngår En tilsvarende sak ble fremmet i 2008 av Gran i den nasjonale pilegrimssatsningen Granavol- kirkelige fellesråd i samarbeid med Utviklings- len–Tingelstad. Kirken har renessanseinteriør, prosjektet for Granavollen (et tilbakeførings- men et krusifiks fra 1200-tallet henger i kir- Nanna Løkka

46 ken. I brevet understrekes det at kirken hver- ne stilles det tydelige krav til. De neste årene ken har kunstig lys eller oppvarming, og at den preges saken av mange utfordringer med geo- derfor har hatt et godt klima for krusifikset. logisk prøvetaking, materialvalg, valg av hånd- Grans viktigste argument for å ønske frontalet verker, hva som skal være modell for sokkelen, tilbakeført, er arbeidet med et regionalt pile- med mer. Først i 2009 har Tveit menighetsråd grimssenter og derunder opplegg i regi av Den oppfylt alle forutsetningene som KHM har kulturelle skolesekken. Menighetsrådet skri- satt, slik at saken kan behandles. Tveit får så ver: ”Vi tror at dersom en får alterfrontalen på tilbakeført døpefonten med begrunnelsen om plass, vil den ikke bare berike, men også befes- at den ”kan få sin funksjon tilbake ved en til- te identitetsfølelsen hos elevene som er 10–11 bakeføring/deponering i en kirkebygning fra år gamle da de går pilegrimsleden” (brev datert middelalderen” (brev fra KHM datert 3. mars 23. juni 2008). 2009). I invitasjonen til festgudstjenesten for Av de foregående saksgangene skulle vi tro døpefonten 11. november 2011 uttrykker re- at Gran hadde en bedre mulighet for tilbakefø- presentanten for menighetsrådet det slik: ”Det ring enn både Vest-Telemark museum og Dov- er nesten ikke til å tro, men etter 12 år med re, siden de kan tilby en autentisk kontekst for brev og møter, mas og stress og styr, får vi vir- frontalet, nemlig en middelalderkirke. KHM kelige kirkens gamle døpefont tilbake fra KHM mener imidlertid at frontalet er for sårbart. i Oslo. […] Tveits kulturperle er kommet hjem. ”Frontalet må oppbevares under kontrollerte Der skal vi fortsette å bære våre barn til dåpen klimatiske forhold og under tilsyn av spesial- i tråd med vår kulturarv, og som våre forfedre ekspertise som har kunnskap til å sikre fron- gjorde det gjennom mange hundre år” (invita- talet for fremtiden”, skriver KHM (brev datert sjon fra Tveit menighetsråd, arkivert i KHMs 25. august 2008). KHM har senere bistått Gran saksmappe). menighetsråd med å lage en kopi. Kjøleviksteinen Døpefonten fra Tveit Den såkalte Kjøleviksteinen, en stein med I 2000 tok Tveit menighetsråd i Vest-Agder og innskripsjon av eldre runer, er anmodet tilba- et lokalt historielag første gang kontakt med keført til Strand kommune i flere omganger, KHM med ønske om å få tilbakeført et røkelse- seneste henvendelse til KHM kom 13. desem- skar og en døpefont. Ønsket om tilbakeføring ber 2016, uten at det oppgis noen begrunnelse av røkelseskaret blir avvist. ”Dette kan jo aldri for ønsket eller føres noen argumenter i hen- få sin funksjon igjen […] og ville bli å betrakte vendelsen. I svarbrevet fra KHM skrives føl- som en museumsgjenstand som skal stilles ut gende: ”Kjøleviksteinen er et prakteksemplar, i sin opprinnelige kirke, men uten sammen- sannsynligvis en av de fem flotteste og viktig- heng med liturgien for øvrig” (brev fra KHM ste runesteinene vi har fra den tiden. Den er datert 18. januar 2001). For døpefontens del er viktig for norsk, skandinavisk og i det hele tatt derimot denne henvendelsen første ledd i en germansk kulturarv” (brev datert 13. februar årelang prosess. Tveit menighetsråd får nem- 2017). Hovedbegrunnelsen fra KHM er at så lig svaret ja vedrørende døpefonten, siden den mange som mulig bør få mulighet til å se stei- skal tilbakeføres til sin opprinnelige kontekst nen. Den har derfor vært plassert flere steder i og tas i bruk liturgisk, men det forutsettes at Oslo, der mange kan beskue den. Siden 1999 det lages en ny sokkel til døpefonten, og den- har den og to andre runesteiner vært utlånt Tilbakeføring av museumsgjenstander

Fig. 4. Kjøleviksteinen er i dag plassert på Universitetsbiblioteket på Blindern i Oslo. Den er ønsket tilbakeført til Strand i Ryfylke, men i denne saken er steinens nasjonale verdi for språkhistorien og hensynet til publikum satt over ønsket om å plassere steinen i en autentisk kontekst. En kopi av steinen står i dag på Strand. Foto: © Universitetet i Oslo ved Lars Lørdahl. til Universitetsbiblioteket og utgjort ”en impo- lagt vekt på at man på generelt grunnlag ikke nerende velkomst” der, i det som må betraktes kunne imøtekomme slike søknader, for da vil som en fast utstilling (svarbrev datert 13. febru- de store samlingene bli tappet. På 1960-tallet ar 2017). KHM låner ikke ut gjenstander som mente man at kirken ikke kunne tilby gode står i faste utstillinger. Strand kommunes ønske nok forhold for sikker bevaring, mens man på om lån på kort eller lang sikt blir derfor avvist. 2000-tallet først og fremst er opptatt av vis- ningskonteksten. Av de andre casene ser vi at ulike begrunnelser benyttes. Hva jeg kan se, Argumenter, verdier og ideologier har KHM ved én anledning etterkommet øn- Argumentene som Oldsaksamlingen/KHM sket om tilbakeføring siden 2008, nemlig dø- førte mot en tilbakeføring av St. Nikuls-skulp- pefonten fra Tveit. Av søknadssvarene ser vi at turen endret seg. I første omgang var man hensynet til sikkerhet og konserveringskom- særlig opptatt av at gjenstanden faktisk var til- petanse er det viktigste, men ikke alene. Når kommet museet på rettmessig vis. Det ble også det gjelder Kjøleviksteinen, er det for eksempel Nanna Løkka

48 hensynet til publikum som er det avgjørende. sjonene og på høgskolene/universitetene rundt En rekke forskjellige argumenter trekkes frem i landet – ikke bare i de største byene. Vedrø- i de sakene som jeg her har gjennomgått, og rende forskning og undervisning har den digi- argumentene vektes ulikt i de ulike sakene – tale tidsalder endret virkeligheten når det gjel- noe som i og for seg er naturlig med tanke på at der tilgang på og formidling av gjenstander. hver gjenstand er unik. Lokalsamfunnene har At forskningsmiljøene nødvendigvis har lett også ulike grunner for å ønske kulturminnet tilgang på gjenstander i universitetsmuseenes tilbakeført. Både lokal identitetskonstruksjon, magasiner, kan også diskuteres. Gjenstander attraksjonskraft, rituell bruk og geografisk og kan være klausulert, avdelinger kan være un- kulturell tilhørighet brukes som argument for der ombygging, og også langsom saksbehand- tilbakeføring. Norsk museumsutvalgs utred- ling kan gjøre at forskerens reelle tilgang til ning fra år 2000 er et viktig bakgrunnsdoku- materialet kan være begrenset. ment når universitetsmuseene skal vurdere I utredningen om utlån og avhending sies spørsmål om tilbakeføring, men dette er ikke det at materialets forskningsmessige sammen- presise retningslinjer som fungerer som sty- heng skal tillegges stor verdi. rende dokument. For hvem skal avgjøre hva som er ”materialets forskningsmessige sam- Av hensyn til forskning og for å kunne gi en menheng”, ”i aktiv bruk”, ”autentisk kontekst” formidling med linjer i tid og rom, er det ønskelig å ha og liknende? Per i dag er dette universitetsmu- noen samlinger som synliggjør regionale, nasjonale seene. Av søknadssvarene ser vi at det er impli- og/eller internasjonale sammenhenger. Dette sitt at KHM plasserer seg selv i en særegen po- hensynet må veie tyngre enn en lokalbefolknings sisjon med tanke på sikkerhet og kompetanse. ønske om å oppbevare materialet på dets funn- eller Det er underforstått at KHM også har de beste opprinnelsessted (Utlån og avhending av materiale forutsetningene for å tilrettelegge for forskning fra museenes samlinger 2000:24). og drive god formidling. Men er kvalitetshie- rarkiet så enkelt? En smertefull påminner om Slik jeg ser det, setter man her opp mot hver- at sikkerhet heller ikke alltid den beste ved uni- andre to hensyn som ikke trenger å være versitetsmuseene fikk vi høsten 2017 da rundt motstridende. Drives det ikke forskning i re- 400 gjenstander ble stjålet fra Universitetsmu- gionene? Kan man ikke drive formidling med seet i Bergen. internasjonale dimensjoner eller lange linjer I en tidligere undersøkelse fremheves sær- regionalt/lokalt? lig to argumenter som føres mot tilbakeføring En viktig verdi i tilbakeføringssakene er fra universitetsmuseenes side. For det første at knyttet til spørsmålet om autentisk kontekst. kompetansen er for lav i regionene, og at sam- I forhandlingen mellom sentrale og lokale in- lingene bør bevares for både forskningen og stitusjoner om tilbakeføring møter vi autentisi- undervisningens del (Wankel 2008:33ff.). Beg- tetsbegrepet i to sammenhenger. For det første ge disse argumentene er svakere i dag enn for i vurderingen av om den bestemte gjenstanden bare ti år siden. Som vi skal komme tilbake til, i realiteten vil bli tilbakeført til et autentisk kan de regionale museumsmiljøene være langt miljø – som vi har sett har dette vært tungtvei- mer profesjonelle i dag enn de var for bare ti år ende argumenter under de siste årenes saksbe- siden. Dessuten finnes det bred faglig kompe- handling. Dette argumentet ble for eksempel tanse i de fylkeskommunale kulturminnesek- brukt der KHM skriver i sitt svar på søknaden Tilbakeføring av museumsgjenstander

om tilbakeføring av St. Nikuls: ”Et musealt kir- 49 keinteriør vil selvsagt aldri bli autentisk”. Mu- seumsdirektør Rorgermoen skriver derimot at de nettopp kan tilby riktig kulturell og materi- ell kontekst. Han benytter ikke begrepet autentisk, men betydningen er den samme. Her ser vi med andre ord at KHM og Vest-Telemark museum ikke er helt enige om hva som er rett og autentisk kontekst. Uenigheten må sies å ligge i om det er nok å tilbakeføre gjenstanden til stedet (landskapet, folket og kulturen), eller om den må inn i kirkebygget. Dette kan sies å handle om det etnologen Ragnar Pedersen Fig. 5. Brudebenk fra Heddal stavkirke. Denne (2000:33) kaller grad av opphavsautentisitet. brudebenken er en del av Oscar II:s samling som Norsk folkemuseum i dag eier. Heddal stavkirke Pedersen relaterer en slik gradering til restau- ønsker kirkebenken tilbakeført, slik at den kan stå reringen av selve kulturminnet, men jeg mener sammen med bispestolen som har vært i kirkens eie det også kan knyttes til kulturminnets kon- hele tiden. Bispestolen står i dag i formidlingsbygget tekst. For hva er autentisk kontekst? Hvem har tilhørende stavkirken, mens brudebenken står på definisjonsmakt over den? Dessuten er jo au- Norsk folkemuseum. Brudebenken var midlertidig utlånt til Heddal stavkirke sommeren 2017. Nå har tentisitetsargumentet og samlingsargumentet lokalsamfunnet samlet inn nok penger til å få laget motstridene. Universitetsmuseene er etablert en kopi. Foto: © Norsk folkemuseum. med utgangspunkt i nasjonale samlinger, der gjenstander av lik karakter skal samles. Dette er så langt fra argumentet om kontekstautenti- te kulturminnet i dens opprinnelige kontekst. sitet som man kan komme. Men en replika er en replika – det betones gjer- I noen tilfeller lages en kopi av den bestemte ne at denne mangler den aura og mystikk som gjenstanden, en kopi som skal fylle tomrom- den originale gjenstanden har i kraft av å være met som fraværet av originalen skaper. Oftest nettopp original, gammel og med en biogra- er det lokalsamfunnet som får laget en kopi, fi som går tilbake til fortiden selv (Benjamin men det finnes også eksempler på det mot- 1991:37). I tillegg kan den bestemte gjenstan- satte – for eksempel Madonnaen fra Hedalen den være tilskrevet lokal tradisjon og historie som det vises til i tilbakeføringssøknaden fra som av en fagperson ville kategoriseres som Dovre. I dette tilfellet ble originalen erstattet myte, men som like fullt kan være med å un- med en kopi i utstillingen på KHM, originalen derbygge forståelsen om gjenstandens steds- fikk ”reise hjem” til Hedalen stavkirke i Valdres tilhørighet (Pedersen 2000:26), slik tilfellet er (altså fordi den aldri ble levert inn til KHM og med statuen av St. Nikuls. Autoriteten og au- derfor hele tiden har vært i kirkens eie). Til raen ligger med andre ord i gjenstanden og tross for at det er en kopi av Nikulsstatuen inne dens autentisitet, ikke i den bestemte estetik- i den gamle stavkirken, ønsker museet å få til- ken. Det er alderen, opprinnelsen, bruken som bakeført originalen. En kopi kan langt på veg gir gjenstanden dens primære verdi, ikke ut- bli ”helt lik” originalen og således sies å kunne trykksformen. Og det er denne essensen som tilfredsstille ønsket om å formidle det bestem- de fleste lokalsamfunn ønsker å bruke til reli- Nanna Løkka

50 giøse, identitetsskapende eller attraksjonsska- mener at de har blitt fratatt/frarøvet noe som pende formål. rettmessig tilhører dem. Implisitt finnes det I publikasjonen Lokalt kulturliv i endring dermed et maktforhold med en større og en peker forskerne på at gamle kulturarenaer, for mindre part, og forvaltningspraksisen avslører eksempel kirkene og museene, har fått en ny en diskurs der periferien på mange måter mar- oppblomstring i dagens lokale kulturliv (Aage- ginaliseres og gjøres mindre kompetent enn dal 2009:228–229). Dette er gamle institusjo- den kanskje i realiteten er. ner som har fått nye funksjoner og oppgaver, og dette kan være med på å forklare hvorfor Kulturarvspolitikk – fra nasjonal lokalsamfunn ønsker kulturminner tilbake- opplysning til regional/lokal ført – noe som også skjer i økende grad, iføl- meningsskaping og underholdning ge informanten på KHM. Kirkene har gjort seg gjeldene som en viktig og mangfoldig De ulike forvaltningsinstitusjonene for kul- kulturarena – både konserter, festivaler, pile- turminner er fordelt på tre ulike departement: grimsvandringer, spel, markering av merkeda- Klima- og miljødepartementet, Kulturdeparte- ger og messer arrangeres av, eller i samarbeid mentet og Kunnskapsdepartementet. Kultur- med lokale kirker over det ganske land. En rek- minnepolitikken har mye tilfelles med og hø- ke av disse aktivitetene kan forstås som fortids- rer på mange måter sammen med kulturpoli- nostalgi snarere enn religion i smal forstand. tikken. Blant annet preges begge disse politiske Fortidens liv og levned, slik som katolske ritu- områdene i dag av stort fokus på demokratise- aler eller lokale historier, har en sentral plass i ring. Når det gjelder kulturminner, handler det mange av dagens kirker. Når kirkene nå ønsker om at folk skal få større mulighet til å definere å hente tilbake gjenstander som i tidligere tider og bruke sin lokale kulturarv. Men som vi har hørte til menigheten, kan dette forstås som et sett, det politiske målet om demokratisering ledd i den samme fortidsnostalgien som ikke og bruk av lokal kulturarv, har i liten grad en- bare leverer opphavsmyter, men også ritualer dret forvaltningspraksis når det gjelder før-re- som spiller på de lange linjene og en lokal for- formatoriske gjenstander. Kanskje kulturmin- ankring i fortiden. nepolitikken på dette punkt blir såpass uklar Anne Eriksen skriver: ”De store etnogra- og sprikende fordi den er underlagt tre depar- fiske samlingene i vestlige museer er nærmest tementer, der særlig Kunnskapsdepartementet blitt selve symbolet på den undertrykkende framstår som lite koordinert med de to andre kunnskapspraksisen som postkolonial teori når det gjelder forventninger til lokal kultur(- retter sitt kritiske søkelys mot” (2009:175). Selv minner) og næring. om det nok ikke kan settes likhetstegn mellom Et viktig argument mot tilbakeføring, og denne kunnskapspraksisen og den som er å dette er helt sentralt, handler om å beholde de finne i forholdet mellom region og nasjon på sentrale samlingene slik gjeldende konvensjo- lokale aktører versus sentrale museer, er det, ner og dagens lovverk og forvaltningsstruktur slik jeg ser det, klare likhetstrekk i den patos forutsetter. Hensynet til samlingene kommer som uttrykkes for den bestemte gjenstandens eksplisitt og implisitt til syne i saksbehandlin- tilhørighet til det bestemte stedet/folkegruppe/ gen, og det er særlig på dette punkt at jeg synes lokalsamfunnet. Det er en tydelig parallellitet i det er relevant å se til den overordnede kultur- den forstand at en bestemt gruppe mennesker minnepolitikken. Vi kan på mange måter si Tilbakeføring av museumsgjenstander

at det har skjedd en regionalisering innenfor i tidligere tiders definisjoner og forventninger. 51 norsk kulturminnepolitikk og -forvaltning. På den måten befinner museene seg både i for- Det er langt større fokus på region enn nasjon i tiden og fremtiden. Museumsforskeren Gjer- dagens forvaltningsretorikk, skrev Anne Erik- trud Sæter skriver: sen allerede i 2001, og denne har blitt ytterligere forsterket gjennom de siste 15 års stortings- Selv om det fortsatt må være museets viktigste opp- meldinger og i praksis gjennom for eksempel gave å samle inn, bevare og tolke gjenstander og kul- museumsreformen og verdiskapingsprogram- turuttrykk, vil det bli stadig viktigere å stille ut gjen- met for kultur- og naturarv. Dette mener jeg stander og på andre måter gjøre dem tilgjengelige for kan sees i sammenheng med den generelle ten- å inspirere publikum til å hente kunnskaper og opp- densen mot en ”kulturalisering” av samfunnet levelser. Slik vil publikum bli motivert til å støtte mu- (Aagedal 2009:12) der hvert lokalsamfunn skal seet. Uten støtte vil ikke fremtidens museum kunne dyrke frem sin unike egenart og profilere seg overleve. Derfor trenger museene et utvidet innhold, på det. Å demokratisere kulturminneforvalt- et bredere tilbud og et større publikum (2004:23). ningen og overlate definisjonen av kulturarven til ufaglærte har imidlertid også en rekke ut- For å skape næring og vekst, må man ha et fordringer, for eksempel ved at lokalpatriotisk salgbart, unikt produkt. Når det gjelder kultur- myteskaping kan få stort handlingsrom (Løkka minner, handler det ofte om alder. 2014). I dagens kulturminnepolitikk er det for- Sammenfatning ventninger til inntjening og næringsvirksom- het rundt kulturminner i regionene. Det er Med forbehold om at denne undersøkelsen tar økte forventninger til at regionene skal bruke utgangspunkt i caser fra KHM, mener jeg li- kulturminner og historie til å profilere seg. kevel det er grunnlag for å si at forholdet mel- Kulturarv og kulturminner blir brukt i stadig lom lokale og sentrale aktører i denne delen av flere lokale og regionale utviklingsproses- kulturminneforvaltningen preges av en asym- ser med forventninger om verdiskaping av metrisk maktrelasjon der lokalsamfunnene i både økonomisk og annen art. Dette henger utgangspunktet regnes som dårligere egnet til igjen sammen med en oppfatning om at kul- å ivareta kulturminnene enn de sentrale insti- turminner både kan genere kulturturisme og tusjonene. Diskursen preges av at de som sitter skape identitet og mening for de som bor der på toppen av makthierarkiet mener hensynet (Minnhagen-Alvsten 2000:55). I forskningslit- til kulturminnene blir best ivaretatt av dem teraturen har man lenge skrevet om heritage selv. Dette er et premiss som kan diskuteres all industry (Hewison 1987), et begrep som viser den tid både faglige og bygningsmessige for- til hvordan museene og annen kulturminne- hold har forbedret seg radikalt mange steder i formidling i stadig større grad går fra å være distriktene. opplysning til underholdning (Sæter 2004:15f, I formålsparagrafen til ICOM, det interna- Skot-Hansen 2008). En rekke forskere har vært sjonale museumsforbundet, sies det at mu- opptatt av at museene på denne bakgrunn nå seene skal tjene samfunnet og dets utvikling, befinner seg i en slags oppløsningens tidsal- men hva som tjener samfunnet og dets utvik- der, og at museenes rolle blir utfordret fra flere ling vil det selvsagt være mange meninger om hold. Samtidig står museene på samme tid fast og det vil heller aldri være statisk. Det er ikke Nanna Løkka

52 så lenge siden kulturminner først og fremst ble skape lokalt særpreg, aktiviteter, opplevelser betraktet som brysomme og kostnadskreven- og kulturarvsnæring. Dette er sterke politiske de elementer som forhindret utbygging, land- visjoner som ikke helt passer sammen med bruk og annen næring. I mange sammenhen- den sentraliserte forvaltningsmodellen av før- ger kan vi fremdeles støte på slike holdninger, reformatoriske, løse kulturminner som ble eta- men i dag betraktes kulturminner i langt større blert for om lag 100 år siden. grad som en ressurs man ønsker kontroll over I flere av de sakene som KHM har behand- – både lokalt og sentralt. De lokale kravene let, er det som vi har sett, kirker som ønsker kommer primært fra to hold: lokale museum/ interiør tilbakeført. Samtidig avslører saksbe- andre faglige formidlingsarenaer og lokale me- handlingen en form for Catch 22 når det gjel- nigheter. Dette kan henge sammen med flere der kirkeinteriør. For å tilfredsstille kravet om ting, men jeg vil på bakgrunn av den foregåen- kontekstautentisitet må gjenstanden plasseres i de analysen trekke fram tre årsaker til dette: for kirken, men disse har ikke god nok sikkerhet. det første økt fokus på å styrke lokal/regional Det er imidlertid lagt betydelige ressurser inn identitet, for det andre forventninger til lokal/ i å sikre middelalderkirkene i de siste årene, regional kulturarvsnæring og stedsutvikling blant annet gjennom klimaregulering. Dette og for det tredje økt kompetanse i distriktene. gjelder imidlertid ikke alle middelalderkirke- Det siste først, i dag finnes det faglig kom- ne, men jeg vil tro at det finnes stor lokal vilje petanse spredt over hele landet – i større grad til å finansiere sikring av kulturminner som enn for bare 20 år siden, for ikke å snakke om oppleves som lokale. Når lokalsamfunn mobi- for 100 år siden. Både arkeologer, kunsthisto- liserer ressurser til å få laget kopier, vil de tro- rikere, konservatorer og museumspedagoger lig også klare å skaffe midler til tilfredsstillende finnes lokalt og regionalt over hele landet. Det bevaringsforhold. Mange lokale/regionale mu- gjelder innenfor museer, høgskoler/universitet seer vil også kunne tilby dette. og fylkeskommuner m.m. Vi later dessuten Mot denne bakgrunn kan kanskje univer- til å leve i en tid der fortidsnostalgien setter sitetsmuseene (og andre nasjonale samlin- sitt preg på både religion og kultur. Spel, pile- ger) utfordres til å i enda større grad låne ut grimsvandringer, festivaler, kirkekonserter, ny gjenstander til lokale museer og kirker. Lokale bruk av gamle kirker m.m., viser at fortiden aktører har kanskje allerede oppdaterte, sikre er viktig, og at den inngår i stadig flere lokale museum, kirker kan utbedres og regional kom- kontekster. Når lokale kirker ønsker tilbake- petanse kan brukes. Eller er tiden også moden ført gamle gjenstander, kan det forståes som for en revidering av hele sektorstrukturen og kirkens behov til å gjøre kirkerommet mekti- eierskapsmodellen for samlingene? Nå som gere, skape lange historiske linjer og gi følelse det er investert så mye i for eksempel å restau- av tradisjon og tilhørighet. Det foregår med rere stavkirkene, kunne det i forlengelsen av andre ord mye meningssøken, identitetsska- det såkalte stavkirkeprogrammet tenkes at det ping og opplevelse gjennom kulturarv, både ble finansiert et ”interiørprogram” som mulig- innenfor og utenfor kirken. Reiselivet spiller gjorde at stavkirkene også fikk romme det infor eksempel på mange av de samme meka- teriør som måtte finnes? I den forbindelse må nismene – opplevelser gjennom stedsbestemte ikke den lokale giverviljen undervurderes. særtrekk. Det er en villet politikk at regioner Det er trolig bred enighet om at de største og lokalsamfunn skal ta fortiden i bruk for å byene skal formidle nasjonens historie med ut- Tilbakeføring av museumsgjenstander

gangspunkt i funn og gjenstander som nødven- Kilder 53 digvis må være funnet lokalt. Men har kanskje tiden kommet for en diskusjon om at eierska- Arkivsak fra Vest-Telemark museum – Saksmappe: pet til og makten over gjenstandene også skal St.Nikuls være sentralisert? Med ny universitetsstruktur Arkivsaker fra KHM – alle saker om tilbakeføring og nye regionale administrasjonsenheter på arkivert 2008–2016. Sakene ble oversendt pr. trappene kan vi tenke oss en ny forvaltnings- e-post. modell med regionale eller lokale samlinger Etiske retningslinjer for norske universitetsmuseer. som i sin tur forplikter å bidra inn mot de Vedtatt 2000. sentrale visningssteder. Man kan for eksempel Intervju med Dag Rorgemoen, museumsdirektør på tenke seg et mer regionalisert museumsland- Vest-Telemark museum 19. juni 2015 skap knyttet til den nye universitetsstrukturen Intervju med Marianne Vedeler, arkeologisk seksjon, eller den nye regioninndelingen, der de sentra- Kulturhistorisk museum, Oslo 16. januar 2016 le museene låner gjenstander fra et regionalt Utlån og avhending av materiale frå museenes forvaltningsapparat for å fortelle nasjonale his- samlinger. Norsk museumsutvikling. Rapport nr. torier. Mange av argumentene som ble ført for 5. 2000. en sentralisert forvaltningsstruktur for 100 år http://www.khm.uio.no/om/tjenester/utlan/ siden, er i dag svekket. Digitale samlingsporta- retningslinjer/ Lest 31. januar 2016. ler, profesjonelle regionale/lokale aktører, en- http://www.ntnu.no/museum/retningslinjer kle transportforbindelser og nye forventninger Lest 31. januar 2016. til regional/lokal kulturarvsnæring har endret http://www.kulturradet.no/documents/10157/ betingelsene radikalt. De nasjonale samlingene e67158d1-16ca-4421-98c0-b5f0d79da402 trenger på mange måter et nytt legitimerings- Lest 26. oktober 2017. grunnlag, og dette gjør at nåværende forvaltningsstruktur bør diskuteres. Litteratur

Noter Anderson, Benedict 1983. Imagined Communities. Reflections on the Origin and Spread of 1. Det forekommer også tilbakeføringskrav mellom Nationalism. London & New York: Verso. de ulike universitetsmuseene. Særlig har dette Aagedal, Olaf, Helene Egeland & Mariann Villa vært fremmet fra Stavanger, siden en rekke 2009. Lokalt kulturliv i endring. Bergen: gjenstander fra Rogaland befinner seg ved Fagbokforlaget. Bergen museum og KHM (Wankel 2008:17–18). Benjamin, Walter 1991/1936. Kunstverket i 2. I denne sammenheng refererer jeg til de reproduksjonsalderen. Oslo: Gyldendal. fem statlige universitetsmuseene med Beurden, Jos van 2017. Treasures in Trusted Hands. arkeologisk forvaltningsansvar. Naturhistorisk Negotiating the Future of Colonial Cultural museum er utelatt. For en redegjørelse over Objects. Leiden: Sidestone Press. universitetsmuseenes historikk, se NOU 2006 Bring, Ove 2015. Parthenonsyndromet – kampen om Kunnskap for felleskapet, vedlegg 4. kulturskatterna. Stockholm: Atlantis. 3. Sakset fra juryens pressemelding som finnes på Cuno James 2010. Who Owns Antiquity? Museums http://www.museumsnytt.no and the Battle over Our Ancient Heritage. Princeton: Princeton University Press. Nanna Løkka

54 Eriksen, Anne 2001. ”Tordenskjold heimatt til Noreg! Shetelig, Haakon 1944. Norske museers historie. Oslo: Om tilbakeføring av kulturarv.” Norveg 44:1–2, J.W.Cappelens forlag. 51–72. Skot-Hansen, Dorte 2008. Museerne i den danske Eriksen, Anne 2009. Museum. En kulturhistorie. Oslo: oplevelsesøknonomi. Når oplysning bliver til en Pax forlag A/S. oplevelse. Fredriksberg: Imagine. Eriksen, Thomas Hylland 1995. Kampen om fortiden. St. Meld. nr. 22 (1999–2000) Kjelder til kunnskap og Et essay om myter, identitet og politikk. Oslo: oppleving. Kulturdepartementet. Aschehoug. St. Meld. nr. 15 (2007–2008) Tingenes tale – Eriksen, Thomas Hylland 2004. Røtter og føtter. Universitetsmuseene. Kunnskapsdepartementet. Identitet i en omskiftelig tid. Oslo: Aschehoug. Sæter, Gjertrud 2004. ”Museene mellom konservering Fitz Gibbon, Kate (red.) 2005. Who Owns the Past? og konsum. Nye tider og nye utfordringer for Cultural Policy, Cultural Property, and the Law. museenes verdigrunnlag og målsetting.” Nordisk New Brunswick, New Jersey & London: Rutgers Museologi 1, 11–28. University Press. Sørhaug, Hans Chr. 1993. ”Det moderne og det Greenfield, Jeanette 2007/1989. The Return of Cultural autentiske. Antropologiske spekulasjoner om Treasures. Cambridge: Cambridge University forhold mellom personer og ting i museer og Press. andre steder.” Norsk antropologisk tidsskrift 2, Jörgensen, Mikael Hammelev 2017. Förhandlingar om 75–86. kulturföremål. Parters intressen och argumentation Vedeler, Marianne 2009. ”Gabriel Gustavson. Oseberg i processer om återförande av kulturföremål. og oldsakenes vern.” Viking – Norsk Arkeologisk Göteborg: Göteborgs universitet. Selskap, 7–16. Hewison, Robert 1987. The Heritage Industry. Britain Wankel, Ida 2008. Kulturarvkonflikter. En kvalitativ in a Climate of Decline. London: Methuen. analyse av tilbakeføringsspørsmål. Masteroppgave Løkka, Nanna 2014. ”Demokratisk dialog i i arkeologi. Oslo: Universitetet i Oslo. kulturminneforvaltningen. Et slag om fortiden.” Wilson, David 1985. ”Return and restitution. A Nordisk kulturpolitisk tidsskrift 2, 235–252. museum perspective.” I Isabel McBryde (red.) Minnhagen-Alvsten, Monika 2002. ”Reflexioner Who Owns the Past? Papers from the Annual kring återförande av kulturarv till dess Symposium of the Australian Academy of the ursprungsplats.” Nordisk Museologi 2, 49–57. Humanities. Oxford: Oxford University Press, Morten, Øystein 2008. Stavkyrkja i Eidsborg – ein 99–106. biografi. Oslo: Spartacus forlag. Østby, Jon Birger 2002. ”Utlån og avhending av Myklebust, Dag 1999. ”Utviklingen av materiale fra norske museumssamlinger.” Nordisk kulturminnevernet gjennom 1900-tallet – Museologi 2, 42–48. noen hovedtrekk og noen fremtidsvyer.” Fortidsminneforeningens årbok 153, 9–34. NOU 2006:8 Kunnskap for fellesskapet – Nanna Løkka, ph.d., seniorforsker universitetsmuseenes utfordringer. Utdannings- og [email protected] forskningsdepartementet. http://www.telemarksforsking.no/ Omland, Atle 2005. ”Norge–Sverige, Tur & retur. Exit medarbeidere/detalj.asp?id=102&merket=6 USA.” Nicolay 96, 4–17. Pedersen, Ragnar 2000. ”Autentisitet og Postboks 4 kulturminnevern.” Dugnad 26:1–2, 21–47. NO-3833 Bø i Telemark, Norge Nordisk Museologi 2017 • 2, s. 55–69

Digitalisering av kulturarv – gör alla på samma sätt och av samma skäl?

Bengt Wittgren

Title: Heritage digitization – are there common practices and common reasons?

Abstract: The article will examine the digitization of heritage and use of digital heritage within the civil society in Sweden. Three parties: Swedish local heritage communities, Swedish handicraft societies and the Sami community will be in focus. Are there intersections and gaps in linked, shared and networked cultural heritage between these parties and the public museums? Who have the preferential rights of interpretation? What are selected for digitization and why?

Keywords: Digital heritage, digitization, civil society, digitalt kulturarv, digitalisering, hembygd, slöjd.

Museer och föreningar i Sverige som äger och söks följande frågeställningar: När till exempel förvaltar natur- och kulturhistoriska samlingar hembygdsföreningar digitaliserar, arbetar de digitaliserar. Flera museer inledde digitalise- då med samma målsättningar som de offent- ringen av sina kataloger på 1960-talet. Avsik- liga museerna och ger det ungefär samma re- ten var att göra sökningar i katalogerna snabb- sultat? Hur skapar föreningarna meningsfulla are och enklare. Med åren har museernas ka- och nätverkande digitala förflutenheter? Om taloger förvandlats från interna informations- och på vilka sätt länkar de till myndigheternas system till publika register över samlingarna. portaler och digitala arkiv? Vilka förväntning- Tidigare undersökningar har visat att dessa ar har föreningarna på institutionerna? publika kataloger kan vara svåranvända för Det har sedan 1990-talet funnits ett kul- många utanför museisektorn (Wittgren 2013 turpolitiskt tryck på att digitalisera museer- passim, Fernstål, Kolker & Svanberg 2015:10, nas samlingar – det som ibland benämnts ett SOU 2015:89:101, 131). digitalt kulturarv. I kulturpolitiken framhålls I denna artikel ska relationer mellan offi- digitaliseringens demokratiska värden, i form ciella och inofficiella kulturarvsinstitutioners av obegränsad tillgänglighet till kulturarvet digitala praktiker undersökas. För att identi- för alla. Museisamlingar bevaras och vårdas fiera såväl skärningspunkter som glapp under- för att autenticiteten hos föremålen är viktig Bengt Wittgren

56 och ger betraktaren en upplevelse bortom det Digitalisering har hittills huvudsakligen hand- språkliga och intellektuella. För ett par årtion- lat om infrastruktur, det vill säga att byta inden sedan kunde museiföremål bara beskådas formationsbärare, inte att digitalisera tjänster i i utställningar, och följaktligen fick allmänhet- någon större grad. Förvisso har många museer en hålla till godo med de urval som museernas någon sorts frågelåda på sin webbplats, men personal gjort baserade på tematik eller fråge- de stora satsningarna finansiellt och personellt ställningar. Digitaliseringen öppnar för att de sett har skett genom mediebyten, framför allt praktiska hinder som finns i föremålens plats- vad gäller katalogerna. Svårigheterna är däre- bundenhet kan brytas, men är den gränslösa mot större när det gäller att presentera själva tillgängligheten en lika viktig aspekt för alla? museiföremålen i digital form. Föremål ska Är detta en lika angelägen frågeställning för helst kunna upplevas med fler sinnen än blott lokala hembygdsföreningar som för offentliga betraktande – även om det är ytterst få museer museer? som tillåter detta när det kommer till kritan. Idag går det att söka bilder av föremål på Rumslig och historisk kontext kan kodas och internet, i museernas digitala system, på olika lagras i databaser, men kontext i form av sinnes- webbplatser eller i sociala medier. Sökningar i upplevelser är svårare att föra in i databasens museisystemen sker med hjälp av antikvarier- form (Fernstål, Kolker & Svanberg 2015:11). nas textdata; i andra digitala medier söker man Vi saknar emellertid kunskap om hur och både visuellt och med hjälp av sökord. Huvud- varför digitaliseringen genomförs i andra sam- delen av museernas publika digitala samlingar lande miljöer än de officiella museerna. Vilka har söksystem som speglar de vetenskapliga motiv finns där för att digitalisera? Vad digita- epoker som passerat i institutionerna (Witt- liseras? Vilka tekniska system används? Syftet gren 2013:110, 206). Att söksystemen i form av med denna artikel är att undersöka och be- sökord eller klassifikationer har kopplingar till skriva tre sammanhang som representerar den kulturvetenskapliga discipliner är förmodligen inofficiella museisektorn: hembygdsrörelsen, väntat för de flesta inom museisektorn. Men hemslöjdsrörelsen och Gaaltije – Sydsamiskt att även huvuddelen av de övriga data som re- kulturcentrum för att se deras kopplingar till gistrerats i kataloger och databaser i grunden de officiella kulturarvsdatabaserna och in- har samma tydliga koppling till forskningsper- stitutionerna. Samspelet eller avsaknaden av spektiv och museipraktik uppmärksammas samspel är en fråga som är en av studiens röda sällan. Det saknas alltså en diskussion om de trådar för att belysa hur kulturarvsinstitutioner metafrågor som berör museernas digitala data. och folkrörelser arbetar. Lokala, regionala och centrala museer har i de flesta fall koncentrerat sitt arbete på att digi- Teoretiska utgångspunkter talisera föremål och fotosamlingar. Under senare år har även arkivmaterial och fysiska kul- Artikelns första teoretiska utgångspunkt är att turmiljöer blivit tillgängliga i form av digitala betrakta museifältet som delat i officiella och presentationer. De senare i synnerhet som det inofficiella museer. De tre sammanhang jag varit möjligt att använda digitala kartor för att valt kan betecknas som delar av den inofficiel- markera och samla olika objekttyper med ge- la museisektorn. Ett resonemang om hur olika mensam geografisk härkomst (Fernstål, Kolker samfund och gemenskaper agerar och inter- & Svanberg 2015:10f., SOU 2015:89, MU3). agerar med den officiella museisektorn förs av Digitalisering av kulturarv

museologen Elizabeth Crooke där hon säger förflutna. Detta görs på grund av mål av soci- 57 att det finns två museistrukturer som verkar al, ekonomisk eller politisk karaktär (Crooke och samverkar i samhället (Crooke 2007:8). 2007:9). Crooke beskriver den inofficiella museisektorn Crooke betonar att det finns tydliga rörelser som intressestyrd, oberoende, passionerad, re- mellan de två sektorerna, en är närmanden på flekterar egna erfarenheter och prioriteringar, olika sätt. Officiella museer kan få i uppdrag den får sitt stöd och sin styrning inifrån och att närma sig en viss grupp av medborgare och vänder sig ofta till den egna intressegruppen. därmed bli en sorts community museums. De Den officiella museisektorn – det vill säga det stödjer då initiativ i gruppen – på viss distans för som vanligen betecknas som nationella, re- att bibehålla den oberoende drivkraften. På lik- gionala och lokala museer – har sitt uppdrag nande sätt kan inofficiella museer närma sig de och sin finansiering från en politisk församling officiella genom att professionalisera verksam- eller ett politiskt organ; prioriteringar styrs av heten med till exempel policies och standarder den kulturpolitiska dagordningen och muse- från kulturarvssektorn. De kan också närma erna följer etablerade museistandarder i sin sig den officiella sektorn rent organisatoriskt praktik. De officiella museerna har vanligen och i sättet att arbeta, till exempel genom att en bred målgrupp vilket gör att de ska spegla ta emot anslag och uppdrag, och genom att an- samhället och det förflutna ur olika synvinklar, sluta sig till olika standarder (Crooke 2007:9). något som den inofficiella sektorn inte behöver I blandformerna kan det uppstå dilemman eller ens alltid är intresserad av. De officiella enligt Crooke, museiverksamheten kan till museerna beskrivs vanligen ha forskare och exempel politiseras av utomstående aktörer andra sakkunniga som styr hur frågor behand- vilket kan påverka trovärdigheten både gent- las och presenteras, det finns således även ett emot de övriga ideella krafter och mot myn- inflytande från den officiella museisektorns digheterna (Crooke 2007:10). standarder och rekommenderade arbetssätt Crooke undersöker museistrukturen i fram- (Crooke 2007:8f.). för allt Storbritannien, Nordirland och USA. Resonemanget kan tyckas enkelspårigt om Crookes beskrivning karaktäriseras av att de den officiella museisektorn framställs som officiella respektive inofficiella museerna står styrd av politik medan den inofficiella mu- långt från varandra intressemässigt och i sin seisektorn gör som den vill och driver egna praxis. Kan avståndet mellan de två grupperna frågor. Den inofficiella museisektorn tillskrivs uppfattas som lika stort i Sverige? Är de inoffi- föga intresse av att följa nationella eller inter- ciella museerna i Sverige på liknande sätt skil- nationella normer och regler (exempelvis da- da från de officiella när det gäller intresse och tastandarder) – något den officiella museisek- arbetssätt? torn sägs värna. Crooke anger att ifall en grupp För vissa är kulturarv alltid en politisk term, i samhället, a community group, intresserar sig hävdar Crooke. Kulturarv ses som en kon- för kulturarvsfrågor, är det ofta med utgångs- struktion som reflekterar sociala och kultu- punkt från ett intresse och ett behov i grup- rella behov hos de människor som använder pen. Intresset kan uttryckas genom insamling och definierar det. I den meningen är muse- av berättelser, att bygga utställningar, digitala er produkter av sin kontext, den tid och plats presentationer och skapa lokala historiegrup- där de är tillskrivna vissa syften och betydel- per som arbetar med dokumentation av det ser (Crooke 2007:2). Kulturarv är politik, ar- Bengt Wittgren

58 gumenterar även andra forskare (t.ex. Hylland kommer att användas för att förtydliga hur 2014:269). Med detta avses att diskussioner om livsmiljöns innehåll kan få nya betydelser med och värderingar av kulturarv i huvudsak förs nya kunskaper hos betraktarna, när den be- i kulturpolitiska sammanhang och lyfts fram traktas med ”nya glasögon”. Digitala museer, i av kulturarvssektorn, det vill säga de officiella betydelsen digitaliserat kulturarv (digitalisera- museerna som har samhällets uppdrag att välja de föremål, arkivhandlingar och platser), är på ut och presentera varför en företeelse eller ett samma sätt potentiella mötesplatser eller öar objekt är en del av ett kulturarv, enligt etnolo- för den sorts upplevelser som Hudson hävdar gen Owe Ronström (2001:67). Ronström stäl- att det stora museet åstadkommer. Detta kan ler också den intressanta följdfrågan: Vad är ske om den som utformar det digitala museet inte kulturarv? (2001:87) Detta är relevant att gör det med ett tilltal som attraherar betrak- fråga sig i ett sammanhang då den informella taren. museisektorn ingår i beskrivningen av ett be- Forskning om digitalt kulturarv har ökat grepp och en praktik. Gränsdragningar finns under senare år, internationellt och nationellt. och olika aktörer kan värdera lämningar från I Sverige har exempelvis kultur- och medie- det förflutna på olika sätt. Något som betraktas forskaren Bodil Axelsson analyserat museers som kulturarv för en grupp saknar kanske stöd närvaro på internet, hur kulturarvsinstitutio- från de officiella museerna och myndigheterna ner prövar tekniker, samarbetsformer och vill- och omfattas av den anledningen inte av det kor för digital närvaro samt hur professioner rättsliga skydd som tillkommer offentligt utpe- och praxis i museerna därmed fått ny form kade kulturarv. och ändrat innehåll (Axelsson 2011, 2015, Kulturarv såväl som digitalisering har bli- Axelsson & Åkerö 2016). Även kulturhistori- vit centrala begrepp i kulturpolitiken från kern Ole Marius Hylland har gjort en bred och 1996. Då lanserades begreppet ”kulturarv” i mångfacetterad analys av digitalisering och regeringens proposition Kulturpolitik (prop. kulturpolitik (Hylland 2014). Arkeologerna 1996/97:3), och vid samma tid tog även digita- Lotta Fernstål, Li Kolker & Fredrik Svanberg liseringen fart. De officiella museerna kom att har i Polysemantiskt digitalt samlande analy- använda kulturarvsbegreppet som samlings- serat de officiella museernas kataloger, där de term för olika typer av objekt. Där ingår musei- finner att systemen lämnar mycket att önska föremål, arkivalier, fotografier, fysiska miljöer om de ska fungera som skärningspunkter och med mera. Även äldre uppteckningar, liggare mötesplatser mellan museerna och allmänhet- och liknande, det vill säga museernas egen do- en. De tre forskarna har genom sina praktiska kumentation, inryms understundom i kultur- försök med olika besökargrupper och skolklas- arvet – och ingår följaktligen i digitaliseringen. ser sett att museernas digitala data kan vara en Begreppet Det stora museet som metafor för viktig källa för många fler än museimedarbe- människans livsvärld och vår omgivning, be- tarna själva. De visar i sin undersökning att skrevs av museologen Kenneth Hudson i arti- ett ”polysemantiskt arbetssätt”, det vill säga att keln ”The Great European Museum” (1993:55). knyta olika berättelser och kunskaper till före- Hudson menade där att allt i vår omgivning är mål, konstverk, fotografier och andra bilder i ett enda stort museum, åtminstone potentiellt, museernas samlingar kan få stort genomslag eftersom spåren efter det förflutna finns kvar när de blir en del av museernas pedagogiska nästan överallt. Begreppet Det stora museet arbete (Fernstål, Kolker & Svanberg 2015:32). Digitalisering av kulturarv

Material och metod samt den officiella och den inofficiella musei- 59 sektorn ramar in analysen för att tydliggöra I studien har jag valt att närma mig tre grup- skillnader och likheter. per i den inofficiella museisektorn. De är val- Min bakgrund är att jag under många år da för att de på olika sätt har ett engagemang arbetat i och för de officiella museerna. Med i det som betecknas kulturarv, i form av sam- samlingar och samlingsförvaltning som hu- lingar, fysisk miljö och digitala resurser. Vissa vudinriktning har jag varit en av dem som av de grupper och enskilda som har intervjuats sedan 1980-talet drivit frågan om införande samspelar idag och har vanligen under flera år och övergång till digitala tjänster. Jag har allt- samverkat med officiella museer. så en egen erfarenhet av digitaliseringens in- De personer som har intervjuats är aktiva i troduktion och utveckling, som jag har satt i hembygdsrörelsen, i hemslöjdsrörelsen och i sammanhang med informanternas för att hitta samiska organisationer. Antalet intervjuade i relativt säkra tendenser för de slutsatser som hembygdsrörelsen är fem (betecknas i texten dras. Men undersökningen är inte en utvärde- HB1–HB5). Samtliga fem är aktiva lokalt i för- ring av händelseförloppet, utan avsikten är att eningarnas styrelsearbete och övriga verksam- förstå vad informanter och grupper anser om het, tre av dem även i den regionala styrelsen. dagsläget och framtiden. Två arbetar med webbfrågor. Hemslöjdsrörel- I det följande kommer grupperna, eller or- sen representeras av sju personer (HS1–HS7). ganisationerna, att presenteras. Frågan är vad Fem är aktiva i en regional förening varav en de definierar som sin del av kulturarvet, hur i samarbetet med den nationella satsningen de offentliggör materialet och syftet bakom det ”Hemslöjdens samlingar”. Två har varit hem- som visas eller inte visas på de digitala platt- slöjdskonsulenter. De samiska organisationer- formarna. na representeras av fem personer (SA1–SA5). Tre arbetar vid Gaaltije – Sydsamiskt kultur- Hembygdsrörelsen centrum i Östersund, en person är styrelseaktiv och ytterligare en är aktiv i Same Ätnam. Hembygdsrörelsen består i Sverige av näs- För en jämförelse med officiella museer har tan två tusen lokala föreningar som ofta äger åtta museianställda intervjuats (MU1–MU8). en hembygdsgård och i den förvarar föremål, De arbetar vid Västerbottens museum, Dalar- fotosamlingar, arkivalier med mera, allt med nas museum och Länsmuseet Västernorrland. koppling till den socken eller den bygd där för- Min metod utgår från ett etnologiskt arbets- eningen verkar. Hembygdsföreningarnas sam- sätt. Intervjuer har kompletterats med studier lingar av föremål visas oftast på plats i hem- av programskrifter eller policydokument. In- bygdsgårdarna. Gården utgör både utställning tervjuerna har ibland skett vid informantens och fond för de samlingar som har hopbragts. dator för att förtydliga hur vardagsarbetet sker Arkivalier av olika slag uppfattas dock inte och hur informanterna reflekterar kring arbete som visningsbara på samma sätt. De används och resultat. Till intervjuerna har lagts studier av studiegrupper eller forskningsprojekt som av webbplatser, digitala utställningar, register- underlag och illustrationer till olika projekt. databaser och sociala medier för att få en hel- Hembygdsrörelsen digitaliserar bilder, ar- hetsbild av vad som eftersträvas och hur det kivalier, byakartor och lokala skrifter, ibland uttrycks i olika kanaler. Teorier om kulturarv även ljudinspelningar. Rörelsen har organise- Bengt Wittgren

60 rat egna nationella samordningsprojekt för att blir mera synlig, dels att det går att knyta före- digitalt publicera lokalhistoriskt material och målen till olika historier om till exempel fiske, idag driver den databasen Bygdeband som är sjöfart eller olika näringar (MU2). tillgänglig för allmänheten.1 Avsikterna med Val av material för digitalisering skiljer sig digitaliseringen är dels att registrera fören- mellan olika föreningar. Vissa har koncentrerat ingarnas samlingar, dels ett sätt att betona de sig på äldre fotografier, andra har flera typer av lokala samlingarnas betydelse. Databaserna arkivhandlingar eller stora föremålssamlingar. är till för att hålla ordning på och överblicka Föreningarna har olika behov vad gäller sam- materialet, att kunna söka i varandras samling- lingarna. En återkommande kommentar är att ar och att visa upp vad hembygdsgårdarna äger digitaliseringen ska ge bättre överblick över av fotografier, byggnader och föremål (HB1). egna och andra föreningars samlingar. Vis- De senaste årtiondena har emellertid inte sa föreningar saknar byggnader och föremål, inneburit självklara lösningar vare sig vad medan andra bara har sådant men saknar till gäller systemval eller samarbetsparter. Under exempel arkivalier. Detta påverkar vad som några år i början av 2000-talet började före- kommer att finnas i respektive förenings digi- taget Genline, senare Ancestry (som dittills tala system (HB1, HB2). sysslat med digitalt släktforskningsmaterial) Hembygdsrörelsen har sällan några starka- att tillhandahålla datorer till hembygdsfören- re relationer till de centrala, statliga museerna. ingar som ville arbeta med och synas digitalt Längre tillbaka var hembygdsrörelsen en vik- med sitt material. Emellertid avbröts samarbe- tig länk i bevakningen av de fasta kulturarven tet av ekonomiska skäl. Det befintliga systemet i landskapet, då var föreningarnas medlem- med upplagrad data övertogs 2013 av Sveriges mar kapillärer för Riksantikvarieämbetets be- Hembygdsförbund – det är detta som nu är vakning. Även Nordiska museet hade många Bygdeband (HB1). personer i hembygdsrörelsen som stöd i sin Många regionala och lokala hembygdsorga- etnologiska insamling. Numera är länsmuseer nisationer samarbetar med regionala museer och kommunala museer vanligen hembygds- om digitalisering och digital publicering, till föreningarnas kontaktyta mot de offentliga exempel sker detta i Norrbottens, Västerbot- kulturarvsinstitutionerna. Hembygdsförbun- tens, Jämtlands, Västernorrlands och Stock- den har i flera fall säte eller är adjungerade i holms län. I dessa län har föreningarna bjudits länsmuseernas styrelser och kan därifrån driva in antingen att delta i regionala kulturarvspor- välorganiserad samverkan (HB2, MU7). taler eller att använda registreringsprogram De digitala plattformar som använts av mu- som erbjuds av respektive länsmuseum. Vissa seerna och erbjudits till hembygdsrörelsen föreningar har sitt digitaliserade material till- var på 1990-talet rena katalogiseringssystem gängligt på nätet medan andra har valt att re- (HB1, HB2, HB3, MU6, MU7). Med åren har gistrera men behålla data dolt, bland annat av hembygdsrörelsens och de kulturhistoriska säkerhetsskäl; det senare gäller registreringar museernas behov av informationssystem när- av föremål på hembygdsgårdar. I Stockholms mat sig varandra, så de system som skapats län har länsmuseet och rörelsen diskuterat att särskilt för hembygdsrörelsen har kommit att presentera föremål tematiskt och samtidigt likna de system som utvecklats för museerna. undvika att visa var föremål förvaras. De ser Det som skiljer dem åt är innehållet, det vill två vinster i detta, dels att föremålens mångfald säga de data som registreras. Hembygdsrö- Digitalisering av kulturarv

relsens data handlar om det förflutna i geo- i katalogerna. Dominerande teoribildningar i 61 grafiskt snäva områden – en socken eller en utbildningsämnena har tagits med från läro- stadsdel. Hembygdsdatabaserna innehåller sätena till museipraktiken av den antikvariska mycket data om personer, om historien kring personalen (Wittgren 2013:205f.). det som visas och om samtidiga händelser. Paradigmresor från akademierna har dä- Däremot är det mind-re data om föremålens remot inte fått något egentligt genomslag i ursprung, dess fysiska beskaffenhet som ma- hembygdskatalogiseringen, som bygger på två terial och tillverkningsteknik – det är således faktorer: dels vad den digitala katalogen efter- mestadels information om deras miljö och frågar, det vill säga vilka fält som finns att fylla historia. Museidatabaserna innehåller å andra i (arvet från museisystemen), dels de faktiska sidan oftast mycket data om föremålens egen- data som har samlats in från givare och perso- skaper, om material och tillverkning, kanske ner med lokalhistorisk kunskap. Registrering- deras allmänna historiska ursprung, men bara en är med andra ord mera direkt från muntliga enkla härkomstuppgifter, vanligtvis knutna till källor till databasen, allt som är känt om objek- givare. Dessa föremålsposter har därför stora ten skrivs in i de fält som erbjuds i den digitala brister vad avser historiska data. Hembygds- katalogen. Exempelvis berättelser om föremål, databasernas beskrivningar av föremålen är hur de använts, av vilka personer och på vilka mindre utförliga vad gäller objektbeskrivande gårdar. Fotografier registreras med beskriv- data som material, teknik, stil, epok med mera, ningar av platsen och vilka som är avbildade medan just sådana uppgifter är de som domi- (HB1, HB2). Detta direkta arbetssätt anses ofta nerar museidatabaser (MU1, Digitalt museum, ur källkritisk synpunkt vara att föredra då man Bygdeband, Wittgren 2013:100f.) eftersträvar så få steg som möjligt mellan källa En annan aspekt av de objekt och data som och dokumentation. registreras är syftet. I hembygdsdatabaserna Crookes analys av skillnader mellan offi- skapar objekten en förstärkning och ett förtyd- ciella och inofficiella museer visar sig i denna ligande av de lokalhistoriska berättelserna. Det del av analysen genom att den långa historia medför att dialektala särdrag och ord betonas, av regler som de officiella museerna förvaltar att de ting i samlingarna som uppfattas som påverkar den information vår tids användare ortstypiska framhävs medan härkomst från kan finna i det digitala kulturarvet. Den offi- områden utanför socknen nedtonas. Det loka- ciella museisektorns data har en ämnesmässigt la perspektivet är alltså inte bara centralt utan sett brokigare historia än hembygdsrörelsens, utgör ramen för vad som berättas. De officiella vilket framgår i publika system som till exem- kulturhistoriska museernas data visar inte sam- pel den museigemensamma portalen Digitalt ma territoriella betoning idag. Äldre musei- museum (digitaltmuseum.se). Detta betyder kataloger innehåller i princip alltid geografisk att katalogdata från olika perioder har olika hemvist och olika typer av härkomstuppgifter, typer av innehåll. Huvudsakligen har katalo- sådana data var centrala i museikataloger fram giseringens och därmed katalogernas innehåll till 1970-talet. Därefter kom en period av funk- påverkats av vetenskapliga frågeställningar och tionalistiskt orienterad katalogisering följd av epoker (Wittgren 2013:81ff.). De inofficiella perioder av genusperspektiv, queer-perspek- museernas dagsaktuella drivkraft att samla in tiv och postkoloniala betraktelsesätt – det går och dokumentera kulturarv formuleras i vår alltså att följa spåren av vetenskapliga epoker tid för andra samtida läsare. Det som definie- Bengt Wittgren

62 ras och pekas ut som kulturarv av hembygds- egna arbetet är synligt i många av dessa äm- rörelsen och av de kulturhistoriska museerna nesbaserade grupper. kan generellt sett vara samma typer av objekt, Hemslöjdsföreningarna har sin upprinnelse det framgår såväl i databaserna som på webb- kring sekelskiftet 1900 då många av dessa för- platser och i sociala medier. Emellertid skiljer eningar fungerade som igångsättare, inköpare sig syftet åt. Hembygdsrörelsen företräder hu- och försäljare av slöjd tillverkad i hemmen. vudsakligen lokalt och regionalt färgade per- Syftet var dels att bevara ett hantverkskunnan- spektiv och ger stöd för tillbakablickande och de, dels att ge hantverkare och slöjdare avsätt- geografiskt förankrade identitetsbyggen. Detta ning för sina produkter. Hemslöjdsförening- tar sig uttryck genom hur de digitala objekten arna är lokala, landskapsföreningar eller läns- ramas in och beskrivs. Det som i datorsam- förbund. Det finns även en riksorganisation, manhang benämns metadata, det vill säga – Svenska Hemslöjdsföreningars Riksförbund främst – text om objekten innehåller informa- (SHR). Riksorganisationen samlar alla fören- tion som skapar geografiska identitetsnycklar ingar, administrerar medlemskap och är en part som talar om härkomst, platsers betydelse och i samarbetet kring ”Hemslöjdens samlingar”, deras historia. Nycklarna kopplas ihop med en satsning på digital registrering och publice- berättelser om människor och platser. I berät- ring av föreningarnas material.2 telserna blandas livshistorier med platshisto- En offentlig part som agerar på samma are- rier, företagsetableringar och annat i olika byg- na som och tillsammans med hemslöjdsfören- der. Denna mångskiftande information sätter ingarna är hemslöjdskonsulenterna. De verkar färg på det förflutna i den digitala miljön och länsvis och är vanligtvis anställda av landsting, skapar i förlängningen något som ligger nära länsmuseer eller länshemslöjdsföreningar. Sta- det Hudson benämner Det stora museet, om än tens ansvarsmyndighet för hemslöjdens frågor i virtuell form. är Nämnden för hemslöjdsfrågor (NfH). Det är en myndighet under Kulturdepartementet, med målet att främja hemslöjd och fungerar Hemslöjdsrörelsen som central part för hemslöjdskonsulenterna Hemslöjdsrörelsen delar de officiella muse- (HS6). ernas intresse för hantverk och äldre tillverk- I samband med den statliga satsningen Se- ningsmetoder men ägnar sig till stor del åt sam, 1996, för sysselsättning av arbetslösa aka- nyproduktion på gammal grund. Det gör inte demiker i kultursektorn, organiserade NfH ett museerna, som i stället värnar de gamla före- katalogiseringsprojekt tillsammans med samt- målen. Intresset för textila material, föremål liga landskaps- och länshemslöjdsförbund. Ka- och hantverk som associeras till kulturarvet talogiseringen skedde i registreringssystemet återfinns i många olika sammanhang. På t.ex. Sofie och arbetet genomfördes lokalt varefter Facebook finns ett stort antal grupper på te- data överfördes till en samkatalog hos NfH. Ef- man som folkdräkter, broderi, vävning eller terhand ville de olika parterna att data skulle andra hantverks- och slöjdmetoder. Det finns publiceras samlat och tillsammans med andra även nätgrupper för enbart textila hantverk, samlingsförvaltare. Nordiska museet föreslog som stick- och virkgruppen Ravelry (ravelry. då att hemslöjdsföreningarnas samlingar skul- com) eller ”Kurbits: Din slöjdkompis i inred- le kunna föras över till datasystemet Primus, ningsvärlden” (kurbits.nu). Intresset för det som används av bland annat Nordiska museet Digitalisering av kulturarv

Fig. 1. Föremål med inv.nr YAT 251 i Ångermanlands hemslöjdsförenings samlingar. Enligt katalogen: ”Gardinprov i stramalj och gles tuskaft. Varp och inslag av bomullsgarn i flera olika gula och gråa nyanser, i varpen även med inslag av vitt…”, 1940-talet. Föremålet är typiskt för hemslöjdsföreningarnas samlingar då det är ett vävprov från den egna produktionen. Provet skulle kunna användas både som inspiration och modell/förebild för vävare och sändes för kunders beställning av nya varor. Foto: Cajsa Hallgren 2010. självt och är utvecklat i Norge. Primus har en Ett hinder för publicering av hemslöjdens publik portal, den ovan nämnda Digitalt mu- samlingar är kravet på klarering av upphovs- seum, där samtliga primusmuseer publicerar rätt (HS1).3 Det gäller både bilder och formgiv- sina data (HS1). ning av de fotograferade objekten. Då det för Överföringen av hemslöjdsföreningarnas hemslöjdsföreningarna varit svårt att nå alla register till Primus skedde 2014 och fick be- formgivare eller deras arvtagare och därmed nämningen ”Hemslöjdens samlingar”. I Pri- upphovsrättsägare har det inte varit möjligt att mus lagras samtliga föremålsdata, medan vissa publicera mer än ett mycket litet antal objekt i delar av dessa publiceras i den publika portalen Digitalt museum. För till exempel Medelpads Digitalt museum. SHR är drivande i det arbete hemslöjdsförening innebär det 15 objekt av som gäller de regionala och lokala hemslöjds- cirka 1 200 föremål i Primus (i maj 2016, HS1). föreningarna. NfH, betalar licenskostnaderna, Systemförvaltningen är också ett hinder de centrala parterna har stort inflytande över till samarbete. Det finns en så kallad system- arbetet och har en koordinator anställd vid förvaltningsgrupp ledd av SHR knuten till NfH (HS1). projektet ”Hemslöjdens samlingar”. En infor- Bengt Wittgren

64 mant menar att: ”Det finns emellertid ingen lingar. Båda grupperna registrerar föremål samordning mellan denna grupp av användare som hämtats i lokala, ofta agrara miljöer, båda och andra museer inom Primus/Digitalt mu- grupperna beskriver kulturella och lokala sär- seum. Hemslöjdsföreningarna har efterfrågat drag, till exempel speciella utformningar eller samordning både gällande teminologiska och lokala textila tekniker. Detta är data som kan semantiska aspekter.” Det anses svårt att gå in betraktas vara länkade till kulturarvet i kul- i samarbete med till exempel Nordiska muse- turpolitikens mening, det vill säga som rör et om detta. ”Man skulle ju önska att man har identitet och förankring. De följer betraktelse- samma system...” vid registrering, det vill säga sätt från 1900-talets första hälft där särdrag är att det finns ett regelverk för vilken informa- viktiga och kultur var en fråga om geografisk tion som lagras och hur informationen formu- förankring, släktband och jordbrukarkultur. leras. ”Man fattar inte [som extern användare Vid sökning i kollektionen ”Hemslöjdens av data i Digitalt museum] att det är olika or- samlingar” framträder emellertid inte de lo- ganisationer…” som registrerat (HS1). ”An- kala aspekterna särskilt tydligt. Där är i stället vändarhandboken beskriver begreppen i data- föremålstyper och formgivare framträdande i basen, men hur föremålen ska registreras finns de grupperingar som skapats. Föremålstyper- inte angivet” (HS2). De som format systemet na ligger landskapsvis, exempelvis ”Vävnader beskrivs ha ”ett starkt inifrån-och-ut-perspek- från Halland” och ”9 nedslag i vävens histo- tiv” (HS2). Informanterna menar att systemet ria i Södra Dalarna”. Grupperna av föremål är format utifrån museernas önskemål och är beskrivna med en allmän historik om fö- behov, inte utifrån externa användares sätt att remålstypen. På föremålsnivå hämtas endast söka och finna data. några fält om respektive föremål ur databasen. Det är benämning, historik, beskrivning och ID-nr. Den förening som äger föremålet ano- Datainnehåll nymiseras; under rubriken Institution skrivs De data som finns i äldre kataloger hos hem- ”Hemslöjdens samlingar”. Som övrig informa- slöjdsföreningarna innehåller uppgifter om tion visas ”Regler för användning”, vilket inne- material som garner och färger, vävteknik och bär vilken användarlicens som gäller för bilder vävsedlar. Ibland finns det härkomstuppgifter och data, en länk till SHR och information om i form av den gård eller by där det ursprungli- riksorganisationen. Längst ner på sidan finns ga objektet eller förlagan hittats. Uppgifter om en lista med relaterade länkar, det är i detta fall ålder och användning av föremålen är sällsyn- autogenererade artiklar ur Wikipedia. ta. Informanterna berättar att de i Medelpad Enligt Digitalt museums sida om ”Hemslöj- själva registrerat i databasen, vilket har lett till dens samlingar” fanns i december 2016 ”drygt att de själva ser beskrivningarna som ”enkla”, 45 000 föremål registrerade. Ett urval av fö- medan föreningar i andra landskap fått hjälp remål ur samlingarna finns idag tillgängligt från ”museifolk” eller hemslöjdskonsulenter, på Digitalt museum.”4 I listan över föreningar (HS2). NfH har sagt att andra senare kan gå in som har föremål i portalen finns elva lokala el- i registret för att komplettera, vilket förening- ler landskapsföreningar. Det framgår inte hur ens medlemmar inte motsatt sig (HS3). många föreningar totalt som deltar med data Här blir likheter tydliga mellan data i hem- i Primus, inte heller hur många föremål som bygdsföreningarnas och i hemslöjdens sam- är tillgängliga digitalt, men en rimlig tolkning Digitalisering av kulturarv

Fig. 2. ”Jon Jonsson Fjällgrens boställe i östra delen av Anådalen.” I en studie av Mittådalens sameby i Jämtland visas hur ett gammalt samiskt boställe åter tas i bruk och får en ny betydelse och en ny användning av en senare generation (Ljungdahl 2011:24). Foto: Ewa Ljungdahl 2005.

är att merparten av objekten inte finns publikt överenskomna systemrutiner leder till att sto- tillgängliga. Informanterna i denna undersök- ra delar av samlingarna blir osynliga på denna ning påtalar att Primus och Digitalt museum digitala arena. är utformade för museernas behov som kom- Hemslöjdsföreningarnas samlingar består i mentar till att de i vissa fall har svårt att regist- viss utsträckning av äldre föremål men är till rera hemslöjdsföreningarnas föremål. stor del 1900-talsobjekt med en betydande an- De data som hemslöjdsföreningarna har om del dokumentation, mönster, ritningar och lik- sina föremål tycks inte återanvändas eller utgö- nande från framtagning och tillverkning. Med ra sökingångar i det publika Digitalt museum. generaliserande beteckningar är samlingarna En begränsning av annat slag är att bilder som snarare ett industrihistoriskt än ett kulturhisto- används ska vara fria eller tillgängliga att an- riskt-etnografiskt material. Det för med sig att vända. Sammantaget ger det att bara en liten principerna för katalogiseringen liksom intres- del av de presumtiva samlingarna publiceras set att bevara samlingarna utgår från andra mo- digitalt. Många regler, oklarheter och brist på tiv än dem som råder i de officiella museerna. Bengt Wittgren

66 Samiska samlingar och kulturarv blir en del av dokumentationen då den hänger intimt samman med kulturmiljöerna, ”så hela Gaaltije – Sydsamiskt kulturcentrum, i Öster- kulturarvet har blivit belyst; berättelser, myter, sund, är en del av det samiska samhället och [även] platser där man inte ser några fysiska arbetar med kulturfrågor av alla slag. På Gaal- spår” (SA2). Från samebyarna finns ett intresse tije betonas att de ogärna använder uttrycket eftersom verksamheten ger ett visst skydd för ”samisk kultur” för det område i vilket de ar- kulturarvet. I Riksantikvarieämbetets forn- betar, då uttrycket har en tendens att förmin- minnesinformationssystem, FMIS, registreras ska kulturen, i stället väljer man ”det samiska fysiska lämningar, medan Gaaltijes databaser samhället”. Stiftelsen bildades 1984 för att ar- innehåller även andra data som samebyarna beta med information och kunskapsfrågor själva anser vara betydelsefulla uppgifter. In- kring det samiska samhället (SA1). Stiftare och venteringarna och databaserna är därför vik- huvudmän är fem organisationer: Same Ät- tiga delar av kunskapsbasen på Gaaltije och är nam och Svenska Samernas Riksförbund samt flitigt använd av till exempel länsstyrelserna. Frostviken-Hothagens, Östersunds och Härje- Det finns en oro i det samiska samhället dalens sameföreningar.5 för hur de digitaliserade publika uppgifterna På Gaaltije finns databaser över samiska spår används. Å ena sidan kan offerplatser som är i landskapet, till exempel platser, arkeologiska utmärkta i naturen och på kartan plundras, å lämningar och objekt. Databaserna är dock andra sidan åtnjuter de inget skydd utan re- inte helt öppna och tillgängliga på internet, gistrering i FMIS (SA2). Här finns alltså ett men det finns önskemål och planer om stör- glapp mellan de officiella museerna/kultur- re digital närvaro. Registren finns idag (2016) arvsmyndigheterna och Gaaltije då offentliga tillgängliga i Gaaltijes lokaler och via telefon- data befaras bli missbrukade. Misstanken leder kontakt. Samarbete finns med andra samiska till att Gaaltije avstår att publicera alla data på organisationer som till exempel publicerar fö- nätet. Ett viktigt resultat av inventeringarna är remålsdatabaser, språk, jojk med mera. ”aha-upplevelsen” i samebyarna. De som lever Det nationella museum som ansvarar för där får en kunskap de inte haft tidigare, om det samiska kulturarvet är Ájtte – Svenskt fjäll- kulturlandskapet och det förflutna (SA2). ”Det och samemuseum i Jokkmokk, men de har har blivit en statushöjning. Man har väl förstått inte kapacitet att ta omhand hela det samiska att här har det legat en kåta… men att det fak- materiella arvet, så samarbete bedrivs med tiskt är fornlämningar, att det är en jätteviktig flera museer, bland dem länsmuseerna i nor- del i den samiska historien och i den allmänna ra Sverige (SA2). Gaaltije samlar inte föremål historien” (SA2). Sättet att se på lämningarna men inventerar objekt, kulturmiljöer, forn- hämtas alltså från de officiella museerna och lämningar med mera i kulturlandskapet i söd- knyts ihop med den officiella historieskriv- ra delen av Norrland (södra delen av svenska ningen, samtidigt som det skapar ett utrymme Sápmi). Dokumentation av kulturlämningar för eget ansvarstagande i det samiska samhäl- sker oftast i projektform och i samverkan mel- let. Det omgivande landskapet får en innebörd lan flera län; en viktig part är samebyarna där för dem som lever där som kan liknas vid det medlemmarna själva registrerar (SA2). Både Kenneth Hudson benämner Det stora museet. det markbundna och det immateriella kultur- Vad gäller kulturlandskapet används ofta arvet dokumenteras. Även det biologiska arvet Gaaltije som remissinstans, då de både förval- Digitalisering av kulturarv

tar information och har kompetensen på om- Personalen vid Gaaltije visar att aktivt sam- 67 rådet. Det kan gälla allt från vindkraftutbygg- arbete med och deltagande från samebyarna i nad till fornlämningsfrågor. Eftersom Gaaltije inventeringar ger nya insikter om kulturarvet ägs av det samiska samhället får Gaaltije repre- – en idémässig överlappning uppstår. Den kul- sentera de samiska intressena. Informanterna turpolitiska strävan som syftar till att engagera menar dock att den rollen är svår eftersom det medborgare uttrycks med formuleringar som hos frågeställaren kan dölja sig förväntningar ”det gemensamma kulturarvet blir en angelä- om vissa hållningar eller åsikter. ”Vi kan inte genhet för alla” (Kulturarvspolitik 2016). Detta hävda att vi vill ha ett annat samhälle”, fram- realiseras när de officiella museerna samar- håller de (SA1). Överlappningar vad gäller betar med de inofficiella och som i detta fall informationsförvaltning och ansvar mellan de grupper vars enande faktor inte är kulturarvet officiella museerna/myndigheterna och Gaal- i sig utan den personliga och kulturella identi- tije finns således, men också en försiktighet teten. Det digitaliserade kulturarvet som lag- emedan Gaaltije inte är ett museum med offi- ras hos Gaaltije och i flera museer är en sorts ciell status som myndighet. kunskapsmässig ryggrad där myndigheter, of- Ytterligare en aktör är Institutet för språk ficiella och inofficiella museer liksom sameby- och folkminnen, som arbetar med utgångs- arnas invånare har tillgång och kan tillföra och punkt från samiskan som folkkultur/kultur- påverka innehållet. Kulturarvet är med detta arv.6 Samiska dialekter, till exempel i form av en föränderlig materia som står under ständig uppteckningar och inspelningar, digitaliseras förhandling. Överlappningen är alltså stor på och publiceras. Det finns därmed språk- och just detta område. kulturpolitiska orsaker till varför dialekterna och det samiska språket laddas med kulturella Avslutning värden av de svenska kulturarvsinstitutionerna och myndigheterna (SA3, SA4). Gaaltije Det stora museet, termen och synsättet på gör däremot inte språket till ett objekt att do- omgivningen som introducerades av Kenneth kumentera; Gaaltije och samebyarna ser sna- Hudson, får en tydlig illustration när den rare språket som en levande immateriell kul- grupp som bor på en plats får en djupare kun- turbärare och stödjer i stället användandet i så skap om miljöns förflutna. Platsen och per- många sammanhang som möjligt, i kontakten sonen företar ett gemensamt identitetsbygge med myndigheter såväl som i arbetslaget och och en sorts musealisering uppstår där musei- familjen. databaser berättar om och kompletterar det Gaaltije kan inordnas i Crookes museikate- som finns i livsmiljön. Sammanhanget mellan gorier som ett museum med en fot i den of- den verkliga miljön, som kan benämnas kul- ficiella gruppen och en i den inofficiella – ett turmiljön eller Det stora museet, förstärks när community museum. Det för ibland med sig att även det digitala kulturarvet förses med kopp- förväntningar utifrån kan vara svåra att infria lingar som kan fungera som förklaringar och då Gaaltije ser som sin uppgift att överbrygga fördjupningar av miljön. Polysemantiska data mellan det officiella och det inofficiella. Även i Fernståls, Kolkers & Svanbergs mening till- om viljan finns, uppstår ändå ett glapp mellan för ett virtuellt skikt som kan utvecklas ytter- att å ena sidan vara en del av det samiska sam- ligare med till exempel virtuell verklighet, VR hället och å andra sidan de officiella museerna. (2015:30f.) Bengt Wittgren

68 I den här artikeln har jag diskuterat digi- mer för delaktighet i att skapa ett gemensamt taliseringen av kulturarv vid de officiella mu- kulturarv. seerna jämfört med hembygdsrörelsen, hem- Digitalt kulturarv finns huvudsakligen till- slöjdsrörelsen och Gaaltije – Sydsamiskt kul- gängligt i två miljöer: i sociala medier och i turcentrum. Jag har då noterat vissa problem. anpassade webbpresentationer/databaser. I de Elisabeth Crooke poängterar att de officiella sociala medierna presenteras och diskuteras museernas praktik styrs av standarder och dagsaktuella frågor, det blir ett nyhetsflöde rutiner som i sin tur är grunden för kataloger med historiska illustrationer. De digitala ka- och andra system för informationslagring. Et- taloger, eller databaser, som har diskuterats i nologen Bjarne Rogan betonar att människan den här studien används gemensamt av de of- gärna klassificerar sin omgivning, som erbjud- ficiella museerna och folkrörelserna. Men de er en mängd materia att ordna och gruppera är utvecklade av de officiella museerna, med (2010:131). I de stora museerna, med många stort utrymme för objektbeskrivande data som liknande ting är det måhända svårt att avhålla material, teknik och proveniens. Både hem- sig från sorterandet, det vill säga att låta syste- bygdsrörelsen och Gaaltije lägger däremot mer matiseringen av samlingarna ta över, ofta med fokus på geografiska och identitetsbyggande förevändningen att efter insatsen enklare hitta uppgifter i berättande form, medan hemslöjds- i samlingarna (Wittgren 2013:209). De inof- rörelsen gärna prioriterar föremålstyper, slöjd- ficiella museerna drivs enligt Crooke i stället tekniker och formgivare. Uppenbarligen finns av samhällsfrågor i en kulturarvskontext. Kul- olika behov som måste uppmärksammas och turarvet i form av de fysiska föremålen är där- tillgodoses för att det gemensamma digitalise- med inte det primära intresset. Samlingen är, rade kulturarvet ska få det demokratiska värde liksom i den officiella museisektorn, bärare av som eftersträvas i regeringens kultur- och digi- historier, men avsikten är inte främst att vår- taliseringpolitik. da och bevara föremålen. När de inofficiella museerna digitaliserar sina samlingar är det Noter redan från början ett sätt att berätta. Fören- ingarna bygger presentationer där fotografier, 1. http://www.bygdeband.se/ bilder av människor, platser och föremål knyts 2. http://www.hemslojden.org/om-hemslojden/ samman till berättelser att visas upp, och för hemslojdenssamlingar/; https://digitaltmuseum. att studeras av andra lekmän. Miljöerna och se/owners/S-HS/info tingen är den bärande grunden för de digitala 3. https://digitaltmuseum.se representationerna vid de inofficiella muse- 4. https://digitaltmuseum.se/owners/S-HS/info erna, däremot är inte medierna som bär data 5... http://www.gaaltije.se/ lika framträdande utan har en mer stödjande 6. http://www.sprakochfolkminnen.se/folkminnen/ roll. Crooke menar vidare att de inofficiella samlingar/samiska-samlingar museerna ofta vänder sig till den egna gruppen i sitt arbete. Detta skulle innebära att Litteratur digitaliseringens demokratiska värde, i kulturpolitisk mening, i detta sammanhang inte Axelsson, Bodil 2011. ”History on the web. Museums, handlar så mycket om tillgängliggörande för digital media, and participation.” I Anders en stor publik utan snarare om att erbjuda for- Ekström (red.). History and Participatory Media. Digitalisering av kulturarv

Politics and Publics 1750–2011. New York: Digitala källor 69 Routledge, 158–172. Axelsson, Bodil & Karl-Emil Åkerö 2016. ”LHBTQI- (samtliga kontrollerade 21 december 2016) perspektiv och kulturarv. Aspekter på urval, Bygdeband: http://www.bygdeband.se överväganden och tillrättalägganden.” Nordisk Digitalt museum: https://digitaltmuseum.se Museologi 2, 3–19. Hemslöjdens samlingar: http://www.hemslojden.org/ Crooke, Elizabeth 2007. Museums and Community. om-hemslojden/hemslojdenssamlingar/; https:// Ideas, Issues and Challenges. New York: Routledge. digitaltmuseum.se/owners/S-HS/info Fernstål, Lotta, Li Kolker & Fredrik Svanberg 2015. Institutet för språk och folkminnen: http://www. Polysemantiskt digitalt samlande. Slutrapport. sprakochfolkminnen.se/folkminnen/samlingar/ Stockholm: Statens historiska museer, samiska-samlingar http://shmm.se/wp-content/uploads/2016/05/ Gaaltije: http://www.gaaltije.se Polysem_rapport_02.pdf (kontrollerad 14 november 2017). Informanter Hudson, Kenneth 1993. ”The Great European museum.” Nordisk Museologi 2, 51–60. HB1–HB5: Hembygdsrörelsen representeras av fem Hylland, Ole Marius 2014. ”Mangletre. Om makt personer. Samtliga fem är aktiva lokalt i olika og ideologi i den digitala kulturarvens politik.” hembygdsföreningarnas styrelsearbete och övriga Nordisk kulturpolitisk tidskrift 17:2, 253–274. verksamhet, tre av dem även i den regionala Kulturarvspolitik. Regeringens lagrådsremiss 8 Statens styrelsen. Två arbetar med webbfrågor. historiska museer, http://shmm.se/wp-content/ HS1–HS7: Hemslöjdsrörelsen representeras av sju uploads/2016/05/Polysem_rapport_02.pdf personer. Fem är aktiva i en regional förening (kontrollerad 14 november 2017). varav en i samarbetet med den nationella Kulturpolitik. Regeringens proposition 1996/97:3. satsningen ”Hemslöjdens samlingar”. Två har Lag om nationella minoriteter och minoritetsspråk. SFS varit hemslöjdskonsulenter. 2009:724. SA1–SA5: De samiska organisationerna representeras Ljungdahl, Ewa 2011. Mittådalens sameby. Historia, av fem personer. Tre arbetar vid Gaaltije – kulturmiljöer och turister. Östersund: Gaaltije. Sydsamiskt kulturcentrum i Östersund, en person Ny museipolitik. Museiutredningens betänkande, är styrelseaktiv och ytterligare en är aktiv i Same SOU 2015:89. Ätnam. Rogan, Bjarne 2010. ”Tingenes orden. Klassifikasjon, MU1–MU8: De officiella museerna representeras samling, museum.” I Bjarne Rogan & Arne Bugge av åtta personer. De arbetar vid Västerbottens Amundsen (red.). Samling og museum. Kapitler av museum, Dalarnas museum och Länsmuseet museenes historie, praksis og ideologi. Oslo: Novus Västernorrland. forlag, 131–149. Ronström, Owe 2001. ”Kulturarvspolitik. Vad skyltar kan berätta. I Barbro Blehr (red.). Kritisk etnologi. Bengt Wittgren, fil.dr, antikvarie Artiklar till Åke Daun. Stockholm: Prisma, [email protected] 60–108. Wittgren, Bengt 2013. Katalogen – nyckeln till Länsmuseet Västernorrland museernas kunskap? Om dokumentation och Box 34 kunskapskultur i museer. Umeå: Umeå universitet. SE-871 21 Härnösand, Sverige Nordisk Museologi 2017 • 2, s. 70–87

Nu er vi del af Danmarkshistorien

Et eksempel på samskabelse mellem borgere og museum

Anneken Appel Laursen, Danielle Guldmann Sekwati & Simone Søndergaard Bertelsen

Title: Danish history includes us. An example of collaborative partnership between citizens and museum

Abstract: In 2016, a contemporary exhibition was created in partnership with six local Somali women at the open-air museum Den Gamle By. The article reflects upon the women initiating the idea and being the primary resource in the development in the collaborative project, and examines examples from the project’s method in the analytical framework of experimental “prototyping”. The method in the project extends other examples of museum participation projects in relation to process, product and shifting roles as collaborators. The concept of prototyping shows how procedures at the museum were reconsidered and museum practitioners had to reevaluate their approach in sharing authority. A key experience was how an awareness of reactions enabled collaborators to address conflicting receptions a contemporary exhibition necessarily entails. Recognition of conflict became a driving force in creating space for dialogue and reflection. Possibly, prototyping is a way of understanding how museums set frameworks for dialogues between communities.

Keywords: Collaboration, prototyping, experiments, history, cultural heritage, representation.

Et Somalisk Hjem i Danmark (herefter Soma- malisk baggrund, primært bosiddende i byde- lisk Hjem) er en udstilling i Den Gamle By len Gellerupparken vest for Aarhus.1 Afsættet (herefter DGB), der åbnede i marts 2016 og for udstillingsprojektet var en henvendelse fra står indtil videre frem til december 2017. Den kvinderne til museet med et ønske om, gen- er indrettet som en moderne dansk-somalisk nem en lejlighed, at formidle herboende soma- lejlighed anno 2016 med to tilstødende for- lieres liv, nuanceret og reelt, frem for det ofte midlingsrum, der formidler baggrundsin- negative billede som pressen præsenterer (se formationer om Somalia, somaliere og deres Kleist 2016:121, 123). Kvindernes initiativ og historie. Udstillingen er udviklet og etableret invitation til Den Gamle By om at formidle de- i et tæt samarbejde med seks kvinder med so- res liv, har betydet, at projektet adskiller sig fra Nu er vi del af Danmarkshistorien

Fig. 1. Ved åbningsfesten i marts 2016 blev dette billede taget af kvinderne i stuen i Somalisk Hjem. Fra venstre ses: Shamso, Halima, Deeqa, Ilham, Hanaan og Halima. Foto: Den Gamle By, 2016. samarbejdsprojekter, hvor det er museet, der og samarbejdsprojekter med brugergrupper tager kontakt, har et prædefineret projekt og en med forskellige grader af samarbejde (Tønd- samling, museet ønsker at arbejde ud fra, som berg 2013:4, 6–7, Yarrow 2008). Deltagelse er for eksempel beskrevet hos Lynch (2011:148, baseret på erkendelsen af, at museumsgæster 155). Artiklen undersøger om det er muligt konstruerer deres egen mening og fokuseret på at arbejde med ikke-faglærte som ligeværdige at sætte publikums oplevelse i højsædet, og at kolleger på en måde, så det giver mening for brugere kan medvirke til udvikling af formid- både dem og museet? Kan man samskabe en ling til andre brugere (Simon 2010:ii, Mellem- udstilling, der lever op til de krav og forvent- sether 2016). Nærværende projekt skriver sig ninger, der er til professionelle udstillinger ved ind i denne tradition og undersøger i praksis, at lade ikke-faglærte have beslutningsret om hvad der sker, når samskabelse tages bogstave- resultatets indhold? Og hvordan er det muligt ligt, og hvor ligeværdighed mellem museum at arbejde på en fagligt acceptabel vis, og hvor og deltagere er et fundament i processen. alles kompetencer kommer i spil? En af museernes aktuelle måder at enga- Siden 1990’erne har kunst- og kulturinstitu- gere publikum på er gennem udstillinger, der tioner i Europa og USA prioriteret inklusions- bevidst behandler kontroversielle emner; her Anneken Appel Laursen, Danielle Guldmann Sekwati & Simone Søndergaard Bertelsen

72 handler museet ”farligt” (Tøndberg 2013:4, de har Somalisk Hjem mødt modstand og en- 6–7). Eksempler kan være, når norske muse- kelte medier og museumsgæster har haft en er arbejder med etiske problemstillinger med opfattelse emnet som farligt. Samtidig udtryk- det formål at være aktive samfundsaktører og ker evalueringer med projektets samarbejds- give stemme til dem, der ikke høres, som ek- partnere og tilbagemeldinger fra publikum, sempelvis når Norsk Teknisk Museum med at udstillingen opleves som vellykket, ligesom projektet Hjemme hos mennesker med alvor- projektet i museets perspektiv betragtes som lig og langvarig psykisk sykdom skaber rum til en succes. psykisk syge og måske får brudt nogle tabuer Denne artikel undersøger, hvordan museet (Hjemme hos...). En anden aktuel tilgang er, kan arbejde med at formidle kulturel diversi- når nordiske museer fokuserer på at udstil- tet inden for den ramme, kvinderne forestille- le kulturel diversitet frem for at repræsentere de sig om formidlingen, da de henvendte sig en overordnet national identitet (Damsholt i DGB, nemlig et fuldt indrettet hjem. Det er 2012:34). Et af de tidlige eksempler er Et Pa- sket ved at anvende radikal samskabelse for kistansk Hjem på Norsk Folkemuseum (Hauge derigennem at omfavne flere nuancer i for- & Akman 2010). De nordiske udstillinger fo- midlingen. Erfaringerne fra projektet er dels kuserer på diversitet og står i modsætning til data indsamlet igennem hele forløbet, som er flere amerikanske og australske museer, hvor behandlet i et speciale (Bertelsen 2016), dels disse landes kollektive selvopfattelse er som interviews og samtaler afholdt efter udstillin- migrant-nationer. Her normaliserer formid- gens åbning af antropolog Danielle Guldmann lingen kulturel diversitet og indvandring, som Sekwati, der indgik i projektgruppen som mu- fremhæves som identitetsmarkør (Damsholt seumsansat. Materialet fremstår som udskrift 2012:40, 43). Sideløbende med disse udstil- at båndede samtaler (Sekwati 2016). lingsprojekters udvikling er der en diskussion Artiklen vil behandle, hvordan erfaringer af, hvorvidt museerne mister autoritet ved at fra projektet Somalisk Hjem kan undersøges i arbejde samskabende, når deltagere inviteres relation til metodologiske principper for mu- ind på museets banehalvdel. Et eksempel er seal inddragelse og samskabelse i antropolo- Sverreborg frilandsmuseum ved Trondheim, gisk perspektiv. Begrebet ”prototyping” vil bli- der inviterede til dialog om nyudvikling af ve introduceret og anvendt som metodologisk udstillinger allerede i planprocessen. Formå- rammesætning for udstillingsprojektet Soma- let var netop at undersøge, om museet mister lisk Hjem, idet prototyping konceptualiserer autoritet ved at invitere til samskabelse allerede projektets åbne arbejdsprocesser og herved i planprocessen (Mellemsether 2016:16, 20f.). beskriver projektets gennemgribende samska- Somalisk Hjem er ikke fra museets side belse og eksperimentelle karakter, som angiver tænkt som værende et farligt emne. Afsættet en udvidet forståelse af principperne for ind- for projektet lå alene i en gruppe kvinders øn- dragelse i museal kontekst. ske om at dele deres historie i en museal kontekst, der formidler livet og den diversitet, der Baggrund for projektet findes i danske byer. Målet har derfor været, at vi sammen med kvinderne skabte det størst Kvinderne i projektet er alle kommet til Dan- mulig talerum inden for rammen af udstilling, mark som unge voksne.2 De kendte DGB, museal formidling, dialog og debat. Indleden- da museet i årene forinden har gennem- Nu er vi del af Danmarkshistorien

ført outreach-projekter i deres lokalområde handlende kvindekultur. Somalisk Hjem blev 73 (Sekwati et.al 2014). Kvindernes initiativ til et set som et lokalhistorisk projekt, der formidler samarbejdsprojekt med museet viste os, at de sider af livet i byen Aarhus.4 fandt det relevant, at fortællingerne om danske hjem på museet også indebar fortællingen om Introduktion til projektets praksis et dansk-somalisk hjem. Somalisk Hjem blev derfor, udover at være en lokal fortælling, også Samarbejdet indledtes allerede inden formel kvindernes fortælling og en måde at bygge bro projektstart. Efter at kvinderne havde taget fra et lokalsamfund og ind i hjertet af DGB. initiativet mødtes en medarbejder fra DGB Større museer, som DGB, kan ofte tillade sig jævnligt med en større gruppe dansk-soma- eksperimenterende projekter: ”For curators in liske kvinder for at diskutere forudsætninger large establishment museums that must mount og ambitioner for Somalisk Hjem. Diskussio- blockbuster exhibitions to balance the budget, nerne her gik på formål, hvorfor og hvordan, temporary, independent exhibitions are icing og museets medarbejder nedskrev kvindernes on the cake, the place where experimentation ideer og overvejelser. Det officielle samarbejde can more often take place” (Butler & Lehrer startede, da fondsansøgningen blev imøde- 2016:9). Somalisk Hjem har eksperimenteret kommet.5 Gruppen, der hidtil havde mødtes, ved at udfordre museets og museets ansat- blev reduceret til seks kvinder som udviste tes vanlige metodiske tilgang og ved at bryde størst interesse, og som følte at de havde res- med nogle gæsters ideer om, hvad DGB kan sourcerne til at indgå i arbejdet. De blev regi- formidle. streret som frivillige i DGB. Ud over kvinderne Udenlandske og indenlandske fagfæller har bestod arbejdsgruppen af to ansatte ved DGB, kommenteret på udstillingens relevans i for- en historiker og en antropolog. Antropolog og hold til at fortælle danske byers historie, sam- historiker arbejdede i felten på lige fod med tidig med dens reflekterende og debatterende kvinderne. Disse otte udgjorde kernen i pro- potentiale. Samme holdning er kommet til cessen. Arbejdsgruppen gik metodisk til værks udtryk blandt gæster, der har besøgt udstil- og anvendte dokumentation og indsamling lingen. I forbindelse med lanceringen af pro- som basis for det udviklingsarbejde, der skulle jektet og åbningen gav udstillingen anledning ende med en fuldt indrettet lejlighed. I prak- til kritik fra debattører og gæster, der mente, sis foregik det ved, at en af kvinderne, der også at en somalisk lejlighed ikke hørte hjemme er amatørfotograf, stod for affotografering af på et museum, der handler om Danmark. fire private dansk-somaliske hjem. Hun havde Kritikpunkterne fremkom blandt andet via egenhændigt sørget for kontakter og fungerede Den Gamle Bys Facebookside, mails og i TV2 endvidere lejlighedsvist som tolk. Fotografier- Østjyllands program Kulturkampen (2016).3 ne blev anvendt gennem hele processen som Kritikpunkterne lød: At museet agerede poli- dokumentation og fungerede som ramme for tisk ved at gennemføre noget, der blev opfattet de efterfølgende forhandlinger om udstillin- som et integrationsprojekt. At kvinderne fik gens indretning. taletid på det forkerte museum, udstillingen Udstillingsarbejdet blev planlagt med et burde snarere være på fx Kvindemuseet. DGB ugentligt møde i lånte lokaler i et beboerhus så dog ikke projektet som hverken et integrati- i kvindernes lokalområde, mens udstillings- onsprojekt, et etnisk betinget projekt eller om- lokaliteterne blev gjort klar. Klargøring stod Anneken Appel Laursen, Danielle Guldmann Sekwati & Simone Søndergaard Bertelsen

74 DGB’s håndværkere for på baggrund af grup- ligt at arbejde med kvinderne som ligeværdige pens beslutninger om lyssætning, tapetvalg kolleger, så det giver mening for både kvinder og gulvbelægning. Ved disse møder blev der og museet? Kunne vi samskabe en udstilling, arbejdet konkret med formen af udstillingen, der levede op til de krav og forventninger, der fortællingen, dokumentation og indsamling er til professionelle udstillinger ved at lade ik- af genstande. Ud fra fotodokumentationen ke-fagudlærte have beslutningsret om resulta- og personlige erfaringer skabte kvinderne i tets indhold? arbejdsgruppen en konstrueret fortælling om Den amerikanske museolog Nina Simon social- og sundhedsassistenten Aisha og hen- reflekterer over, at graden af community enga- des fire børn. Denne fortælling blev afsæt for gement følger museets forventninger til bruger- udarbejdelse af genstandslister med henblik deltagelse (Simon 2010:188). Disse overvejelser på indsamling og indkøb, samt den måde ud- blev afprøvet i praksis ved at sætte arbejdspro- stillingen skulle formidles på. Da lokalerne var cesserne i fokus, hvor vi observerede, hvor ar- parate, blev udstillingslejligheden til på den bejdsprocesserne førte os hen i forhold til sam- måde, at arbejdsgruppen skabte hvert rum skabelsen. Forhandling blev et nøglebegreb. I gennem dialog, hvorefter kvinderne indrettede den forbindelse søgte vi en teoretisk ramme, og sammensatte genstandene i rummene, så de der kunne dække og forklare processen som efter gruppens mening udgjorde et helt hjem. det væsentligste og samtidig synliggøre for- I indretningsprocessen opstod der løbende handlingen som det centrale. Simons modeller afgørende forhandlinger om indretningen, og for deltagelse opererer med fire typer: Con- det var her selve udviklingen af formidling og tribution, collaboration, co-creation og hosted. fortællingen fandt sted. Simons pointe er at vælge deltagelsestype efter institutionens ønskede grad af ejerskab, kontrol af proces og ønske om output (Simon Den åbne proces i centrum 2010:187, 190–191). I processerne i Somalisk Museumsudstillingers tilblivelse har som regel Hjem fandt vi, at projektets intentioner gik på fokus på det endelige indhold og udtryk. Der tværs af Simons opstillede typer af præferencer, er et klart mål med, hvad og hvordan udstil- og at vi derfor ikke fik svar på vores spørgsmål. lingen skal formidle. DGB har tradition for at En enklere model er præsenteret af forskere i inddrage informanter i indretningen af blandt kulturvidenskab Hauge og Akman, der næv- andet 1970’er kvarterets lejligheder.6 Det er de- ner fire niveauer af deltagelse (2010:26–27): res erindringer, der medvirker til, at museet får indsamlet de korrekte genstande, og at indret- 1. Adgang til institutionen – fysisk og økono- ningen bliver korrekt. Udviklingen sker i sam- misk. spil, men i sidste ende er det museet, der tager 2. Mulighed for refleksiv deltagelse – kulturelt de endelige beslutninger, ligesom det er muse- og intellektuelt. Gæsten har mulighed for at et, der på baggrund af research/undersøgelser føle tilhørsforhold til museet og en oplevel- har besluttet, hvilke lejligheder man ønsker at se af, at den viden, der formidles er relevant. udstille. Somalisk Hjem var en udefrakom- 3. Deltagelse gennem bidrag. At brugeren kan mende ide, og det gav derfor mening at holde deltage aktivt i udformningen af udstillin- fast i, at kvindernes stemmer var de afgørende. gen eller et projekt. En række spørgsmål meldte sig: Er det mu- 4. Strukturel deltagelse. At deltageren har mu- Nu er vi del af Danmarkshistorien

lighed for at deltage i udstillingsprocessen et forudbestemt resultat, og udviklingsproces- 75 samt udformningen af selve budskaberne sen er således ikke kontrolleret af specifikke og tolkningen af udstillingen. restriktioner, hvilket medfører en mere ustabil og eksperimentel proces. Når ikke-fagfolk in- Disse typer deltagelse giver forskellig involve- viteres ind i en prototyping-proces, indgår de ringsgrad. Det kan argumenteres, at i disse ni- i revision af både rammesætning og retning veaudelte modeller for deltagelse, bestemmes for processen. Denne forståelse af prototyping involveringsgraden primært af afsenderen af som rammesætning for en eksperimenterende et tiltag. Dog gives deltagerne mulighed for at udviklingsproces, indebærer således et både påvirke nogle af processerne. I nærværende normativt og praktisk princip om samarbejde i projekt havde vi behov for at udvide deltagel- vidensproduktionen (Marcus:399–402). seslag 3 og 4, da deltagerne ændrede projek- Overføres denne konceptuelle rammesæt- tets retning og produkt igennem vedvarende ning til Somalisk Hjem, betragtes udstillings- forhandlingsprocesser og skiftende roller. Ved projektets proces som samskabelse i begrebets at betragte Somalisk Hjem som eksperimentel yderste konsekvens: Kvinderne deltager som samskabelse i yderste konsekvens er begrebet samarbejdspartnere, ikke alene i udviklingen prototyping (efter Marcus 2014) valgt, som af ideer, men i løbende revision af projektets metodologisk rammesætning for udstillings- rammesætning og formidling, hvor der eksem- projektet: Brugerne inddrages ikke alene som pelvis blev stillet spørgsmål ved udstillingens informanter med udsigelseskraft, men sam- formål. Hermed distribueres den overordnede skaberne og museumspraktikernes roller er autoritet i stor udstrækning fra museets fag- omskiftelige i processen, og museets autoritet personer til kvinderne med bevidsthed om, at distribueres i udbredt grad gennem hele pro- indehavere af autoritet og roller kontinuerligt cessen. Gennem eksempler, vil følgende afsnit forandres. Museet havde ikke forudbestemt vise, hvordan ikke kun udstillingen som resul- emnet for projektudviklingen, ligesom pro- tat, men udstillingsprojektets proces og tilhø- totypens format heller ikke blev defineret på rende aktiviteter kastede centrale erfaringer af forhånd: Formidlingens format voksede ud af sig.7 forhandlingsprocessen. Samskaberne, kvinderne, indgik derfor på lige fod med museets praktikere. Prototyping: En gennemgribende Almindelige menneskers viden anerkendes distribution af autoritet hermed ved at gøre dem til partnere i selve vi- Prototyping beskriver udviklingen af en pro- densproduktionen: ”Civically engaged scholars totype, en idé eller et produkt, og henviser recognize non-academic publics as valuable således til selve udviklingsprocessen af dette sources of expertise and as partners in knowl- produkt (Marcus 2014:399). Udviklingspro- edge creation, rather than passive recipients of cessen arbejder sædvanligvis hen imod et expert academic scholarship. [...] academics specifikt resultat: En færdig prototype. Det acknowledge the shared ’authority’ they must betyder for processen, at den er kontrolleret negotiate with their research subjects” (Butler af restriktioner, eksempelvis i form af hvilke & Lehrer 2016:12). Ved at engagere ikke-akade- deltagere, der indgår i hvilke udviklingsfaser. mikere i vidensproduktionen og dele autoritet Med prototyping arbejdes der ikke hen imod med dem sker der det, at projektet åbnes for Anneken Appel Laursen, Danielle Guldmann Sekwati & Simone Søndergaard Bertelsen

76 flere nuancer, som for eksempel Norsk Berg- var ingen mænd [der ville deltage]”, fortæller verksmuseum, der med projektet Min by Din en af kvinderne fra arbejdsgruppen (Sekwati by – kulturmøter før og nå, arbejder på at gøre 2016). Kvinderne tog kritikken til sig og for- museet mere tilgængeligt og attraktivt for unge søgte at få nogle af de kritiske røster invol- asylansøgere og indvandrere ved sammen med veret i processen. Der blev internt i gruppen dem at udvikle nye formidlingsmetoder (muse- diskuteret, hvorvidt kritikken var legitim, og umsetikk.no 2017).8 Udviklingsprocessen i So- om fortællingen om Aisha som alenemor gav malisk Hjem er karakteriseret af en gennemg- et misvisende billede. Mændene ønskede ikke ribende udveksling af roller og autoritet, som at deltage direkte i projektet, men deres kritik fordres af prototyping som metode, idet den blev alligevel båret videre i projektet og blev indebærer en vedvarende åben proces. del af fortællingen i formidlingsrummene, der blev knyttet til udstillingen. Her var kvinderne således eksperter, som havde den endelige Det ligner jo præcist! udsigelseskraft i forhold til formidlingen af ud- I Somalisk Hjem var det ikke alene kvinder- stillingens fortælling. ne som informanter, der formede projektets Eksemplerne illustrerer, at museet her ikke retning ved at ændre i udstillingen, men også har den absolutte beslutningsret hverken over kvindernes netværk har været involveret. Her proces eller produkt i det samskabende pro- præsenteres eksempler som illustrerer, hvor- jekt. Åbenhed for at processen kan trækkes dan der løbende blev arbejdet i forhandlings- i nye retninger, når nye ideer opstår, samt at processer, hvor resultatet ikke var fastlagt på formidlingen løbende kan revideres af forskel- forhånd. Til et af arbejdsgruppens møder lige aktører, er et vilkår. Betragtes prototyping passede en af kvinderne sin venindes datter. som normativ retningslinje for en udviklings- Pigen var med i lejligheden og var begejstret. proces betyder det, at processen betragtes som ”Det ligner jo præcist.” Men smilet forsvandt, lige så central som det færdige resultat (Marcus da hun kom til børnenes værelse. Det var helt 2014:400–401). I projektet betød tilgangen, at forkert, forklarede hun. Der var alt for mange det for alle parter var nødvendigt at eksperi- ting. Kvinderne tog det op til overvejelse og mentere eller prøve sig frem gennem proces- ændrede dele af udstillingen ved at fjerne gen- sen, og at alle deltagere derfor måtte være flek- stande. Eksemplet viser, hvordan andre inte- sible i deres tilgang til arbejds- og udviklings- ressenter både tildeles og kræver autoritet, og processen. at pigens viden om børneværelser anerkendes Det valgte metodedesign i projektet betød, for herigennem at deltage konkret i forhand- at genstandshåndteringen afveg fra vanlig lingsprocessen. praksis på museet, hvor den normalt gennem- Et andet eksempel på, hvordan andre bød føres alene af det faglige personale. Som regel ind i arbejdsprocessen, var da mænd med so- registreres og placeres genstande i en partiku- malisk baggrund kommenterede, at de havde lær sammenhæng og rækkefølge inden ind- hørt, at udstillingen omhandlede en enlig mor. rykning i udstillingslokalerne. Der udarbejdes ”Først tænkte vi det ikke sådan [udstillingen]. dokumenter med planer og overvejelserne bag Vi snakkede først, hvad skal vi lave? Ah, enlig planerne. Den procesorienterede indretning mor! Ikke alle er enlige mødre, siger mændene. afveg fra dette, og det betød at kvinderne i ar- Men sådan blev det. Vi har taget rundt og der bejdsgruppen måtte oplæres i at arbejde med Nu er vi del af Danmarkshistorien

Fig. 2. I forbindelse med indsamlingen af genstande til Somalisk Hjem planlagde kvinderne et indsamlingsevent. Her kunne personer fra det somaliske miljø i Aarhus komme og aflevere genstande, de ikke længere brugte eller som de ønskede at donere til udstillingen. Foto: Den Gamle By, 2016. registrering. Lejligheden blev indrettet rum for museumsstyrede praksis. Kvinder og muse- rum med en tidsplan, der hed ét rum pr. uge. umsansatte blev udfordret i forhandlingerne, Metoden betød, at der var tid til refleksion og når det ikke var prædefineret, hvem der havde diskussion af valgene. De enkelte rum havde den endelige udsigelseskraft. Indsamlingerne fået tildelt en overskrift: Stue, soveværelse, pi- fungerede endvidere dobbelt, ved at der blev gernes værelse og køkken. I takt med at fortæl- indsamlet genstande, samtidig med at de loka- lingen om Aisha og børnene materialiserede le somaliske miljøer fik mulighed for at blive sig, blev det muligt at indsamle genstande, der inddraget og involveret i projektet. passede til fortællingen. Med prototyping-tilgangen blev rollerne i Kvinderne bar det primære ansvar for lø- samarbejdet omskiftelige. Et konkret eksempel bende at indsamle genstande. Der var tale på hvor fleksibel arbejdsgruppen skulle være i om nyindkøb og køb i genbrugsbutikker, der processen, var indretningen af køkkenet. Det skulle sikre en troværdig fortælling. Desuden var komplekst at indrette qua det store antal donerede kvinderne selv genstande fra deres genstande. Metoden blev derfor, at køkkenet hjem, og det viste sig, at kvindernes netværk blev anvendt en gang om ugen til madlavning. også var villige til at donere. Kvinderne iværk- Ved at indføre madlavning i forbindelse med satte indsamlingsevents, der gav stort udbytte, møderne blev det muligt at indkøbe nødven- men netværket blev også brugt til at skaffe fx dige gryder, bestik med videre og fx dubletter en særlig grydeske til køkkenet (fig. 2). af konservesmad. Det blev kvindernes viden Den processuelle indsamling betød som om, hvilke køkkenredskaber og madvarer de sagt, at registreringen afveg fra den vanlige anvender i husholdningen, der blev styrende Anneken Appel Laursen, Danielle Guldmann Sekwati & Simone Søndergaard Bertelsen

Fig. 3. Til de ugentlige møder blev der serveret mad, der var tilberedt i køkkenet i udstillingen Somalisk Hjem. På den måde fik køkkenet liv, duft og patina. Foto: Den Gamle By, 2016.

frem for museets erfaring om køkkenindret- Den nødvendige modstand ning (fig. 3). En del af prototyping-processens åbenhed for Udover at skabe selve udstillingen define- respons indebærer de løbende forhandlinger, rende kvinderne også hvilke temaer, der skulle og i projekt Somalisk Hjem indebar denne berøres i de tilstødende formidlingsrum samt åbenhed også respons fra andre interessenter, danne rammen for en debatrække afholdt i herunder organisationer, civilsamfund og den regi af voksenuddannelsesorganisationen Frit bredere offentlighed i form af museets publi- Oplysningsforbund i Aarhus. Det var temaer kum. Ud over de konstruktive dialoger opleve- som opvækst, uddannelse, moderskab og lo- de DGB også, at projektet mødte undren over, kale forhold, da de fyldte meget i kvindernes at museet overhovedet valgte at beskæftige sig hverdag. Museets opgave blev her at omsætte med en minoritet, en indvandrergruppe, på temaerne til tekst og formidling, som igen blev et tidspunkt, hvor Europa oplevede massive godkendt af kvinderne (fig. 4). flygtningestrømme, primært fra Syrien. I en le- Nu er vi del af Danmarkshistorien

der i Jyllands-Posten 22. november 2015 under 79 overskriften ”Modigt Museum” finder avisen ikke, at museet har skjulte politiske motiver, men foreslår andre relevante emner, som fx. de ældre. I afrundingen fremføres det: ”I disse år forandrer samfundet sig. Der sker ændringer på en lang række områder, og det skal museer selvfølgelig afspejle. Med tiden, men ikke i øje- blikket” (Modigt Museum). Det problematiske for skribenten er, at museet arbejder med samtiden, og at det kan opfattes som politisk. Men denne kritik rammer imidlertid ikke altid sam- tidsprojekter. For eksempel flyttede en hjemløs sin bolig ind i Den Gamle By i 2012. Der var tale om en samtidsfortælling, men ingen så det som et politisk projekt (Laursen 2014:60–62). Som tidligere beskrevet var ærindet for pro- Fig. 4. Kvinderne var drivende kraft bag formid- jektet Somalisk Hjem at skabe en hverdagsfor- lingen i Somalisk Hjem, derfor blev gentagne gange gennemført ”brainstorms” på en dør i udstillingen. tælling fra Danmark, som de færreste kender Her blev ideer og tanker skrevet på en post-it og til. Projektets metode var at give kvinderne en sat på døren. Efterfølgende blev emnerne på døren stemme på en måde, museet ikke havde prøvet diskuteret. Foto: Den Gamle By, 2016. før. Nogle vil måske argumentere, at med dette ønskede vi som museum at promovere parti- ninger og værdier, og det kræver bevidsthed kulære værdier. Dette var ikke intentionen. om egen position, da den reflekteres i arbejdet Somalisk Hjems arbejdsgruppe havde vidt for- (Butler & Lehrer 2016:7). Der er derfor hver- skellige personlige erfaringer, hvilket har be- ken tale om formidling af virkeligheden eller tydet, at udstillingens fortælling nødvendigvis sandheden, men en fortælling med en bestemt består af nuancer. Der er tale om et kurateret vinkling, fremkommet gennem forhandling argument (Butler & Lehrer 2016:14–15), der er mellem projektets deltagere. Dr Bernadette fremkommet mere eller mindre bevidst. Erica Lynch, tidligere museumsdirektør på Man- Lehrer og Shelley Ruth Butler forsker i feltet chester Museum, argumenterer for, at der vil mellem antropologi og museumspraksis, og være modstand fra forskellige sider til projek- betragter museet som et sted for at undersøge ter, der aktivt forholder sig til, hvad der sker i sociale og kulturelle praksisser, som afspejler verden uden for museet. En modstand, der kan bevægelser i samfundet. Udstillingen som ku- virke produktivt, da der i modstanden er kon- rateret argument implicerer blandt andet en flikt. En konflikt, der kan skabe dialog (Lynch bevidsthed om at udstillinger ikke alene skal 2011:150–154). gengive eksisterende viden og paradigmer, Konflikt ses som en tydelig uoverensstem- men indgå i en fælles udforskning af fordom- melse. Modstanden, der mødte DGB, var pri- me og holdninger i samspil med offentlighe- mært forud for åbningen af udstillingen og den (Butler & Lehrer 2016:15). Hertil kommer, handlede om, at museet beskæftigede med at som personer har museumsfolk også hold- noget udansk, og at det ikke hørte hjemme i Anneken Appel Laursen, Danielle Guldmann Sekwati & Simone Søndergaard Bertelsen

80 DGB, der blev beskrevet som indbegrebet af danskhed. Museer har fået kritik for at under- støtte bestemte ideer om det nationale, men essensen i kritikken af Somalisk Hjem var netop, at udstillingen blev betragtet som en fejlagtig udfordring af national identitet. Professor Fio- na McLean argumenterer for, at museer ”have been used to house a national heritage, thereby fulfilling national ambitions by creating a national identity” (McLean 1998:245). Ændrede politiske og sociale forhold bevirker dog, at identitet i højere grad forstås som konstrueret og forhandlet, også på museer (McLean 1998:245–247, 252). I relation til denne vedvarende debat om hvordan museer repræsente- rer spørgsmål om identitet og diversitet, er det således interessant, at modstanden indikerer, at dele af museets publikum ikke opfatter perspektivet i Somalisk Hjem som berettiget. DGB forventede modstand og havde derfor på forhånd lagt strategier for at håndtere den, når den opstod. Midlet var dialog. Det betød i Fig. 5. I de tilstødende formidlingsrum hænger en praksis, at kommentarer til og om udstillingen tavle, hvor de somaliske kvinder har valgt de ord, som de mener beskriver danskhed. Det er nu op til blev imødekommet − også i selve udstillingen. gæsterne at komme med deres bud. Foto: Den Gamle Har gæsterne et andet syn på virkeligheden, By, 2017. end det de præsenteres for, når de besøger udstillingen, kan det i sig selv bidrage til en kon- nalfølelse og immigration i disse år er til stor flikt eller en oplevelse af, at der er uoverens- debat. Men emnet danskhed blev ikke udvalgt stemmelse mellem deres syn og det præsen- af museet på forhånd som indgang til debat. terede perspektiv. Et eksempel på forskellige Ideen om tavlen affødtes derimod i arbejds- virkeligheder, der kommer til udtryk i udstil- gruppens forhandlingsproces, som en del af lingen, er en tavle i et af formidlingsrummene, en dialog om boformer og livsstile i Danmark; der igennem en række ord drillende spørger, netop det, museet Den Gamle By og selve ud- om det at være dansk fx er flæskesteg og hygge. stillingen formidler. Ordrækken er defineret af de somaliske kvin- Konflikten kan være konkret og udtalt, som der. Gæsten kan her give deres bud på, hvad vrede beskeder på de sociale medier og henven- det vil sige at være dansk (fig. 5). delser til museet fra vrede brugere, som projek- Der er mange forståelser af dette, og de tet oplevede (se ovenfor). Men konflikten kan forskellige og modstridende forståelser giver også ligge i dialogen. Eksempelvis blev kvinder- anledning til refleksion og dialog. Det kan arne stillet til regnskab for en lokal imams udta- gumenteres, at museet her behandler et farligt lelser til den nationale presse om det at være emne (Tøndberg 2013), idet danskhed, natio- muslim i Danmark. I kvindernes dialog med Nu er vi del af Danmarkshistorien

gæsterne fik de diskuteret, hvad udtalelserne vende samfund anskuer samtidige sociale og 81 handlede om, og gæster fik vendt stereotype moralske emner: forestillinger om muslimer. En af kvinderne fortæller om episoden: ”Efter et TV2-program Although audiences are undoubtedly highly active var der heftig debat med [nogle] gamle damer. in the construction of the meanings they produce Det var nogle vigtige snakke. De [ældre kvin- out of the exhibition encounter [...] the narratives der] opdagede, at det de havde set i tv, og det which museums construct and present nevertheless de oplevede [i mødet med kvinderne i udstil- play a part in shaping normative truths and social lingen] var meget forskellige” (Sekwati 2016). relations, as well as in framing the ways in which De dansk-somaliske kvinder oplevede de visitors and society more broadly view and discuss konfronterende spørgsmål som voldsomme, contemporary social and moral issues (Sandell men de valgte at indgå i dialog med gæsterne 2011:135). og fik herigennem forklaret deres synspunk- ter og virkelighed. Kvinderne så positivt på Professor i museumsstudier, Richard Sandell, samtalerne med gæsterne, for i deres øjne gav Leicester University, argumenterer således for, dialogen mulighed for at møde hinanden som at museet, uagtet en objektiv tilgang til udstil- mennesker. Trods de konfronterende spørgs- lingens formidling, skaber og formidler nar- mål blev dialogen af begge parter opfattet som rativer, som påvirker publikums opfattelse af god. Museet havde for at sikre kvinderne mod aktuelle, samfundsmæssige anliggender. Ved eventuelle trusler lagt en strategi for, hvordan at forholde sig til publikums respons gennem de skulle håndteres. Der var tydelige instrukser hele processen og lade samskaberne få medbe- til kvinderne om, at det var legitimt at forlade stemmelse på lige fod med museets formidlere stedet, flugtveje blev gennemgået, og de havde har vi erfaret, at museet kan arbejde hen imod alle et direkte nummer til museets vagt i deres en formidling af aktuelle emner. Fortællinger- telefoner. Museets frontpersonale blev ligele- ne præsenterer et mere nuanceret narrativ og des instrueret i at være opmærksomme og at giver dermed publikum et relevant samtidshi- passe på vores kollegaer i projektet. Forholds- storisk indblik. reglerne kom slet ikke i brug, men det skabte tryghed hos alle, at der var italesat en klar Hvad er udbyttet af prototyping strategi. Motivationen blandt kvinderne for som metode i museumsarbejdet? deltagelse i projektet var at skabe dialog og af- live fordomme. Derfor måtte samtalerne være Prototyping indebærer som eksperimentelt konfronterende og baseret på forskellige for- metodisk koncept, at det færdige resultat ikke ståelser af problemstillinger. Museet valgte at kan forudsiges (Marcus 2014:403). Museet facilitere mødet mellem gæsten og kvinderne, kunne således hverken forudsige udstillingens selvom konfronterende spørgsmål kan være udformning eller modtagelse. Tilgangen og de svære. Muligheden for konflikt ser vi derfor mange samarbejdsflader i Somalisk Hjem af- som en forudsætning for, at prototyping som stedkom en række uforudsigelige, men positi- metode kan anvendes i praksis. ve udbytter. Disse udbytter kan betegnes som Museer producerer fortællinger, der postu- en slags uventet overskud af aktiviteter, per- lerer normative sandheder og påvirker sociale spektiver og kendskab til netværk og indsigt relationer og den måde, gæster og det omgi- i nye samfundsgrupper. Kvinderne i arbejds- Anneken Appel Laursen, Danielle Guldmann Sekwati & Simone Søndergaard Bertelsen

82 gruppen har en stor aktie i, at dette overskud te. Dette konkluderer Mellemsether og Mül- er opstået. Det skete eksempelvis gennem de ler også i deres undersøgelse af inddragelse af gennemførte indsamlingsevents, hvor museet brugere i planudviklingen af nye udstillinger fik nye kontaktflader. Her kom nye samskabere (Mellemsether 2016:34). Når museer således til, og de fik mulighed for at bidrage til projek- bevæger sig fra at varetage samlingerne til i hø- tet, ikke bare med genstande, men også med jere grad at tjene offentligheden, er lydhørhed ressourcer i det videre forløb. Der blev afholdt over for offentligheden ikke et offer fra muse- arrangement med somalisk te og småkager i ets side, men kan betragtes som en vej til op- udstillingslejligheden, hvor det var muligt at fyldelse af museets formål (Weil 1999:254–55). møde kvinderne og stille spørgsmål. Der blev gennemført arrangementer på museet, hvor Kvindernes syn på samskabelse: der blandt andet var fokus på somalisk mad- ”Vi var kollegaer på samme tid” kultur, musik og beklædning. Her bidrog andre fra kvindernes netværk, der hermed gjorde I den efterfølgende evaluering i arbejdsgrup- projektet til deres eget. Og publikum bakkede pen har der været fokus på, hvordan kvinderne op ved at deltage i arrangementerne. og museets ansatte i gruppen har oplevet del- Et andet eksempel på overskudsaktivite- tagelsen i projektet, og hvad det har betydet. ter involverer børn og unge med somalisk Evalueringen foregik gennem interviews og baggrund. En ung dansk-somalisk kvinde er samtaler, ledet af en af de museumsansatte i blevet ansat på museet som rundviser i ud- projektet. Fælles for kvinderne i arbejdsgrup- stillingen, der kan bestilles gennem museets pen var, at de reelt har følt sig som en del af vanlige kanaler. Skoleelever med anden etnisk DGB og museets arbejdsstyrke. En af kvinder- baggrund end dansk (også ikke-somalisk) er ne udtaler: ”Jeg er meget positiv og stolt. Jeg spontant blevet guider i lejligheden over for har oplevet, at vi var ligemænd. Jeg har haft deres klassekammerater, og de får herved åb- gode kollegaer [...]. Vi var kollegaer på samme net for samtaler om forskellige måder at bo og tid” (Sekwati 2016). indrette sig på. Skolelærere melder endvidere Kvinderne tilkendegav samtidig, at det hav- tilbage, at elever efterfølgende har præsenteret de været vanskeligt og krævende at arbejde i eksempelvis lege fra deres forældres hjemland. projektet. De mærkede et stort pres. De ville Disse eksempler på overskud af aktiviteter gøre det godt for at kunne være forbilleder for kunne ikke forudsiges ved igangsætningen af andre personer med somalisk baggrund. De projektet. havde lysten og behovet for at lære, hvordan Opsummerende kan det siges, at ved at an- de skulle skabe en udstilling, der levede op til vende prototyping som rammesætning for, museet og forventninger fra museets gæster, hvordan museet gennem samarbejdet deler både fagligt og formidlingsmæssigt. Som en autoritet og kontrol til museets samskabere af kvinderne udtaler: ”Jeg har lært, hvordan (kendte såvel som ukendte), risikerer museet museer arbejder. Hvordan en historie hænger sin egen autoritet i forhold til formidlingens sammen” (Sekwati 2016). Vigtigt for kvin- udfald. Afgørende er dog, at distributionen derne var også, at museet lærte noget af dem. af autoritet betragtes som en konstruktiv in- Det var vigtigt for dem, at alle var afhængige vestering, da vidensudvekslingen ideelt set er af hinanden for at opnå et troværdigt resultat: værdifuld for både kvinder og museumsansat- ”Jeg håber, at I [museet] har lært, at vi er so- Nu er vi del af Danmarkshistorien

ciale mennesker. Jeg håber, I vil arbejde med stillingsarbejde? Gennem processen i Soma- 83 almindelige mennesker. Jeg håber, at I har lært lisk Hjem har museets praktikere fået konkret at arbejde – og gå ned – og se hvad os almin- indsigt i og erfaring med at samarbejde med delige mennesker kan byde på. Vi har et an- ikke-fagfolk som ligeværdige kolleger. Erfarin- det syn på [end] folk i DGB” (Sekwati 2016), gerne har vist, at inddragelsen af samarbejds- beretter en af kvinderne, mens en anden for- partnere kan blive til decideret samskabelse, tæller: ”Projektet ville ikke have været en skid både i det praktiske samarbejde og som prin- uden os [...]. Hvordan kan I vide det [hvordan cip for vidensdeling. Museet og samarbejds- vi lever]. Hvordan kan I lave lejligheden? Lavet partnerne har løbende revideret formidlingens udstillingen, mad, kaffe… Det betyder så me- rammesætning. I hele processen er formålet get [at vi lavede udstillingen]” (Sekwati 2016). med udstillingen – og dermed udstillinger i En væsentlig pointe for projektets succes er, det hele taget – blevet diskuteret gennem de at kvinderne har set sig selv som vigtige og nød- konkrete handlinger. Kvinderne har gennem vendige for projektet, men også har accepteret, deres arbejde og input tvunget de museumsan- at alle involverede havde forskellige roller. satte til større bevidsthed om, hvorfor de gør, Forudsætningen for tilliden var også, at de som de gør. Hermed bliver brugerinddragelse havde kendskab til DGB i forvejen. En kvin- til samskabelse, som baserer sig på vidensud- de udtaler: ”Jeg synes, det er en fordel [at ken- veksling og deling af autoritet. Prototyping de folk i forvejen]. Det ville tage længere tid, som metode adskiller sig herved fra øvrige hvis vi skulle skabe tillid til hinanden. [Det er] typer deltagelsesprojekter, ved at uoverens- nemmere for [de andre] kender dig” (Sekwati stemmelser accepteres og omfavnes. I figur 6 2016). Flere af kvinderne synes, at de med deler prototyping sat op overfor mere traditionel- tagelse i projektet har fået en plads i historien le museale brugerinddragende projekter (jvnf. om Danmark. Via den centrale dialog i projek- model, pkt. 3 og 4, s. 74–75) tet udtrykte kvinderne, at de fik en følelse af at Med museets accept af invitationen til at blive set og hørt. Kvindernes positive oplevelse indgå i projektet Somalisk Hjem accepterede vi af samarbejdet og følelse af en samfundsmæs- også en risikovillighed ved at lade samskaber- sig og historisk anerkendelse har også været et ne have en reel stemme i forhold til udstillin- godt udbytte for et kulturhistorisk museum i gens formidling. Overordnet betragtet betød udfordringen af vante rammer. Hermed har det, at de former og strukturer, der normalt er DGB både budt nye grupper, som tager ejer- at finde på et museum bliver udfordret og der- skab, velkommen og tiltrukket nye grupper af med også forandres (Egholk 2016:41). Som vi besøgende publikummer.9 tidligere har vist, så var samskabelse krævende både for ansatte og frivillige samarbejdspartnere i projektet, fordi rollerne var flydende og Implikationer for at gøre museum til forhandling. Forudsætningen for at det lyk- Den metodiske tilgang til Somalisk Hjem, kedes var, at alle parter var villige til at arbejde rammesat som prototyping, har været med til med en respektfuld dialog og med villighed at anskueliggøre arbejdsprocesserne i det kon- til at lære fra hinanden. Tilgangen krævede, krete projekt. Men hvad betyder prototyping at museets ansatte i projektet kunne navigere mere overordnet for de kulturhistoriske mu- i åbne processer ud fra ideen om, at det ende- seers tilgang og rolle i brugerinddragende ud- lige produkt kunne ændre indhold. Præmissen Anneken Appel Laursen, Danielle Guldmann Sekwati & Simone Søndergaard Bertelsen

84 Deltagelsesprojekter Et Somalisk Hjem/ medlemmer af samfundet (Gurian 1995:15– prototyping 16). Museet betegnes som ”a fitting safe place Museet er igangsætter Lokal gruppe er for the discussion of unsafe ideas” (Gurian igangsætter (ikke 2006:92–93). I udstillingen Somalisk Hjem gik nødvendigt for, at det gæster i dialog med andre gæster, hinanden og er prototyping) kvinderne. Det var udfordrende for arbejds- Informanter/deltagere Kollegaer/ gruppens kvinder, men efterlod alle parter samarbejdspartnere med følelsen af at være blevet hørt. Publikum Roller er faste Roller er flydende forlod udstillingen med et indblik i det aktuelle Udstilling/ En udstilling skabes fra liv for en somalisk kvinde, som de ikke hav- produkt skabt af start til slut de haft adgang til før. Udstillingen var et trygt kulturinstitution med gruppen af nye sted at stille spørgsmålstegn ved det, der præ- kollegaer. (den samlede senteredes og ved egne forestillinger. arbejdsgruppe) Undersøgelser viser, at museer opleves som Fast skabelon Ingen fast skabelon indehaver af en høj grad af troværdighed, Proces/produkt- Proces/produkt- men også at museer dukker op som agenter i forhold: forhold: det bredere mediebillede. Museer kan bidrage Ofte fast idé om Produktet er løbende gennem udstillinger og ved at tage emner op produkt til forhandling i til meningsdannelse og stillingtagen. Ifølge Ri- processerne chard Sandell handler det ikke kun for muse- Endelig Endelig erne om at være sikre rum for dialog, men også bestemmelsesret ligger bestemmelsesret sker i hos museet konsensus om at sætte dagsordenen for diskussionerne i disse rum (Sandell 2011:136). Som tidligere Fig. 6. Deltagelsesprojekter og Prototyping. beskrevet var det ikke fra begyndelsen museets intention at handle farligt ved at udvælge et kontroversielt emne til formidlingen (Tønd- for samskabelse indskriver sig i en overord- berg 2013), men i stedet at insistere på at lade net tanke om museet som en demokratisk og samskaberne bidrage til at sætte dagsordenen deltagende institution. Det centrale formål er for dialog i museets rum. Herigennem er det at praktisere en radikal form for tillid til dets muligt at give en stemme til grupper af menne- samarbejdspartnere, og udfaldet af samar- sker, der ikke normalt har en kraftfuld stemme bejdet kan ikke kontrolleres af museet alene i samfundet. (Lynch 2011:160). Ved at arbejde med prototyping er denne tillid og risikovillighed en for- Konklusion udsætning, og det befrier og rammesætter på samme tid arbejdsprocessen og gør det muligt I undersøgelsen af den åbne proces, som meto- at omfavne modstanden. de for samskabelse i projektet Somalisk Hjem, Museet har endvidere oplevet det, som stillede vi spørgsmålene: Er det muligt at arbej- blandt andre museumsrådgiver Elaine Heu- de med ikke-faglærte som ligeværdige kolleger mann Gurian har undersøgt: At museet op- på en måde, så det giver mening for både dem fattes som et mødested, hvor det er muligt at og museet? Kan vi samskabe en udstilling, der indgå i dialoger og fællesskaber med andre lever op til de krav og forventninger, der er til Nu er vi del af Danmarkshistorien

professionelle udstillinger ved at lade ikke-fag- publikum opfattet som et sikkert og trygt sted 85 lærte have beslutningsret om resultatets ind- for dialog. Når flere samfundsgrupper opfattes hold? Prototyping er anvendt som metodisk som inkluderede og velkomne på museet, op- rammesætning for at synliggøre, at processen står flere muligheder for dialog. har været sat i centrum med ligeværdighed En central erfaring i projektet har været, som princip i alle arbejdsprocesserne. Proto- at museet i samarbejdet med forskellige sam- typing karakteriseres således som metode ved fundsgrupper er bevidst om potentielle reak- at sætte processerne fri. Centralt har været, at tioner, hvilket er nødvendigt for at håndtere proces og produkt påvirkede hinanden gen- den nødvendige modstand og den politiske sidigt gennem vedvarende forhandlinger om kontekst, en samtidsudstilling nødvendigvis udstillingsprojektets indhold. Den ligeværdi- indskriver sig i. Betydningen af anerkendel- ge forhandlingsproces mellem samskabere og sen af både konflikt og forhandling som vilkår museumsfagligt ansatte samt museets accept kan bruges som drivkraft i samarbejdet. Det er af samskabernes beslutningsret betød, at der blevet argumenteret, at det er i konflikten, der opstod et meningsfuldt kollegaskab. Ambiti- skabes dialog og opstår nye refleksioner. Muse- onen og ønsket om et succesfuldt samarbejde et vil gennem dette kunne favne helt nye bru- fra alle parter har skabt en udstilling, der af gere og gøre endnu flere stemmer tilgængelige. både fagkollegaer og publikum betragtes som et væsentligt bidrag i formidlingen af byernes Noter historie i Danmark. Den processuelle arbejdsmåde gennem hele 1. Gellerupparken er den bydel i det vestlige Aarhus. projektet gav endvidere den erfaring, at muse- Området er opgivet på den nationale liste over umsprocedurer måtte gentænkes. Eksempelvis udsatte boligområder. Området har en lav grad måtte registreringen af genstande justeres i for- af beskæftigelse, en stor unge-befolkning og er hold til vanlig praksis, da indsamlingen af gen- karakteriseret ved en lav gennemsnitlig indtægt. stande foregik løbende. Det har krævet særlig 2. Flygtninge bliver involveret i kulturarbejde på stillingtagen til egen faglighed blandt de muse- museer Europa over, for yderligere eksempler se: umsansatte i forhold til den delte autoritet og Skartveit & Goodnow 2010 og ”Travelling with fleksibilitet i projektet. Det stillede også krav til art” 2016. samskaberne at indgå i samarbejdet, hvor rol- 3. Kritikken var især stærk i forbindelse med lerne var flydende, samtidig med at de måtte avisomtalen af projektet i oktober 2015, og i tilegne sig nye museale kompetencer. Samska- mindre grad i forbindelse med åbningen. Fra før bernes rolle blev endvidere at være ansigt på åbningen foregik debatten ved mails direkte til den nydanske kultur i Danmark, inklusive fx. direktøren i perioden 27. oktober 2015 til 25. april kontroversielle imamers udtalelser på tv. Dette 2016. I forbindelse med åbningen foregik der en oplevede kvinderne som konfronterende, men debat på Den Gamle Bys Facebook 11.–12. marts de tog dialogen i ønsket om at møde publikum 2016. www.facebook.com/DenGamleBy/ ligeværdigt. Herved påtog de ikke alene ansva- 4. I 2011 fik DGB overdraget ansvaret for Aarhus ret for egen dialog, men også at dialogen fandt Kommunes lokale historie, da Byrådet valgte at sted i museets rammer i regi af den nyåbne- lukke Århus Bymuseum. de udstilling. Trods den konfronterende dia- 5. Hele projektet er muliggjort takket været støtte fra log blev udstillingen både af samskaberne og Bikubenfonden. Anneken Appel Laursen, Danielle Guldmann Sekwati & Simone Søndergaard Bertelsen

86 6. Fx kollektivet hvor tidligere kollektivister Djupdræt, Martin Brandt & Anneken Appel Laursen blev inviteret ind fra starten til at fortælle og 2014. ”Hvem kan skrive vor tids historie.” Den ”medkuratere”. Frivillige inddrages også, i fx Gamle By Årbog, 73–81. indretningen af et knallertværksted og i museets Egholk, Kirsten 2016. ”Medskabelse og inklusion på nyåbnede byudstilling om Aarhus har lokale et museum – fortællinger om, hvordan et sted i været inviteret til at bidrage med deres personlige forstaden bliver til.” Kulturstudier 1, 34–61. beretninger og billeder. Gurian, Elaine Heumann 1995. ”Offering safer public 7. I et antropologisk speciale undersøges det spaces.” The Journal of Museum Education, 20:3, eksperimentelle og rammesætter projektets 14–16. processer og resultater (se Bertelsen 2016). Gurian, Elaine Heumann 2006. ”The museum as a 8. Norsk Bergverksmuseum oplevede netop at socially responsible institution, 1988.” In Civilizing formidlingen blev mere nuanceret og tog andre the Museum. The collected writings of Elaine former i processen. Erfaringer præsenteret på Heumann Gurian. New York: Routledge, 69–75. konferencen “Det relevante museum”, Trondheim, Kleist, Nauja 2006. ”Danmarks to ansigter. Stille 17.-21. okt. 2016. integration og diskrimination af somali-danskere.” 9. DGB flere positive erfaringer med inkluderende I Pedersen, Marianne H. & Mikkel Rytter (red.). arbejde, der gør DGB relevant for nye Den stille integration. Nye fortællinger om at publikummer og tilfører nye dimensioner til høre til i Danmark. København: Reitzels Forlag, museet (Ravn 2016). Eksempelvis unge, der 118–143. levede som kollektivister i 1974 kollektivet Laursen, Anneken Appel 2013. ”Da Ulrik kom på og erindringsformidling for ældre ramt af museum.” Den Gamle By Årbog, 45–52. sygdommen demens (ibid., se også Djupdræt & Laursen, Anneken Appel 2014. ”Visitor involvement Laursen 2014). as a strategy. A museum transmitting a message for social outcasts.” The International Journal of the Inclusive Museum 6:3, 57–66. Litteratur ”Modigt museum”, redaktionel leder. Jyllands-Posten Bertelsen, Simone Søndergaard 2016. Det er noget 22. november 2015. http://jyllands-posten.dk/ med virkeligheden. Om kollaborative eksperimenter aarhus/meninger/leder/ECE8234285/Modigt- i etnografien og på museet. Specialeafhandling, museum/ (downloadet 26. september 2017) Antropologi, Institut for Kultur og Samfund, Lynch, Bernadette T. 2011 ”Collaboration, contestation, Aarhus Universitet. http://antropologisk. and creative conflict. On the efficacy of museum/ dk/specialedatabase/det-er-noget-med- community partnerships.” I Janet Marstine (red.). virkeligheden/ The Routledge Companion to Museum Ethic. Butler, Shelley Ruth & Erica Lehrer 2016. Redefining Ethics for the Twenty-first-century ”Introduction. Curatorial dreaming.” I Shelley Museum. Abingdon: Routledge, 146–163. Ruth Butler & Erica Lehrer (red.). Curatorial Marcus, George E. 2014. ”Prototyping and Dreams. Critics Imagine Exhibitions. Montreal & contemporary anthropological experiments Kingston: McGill-Queen’s University Press, 3–23. with ethnographic method.” Journal of Cultural Damsholt, Tine 2012. ”Diversitet og museale Economy 3:4. Abingdon: Routledge, 99–410. heterotopier. Om naturalisering og McLean, Fiona 1998. ”Museums and the construction nationalisering af kulturel diversitet i of national identity. A review.” International migrantnationer.” Nordisk Museologi 2, 33–46. Journal of Heritage Studies 3:4, 244–252. Nu er vi del af Danmarkshistorien

Mellemsether, Hanna & Insa Müller 2016. ”From Weil, Stephen E. 1999. ”From being about 87 audience to participants. Engaging through something to being for somebody. The ongoing dialogue.” I Hanna Mellemsether & Mirela Iancu transformation of the American museum.” (red.). Open Heritage. Changing Museums – Daedalus 128:3, 229–258. Changing Communities – Changing Traditions. Yarrow Alexandra, Barbara Clubb & Jennifer- Sibiu: Complexul Național Muzeal ASTRA, 15–38. Lynn Draper 2008. Public Libraries, Archives Ravn, Thomas Bloch & Danielle Guldmann Sekwati and Museums. Trends in Collaboration and 2014. ”Gæstearbejdernes historie er også en del af Cooperation. The Hague: IFLA Headquarters. Danmarks historie.” Den Gamle By Årbog, 49–56. Ravn, Thomas Bloch 2015. ”Skal et museum være Øvrige kilder politisk korrekt?” http://blog.dengamleby.dk/ museumsdirektoren/2015/12/17/skal-et-museum- Hjemme hos mennesker med alvorlig og langvarig vaere-politisk-korrekt/ (downloadet 21. maj 2017) sygdom. Udstilling, Norsk Teknisk Museum. Ravn, Thomas Bloch 2016. ”Derfor indretter vi et http://museumsetikk.no/index.php/portfolio- somalisk hjem i Den Gamle By.” http://blog. items/hjemmehos/(downloadet 22. august 2017) dengamleby.dk/museumsdirektoren/2016/03/04/ Kulturkampen. Tv-program, TV2 Østjylland, 30. derfor-indretter-vi-et-somalisk-hjem-i-den- marts 2016. https://www.tv2ostjylland.dk/ gamle-by/ (downloadet 21. maj 2017) kulturkampen/anmeldelse-1?autoplay=1#player Sandell, Richard 2011. ”On ethics, activism and (downloadet 25. oktober 2017) human rights.” I Janet Marstine (red.). The Sekwati, Danielle Guldmann 2016. Ikke-udgivet Routledge Companion to Museum Ethics. evaluering. Samtalerne i arbejdsgruppen fandt Redefining Ethics for the Twenty-first-century sted 26. maj 2016. Interviewene er udskrevet. Museum. Abingdon: Routledge, 129–145. Aarhus: Den Gamle By. Simon, Nina 2010. The Participatory Museum. Santa Cruz, CA: Museum 2.0. Sekwati, Danielle Guldmann, Sofie Ilsøe Sjøholm, Anneken Appel Laursen, cand.mag., Anneken Appel Laursen & Christina Papsø museumsinspektør Weber 2014. Veje til forandring–- hvordan museer [email protected] skaber relevans med outreach. / Tools for Change. How Outreach Makes Museums Matter. Aarhus: Danielle Guldmann Sekwati, mag.art. etnografi Center for Kunst og Interkultur/Narayana Press. og socialantropologi, projektkoordinator Skartveit, Hanne-Louise & Kathrine Goodnow [email protected], 2010. Changes in Museum Practice. New Media, [email protected] Refugees and Participation. Oxford & New York: Museum of London/Berghahn Books. Simone Søndergaard Bertelsen, ”Travelling with art.” Louisiana Museum of Modern cand.scient.anth. Art 2016. https://issuu.com/louisianalearning/ [email protected] docs/14.08.2013___flygtningeb__rn___a5fo (downloadet 22.august 2017) Den Gamle By Tøndberg, Britta 2013. ”The dangerous museum. Viborgvej 2 Participatory practices and controversy in DK-8000 Aarhus C, Danmark museums today.” Nordisk Museologi 2, 3–16. Nordisk Museologi 2017 • 2, s. 88–104

Contemporary collaborations between museums and universities Experiences from a large Danish research program

Line Vestergaard Knudsen & Celia Ekelund Simonsen

Abstract: Numerous new types of cross-institutional collaborations have been conducted recently at the intersection between museums and universities. Museums of all subject areas have collaborated with university researchers, just as scholars from a broad range of disciplines including communications, media studies, IT and performance design and tourism increasingly collaborate with museums. Based on qualitative evaluation material and autobiographical experiences, this article analyzes a large Danish research project in which collaborations between several museums and universities took place. We investigate how university researchers contributed to the development of museum practices as well as how involvement in museum projects contributed to university research; we then discuss the various professional and practical challenges such collaborations face. Particularly we emphasize “anchorage” as a significant multidimensional concept that was critical to the collaboration outcomes and challenges. By this focus we aim to contribute to future cross-institutional collaborations between museums and universities.

Keywords: Museum, university, cross-institutional, collaboration, museum- audience communication, evaluation.

This article evaluates a large cross-institutional or together, especially in an intellectual research program that involved a range of endeavor.”1 While other professional and museums, universities, and research fields academic fields have developed more precise between 2009 and 2015. We see the numerous definitions of collaboration, co-operation projects in this program as examples of the and partnership, these concepts tend to be type of cross-institutional collaborations more vague in the museum sector (Cooper between museum professionals and university 2013). This article evaluates several cross- researchers that have flourished in recent institutional collaboration projects in a wide years. “Collaboration” may simply be defined range of forms that could interchangeably be as the act of working “jointly with others, labeled by all three concepts. We ask which Contemporary collaborations between museums and universities

mutual contributions and challenges arose resources to develop communications with 89 in these collaborations. Both authors of this their audiences and the wider public. article were engaged as PhD students in the University researchers from a range of fields program. have also become increasingly aware of the potentials of museum-audience communication as a research field. A survey of the status of Museum-audience communication Danish museum research conducted by the This article examines in particular cross- Danish Centre of Museum Research (DCM) institutional collaborations between museums in 2014 showed that the majority of museum and universities centered on museum-audience research projects conducted at universities communication. Within the last decade, focused on museum exhibitions, audience cultural policies, museums and university learning or communication (Gransgaard et al. researchers have increasingly focused on how 2014: 25). museums approach their audiences (those who While this article focus on collaborations visit museums) and the more general public. In centered especially on museum-audience com- this setting, museum-audience communication munication we acknowledge that cross-institu- is widely seen as a central point for discussion tional collaborations on museum collections, and improvements within museum practices. management, research, and conservation also Museum-audience communication contains exist and are developing. both transmissions of knowledge and the cultural exchanges of perceptions, just as Cross institutional this form of communication is generally collaborations understood to be both mediated (exhibitions, books, and digital media) and unmediated As already mentioned, cross-institutional col- (face-to-face teaching and dialogues) practices laborations between museums and universities (Hooper-Greenhill 1999, Drotner & Schrøder are on the rise these years. One reason might be 2013). that funding opportunities targeted at cultural In 2006, the Danish Ministry of Culture heritage institutions and their audience- investigated Danish museums’ competencies communication urge for such collaborations. and results related to audience communication For instance, the Danish Velux Foundation (Kyed et al. 2006); the ministry concluded wishes to “strengthen collaboration, bridge that more professional and economic efforts building and interaction between museum should be put into this area. Museums were researchers and educators, and universities encouraged to facilitate wider and more researchers.”2 A funding program of the representative contact with the public, to use British Arts and Humanities Research Council new digital communication technologies (AHRC) similarly urges museums and galleries to facilitate learning and to evaluate and to collaborate with arts and humanities document their audiences’ receptions of the research while working to attain high-quality new developments (Kyed et al. 2006:98, Rudloff “accessibility and visibility”3 among audiences. 2013). In accordance with these objectives, Over the last decade, Denmark’s Ministry many museums have attempted to include of Higher Education and Research has external technical, practical, and academic highlighted demands on universities’ abilities Line Vestergaard Knudsen & Celia Ekelund Simonsen

90 to collaborate externally and to conduct products in museum spaces. In some such research oriented toward application (and projects close and continuous interactions thus relevance) in society. Further, large public between university and museum professionals foundations such as The Innovation Fund are the rule (Davis et al. 2015); in other cases Denmark wish to merge research and society university researchers rather use the museum by making “investments in cross-institutional space as labs for testing academically driven projects that connect knowledge institutions ideas and innovations (Danko-McGhee 2004). with both private and public companies.”4 The In some projects, university researchers and European Horizon 2020 program contains museum professionals collaborate from the various sections that would be suitable for earliest stages to articulate project’s focus and humanities research in which the “specific purpose (often in relation to design of a funding objective is to build effective cooperation application), while in other projects, one party between science and society”.5 In these funding have developed key areas and objectives and contexts, many university researchers have then invited the other party to the project found museums attractive as collaborative (MacLeod et al. 2014). Collaborations may also partners. vary in their emphasis on university education Although it is beyond the scope of this (which implies students and PhD students) article to further describe the relationships in projects versus engaging in more senior between cultural policy, funding strategies and research activities based at the university. the shaping of research collaborations between Cross-institutional collaborations between museums and universities, we do wish to museums and universities thus have different suggest that political demands and resources organizations and role distributions. directed into both the museum and university sectors have influenced the movement to Current research on cross- embrace cross-institutional collaborations on institutional collaborations museum-audience communication. The various funding authorities and policies Despite the increasing tendency for cross- have provided minimal and/or multifarious institutional collaboration between museums guidance on the formats and types of and universities, not many studies have collaboration that should be used, and reported on the processes, outcomes and therefore multiple collaborative forms have challenges of such practices (Cooper 2013). emerged. Some collaborations primarily However, we do find a few studies very consist of university research on topics of relevant and worth mentioning in relation to museum-conducted audience communication our analysis and evaluation. (e.g. Dodd et al. 2012). While such projects Kevin Crowley and Karen Knutson have often challenge museums to reflect on their worked for almost two decades to develop ways of communicating with their audiences, both informal museum learning and academic they do not act to design museum-audience learning research. In two articles from 2005 communication per se. Other projects include (Crowley & Knutson 2005, Knutson & active practical involvement by university Crowley 2005), the authors summarized their researchers in which they have designed and experiences of working continuously together installed exhibitions or digital-communication with the Children’s Museum in Pittsburgh. Contemporary collaborations between museums and universities

The premise of this collaboration was that of expectations as critical to successful 91 professionals at the museum recognized that collaborations; the products of the students’ they required a form of evaluation that could involvement had to be clearly demarcated go beyond professional beliefs, experiences beforehand, and the museum partners had and hypotheses. This need paved the way for to acknowledge and accept the scholarly university researchers to conduct specific obligations included in the collaborations and evidence-based evaluations within the (Madsen et al. 2014). setting of the museum (Knutson & Crowley Apart from the few studies discussed thus 2005:4). As researchers, the authors found far – and although many cross-institutional that the collaboration allowed them to ground university-museum collaborations take place theoretical approaches in real-world practical in Denmark and abroad – the literature lacks problems (2005:7). In addition, they stated that reports and discussions on collaborations they benefited from “the opportunity to talk between museums and universities. Because through […] issues with museum practitioners, the number of such collaborations is steadily to engage in self-reflective conversations about growing, we find it especially important to how daily practice and daily research intersect explore the experiences of contributions and with higher order theories and ideas” (Knutson challenges to develop this area of practice and & Crowley 2005:4). They also found the research. mutual pursuit of common ground and trust to be critical to successful museum-university The DREAM program collaborations. In the Danish magazine Danske Museer The following section describes the content (Danish Museums), two museum professionals and organization of the Learning 2.0: Digital and a university researcher/teacher reflected Literacies and Innovation program (henceforth on their experiences during a museum “Learning 2.0”) at the Danish Research Centre exhibition collaboration involving students on Education and Advanced Media Material of “applied cultural analysis”.6 The students, (DREAM) within which all the collaborations with their theory-based competencies, were discussed in this article took place. Between able to identify and generate nuanced cultural 2009 and 2015, eight PhD researchers, two analytical concepts that combined exhibition post-doctoral researchers, a steering group subject issues and audience perceptions, of four senior university researchers, and ten such as “youth” and “borders” (Madsen et al. museums were involved in the program.7 (For 2014). Such concepts were useful in further more information on the program, see Drotner development of museum exhibitions. In 2013.) addition, the museum staff found that the The overall aim of the program was to students contributed a methodological and investigate how digital media and learning reflective consciousness regarding museum resources facilitate creativity and learning; the communications. The collaboration benefitted question was formulated by senior university the university study program by developing researchers from three Danish university the students’ ability to make their analytical departments: Communication Studies, and findings relevant and applicable to external Roskilde University at Department of Science partners’ needs. The authors saw adjustment Learning, and Department for the Study of Line Vestergaard Knudsen & Celia Ekelund Simonsen

92 Culture, both at the University of Southern Denmark. The senior researchers found that the various methods for answering this question should be humanistic co-design, implementation and evaluation processes. The senior researchers chose museums as empirical fields, since they assumed that museums’ semi-formal learning environments would better facilitate alternative learning styles than the formal education system. Museums of art, history and natural history, as well as science centers and an aquarium, agreed to take part in the collaboration in relation to specific projects (already planned Fig. 1. Mobile app for a science center school by the museums) that matched the program’s workshop at Experimentarium. Photo: Line Vestergaard Knudsen. objectives. Some of the participating museums were long-standing institutions with decades of continuous experience with their audiences, (Simonsen 2016) and several iPad learning while others were still in the founding/building tools (Gronemann 2016) were produced stages. from these collaborations. Other projects, Funding came from three sources: a (which included several museums), explored grant from the Danish Research Council existing digital learning tools (Kobbernagel for Strategic Research covered roughly 60 2013, Laursen 2013, Raith 2016) or examined per cent of the overall budget of 45 million the collaborations between museums and DKK,8 university faculties covered another creative industries when creating digital- 35 per cent, and participating museums and communication technologies (Olesen 2015). science centers contributed in-kind funding Several projects followed developmental totaling 5 per cent of the budget. The biggest processes at length while others were expenses in the program budget consisted in primarily involved in specific stages of digital wages of university researchers. PhD students communication development. The balance and post-docs with scholarly backgrounds in between being observing evaluators and/ learning, ethnology, archeology, IT-design, or active participants in the development and communication and media studies were processes thus varied. The senior researchers recruited for the projects formulated in the in the program acted as supervisors for the program. In most projects, a museum hosted PhD researchers, while museum professionals a PhD student to collaborate on a specific acted as external advisers for the scholars’ digital learning and communication project. academic work. The authors of this article were As examples, a new digital installation for engaged in projects in which both evaluation exhibition use (Vestergaard 2012), a web and digital-communication design were at platform that worked as an online extension stake. of the museum (Knudsen 2015), a mobile app To summarize, the program had several used for a science center school workshop significant objectives, including investigating Contemporary collaborations between museums and universities

creative learning through museum-audience well as the more negative aspects of the program 93 communication, conducting investigations and the respective project collaborations. by the use of various design and evaluation The authors of this article had originally methods, creating and strengthening networks considered conducting an interview-based across institutions and disciplines, and study with selected program participants that educating researchers. The senior university would focus on the contributions and challenges researchers primarily held the power to make of the collaborations in the program, but we program-related decisions, although the came to welcome the SWOT conversations participating museums’ aims and challenges the senior researchers had planned as suitable vis-à-vis the collaborations were continuously alternatives to an interview-based study. The monitored throughout the programs’ duration. format of the conversations and dialogues And, as noted earlier, the specific museum could enhance participants’ reflections and development projects engaged in the DREAM considerations about the program processes. program had all been initiated at the museums Although we knew the method would not themselves as part of their own exhibition, allow us to choose and direct the topics of education, or other communication programs. conversations and we knew that some parts of the SWOT conversations would be irrelevant to our analysis. Thus, we did not formulate the Approach and method analysis and evaluation in the article as a robust Based on evaluation conversations between SWOT analysis but instead analyzed parts several program participants from the muse- of the three SWOT conversations (indicated ums and universities, this article analyzes and in this paper as Conversations x, y, and z) in evaluates the DREAM museum-university combination with our own observations and collaborations. We include transcribed audio- experiences as DREAM participants. General data material from evaluation conversations contributions and challenges related to the as well as autobiographical descriptions and collaborative aspects of projects served as reflections of various issues. themes in the coding; over time, the concept of Because the evaluation conversations took “anchoring” emerged as a pivotal point in the place when most collaborative projects had material. been finalized, most of the experiences and opinions were retrospective. All program Analysis and evaluation participants met and were subdivided into three groups of approximately seven participants, This section presents an analysis in two parts. mixed between museum professionals and First, we report on the general contributions university researchers; each conducted an of the DREAM collaborations according to evaluation conversation. The conversations the participating museum professionals and were partly open-ended, because they took the university researchers. Second, we present form of strengths, weaknesses, opportunities “anchorage” as a significant multidimensional and threats (SWOT) analyses. The participants concept that was critical to the collaboration were not prodded to speak about specific outcomes and challenges. aspects of the DREAM program but were Evaluating a large and complex program encouraged to describe the more positive as that involved many institutions, projects and Line Vestergaard Knudsen & Celia Ekelund Simonsen

94 participants certainly involves many complica- evaluations offered museum professionals a tions; evaluating the outcomes of collaborations better basis for argumentation on the project and projects soon after conclusion of a program development. Or maybe on other projects that also has difficulties. Along with the empirical followed: data the evaluation conversations offered (as well as the insights we gained from our own When we let a ‘baby’ out in the world [i.e. a new participation in the program), we have focused digital-learning platform], we can see that it has our analysis and evaluation particularly on the users, but we don’t know whether or not it works. organization and unfolding of collaboration Her work [a PhD student] has been indispensable; processes within the single projects. We have even though her results arrived too late to influence not evaluated the overall research results of this design process, they’ll influence future design the program or the ongoing leadership of the processes (Conversation x). program, the social and professional networks that were formed during the program, or the Some collaborations led to greater acceptance political indices that influenced the program; of research-based development of exhibitions nor have we evaluated the specific products and museum communication, which may or audience experiences that came out of the have contributed to a rethinking of overall collaborations. Instead, we primarily view this work practices. Some museum professionals evaluation as a contribution to the research and emphasized that the researchers’ orientation planning of collaborative aspects of museum- toward evaluation generally led to improve- university projects. ments in experience and knowledge transfer across projects in the institutions. The researchers primarily stated that the Contributions collaborations provided open access to various The participating museum professionals em- empirical fields of museum communication. phasized that the collaborations had provided For some researchers, the study consisted knowledge on different levels. Some researchers of quantitative data collected and mined in brought new forms of concrete knowledge or evaluation studies, while most researchers tools to the projects that would help in the spent large amounts of time at institutions development phase. As one participant stated, conducting field-work and/or participating “we didn’t have any digital learning tools before in project-development activities. These he [a PhD student] worked with us, but now we differences in appearance and participation have several” (Conversation x). Some museum among the researchers naturally influenced the professionals stated that their research partners type of empirical data the researchers acquired. had challenged various practices related to Some of the researchers (Vestergaard 2012, communication-design processes. A specific Knudsen 2015, Gronemann 2016, Simonsen and often mentioned contribution was the 2016) who were particularly involved in the conducting of research-based evaluations; one practical tasks of developing digital-learning project investigated digital-learning platforms and communication projects viewed this used in the museum and in the classroom and engagement as both a privilege and a challenge; pinpointed the learning potentials as well as This includes the authors of this article: While challenges of each approach (Raith 2016). Such we did gain insights into details within the Contemporary collaborations between museums and universities

These close and continuous contact between 95 partners achieved in most projects made the university researchers more embedded in the institutional concerns, motivations and activities and thus created better conditions for alignment between research and museum practices. One researcher stated:

We’ve become better at having a tether back to practice so that we don’t sit for three years and develop something and then come out and present our results to those in the practical field, only to have them say ‘no’. We have a better insight into the field now (Conversation y).

This statement corresponds well with Madsen et al.’s findings (2014) mentioned earlier in this article. Even as the university researchers primarily emphasized access as a benefit from the cross-institutional collaborations (access to studying and developing museum practices related to museum-audience communication), Fig. 2. Conducting interviews with school children partnerships between museum professionals for an evaluation study. Photo: Poul Kattler. and the PhD researchers also resulted in continuous, collaborative reflections on projects and could test our own ideas and the nature of topics such as learning, user theoretical concepts in the museum space with involvement and digital communication in museum audiences, this level of participation museum settings. Such interactions persuaded posed several dilemmas regarding our roles the authors of this article to include various in gathering the empirical data (and thus the subjects in their dissertation work – such as auto-ethnographic character of our studies); discussions of the dilemmas of digital audience we repeatedly had to reflect on what was participation in relation to diversity and actually museum practice and what were our legislative matters – that we otherwise may not own practices and influences in the process. have included. Researchers who followed the development processes as more passive observers could view Anchorage processes from a less self-invested viewpoint. They were sometimes detached from their In addition to the benefits the museum museum’s activities, however, since museum professionals and university researchers in the professionals might not contact and report to DREAM collaborations gained, our analysis the researchers at every stage in the process. of the three evaluation conversations also Line Vestergaard Knudsen & Celia Ekelund Simonsen

96 suggested a series of challenges under the months, the PhD supervisor should conduct heading “anchorage”. a meeting with the PhD student and the By investigating the three evaluation museum contact person in order to ensure the conversations, we found that many of the continuous calibration of mutual expectations participants emphasized tight interrelations and to evaluate the collaboration’s and the as pivotal to the program strengths and/or project’s progress. Mutual expectations should weaknesses; participants often used the Danish be elaborated on and agreed to early on; from word forankring, which we have translated then on supervisors should monitor whether as “anchorage” to maintain the anchor the expectations were being met. Frameworks metaphor central to the Danish term. This term for collaborations were thus collectively set connotes staying connected and in sync rather from the beginning and led to a type of formal than drifting apart. During the evaluation anchorage that researchers and museum conversations, people viewed “anchorage” professionals overall found valuable as the to be a positive factor for collaborations anchorage served as a means for commonality between university researchers and museum and stability in the collaboration projects. As professionals. Participants also faced multiple one museum professional said, “formalities are challenges in attaining anchorage. Both in the generally important” (Conversation z). conversation data and in our own retrospective In practice, however, we also found that reflections, we found different dimensions of the presence of formalities did not always anchorage based on form, content, time, and correspond to how things were done. For personal relations. The following sections instance, continuously participating in present these four different dimensions. staff meetings at the museum could be challenging for the PhD students, who also had to attend PhD courses and teach. Anchorage: Form Participants also emphasized that, despite In the evaluation conversations, the university projects being formulated beforehand and the researchers and museum professionals agreed formal guidelines being in place, all projects that the formal agreements that constituted encountered challenges of defining precisely the basis for almost all collaborations were what the collaboration should contain, and an indispensable advantage. In addition how the collaboration should be done. One to already having selected and formulated participant noted, “all projects have had the specific research projects, the senior some degree of uncertainty about what the researchers had also put certain practical actual collaboration should consist of. – An guidelines for the projects in place: University uncertainty that each researcher spent time researchers should have a desk at the museum considering and unravel” (Conversation and spend time at the institution at least once x). Some participants said they could have a week. Each researcher should have a specific had “more space for clarification about contact person at the museum. Researchers projects” and more “plan B consciousness” should participate in relevant meetings at (Conversation x). Together with our own the institution and regularly present progress experiences, these findings lead us to conclude of their project to their museum colleagues. that pre-agreements on form and practicalities By each project startup and once every six are important for securing anchorage, while Contemporary collaborations between museums and universities

partners must also accept uncertainties and motivations” and used this model to argue for 97 be mutually conscious of the continuous more varied, and socially oriented, types of need to resolve uncertainties about content, learning and communication design. collaborative forms and tasks along the way. On Some overarching theoretical approaches, a related note, we observed that PhD-related however, such as ones inspired by Science and formalities sometimes made researchers less Technology Studies, seemed less immediately flexible. In particular, the semi-annual PhD relevant to the museum professionals. Such plans/reports that were to be submitted to approaches required translations before they university administrations, led some PhD- could be considered valuable in the museum students to make rushed decisions. Formal context. For instance, one author of this flexibility thus sometimes seemed easiest for article spent time and resources making the the museum partner to attain. concepts of “complexity” and “productivity of difference” (Knudsen 2015:119–21) relevant and applicable in the collaborative setting Anchorage: Content of planning and conducting a digital-design The DREAM research interests engaged process that would include audiences and various theories and methods from the fields other stakeholders. Such issues of making of media, communication, learning, audience, overarching disciplinary theory explicitly organization, and design studies, many of which relevant to evaluations, practical solutions were unknown to the museum professionals. or design ideas (and vice versa) were a Different academic disciplines thus co-existed challenge during the development process in the collaborations. and later when presenting analytical insights In most Danish museums today, research to museum professionals. In many projects, tends to focus on cultural, natural, or art the overall theoretical approach of the history. Curators also communicate their university researcher remained an element knowledge, thereby practically engaging of distance between them and the museum with various communication and media professionals. One researcher stated that techniques. Some museums employ especially “nobody was sitting there at the museum trained museum professionals to teach and waiting for these theoretical research results to develop learning resources and audience be reported” (Conversation x). This distance communication. Some aspects of theory was not all negative but was certainly a marker and certain academic approaches related to of the differently perceived values of the communication, however, seemed to be more collaborations. well known, usable, and/or adoptable (and thus While overarching theoretical approaches valuable) to museum professionals than others did not often generate anchorages in the were. For instance, Jerome Bruner et al.’s (1966) collaborative processes, participants did see scaffolding theory, which Nina Simon (2010) the more empirical results of the evaluation recently re-applied, was easily adopted into the research as doing this: “Evaluation is a good vocabulary and practices of several museum way to get familiarized with a museum and professionals in the program. Some museum start dialogues with new museum colleagues” professionals also referred to John Falk’s (2009) (Conversation y). Researching and evaluating typologies of “museum visitor experience and museum communications provided the Line Vestergaard Knudsen & Celia Ekelund Simonsen

Fig. 3. PhD researcher reporting results of a study. Photo: Rasmus Helmin Kongstad Welling.

university researcher with knowledge of the museum. Oppositely, some researchers institutional practices, motivations, goals, and had to acknowledge that it was impossible for products, while the museum professionals them to influence current museum practice (through the researchers’ evaluations) were and thus anchor their evaluation results into introduced to the interests, skills, knowledge the practices of that museum. One participant and usefulness of the academic approach. stated, “as a university researcher coming from As discussed earlier, some collaborations the outside, it’s difficult to be the one who turns led to greater acceptance of research-based around research and evaluation practices at a development of exhibitions and museum museum” (Conversation x). communications in museums than others. In their articles on museum-university In these cases anchorage was created in the collaboration, Knutson and Crowley empha- collaboration process, since researchers size the strengths that come from close were able to demonstrate the value of collaborations in which researchers are evaluations in a convincing way and thus engaged in evaluation and development, while create common ground for content interest members of the museum staff also contribute and knowledge between the university and to the research agenda. They conclude that Contemporary collaborations between museums and universities

mutually shared interests, purposes and museum professionals follow the process of 99 values can thereby be maintained (Crowley research closely to receive early insights from & Knutson 2005:13). In the majority of the the research results or to collaborate on early DREAM projects, this type of collaboration formulations of best-practice guidelines on the was not fully reached as university researchers basis of evaluation studies the researchers had and museum professionals often failed to conducted. These types of ongoing exchanges find genuinely common and equally valued of information between museum professionals interests. In these cases university researchers’ and researchers did take place in some of the objectives in earning their degrees (which projects. One museum professional stated, involved theoretical and scholarly work) however, that “immediate embeddedness is could not be fully and explicitly integrated not always preferred; sometimes, research with the museum professionals’ objectives is asynchronous and is something you need of creating relevant and attractive learning to wait for, digest, and reflect on afterwards” and communication devices. As Knutson (Conversation x). This statement signaled that and Crowley also emphasize, however, such this participant could also appreciate a certain mutually shared agendas and purposes are distance between research and practice. typically not attained without many years of Several projects faced other temporality- collaboration, knowledge sharing and trust related challenges. As an example, partnering building. Therefore, it would be very ambitious museums might not be ready on time with the to expect such outcomes from these relatively practical application or might change plans time limited projects. along the way. This situation would cause some researchers to have to wait for their object of study (such as a new exhibition or a Anchorage: Time digital installation) to be realized. This lack of a A different type of anchorage produced by the common temporality could lead to frustration evaluation conversations was related to time. among researchers, as their research activities The university and museum professionals relied on the production and use of certain viewed the temporality of research and museum communication products. In these museum practice as out of sync – as if cases, participants could find it difficult to “different forms of time between museums substitute with another empirical object of and universities” existed (Conversation y). study. We suggest that frustrations tied to lack The academic demands for research design of common temporality also had to do with and dissemination influenced the university the formalities of PhD research (as mentioned researchers to become a fairly “slow” element, earlier), which in some cases does not easily while the demands of museum exhibition and allow for many changes and alterations other audience-related project practices guided after PhD plans have been submitted to and the museum professionals to move quickly. approved by the university administration. Several participants viewed this condition as a challenge to anchorage. Anchorage: Personal relations During the evaluation conversations, some participants suggested ways of coping with this Finally, personal matters and relationships mismatch in temporality, for instance by letting occasionally affected the anchorages in the Line Vestergaard Knudsen & Celia Ekelund Simonsen

100

Fig. 4. Collaborating with museum professionals and museum users in designing a digital-communication platform. Photo: Line Vestergaard Knudsen.

project collaborations. Having dedicated Another challenge was that some researchers contact persons at the museums connected experienced different contact needs with to the researchers was of great importance the institution during the research period. to the collaborative processes in the projects. Researchers sometimes found project leaders Even when some researchers participated in and project members to be valuable collaboration different projects with several project leaders partners; at other times, when evaluating projects in one museum, the contact person would and disseminating knowledge, researchers remain the same, and thus a stable anchorage found that these personal contacts were would be ensured through him or her. During inadequate for actually influencing processes the projects, however, this intention proved in the institution. For instance, one PhD challenging in practice, for instance when a researcher stated that “it was difficult for me contact person found work elsewhere, changed to be heard in the organization. It would have positions within the museum, or was involved been preferable if someone who was higher- in several different projects at once within the ranking in the organization than the contact institution. Researchers often had to adjust person had been involved in DREAM as to working with different people during the well” (Conversation y). For those researchers research process, which in some cases led to a who hoped to contribute to organizational lack of anchorage between the PhD researcher reflections and changes at a museum, they and the museum institution, as well as between needed a connection to some of the leading the museum institution and the DREAM persons in the institution; for others, having a program in general. connection to a communication-research staff Contemporary collaborations between museums and universities

member (if such a person existed) would be The participants viewed the collaborations 101 valuable. Thus, in order to be well connected as contributing to museum practices by to a museum institution (both for empirical providing concrete knowledge and tools data collection and the dissemination of related to developing and evaluating digital research results), having one contact person learning and communication. In addition, was insufficient for most researchers. Instead, the researchers in several cases challenged the university researchers might have found it museum professionals’ practices and routines more valuable to have contact with different and thus helped to spark organizational strategically selected people in the institutions. development and change. As some of the evaluation conversations The collaborations contributed to university also brought up, this situation indicates that practices by providing access to an attractive university research within topics of museum- empirical field in which the activities of audience communication can have different investigations and design were made possible. anchorage points – and thus different values The participating researchers emphasized – in a museum. Of course, this factor was that collaborating closely with museum relevant specifically to those collaborations professionals improved their own calibrations that involved larger museum institutions with the realities of museum practices and (which included the majority of the museums thus made them into more self-reflective and that participated in DREAM). realistic researchers within this empirical field. In this way, the researchers found that Based on the evaluation conversations and becoming broadly acquainted with the museum on our own experiences, we conclude that institutions and museum colleagues, and thus establishing anchorages in form, content, time, gaining a broad anchorage of personal contacts, and personal relations is pivotal to successful was valuable in order for them to bring their collaboration. As described in our analysis, insights and contributions to the institutions. Still, the different institutional values, priorities, several researchers found that whatever personal and expectations between universities and relations they may have gained at a museum was museums influenced the collaborations, up to chance. Taking a more strategic approach which led to both compatibilities and to establishing multiple contacts at a museum incompatibilities when considering all aspects thus might be a worthwhile investment for of anchorage. While the four dimensions of researchers who wish to investigate and aim to anchorage presented in this article might influence museum practices. be universally important in all types of collaborations, we have tried to point out the specific circumstances within which these Discussion and conclusion dimensions either thrived or were challenged This article has presented an analysis and within the museum-university collaborations evaluation of university-museum collaborations in DREAM. In this way, we have specified conducted in the DREAM program. We have anchorages within this particular type of focused on mutual contributions and the collaboration. challenge of generating mutual anchoring While we may conclude that both university between museum professionals and university and museum partners benefitted from the cross- researchers. institutional collaborations, we also found that Line Vestergaard Knudsen & Celia Ekelund Simonsen

102 institutional functions and priorities caused and reflected on more academic outputs and the collaborative partners to value different their ways of gradually changing practices of aspects of the collaborations. Specifically, we museum-audience communication within found that across the projects, a great deal these institutions. On the background of of work still had to be done before genuine this analysis, we have concluded that finding integration and anchorage between theoretical common research interests and thus genuine and practical approaches to the development anchorages between practical and theoretical of museum-audience communication was expertise related to museum-audience com- achieved. To some extent, this situation may munication – was an overall challenge in have been because of the specific combination the DREAM program that the participants, of competencies and expertise found across the especially the university researchers, had to collaborations. All the university researchers continuously reflect and act on. involved worked with theoretical approaches To reflect further, this challenge of finding to communication and learning that stemmed genuinely common interests and anchorages from humanistic or sociological fields, while at the intersections between the more the museum professionals who were involved theoretical and the more practical content of either practiced as museum educators or the collaborations might have been caused by interpreters or worked in a more theoretical at least two aspects of the cross-institutional and research-based manner across subject collaborative form of the DREAM program. areas within cultural, technical, natural, or First, the program’s research objectives art history. Between these fields of study and were developed by the senior university practice, differences existed and were evident researchers, and the museum projects were in the overall program as well as among the only subsequently selected into that research- projects. At the same time, the distributions of based framework. Even though the museum roles in the projects between curator, museum projects thus had not been initiated, planned educator/interpreter and communication for, or sometimes even designed within the researchers were not always easily demarcated research framework of the DREAM program, and acted out. The fact that someone was a large amount of integration between research a resourceful communication and media approaches and the practical projects was still researcher or ethnologist, for example, would expected. This specific combination of program not always be seen as useful, or necessary, setup and an aim to closely merge theory and in the encounter with museum educator practice could be perceived as very ambitious. and museum curator. Instead, some of the The second related point is that the DREAM collaborations that people often articulated program was simultaneously viewed as a cross- as being the most successful in the DREAM institutional program and a research education program were those in which the researcher program. In many ways, training university had succeeded in functioning both as a researchers by letting us conduct research practitioner and as a researcher of museum- partnerships with external institutions proved audience communication and thus easily very meaningful, but as previously mentioned, demonstrated his or her practical worth to the the requirements, formalities, and norms institution. Oppositely, we did find examples related to earning a PhD degree often forced of museum professionals who articulated university research partners to retain specific Contemporary collaborations between museums and universities

research agendas and approaches that might Moesgaard Museum, the Roskilde Museum/ 103 otherwise have been worth revising or omitting. Ragnarock, the National Museum of Denmark/ Thus, a research program that contained both New Trelleborg, the Media Museum, the cross-institutional partnerships and research Natural History Museum of Denmark, the Blue education posed certain challenges when Planet – Natural Aquarium Denmark, and the attaining anchorage in terms of form, content, Experimentarium. and time. 8. In 2009 45 million DKK was equivalent to app. With this article, we hope to contribute to 5,3 million GBP. future museum-university collaborations, by suggesting that anchorage, with its different Literature dimensions of form, content, time and personal relations, should be explicitly and Bruner, Jerome S., Rose R. Olver & Patricia Marks collaboratively reflected on and planned for Greenfield 1966. Studies in Cognitive Growth. whenever possible. New York: Wiley. Cooper, Catherine L. 2013. “A case study in collaboration. Displaying Greece and Rome at the Acknowledgements Fitzwilliam Museum, Cambridge, UK.” Museum The Learning 2.0: Digital Literacies and Innovation Management and Curatorship 28:5, 467–490. DREAM program was supported by the Danish Crowley, Kevin & Karen Knutson 2005. “Museum Council for Strategic Research under grant number as learning laboratory. Bringing research and 09-063275. We would like to thank former DREAM practice together.” Hand to Hand 18:5, 3–6. participants Kirsten Drotner, Christina Papsø Weber, Danko-McGhee, Katharina 2004. “The museum- Jens Astrup, Anne Rørbæk Olesen for reading earlier university connection. Partners in early childhood drafts of this article. art experiences.” Art Education 57:6, 35–40. Davis, Pryce, Michael Horn, Florian Block, Brenda Phillips, Margaret E. Evans, Judy Diamond & Notes Chia Shen 2015. “‘Whoa! We’re going deep in 1. https://www.merriam-webster.com/dictionary/ the trees!’ Patterns of collaboration around an collaborate interactive information visualization exhibit.” 2. http://veluxfoundations.dk/da/ International Journal of Computer-Supported museumsprogrammet Collaborative Learning 10:1, 53–76. 3. http://veluxfoundations.dk/da/ Dodd, Jocelyn, Ceri Jones, Andy Sawyer & Maria- museumsprogrammet Anna Tseliou 2012. Voices from the Museum. 4. https://innovationsfonden.dk/da/ Qualitative Research Conducted in Europe’s investeringstype/grand-solutions National Museums. Report from Research Centre 5. https://ec.europa.eu/programmes/horizon2020/ for Museums and Galleries, Leicester University. en/h2020-section/science-and-society Drotner, Kirsten 2013. “DREAM og læring 2.0. 6. Masters of Art (MA) in Applied Cultural Brugerorienteret, digital medievidenskab.” Analysis, University of Copenhagen. Nordicom 1–2, 81–85. 7. The museums included the ARKEN Museum of Drotner, Kirsten & Kim C. Schrøder 2013. Museum Modern Art, the National Gallery of Denmark, Communication and Social Media. The Connected the Louisiana Museum of Modern Art, the Museum. London: Routledge. Line Vestergaard Knudsen & Celia Ekelund Simonsen

104 Falk, John H. 2009. Identity and the Museum Visitor Olesen, Anne R. 2015. Co-Designing Digital Museum Experience. London: Routledge. Communication. PhD dissertation. Roskilde: Gransgaard, Helle, Jens F. Jensen & Ane Hejlskov Roskilde Universitet. Larsen 2014. Dansk Museumsforskning. Status og Raith, Sanne 2016. Digital Museum Education. A tendenser. Aalborg: Aalborg Universitetsforlag. Comparative Study of Danish Upper-Secondary Gronemann, Sigurd T. 2016. Museer, naturvidenskab Students’ Interaction and Meaning Making og sociale medier. Muligheder og udfordringer. with Digital and Physical Museum Resources in PhD dissertation. Odense: University of Southern Museums and Schools. PhD dissertation. Roskilde: Denmark. Roskilde University. Hooper-Greenhill, Eilean (ed.) 1999. Museum, Media, Rudloff, Maja 2013. “Det medialiserede museum. Message. Abingdon, UK & New York: Psychology Digitale teknologiers transformation af museernes Press. formidling.” MedieKultur. Journal of Media and Knudsen, Line. V. 2015. Rockens Danmarkskort. Communication Research 29:54, 65–86. Deltagelse praktiseret som forskellighed. PhD Simon, Nina 2010. The Participatory Museum. Santa dissertation. Roskilde: Roskilde Universitet. Cruz, CA: Museum 2.0. Knutson, Karen & Kevin Crowley 2005. “Museum Simonsen, Celia E. 2016. Fra skrappe moster til as learning laboratory. Developing and using a facilitator. Et studie af skoleelevers kreative læring practical theory of informal learning.” Hand to ved brug af mobile medier på et science center. Hand 18:4, 4–5. PhD dissertation. Odense: University of Southern Kobbernagel, Christian 2013. Students’ learning Denmark. experiences in digital workshops. A PhD thesis of Vestergaard, Vitus 2012. Det hybride museum. Unge enquiries into learning and communication and brugeres deltagelse gennem produktion og deling af methodological explorations using Q methodology indhold i et fysisk museumsrum. PhD dissertation. and structural equation modeling in the field of Odense: University of Southern Denmark. art gallery education. PhD dissertation. Roskilde: Roskilde University. Kyed, Steen et al. 2006. Udredning om museernes Line Vestergaard Knudsen, Ph.D., Assistant formidling. København: Kulturministeriet. Professor Laursen, Ditte 2013. “Co-participation among school [email protected] children around a computer-based exhibit.” Social Studies of Science 43:1, 97–117. Department of Culture and Global Studies Madsen, Jacob W., Mette T. Mortensen & Mark Vacher Aalborg University 2014. “Museet som kulturanalytisk case.” Danske PO Box 9220 Aalborg, Denmark Museer 1, 13–15. MacLeod, Suzanne, Richard Sandell, Jocelyn Dodd, Tom Duncan, Ceri Jones & Alexandra Gaffikin Celia Ekelund Simonsen, Ph.D., Curator 2014. Prisoners, Punishment and Torture. [email protected] Developing New Approaches to Interpretation at the Tower of London. Report from the Research Museum Midtjylland Centre for Museums and Galleries, Leicester PO Box 7400 Herning, Denmark University. Nordisk Museologi 2017 • 2, s. 105–123

Born to be OPTI

A new model for participatory museum management

Lorena Sancho Querol, Kalle Kallio & Linda Heinonen

Abstract: Society in the Museum (SoMus) is a research project in the field of sociomuseology where culture is viewed as an essential axis of developmental processes and museums as key tools for the exercise of cultural citizenship. The project intends to identify, analyse, systematize and disclose some of the most interesting emerging models of participatory management underway in four European museums. In this article we present the anatomy, the strategy and the challenges of one of the Nordic partners, the Finnish Labour Museum, and its current management tool, the OPTI Participatory Management Model. The model has been adapted from the business world to serve as a critical museological tool and to enhance participation in cultural institutions. It is a response to the paradigmatic transition that museums face when actively engaging in a participative culture.

Keywords: Finnish Labour Museum, sociomuseology, participatory museum management, labour history, SoMus, OPTI Model.

Society in the Museum. Study on Cultural tools of cultural development, SoMus aims to Participation in European local museums fulfil a set of objectives: identifying, analysing, (SoMus) is a post-doctoral research project systematizing and disclosing some of the most by the first author of this article.1 With a prominent European practices of participatory museological perspective the focus is on museology in four museums, that have museum management. Confronted with been chosen for the innovative character of conventional management models, whose their daily practices. In addition, the project aims, work dynamics and narratives are usually will define ongoing models of participatory defined by closed teams and a predefined logic, management in these museums, allowing SoMus focuses on participatory models where them to serve as role models for other cultural society and museum form part of the same institutions. network to define logics, uses and meanings SoMus works with participatory action of the museum. From this perspective and research (PAR)2 based on a theoretical land- considering local museums as meta-networks scape combining meanings, values and of communication (Castells 2011:779) and key experiences coming from three worlds: current Lorena Sancho Querol, Kalle Kallio & Linda Heinonen

106 action-based sociomuseology (Sancho-Querol 2015/16 with the Finnish partner, the Finnish & Sancho 2015:215–216); the sociological Labour Museum6 (FLM), to learn about its theory “ecology of knowledge” (Santos 2007), methods, experiences and reflections. In and inspiration from UNESCO’s work on this article, we present the results of this last cultural diversity (UNESCO 2001, 2003). The process of co-analysing, co-thinking and co- first theory brings to the forefront a participatory systematizing FLM’s daily management from understanding of museums based on the a participatory perspective, considering its concept of co-creative project (Simon 2010:187) current values and objectives. Step by step, developed with a bottom-up perspective. The we discovered that FLM has been working in second promotes a democratic notion of between two worlds to create a challenging knowledge by recognizing complementarity organizational tool for museums: for ten years, between scientific/popular, local/global and they have been adapting a business strategy northern/southern forms of knowledge tool to museology by using the principles production. The third promotes open concepts of sociomuseology in order to provide and practices related to the roles of culture contemporary society with an active role in and heritage in contemporary societies, taking the museum’s development. Some emerging into account current cultural hybridization questions were posed as a starting point: processes (Canclini 2003), transition values What kind of business tool did they choose and the urgency of creating alternatives for this experience? How are they adapting it to hegemonic neoliberal cultural policies, to the principles of an alternative museology? among other matters. These three theories are What are the current and past limitations and connected by an inclusive, democratic and challenges encountered? How can we learn evolutionary concept of culture, which we from the answers to these questions to support consider the overall foundation for integrated transformative processes through museums? developmental processes (UNESCO 2015, FLM was chosen not only because it is Dessein et al. 2015), as well as by a participatory considered the best museum of social history in grammar.3 A common presumption is that Finland, but also because it develops its social one learns from participatory behaviour by function committed to the construction of sharing and analysing the experiences, ideas intercultural dialogue. In addition the museum and daily challenges related to diverse forms uses critical pedagogy and critical thought as a of micro- and macro-participation (Bordenave citizenship exercise. Equally relevant was their 1983:212–216) and by analysing the links acceptance to cooperate with the SoMus team between them. during years of intense work (2014–2019). Nurturing dialogues between Mediterranan FLM chose SoMus to review their strategy and Nordic museologies, the SoMus team has and practices because its team considered it been working since 2014 with four partners was time to improve, even more, the way the from Finland, Sweden, Spain and Portugal.4 museum interacts with society. Furthermore, Thus, in 2014 we worked with the Portuguese they wished to nurture cultural democracy partner, the Costume Museum of São Bras de and cultural development with their activist Alportel5 (MuT), to define its management museology. Museums are spaces of exchange, model, The Model of Museum in Layers negotiation and communication with society. (Sancho-Querol & Sancho 2015), and in They can help us to question reality, to Born to be OPTI

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Fig. 1. Smokestack industry on the banks of Tammerkoski Rapids. Photo: Finnish Labor Museum, 1900s. understand conflict, to accept and integrate Scottish machine builder James Finlayson, difference, to enlarge cultural dialogue, to one of the town’s first entrepreneurs, was define our ways of life, or simply to better granted significant privileges for setting up appreciate the intrinsic essence of our cultural his machine shop. This represented the start behaviour. Next, this article demonstrates how of the Finnish cotton industry. Succeeding FLM is enlarging exchanges, negotiations and Baltic-German owners made the Finlayson ways of communication through its everyday mill the first large-scale factory in Finland and museology. the biggest company in the Nordic countries (Haapala 2011:12) (fig. 1). In the Finnish timescale, industrialisation Setting the context: began exceptionally early in Tampere. Tampere and the contemporary As decades passed, large textile and shoe echoes of an industrial city factories, machine shops, paper mills, as The FLM is situated in the city of Tampere. well as smaller brick factories, sawmills and Located along strong Tammerkoski rapids, foodstuff companies were established in Tampere was an industrial centre of Finland Tampere (Rasila 1984:5–112). The industrial that remained, until the early 1800s, a small city was nicknamed “the Finnish Manchester”, craftsmen town with a few hundred inhabitants which had a positive meaning: for poor and (Haapala 2011:10–11). At that time, the young provincials, factory work offered Lorena Sancho Querol, Kalle Kallio & Linda Heinonen

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Fig. 2. Aaltonen shoe factory workers. Photo: Finnish Labor Museum, turn of the 1930s.

better social conditions and stable incomes In the 1950s Tampere was still an industrial (Haapala 2011:15–16). Thus, Tampere became city. Slowly at first, then at an increasing speed, a workers’ society. No other Finnish town the number of industrial workers in Tampere had a population that included such a high decreased. The city’s industry was directed proportion of working-class people: by 1900, exclusively at the domestic market and the three out of four Tampere inhabitants were release of imports meant that competition workers. Due to the textile industry, Tampere grew tougher. At the same time, industrial was a town with an unusually high figure of operations were rationalized and automated self-supporting women (Rasila 1984:248–265). (Haapala 2011:70–71). The downward spiral Working people were active participants in of the smokestack industry culminated with the Workers’ Association, local trade unions, the 1990s recession. Companies left the shores and even founded their own co-op, bank and of the Tammerkoski Rapids for either cheap insurance company in Tampere. Workers also production countries or new premises on the established their own sports clubs, as well as fringes of the city. Nowadays, there is still art and educational institutions in the city one operating factory by the rapids, the Tako that flourished throughout the 20th century cardboard factory (Peltola 2014:198–199). (Jutikkala 1979, Koivisto 1999:244–272) (fig. 2). The old industrial precincts in the city centre, Born to be OPTI

except for the Finlayson cotton mill, have organizational members and representing 109 been demolished and turned successfully into approximately 1,9 million individual members. residential, commercial and leisure premises. The Association was supposed to assist At the cotton mill, around two thirds of the volunteers in smaller labour museums but industrial buildings have been preserved and practically many of the scattered collections converted to offices, restaurants and museums. were soon donated to FLM. The site has become a vibrant quarter as Finally, in autumn 1993 the museum opened hundreds of people work there again. The city’s to the public in the Finlayson area, with the identity has always centred on the Finlayson aim of preserving and displaying working-class factory. history in the milieu where Finnish industrial society was first developed. As the textile factory was gradually closing – production The Finnish Labour Museum finally stopped in 1995 – and the conditions and the challenge of Fair History for this small museum in the Finlayson area During the last decades of the 20th century a were restricted, exhibition rooms were modest variety of museums began to emerge all over and visitor figures barely exceeded 5,000 per Finland with the intention of documenting year. However, as the museum was granted the most recent chapters of history. Among the status of a national museum of working them was the first labour museum, located at life and social history by the government in Valkeakoski, which opened its doors in 1960. 1996, the state and the city council promised It was an open-air museum dedicated to the to upgrade the museum’s facilities (Ahola et al. life of paper mill workers (Eenilä 1965:6–10), 2013:79). The present FLM was inaugurated similar to other small open-air museums by the president of Finland, Tarja Halonen, distributed all around the country at the in the autumn of 2001. It remained in the time. Labour heritage was also presented in Finlayson area, but now it spread over a three- former industrial buildings, trade unions’ storey building with a 5,000 square metre area course centres and memory rooms, usually for exhibitions, collections, events, library run without the help of museum professionals. and workspaces. Collections reached already On the background of this cultural dynamics, 60,000 objects and 350,000 photographs, and the first plans for the creation of a national thereafter visitor figures begun to regularly labour museum were conceived between exceed 20,000 a year. At that time, producing a the late 1970s and early 1980s. At that time, high number of exhibitions and increasing the the Workers’ Museum in Copenhagen was collections seemed to be the primary aim of the already open (1983) and Nordic countries like institution. Collecting opened possibilities to Finland wanted to follow this example (Kallio work with different communities and provided 2010:122–123). opportunities for widening the traditional The first step was the creation of the Labour definitions of labour heritage. However, this Museum Association, the organization behind quickly became very demanding for the staff the present FLM, in 1988 (Kallio 2010:121), and challenged the preservation capacity of the which concentrated during the first five years museum (Werstaan 2006). The consideration on collecting. This Association is an NGO7 of these issues was the starting point for the that has grown steadily, today including 31 creation of the museum’s first Strategic Plan. Lorena Sancho Querol, Kalle Kallio & Linda Heinonen

110 2006 and the definition of the first for example sexual minorities, activists and museum’s strategy outcast groups (Työväenmuseo Werstas 2006:10–11, 35–38). In addition, while testing The museum’s first Strategic Plan was created the new tool with 2006 data, they decided to in 2006 as a result of the need of reorganizing introduce some relevant changes to the BSC the museum’s daily management and to solve basic structure to strengthen their project: obvious problems with long-term planning. Firstly, finances were substituted by im- Balance Scorecard (BSC), one of the most pacts. This is a common solution in public common tools used in the business world, was organisations using BSC in their management selected for strategic management.8 The main (Kallio 2007:109–110). In the Finnish Labour reasons for this choice were the simplicity of its Museum, impacts focused not only on the structure and its easy application (compared demonstration and valuing of the labour to other tools such as EFQM9), as well as its heritage, but also on the social and cultural strategic touch (mostly absent in models like effects of the activities implemented by the CAF10). At that time, Finnish museums were museum with the local society. developing a novel evaluation model based on Secondly, the museum’s mission and vision CAF.11 In 2006 FLM’s new director decided to were defined with the goal of strengthening adapt BSC with the help of the museum’s team, FLM’s role in the cultural development of to develop FLM at an organizational level and society. Summarizing original texts, the vision reinforce its social and cultural impact on was to stabilize the position as the leading society. Inspiration came from the work of museum of social history in Finland and as the Kaplan & Norton (2000), the interesting results most visited attraction in the Finlayson area obtained by some city museums in Finland, and for 2020 (Työväenmuseo Werstas 2006:4). The works focusing on the social role of museums mission was expressed within a long paragraph linked to community-based thinking (Weil that can be summarized as to be the national 2010). The objective was to improve the way museum of working life and social history, that processes, priorities and projects were and of labour culture in the Great Museum defined, to clarify terms of responsibility for of Finland. With time, the FLM team realized each staff member (especially the heads of it was necessary to express their mission in a departments), and to achieve a systematic simple and stronger way, by focusing on the approach for the whole museum. Therefore, essential matter that gave meaning to their FLM began to reorganize its departmental existence. To that effect, in 2009 it was re- management, grouping similar task together defined as follows: “FLM is a national museum to be able to talk about learning and growth, of working life and social history, located in processes, customers and finances. the historical industrial area of Finlayson. According to the museum’s new strategy, Museum activities are aimed at supporting exhibitions should last longer and collecting an equal and solidarity society, sustainable should be done more carefully. For this reason, development and human rights.” As a result, the museum ceased collecting tools, machines, FLM implemented its first full BSC in its 2007 workers’ housing and themes already well Annual Management Plan by developing the documented by city museums in Finland, and BSC cards for each of its departments. (Table began focusing on difficult and daring heritage, 1.) In the years that followed, this adapted Born to be OPTI

BSC was used for the yearly management of find new solutions to enhance the museum’s 111 strategical aims and objectives, according to social and cultural impacts, FLM became the museum resources. largest free entry museum in Finland. This In 2015, we the authors, started analysing initiative brought not only a steady flow of the last ten years of work carried out by FLM visitors but it also made the museum a more during which they used their own BSC strategy attractive place for events and funders. with the aforementioned developments. We These two measures, free entrance and a new concluded that the most positive aspects of strategy with a strong mission, are presently this management tool were that it helped the still impacting the museum’s management and museum’s team to build trust on their work; it have contributed to make “more human” its gave a professional touch to the organization; BSC strategy, promoting its social usefulness and it helped to increase its credibility with by breaking down different borders normally the board of the museum, other staff and the implied by a more traditional museology. Not- museum’s funders. At the same time, it forced withstanding, years after all these experiences, the team to reflect each year on FLM learning and with the evolution of the FLM project, in and growth, processes, customers and impacts, 2015 the BSC revealed new deep weaknesses not forgetting any of them or the connections for the museum team.12 From their perspective, between them during the yearly planning and the BSC´s learning and growth used to take for the daily life of the museum. granted that the results were achieved by staff, Referring to the negative aspects gained so it did not include possibilities of volunteers, from this experience, it is clear that the BSC co-operation with local organisations nor forced the team to take a fixed approach informal communities. at things, so that with the years, the cards Internal processes were important in themselves became almost compulsory. In standardizing cataloguing or exhibition fact, during the first period of adaptation, the planning but, as FLM also works with society impact area was not clear enough so the team (communities, volunteers, users, stakeholders, only began to develop it in a deeper way after partners), processes have other priorities and the implementation of their “family friendly other kinds of relevance. If avoiding mistakes attitude” (in 2006) and above all, after the in industrial production can be understood as implementation of the free entry policy (in quality, when talking about museums using 2010) and the last redefinition of the FLM’s a participatory management and linked to mission. With the short and challenging name society in different ways, quality is mostly of Fair History, FLM wanted to simplify and based on networking, flexibility, agility and make more useful its mission in internal and the ability to take initiative. Consequently, external communications. At the same time, mistakes are part of the process and become a it could highlight the broad scale of activities, way of collective learning. welcome different communities, and help to “Customer” is a crucial concept in business- build a fair understanding of history giving oriented BSC but the concept misses enriching voice to the underrepresented: ordinary exchanges coming from a wider understanding people, minorities and marginal groups. of museum activities. For example, main When in autumn 2010, the museum’s board customers for collecting and documenting decided to waive the entrance fees as a way to are seldom the present-day users of museums, Lorena Sancho Querol, Kalle Kallio & Linda Heinonen

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Fig. 3. Free entry effects at FLM: Museum volunteer Annikki reading fairy tales for children in African Presence in Finland exhibition. Photo: Finnish Labor Museum, 2015.

more likely future or past generations. In perspective became richer and more diverse. addition, the logic of public funding is Therefore, due to the diversity of worlds misunderstood if we assume that democratic interacting through the museum, making states, municipalities, funding foundations etc. fluid processes was not so easy anymore. The would act like customers. Maybe museums FLM was being challenged by other social and should not so purposefully use the concept of cultural matters related to social history and customers, if they are even unable to identify working life, and above all, matters relevant to them. people’s daily life (fig. 3). From 2005, FLM wished to involve new During recent years, the BSC slowly became partners in its daily work, not only to enlarge a stationary, routine process that became less social interactions between museum and productive and less useful for daily management. society or the cultural dimensions and impacts This fact allows us to better understand why of the museum’s work, but also because FLM accepted SoMus’ challenge to rethink they realized they could not do everything their working model from a participatory point by themselves. After free entrance was of view. The joint work could provide a good established, the customer perspective also opportunity to update the model and take a changed radically demanding a much more step forward using as a starting point positive participatory management, and the process and negative results obtained since 2006. That Born to be OPTI

was the origin of the management model that 113 will be presented in the next section.

Current challenges: learning with the experience, building the present with people One thing became clear in 2015 when we initiated our research at the FLM: the Balance Scorecard was a good option when the museum was looking for a new direction and for an internal organizational system. It was a useful tool to help deploying the strategy Fig. 4. Dancing in the Workers Meeting Hall. Evening event inspired by 1960s Workers’ cultural into the everyday life of all museum actions life, including both educational and entertainment and departments; it helped to evaluate the activities and organized by volunteers. Photo: dependences inside the organisation and clarified Finnish Labor Museum, 2014. the complexity of the organisation’s activities. Yet, due to the regular effort of evaluating and Thus, according to our research and among improving the daily management with their the features connecting the FLM project to adapted BSC, and to the act of reflecting on the the sociomuseological line of thought we can results from the point of view of the social role highlight the following possibilities: of the museum, we discovered that, in recent Exercise of an inclusive management based years, FLM slowly became a project deeply on: a) the museum’s networking power inspired by the principles of sociomuseology, (Castells 2011:774–782) through daily peer- that is, a project intrinsically compromised to-peer interaction between museum profes- with society´s integrated development. In fact, sionals, and between them and different we could identify a set of characteristics that groups, collectives and local inhabitants, (i.e. helped us reach this conclusion and that led networked subjects and local subnetworks); b) us to believe that the best option to improve a multi-layered structure of decision making its management model should begin with where challenges, projects and activities can the latest BSC version, made in 2015. From have their starting point, or be driven by the methodological point of view the idea different subjects coming from different nodes was to select the best practices and concepts of the meta-network (fig. 4). emerging from experience – together with the Activation of a wide concept of labour heritage reflections resulting from self-evaluation – and nurtured by activism, and focusing on daily life to compare them with their mission and the as well as difficult and daring heritages, with values they see as priority in the museum’s daily the objectives of: a) decoding and making life. Otherwise, to define their participatory visible marginal dimensions of social history management model we would only need our and collective memories and, b) contributing collective creativity, our shared sense of the to the construction of an inclusive society and museum´s social role, our critical thought and, to the collective writing of a Fair History where of course, a few drops of cultural utopia. the current chapter is a shared responsibility. Lorena Sancho Querol, Kalle Kallio & Linda Heinonen

114 Reinforcement of cultural empowerment A new strategy tool at the museum: of local society by welcoming diversity, and the OPTI Participatory by embracing social, historical and cultural Management Model conflicts, acting as a mediator towards a more balanced intercultural dialogue. As a result of this process, during 2015 and Construction of its own formula of sustainabil- until the spring of 2016, we mapped the ity grounded in a system of meta-combination daily activities of FLM and organized and of financial support (public, private, local, systematized them to define the new working national, European…), and multiscale model of the FLM (table 1). It is called the OPTI resources (neighbours, inhabitants, labour Participatory Management Model. It emerges associations, professional collectives, academic from the adapted BSC used at FLM during research, institutional partnerships etc.), by recent years (composed of four intertwined developing a solidarity formula focused on an perspectives – learning and growth, processes, understanding of working culture and history, costumers and impacts – and orchestrated by the and on improving sociocultural justice. museum´s mission), and from the recognition Linking all these dimensions of the FLM of society´s diversity of roles in the museum’s project and strategy, and working together with development and daily management. the museum team to apply SoMus methodology, From a systemic point of view, the OPTI we could achieve our final product: a suitable Model presents three main innovations: model for cultural institutions looking for participatory management, which is successfully • It is a multi-adapted strategic map, including put into practice by the SoMus Finnish partner. the museum’s mission (defining its cultural This methodology consists of three steps, reason to exist and its role in society´s previously defined during the working process development), and four intertwined and with the Portuguese partner and that were balanced perspectives: refined with the FLM experience. They are a - Office and People, as the concrete dimen- natural sequence of actions based on: sions that make the museum’s project real - Tools and Impacts, as the methodological 1. Close analysis of the museum’s project dimensions that allow the institution to and practices, mapping the participatory improve its diverse roles, and to identify, dimension of the daily activity and practices. measure and evaluate its societal effects 2. Systematization of the different forms of participation that have brought the project • It introduces a new bottom-up perspective to to life, considering its nature, its current the project by placing: objectives and methodological options, as - organization matters in the base (Office) well as the intentions of the people working - society involvement (People) as the key to on each one of them. the project’s strategy, to empower other 3. Value the sociocultural dimension of the local forms of knowledge and experience, heritage, by choosing a symbolic element nurturing proximity, enlarging and to represent the participatory model, with diversifying the museum’s team through the aim of creating a conceptual and visual society networking metaphor. - innovative and participatory Tools allow- Born to be OPTI

ing the museum to contribute to the Additionally, FLM recognizes the potential 115 deepening of our democracies and to the of museum users (which include every kind recognition of culture´s role in current of frequent visitors using the museum as developmental processes part of their daily life) as essential agents - Impacts, as the total amount of results of in the development of processes, as well as this model in action an excellent indicator of museum utility. In People, FLM includes museum visitors, • It presents a diversification of challenges, museum users, stakeholders, partners, responsibilities and compromises, allowing volunteers and staff. They also include, museums to accompany current societal for 2018, the objective to create an “Index transformations. This measure has its of participation” in order to measure reflections in the thematic perspectives´ different kinds and intensities of cultural denomination or in the form they are participation at the museum. interconnected to each other so as to build a balanced management. • In Tools, we include the selected projects, processes and investments that help This way, the OPTI perspectives involve the museum to realize its role in society. following matters: Annual selection of tools is at the very heart of strategical planning. In this case, FLM • In the Office, we placed all the organizational considers as key tools: Long-term strategy and institutional matters that allow the & Yearly planning; Museum Manuals museum to exist and to develop its project. made by the team (collections, research, Here, the FLM includes, for example: visitor services, exhibitions, marketing); agile organizational culture and effective Participatory museum management plans; management; economic sustainability; inclu- Key projects or “Spearheads” (which actually sive and equitable leadership. are: documentation of present day life, and critical pedagogy applied to visitor • In People we develop a new concept of the services). museum’s team, which comprehends different agents that go beyond the classical • In Impacts, we find the diversity of formula based on professional paid staff. transformation impacts resulting from the By enriching the staff’s knowledge and museums work. They can be divided in four experience and nurturing the museum’s categories: cultural, social, economic and meta-network, we find other layers of environmental impacts. the museum’s team made of volunteers, partners and other stakeholders. They In addition, and now referring to the name of help the institution develop its mission, this hybrid model, we realized that, if we put diversifying projects, answering different together the initials of each area by following (local/national/global) needs, empowering their order of relevance, we get the word OPTI, other dimensions of history, suggesting which etymologically sounds like optimum – under-represented issues, or simply from the Latin optimum (best)13 – so, that is sharing the passion for heritage (table 2). how we found the most suitable name for our Lorena Sancho Querol, Kalle Kallio & Linda Heinonen

(2016)

André Queda

2016 Perspectives

Strategy Map consisting of: Map consisting Strategy

Mission + Vision + 4 New Intertwined + 4 New Intertwined + Vision Mission nning term strategy and yearly annual pla “OPTI Participatory Management - Model” Impacts Cultural impacts Social impacts Economic impacts Environmental impacts Tools Long Museum Manuals Participatory museum management Key projects or “spearheads” People Museum visitors Museum users Stakeholders Partners Volunteers Staff Office Economic sustainability Leadership Effective management Agile organizational culture

adapted

Finnish Labour Museum & Lorena Sancho Querol. Design: The

responsibilities

Perspectives

shared

context

& researched

2006

TAB LE 1

policies

Museum

Intertwined

Collections & Research: to growth)

+ 4 +

ions s touristic dimension ’ matters

collection

Strategy Map consisting of: Map consisting Strategy understanding institut Vision

audience & increase visitors

+ learning & bold atmosphere Finnish Labour Museum 1st BSC Finnish Labour experience for visitors, specially families Collections well organised & Cooperation Debating social (Stop irresponsible with other Mission

Develop Finlayson Critical reading of cultural heritage New knowledge production Address the Processes Customers Visible, distinctive & insightful marketing Museum shop & space rental Impacts Preserving key Labour Heritage for future generations - National self Positive Providing food for thought Cooperation with different players Touring exhibitions, online exhibitions Collections in use (loans at photos) Good information services Quality, courage & versatility Exhibitions, Education, • • • Creative, Developing the museum field & strengthen own skills Strengthen research Learning & Growth Learning

s improve,

1990 (BSC) innovate?

Perspectives consisting of:

continue

From Balance Scorecard to “OPTI Participatory Management Model” at Finnish Labour Museum we

BALANCE SCORECARD value and value can

Strategy Management S ystem Mission + Vision + 4 Balanced Business Business + 4 Balanced + Vision Mission FINANCIAL Identification of relevant measures answering the question: shareholders? to Howwe do look CUSTOMERS Relevant measures answering the question: Howus? see customers do INTERNAL PROCESSES Relevant measures answering the question: work? our we organize Howshould LEARNING & GROWTH LEARNING Relevant measures answering the question: How create create

TABLE 2 Sidehoved Good practices of Society Involvement at Museum management and daily life Finnish Labour Museum

ONE EXAMPLE OF SOCIETY’S DAILY INVOLVEMENT Museosakki (volunteering programme) Created in 2013 from museum volunteering experiences since 1990 117 24 Volunteers working over 2000 hours/year with almost all tasks of museum daily life. Volunteers are retired/unemployed men & women in balanced proportions, between The 60s and 70s, with diverse background: teachers, industrial workers, artists, historians, The military… Group Some have university degree, others have vocational background. Volunteers take take part in the staff events (Summer trip, Christmas parties). Museosakki isis a success: itit has helped FLM toto solve many practical problems.

The Motivations are varied: to do something useful, to support FLM, to socialize, to learn, Motivations to have new challenges in their daily life (instead of nurture passivity, monotony…)to have new challenges in their daily life (instead of nurture passivity, monotony…)

Collections What? Updating the information in the museum database: flag collectionthe information in the museum database: flag collection Who? 2 volunteers during Autumn 2016. Who? 2 volunteers during Autumn 2016. Why? Museum staff usually do not have time to update collections Impacts:Impacts: Volunteers loved the experience and learned a lot about this historical heritage. Museum has its collections organized and updated so heritage is at hand.

Documentation What? Documenting local labour heritage in rapid transformation: cardboard mill. Some Who? 4 volunteers documenting in Spring 2014 and editing until spring 2015. examples of Why? Museum staff do not have time enough to document local heritage. Historical examples of goods disappear without documentation of their relevance for social history. involvement goods disappear without documentation of their relevance for social history. involvement Impacts:Impacts: at People at the mill love it: their working place is now part of the FLM collection. museum life Volunteers increase their knowledge about local heritage.increase their knowledge about local heritage. Museum can research local heritage evolution along time and share it with society.

Exhibition st st What? Celebrating anniversary of the 1 local community garden in Finland local community garden in Finland (Tampere,1916)(Tampere,1916) Who? Volunteers links to local collectives and neighborhoods.to local collectives and neighborhoods. Why? They wanted to celebrate 100th anniversary. FLM welcome their ideas. Impacts:Impacts: Exhibition improved self--confidence of gardeners and volunteers (who learned how skillful they already are in exhibition planning when compared with novices).

TWO EXAMPLES OF SOCIETY’S TEMPORARY INVOLVEMENT Social Forum and Market of Possibilities Organized once a year since 2006. Permanent home at FLM (with free and non--commercial premises)

Social Forum takes place at FLM rooms. It includes dozens of debates, lectures Social Forum Social Forum takes place at FLM rooms. It includes dozens of debates, lectures Social Forum and panels about various themes like social justice, environment and global issues.

Market of Possibilities takes place at FLM’s yard. Different NGOs present their work, Market of campaign and sell their products in a one-day in May. The whole program is decided Possibilities by the NGOs and activists. Museum just adds some cultural content.

118 model. In fact, this is not a coincidence: OPTI reality with its own different environment and was the result of a long process of sharing challenges. experiences, ideas and values to build an Museums are public organizations of a optimum museology, truly democratic, truly cultural nature dealing with memory, identity, proactive and truly transformative. sense of place and belonging and intercultural To better understand how the FLM dialogue. These are dynamic processes of sense is applying each of these concepts to its making related to the construction of inclusive departments (collections & research, visitor and dialogical societies and their management services, exhibitions, marketing & sales), with models must fit to the complexity of their the mission of building a Fair History, we show sociocultural work and daily processes. This one of the cards that was created for the 2016 dimension becomes more intense when we planning and daily management (table 3). talk about museums acting in accordance with Finally, during the third step of SoMus sociomuseological principles and methods: methodology, the FLM team decided that the They walk hand in hand with society, they work symbolic object they wanted to use to represent as sociocultural networks embracing people, their OPTI Model would be the steam engine supporting collective and voluntary action, flywheel that powered the Finlayson factory and nurturing activism related to the most during the last decades of activity, and that diverse causes. In short, they are becoming currently integrates the permanent exhibition. key tools in the context of new developmental Table 4 presents the OPTI Model in its final models, due to the fact that they deal with form. It is created by fusing the OPTI model’s informal learning, helping to debate and define basic structure and the anatomy of the last new values with our societies. Finlayson steam engine wheel. It tells us the FLM acts according to these principles. story about the power of an engine that was It embraces the challenge of documenting, made and moved by people, to improve society’s decoding and valuing the cultural history way of living. It tells us about the power of a of labour in Finland, and also the mission of living museology moved by collective energy. building a fair history, and this makes it a good practice example to a project like SoMus. The SoMus Portuguese partner decided to Final reflections create its first management model according Museums have evolved in the last decades from to its priorities, ideas and current methods of traditional, authoritative and inward looking collective working. For FLM the best option institutions into more flexible, participatory was to work on the most useful management and open projects becoming, in this way, soft tool they have been experiencing, bringing power tools. However, the management of it up to the present to deal with their current these cultural institutions remains mostly in challenge: to build a useful museology for an old industrial status. Management tools are and with contemporary society in a context mainly focused on developing private business of cultural participatory democracy. As a and only secondarily on public sector and, as matter of fact, since 2006 FLM’s team has been a consequence, many museums unsuccessfully looking for a management model that could waste resources on consultancy works that try allow them to put essential things in one place, to adapt popular management models to a and BSC revealed to be a perfect solution.

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grant: covered (61 000 grants grants for for

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Salaries: Other Deaf Photo sales: approx. 1000 Grants Magazines Workers’ Collection (approx. 5000 TAKO Other with if it is funded by the (e.g. covered (approx. 37 000 Special and STS (15 000 Possible for the moment Volunteers Lenin Grant systems: covered (30 000 Collection´s Expenses Tradeka New Collection Management System is financed together Constructor Grants (e.g. Photo sales: approx. 1000 and STS (15 000 Deaf Salaries: Other covered (approx. 37 000 Magazines Workers’ Collection TAKO Other Special Possible Volunteers Lenin Grant Collection´s Expenses Tradeka New Collection Management System is financed together with for the moment (approx. 5000 systems: covered (30 000 if it is funded by the Constructor operative Tradeka

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TABLE 3 TABLE 3 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • acquisitions,

Finnish Labour Museum Finnish Labour Museum

. related

matters

in and and Finland Finland

matters old old

updated updated yearly yearly

in in antiracism antiracism

out out

. initiativeness initiativeness activities activities

hearted attitude hearted attitude

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safety, safety, and and

collaboration program program

themes: themes:

museum museum

sorting sorting actions* actions*

- -

term commitment. term commitment. photos. photos. Cards for Collections & Research (2016 yearly planning) Cards for Collections & Research (2016 yearly planning) staff. staff.

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the Museum supports equal and solidarity society, Museum supports equal and solidarity society, ample museum services, open ample museum services, open policy policy donation of museum collection from donation of museum collection from (clock), (clock), to to Strategical Aims 2016 Strategical Aims 2016

operation operation purpose transfer transfer for for plans plans

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co co

the

Vision: Vision:

for

Saving Labour Heritage with long Saving Labour Heritage with long Distributing information and Concentrating and changes in working possible (2014) Close Developing Training Services Reorganization donations and cataloguing Hopefully, Construction Renewal of s Definition of: Program of occupational timetable History Development Collection Distributing information and Concentrating and changes in working possible (2014) Close Developing Training Services Reorganization donations and cataloguing Hopefully, Construction Renewal of s Definition of: Program of occupational timetable History Development Collection

Fair History: sustainable development and human rights. Focus on: • • • Final 2020. Fair history: and balanced vision of the past. Focus on: • • • Important People are: donators, partners in documentation, users of collections, colleagues, volunteers and staff. Focus on: • • • • Organizational culture and building premises focused on: • • • • Fair History: sustainable development and human rights. Focus on: • • • Final 2020. Fair history: and balanced vision of the past. Focus on: • • • Important People are: donators, partners in documentation, users of collections, colleagues, volunteers and staff. Focus on: • • • • Organizational culture and building premises focused on: • • • •

professionals

museum

network

–

network

–

*TAKO INTERTWINED INTERTWINED PERSPECTIVES PERSPECTIVES IMPACTS TOOLS PEOPLE OFFICE PEOPLE OFFICE IMPACTS TOOLS *TAKO – network of museum professionals for the purpose of coordinating collaboration in matters related to to related matters in collaboration the purpose coordinating of for professionals museum of network – *TAKO collections and documentation acquisitions, 1917. in the year in Finland founded co-operative - consumer Tradeka ** Co-operative

*TAKO Lorena Sancho Querol, Kalle Kallio & Linda Heinonen

120 With its experience, FLM affirms the the process, but how you do it (Bordenave possibility of adapting management models 1983:23). from other sectors to cultural institutions, These museums are known by their impacts even in those cases where a participatory at different levels, and by the way they are management is needed. This possibility entails contributing to value creation through culture for the museum team a high level of knowledge at different scales and levels. And these are about the institution – its mission and people only some of the most evident effects of –, a good selection of the management tools museum networking with society. Not by to be adapted, and also a high degree of chance both models include four intertwined sensitivity to combine all these matters with worlds, allowing museum to create new the sustainability of the institution from and necessary balances for/with society: the different points of view. Portuguese partner identifies four layers of The OPTI Model is the result of ten years participation according to its nature, intensity of experience and progressive adaption of and the profile of the people involved (Sancho the BSC model to cultural institutions, and Querol & Sancho 2015), and the Finnish FLM has been the laboratory where it has partner works with four practical perspectives been successfully adapted. It represents applied to each museum department, linking a step forward from a classic model to a them through the museum mission. reactive model that can open up new ways As non-hegemonic places of knowledge of management according to current times production, these museums are exploring the and current cultural challenges. Like other emancipatory potentialities of paradigmatic participatory tools, OPTI should be a dynamic transition towards a participatory museology. and evolutionary model that will continue to be Along the way they have learnt to collectively improved every year and with each experience. use their most prominent power: one of SoMus is now midway in its journey. Two construction of meanings and values (Castells of our four partners (one Nordic and another 2011:779). OPTI will be applied at FLM from Mediterranean) have already defined their now on and in 2018 a new evaluation will be participatory management models and, made. We hope there will be new matters to according to SoMus objectives, they are models improve and new challenges to face. Maybe you to be used not only in other museums, but also want to help us by testing it in your museum? in other kinds of cultural institutions. Reflecting on their specificities and on Notes their usefulness, we found some common relevancies. Not by chance, both models 1. This article is a product of the post-doctoral place people at the centre of every process, project of the first author “Society in the Museum: irrespective of the fact of having three persons study on cultural participation in European local as a fixed team (like MuT) or thirty (like FLM). museums” (SoMus), which is co-financed by the In fact, for these museums the concept of team European Social Fund through the Operational has now new and larger meanings because Programme of Human Potential, and by National they are nurturing sociocultural networking Funds through the Foundation for Science and to build their daily life. They know the key Technology, Portugal, in the context of the grant question is not how much you make part of reference SFRH/BPD/95214/2013. The article is Born to be OPTI

TABLE 4 OPTI Model applied to Finnish Labour MuseumTABLE 4 121 OPTI Model applied to Finnish Labour Museum

IMPACTS - CULTURAL IMPACTS IMPACTS- SOCIAL IMPACTS - ECONOMIC IMPACTS - CULTURAL IMPACTS - ENVIRONMENTAL IMPACTS - SOCIAL IMPACTS - ECONOMIC IMPACTS - ENVIRONMENTAL IMPACTS

TOOLS

- LONG-TERM STRATEGY AND YEARLY ANNUAL PLANNING TOOLS- MUSEUM MANUALS - PARTICIPATORY MUSEUM MANAGEMENT - LONG-TERM STRATEGY AND YEARLY ANNUAL PLANNING - KEY PROJECTS OR “SPEARHEADS” - MUSEUM MANUALS - PARTICIPATORY MUSEUM MANAGEMENT - KEY PROJECTS OR “SPEARHEADS”

PEOPLE

- MUSEUM VISITORS PEOPLE- MUSEUM USERS - STAKEHOLDERS - MUSEUM VISITORS - PARTNERS - MUSEUM USERS - VOLUNTEERS - STAKEHOLDERS - STAFF - PARTNERS - VOLUNTEERS - STAFF

OFFICE

- ECONOMIC SUSTAINABILITY OFFICE- LEADERSHIP - EFFECTIVE MANAGEMENT - ECONOMIC SUSTAINABILITY - AGILE ORGANIZATIONAL CULTURE - LEADERSHIP - EFFECTIVE MANAGEMENT - AGILE ORGANIZATIONAL CULTURE

written in collaboration with the director and the (HORIZON-2020), SoMus combines Social historian of the Finnish Labour Museum, who Sciences and Humanities with Responsible represents the whole team of the museum and Research and Innovation (RRI-SSH) to build helped to make the SoMus research process real. useful management tools for museums and other SoMus is a step forward in a path of participatory cultural institutions. More information about RRI emerging cultural directions, that the first at: https://www.rri-tools.eu/ author of this article began in 2007 with a PhD 3. This concept is being defined on the thesis on a participatory inventory of intangible SoMus webpage at: http://www.ces.uc.pt/ cultural heritage (Sancho go Querol 2016), and projectos/somus/index.php?id=12417&id_ that now, with SoMus, and through the hands of lingua=1&pag=12428 new partners and experiences, is incrementally 4. SoMus network also includes academic partners, maturing. critical friends, volunteers and PhD Students. 2. Inspired by the aims of the Work Programme Network’s partners and structure are available Lorena Sancho Querol, Kalle Kallio & Linda Heinonen

122 at the SoMus webpage: http://www.ces.uc.pt/ work as guides especially at weekends and in projectos/somus/index.php?id=12417&id_ summertime. lingua=1&pag=12430 13. Etymology of “optimum” according to 5. MuT webpage is available at: http://www.museu- Online Etymology Dictionary: http://www. sbras.com/indexi.html etymonline.com/index.php?allowed_in_ 6. FLM webpage is available at: http://www.werstas. frame=0&search=optimum fi/?lang=en 7. Most of the Finnish museums are run either by Literature public bodies or foundations, so FLM´s case is quite unusual. At FLM, member organizations Ahola, Teemu, Ulla Jaskari, Kalle Kallio et al. 2013. appoint the board of the institution, support and Reilusti historiaa. Työväenmuseo Werstaan use the museum as their historical experts. FLM vaikuttavuus. Tampere: Työväenmuseo Werstas. is mainly funded by the Ministry of Culture and Bordenave, Juan 1983. O que é participação? Coleção City of Tampere with active fundraising, projects primeiros passos. São Paulo: Editora Brassiliense. and business proceeds. Canclini, Nestor Garcia 2003. Culturas Híbridas. 8. BSC is a strategic management system used in Estratégias para entrar e sair da modernidade. São the business world. It allows a balanced and Paulo: Eadusp, 2. edition. demanding organizational process through Castells, Manuel 2011. “A network theory of power”. a regular evaluation and, consequently, the International Journal of Communication 5, possibility of improving the project as often 773–787. as needed. Its basic structure is composed of Dessein, Joost, Katriina Soini, Graham Fairclough four perspectives (Learning & Growth, Internal & Lummina Horlings 2015. Culture in, for and Processes, Customer & Financial) together with as Sustainable Development. Conclusions from their strategical aims, objectives and resources. the Cost Action IS1007 Investigating Cultural These perspectives are deeply intertwined between Sustainability. Jyväskylä: Jyväskylä University them through a project Vision. This structure is Press & European Cooperation in Science and applied to each department of the institution, by Technology. creating their own BSC Card. As a result we get a Eenilä, Jukka 1965. “Museo ja muuttava yhteiskunta.” strategy whose daily exercise gives us a balanced In Risto Laine (ed.) Vanhalinna I. Turku: and demanding management. Vanhalinnan museon ystävät r.y., 6–10. 9. EFQM characteristics are available at: www.efqm.org Haapala, Pertti 2011. “Tampere. A history of industrial 10. CAF characteristics area available at: www.eipa. society.” In Miia Hinnerichsen (ed.). Reusing eu/caf/ the Industrial Past by the Tammerkoski Rapids. 11. Deeper information about this model at: http:// Discussion on the Value of Industrial Heritage. www.nba.fi/en/development/museum_ Tampere: City of Tampere, Museum Services, assessment m Pirkanmaa Provincial Museum, 9–19. 12. In 2016 the museum had a staff of 17 people with Jutikkala, Eino 1979. Tampereen historia III. Vuodesta permanent contracts, 3-6 project researchers, 1905 vuoteen 1945. Tampere: City of Tampere. some trainees, civil servants and unemployed Kallio, Kalle 2010. “Labour heritage and identities persons in assisting task fulfilment. Full-time in Tampere”. In Keijo Rantanen (ed.) Living staff usually varies between 25 to 30 persons. Industrial Past. Perspectives to industrial history In addition, a dozen university students in the Tampere region. Tampere: Museum Centre Born to be OPTI

Vapriikki and the Finnish Labour Museum UNESCO, 2001. Universal Declaration of Cultural 123 Werstas, 110–135. Diversity. Kallio, Kalle 2007. “Museon yhteiskunnalliset UNESCO, 2003. Convention for the Safeguarding of tavoitteet.” Museologia tänään. Suomen Intangible Cultural Heritage. museoliitto, 105–131. UNESCO, 2015. UNESCO’s Work on Culture and Kaplan, Robert S. & David P. Norton 2000. The Sustainable Development. Evaluation of a Policy Strategy-Focused Organization. How Balanced Theme. Scorecard Companies Thrive in the New Business Weil, Stephen E. 2002. Making Museums Matter. Environment. Boston, MA: Harvard Business Washington: Smithsonian Institution. School Press. Werstaan tulevaisuusohjelma 15.12.2006. Unpublished Koivisto Tuomo 1999. Työt ja tekijät. Näkökulmia strategy document from the archives of The tamperelaiseen ammatilliseen työväenliikkeeseen Finnish Labour Museum. 1800-luvulta 2000-luvulle. Tampere: SAK, Tampereen Paikallisjärjestö ry. Peltola, Jarmo 2014. ”Structural change ang changing Lorena Sancho Querol, Ph.D., Researcher lifestyle in Tampere, 1945–2010.” In Mari Lind, [email protected] Kimmo Antila & Antti Liuttunen (eds.). Tampere – City of the Rapids. Tampere: Tampere Museums’ Centre for Social Studies Publications 122, 192–207. University of Coimbra Rasila, Viljo 1984. Tampereen historia II. 1840-luvulta Colégio de S. Jerónimo 3087 vuoteen 1905. Tampere: City of Tampere. PT-3001-410 Coimbra, Portugal Sancho Querol, Lorena 2016. El Patrimonio Cultural http://www.ces.uc.pt/en/ces/pessoas/ Inmaterial y la Sociomuseologia. Un estudio sobre investigadoras-es/lorena-sancho-querol inventarios. Cadernos de Sociomuseologia, Coleção Série Estudos PósGraduados, Nº 1 (nove série). Sancho Querol, Lorena & Emanuel Sancho 2015. Kalle Kallio, Director “How can museums contribute to social and [email protected] cultural change?” In Jacob T. Jensen & Ida Brændholt Lundgaard (eds.). Museums. Citizens Finnish Labour Museum Werstas and sustainable solutions. Denmark: Danish Väinö Linnan aukio 8 Agency for Culture, 212–231. Available at: http:// FI-33210 Tampere, Finland www.youblisher.com/p/1168529-/ http://www.tyovaenmuseo.fi, Santos, Boaventura Sousa 2007. “Beyond abyssal http://www.kallekallio.fi thinking. From global lines to ecologies of knowledges”. Review XXX 1, 458–9. Simon, Nina, 2010. The Participatory Museum. Santa Linda Heinonen, MA in History, Researcher Cruz: Museum 2.0. [email protected] Työväenmuseo Werstas, 2006. Kokoelmapoliittinen ohjelma. Collections’ policy internal Finnish Labour Museum Werstas document, available at: http://www.tkm.fi/ Väinö Linnan aukio 8 kokoelmapolitiikat/Werstas_KPO_2006.pdf FI-33210 Tampere, Finland Nordisk Museologi 2017 • 2, s. 124–141

Walking and sensing at Faaborg Museum Atmosphere and walk-along interviews at the museum

Tina Anette Madsen

Abstract: Since 2009 the Danish Agency for Culture has conducted the national museum survey for all national and government approved museums to participate in. The survey has integrated “atmosphere” as an evaluation criterion and has documented that visitors seek and worship such experiences. Atmosphere, however, is intangible and some spaces can evoke atmosphere more than others, due to the way they initiate interplay of the senses beyond language. Museum curators need not know the visitors’ experience of atmosphere in detail to be able to pay attention to atmosphere, but there is a growing need to qualify the understanding of the visitors’ experience of atmosphere to influence the way museums engage in atmosphere as a curatorial means. This article proposes a way to explore the visitors’ experience of atmosphere by combining theories of atmosphere by Gernot Böhme and Juhani Pallasmaa with sensorial anthropology as defined by Tim Ingold and Jo Lee and applying sensory ethnography and the method of the walk- along interview, suggested by Sarah Pink as a method to bring forward the visitors’ experience of atmospheric qualities. Faaborg Museum is used as a case and the analysis is based on four walk-along interviews partaken in 2016.

Keywords: Atmosphere, presence, multisensory perception, walk-along interviews, sensory knowledge, Faaborg Museum.

As we enter a space, the space enters us, and the investigate visitor experiences of atmosphere experience is essentially an exchange and fusion of at the museum and how are theories on the object and the subject... (Pallasmaa 2012: 20) atmosphere and presence applied and guiding the method of investigating such experiences? Faaborg Museum is a place often associated In this article, I present research into visitor with atmosphere and atmospheric qualities.1 experiences of atmosphere by means of walk- The question, however, is how exactly at- along interviews as part of sense-ethnographic mosphere occurs at Faaborg Museum, as methodologies (Pink 2015) using Faaborg well as at other art museums. How can we Museum as a case. I make use of theories of Walking and sensing at Faaborg Museum

the collection. The architects Carl Petersen 125 and Kaare Klint designed every detail in the museum with a view to the totality of the building and scholars today discuss Faaborg Museum as a so-called Gesamtkunstwerk (Hedin & Hvidberg-Hansen 2015:24). Visitors often express that they sense the atmosphere created by this “wholeness” (fig. 1). It is the aim of this article to present a method of collecting and analysing the experiences behind such statements. My focus will be on the way the experience of atmosphere is embedded in the experience of the museum space and the architecture of the museum. This focus stems from the involved theories and the way these interpret atmosphere as a multi-sensorial and spatial experience. This, again, has guided the way I have conducted the walk-along interviews, during which the significant stops and observations to be highlighted in the analysis were concerned with spatial effects such as forms, colours and lighting. The interviews Fig. 1. Faaborg Museum, Main Painting Gallery de- had focus on verbalising sensations that signed by architect Carl Petersen, The Faaborg Chair designed by Carl Petersen and Kaare Klint. Photo: came up during the walks and which could Hélène Binet, 2015. be considered atmospheric, though without forcing experiences. In this sense, the article touches on the paradox that atmosphere can atmosphere (Böhme 1993, 2003, 2006, 2013, be characterised, but is difficult to detect. Pallasmaa 2007, 2012, Ingold 2012) and of sensorial anthropology (Ingold & Lee 2006) in Collecting testimonies of conducting and analysing the interviews. I shall atmosphere at the museum discuss the potential and possible bias in such a close theoretical-methodological construct Basic research into atmosphere in museum as the article evolves. Furthermore, in the relationships is still scarce and up to now conclusion I reflect on whether the findings at atmosphere has been investigated by researchers Faaborg Museum can be generalised. and museum curators in particular in relation Faaborg Museum is a small regional art to historic house museums and ethnographic museum, which houses the paintings and museums. While Peter Bjerregaard has ap- sculptures of the Funen Painters artist colony. proached atmosphere in relation to cultural The museum is also a period art museum museum exhibitions and ethnographic objects built in 1915 for the purpose of housing (Bjerregaard 2014, 2015), Pernille Henriette Tina Anette Madsen

126 Wiil has been concerned with atmosphere has in this survey, as well as in the research as exemplified by the case of The Museum on museums up to now, not been verbalised Bakkekammen 45 (Wiil 2015). Besides from much. I compare it to the concept of doxa with these case studies, the national survey has reference to Pierre Bourdieu, as something been conducted in all Danish state-recognised already established as a norm, as something museums by the Danish Agency for Culture unsaid, but present, as something there, but not since 2009. The survey was launched to specifically verbalised (Bourdieu 1977). The provide Danish museums with tools, helping aim of this article is to suggest a way to open up them put visitors into focus as “users” and to the established norm of doxa in atmosphere target exhibitions, activities and events more and approach it through atmosphere-theory clearly.2 The survey maps out who the museum and sense-ethnography. First, however, an users are and measures their experience and introduction to the theory of atmosphere. contentment with the museum. From the start in 2009 the survey used the Gallup-compass Atmosphere from different as a tool for analysing the Danish population theoretical angles in relation to museums, but since 2012 it has also included John Falk’s and Lynn Dierking’s Atmosphere has engaged scholars from a motivational and learning behaviour types, broad range of academic fields from aesthetic as the basis for the analysis (Lundgaard & philosophy and literature (Böhme 1993, 2003, Jensen 2014:26). Interestingly, the overall 2014 2013a, 2013b, Gumbrecht 2012) to anthropology survey shows that “atmosphere” is the one (Ingold 2012) and architecture (Pallasmaa parameter that scores the highest and that the 2007, 2012). In the following, I shall focus on cultural history museums are rated the highest the theoretical contributions of Böhme, Ingold in this respect at 8.76, whilst natural history and Pallasmaa, which I have found particularly museums are rated the lowest at 8.22, and art useful for investigating visitor experiences of museums are rated in between at 8.59 (Jensen atmosphere at the museum. & Lundgaard 2015:21, 24). When comparing The philosopher and phenomenologist the data for all art museums in 2014 with the Gernot Böhme has defined atmosphere as data for Faaborg Museum in 2014, the survey being ontologically indeterminable, but not further documents that whereas the overall indeterminable in its specific quality. He assessment for art museums on atmosphere is considers atmosphere to be something that can 8.59, the rating of Faaborg Museum is higher, fill a space with a certain tone or feeling, like fog namely 8.8 (Jensen & Lundgaard 2015:24).3 or mist. Even if it is difficult to define precisely The survey leaves no options for respondents what this diffuse, foggy atmosphere is, it is to assess atmosphere qualitatively, for example possible to reason about the character of the by commentaries, and it does not offer any atmosphere, which can be serene, melancholic, substantial definition of the term either. It oppressive, uplifting, commanding or erotic is therefore difficult to use as an outset for (Böhme 1993:114). As such, atmosphere has communicative action at museums, even if to be experienced by somebody. It is neither the relatively high score on atmosphere can object nor subject, neither passive nor active, be taken as evidence of the importance of but a non-representational phenomenon, paying attention to atmosphere. Atmosphere which is sensed and can also to some extent Walking and sensing at Faaborg Museum

be expressed. As a continuation of this, my planning and analysis of the walk-along 127 Böhme reflects whether atmospheres can be interviews. intentionally made up through a manipulation In contrast to Böhme, the anthropologist of milieu and stimuli such as light, sound Tim Ingold approaches atmosphere as a and smell since atmosphere acts more like a purely geo-physical phenomenon, as sky floating in-betweenness, something between and air. Nevertheless, he ends up with some space, things and subjects (Böhme 2013:3). similar points. He argues how atmosphere can Atmosphere is like surroundings that breathe; explain the way we as living breathing beings it is materially radiating from things, but felt embrace and are embraced by the world by subjects in a certain spatial setting; it is a around us (Ingold 2012:75). He pinpoints spatial happening. how meteorologists and aestheticians, in Böhme has further introduced the concept spite of their scientific differences, share an of “mindful physical presence in space” as a way assumption of the material world as matter- of expanding on atmosphere (Böhme 2013a). of-fact, as a pre-condition, and as such also He argues that bodies have been considered as an abstraction or an absence. He proposes material rather than mindful bodies, especially instead to bring air back into presence in relation to architecture, and suggests putting (Ingold 2012:81). The way this can be done focus on the latter. Central to mindful physical became obvious to him when working with presence is, according to Böhme, sensitivity, the experience of sky and air, and living and mindful physical space is argued to be creatures as simultaneously being positioned the modulation or articulation of this. This opposite to the sky, namely on the ground, articulation is what can be objectively handled and being in-the-midst-of-air. However, he through certain generators, which can be also underscores how an indoor atmosphere is things, but also non-thing-like, such as light different, even if still compiled by the bringing or sound (Böhme 2013a:27). These generators together of people and things through a mutual can alter mindful physical space by adjusting, involvement in the environment (Ingold spreading or confining and thereby delimiting 2012:81). Ingold suggests that atmosphere can or transgressing atmospheres, and atmospheres be further explored by means of a distinction can conversely be described as mindful sensed between striated and smooth worlds, as well as spaces of presence. According to Böhme, the optic and the haptic eye, referring to the architecture will have to rethink space and philosophers Deleuze and Guattari. Whereas geometry, and consider what it means to be “striated space” is homogeneous, volumetric mindfully present in space (2013a:31). and laid out, “smooth space” extends without Böhme’s theory of atmosphere highlights limits in all directions. The eye in striated how surroundings, things and subjects are space looks at things, is optic, whereas in mutually constitutive in making atmosphere smooth space it roams among them, is haptic happen, and thereby also highlights how – the vision being accordingly intense (Ingold atmosphere is active, even though it appears 2012:82). Ingold further argues that there inactive. This is clearly of importance to is a relationship between the haptic and the researchers and also curators working with atmospheric and that every living being atmosphere, and along with the notion of simultaneously stitches itself into the material generators, it was made the basic outset for texture of the world along interwoven lines of Tina Anette Madsen

128 becoming. The flesh is both atmosphere and texture: it is atmosphere on the inhalation and texture on the exhalation (Ingold 2012:85). In other words, atmosphere and texture are two sides to every living-breathing creature. Air is thereby brought back into presence, and atmosphere and texture are brought together as a continuous flow. For Ingold then, atmosphere is related to the physical substance of air, inhalation and exhalation, and the differentiation of indoor and outdoor. Museum research and practice can draw upon such a dynamic understanding of atmosphere as smooth space and haptic sensing, at one Fig. 2. Faaborg Museum, facade. Photo: Hélène and the same time material and immaterial. Binet, 2015. Ingold’s theory is quite different from Böhme’s, but their contributions can fertilise each other, scale (Pallasmaa 2012:19). Pallasmaa further as I am going to demonstrate. argues that atmosphere is an interchange A third approach to atmosphere, which between the material qualities of the specific involves multi-sensoriality, comes from the place and our intangible sphere of expectation architect Juhani Pallasmaa. Like Böhme, and imagination. He suggests a definition Pallasmaa is interested in how architecture of atmosphere as the overall perceptual and and space, in relation to the sensing subject, emotive experience of a space, setting or social can create atmosphere. Pallasmaa argues situation (Pallasmaa 2012:20) (fig. 2). from a historical approach and from the Pallasmaa claims that since the Renaissance, interplay of architecture, the body and the the five senses have been thought to form a senses. He claims that atmosphere and mood hierarchical system, from the highest sense have never been much discussed amongst of vision down to touch. The hegemonic architects or in schools of architecture, the dominance of sight and the eye, and the focus of which has been on scale, form and curtailment of the other senses, have caused structure (Pallasmaa 2012:19). He reasons that a neglect of how these are used and how this tradition has not paid enough attention important the interaction between the senses to what he terms ambiance and describes is. According to Pallasmaa, though, the this as an invisible fragrance that adds to dominant eye “wants” to cooperate with the the sensory experience (Pallasmaa 2012:24). other senses, and this combinatory ambition According to this line of thought, space is not can again be understood as an extension of just a visual quality; it is also a multisensory the sense of touch. Vision reveals what touch experience, which is grasped instantly. The already knows, Pallasmaa writes (2007:42). instantaneous assessment of a place again Even if the eye is the organ of distance and calls upon an embodiment that transgresses separation, in contrast to touch as the sense the five Aristotelian senses by involving of nearness, caress, intimacy and affection, orientation, gravity, balance, stability and and even if the historical evolvement of Walking and sensing at Faaborg Museum

representational techniques depicting space appropriate, as discussed by Ingold & Lee 129 is related to perspectival vision, there is a (2006). Walking involves the repeated action different kind of vision: an unconscious and of putting one foot in front of the other, unfocused peripheral vision with which and necessitates contact with the ground, atmospheres can be “seen”. Where perspectival as well as a state of being attuned to the space and focused vision leaves the subject as environment (Ingold & Lee 2006:69). Walking an outside observer, multi-perspectival space together is a way of being with other people. and peripheral vision encloses and enfolds the It is through the shared bodily engagement subject in an embrace (Pallasmas 2012:38). with the environment, a shared rhythm of Peripheral perception grasps atmosphere walking, that a social interaction takes place. through the combination of the senses: People communicate through their posture in hearing, smelling, touching and being touched movement, involving their whole body (Lee & by temperature and breeze. In other words, it Ingold:80). emerges from the embracement of the senses Pallasmaa further argues that architecture is and their non-directional qualities (Pallasmaa a continuation of nature into man-made areas, 2012:39). supplying the ground for perception and the For my research, Pallasmaa offers focus horizon of experiencing and encountering the on the multisensory body and an ability to world. Architecture is not a unified, isolated grasp atmospheres through a peripheral construct, but rather a multisensory and perception, which I again interpret as close combinatory experience (Pallasmaa 2007:41). to the smooth vision of Ingold. Like Böhme, On the basis of these theoretical reflections, Pallasmaa suggests a new understanding of I have chosen a sensorial methodology and how architecture and humans are related. the approach developed by ethnographer Both Ingold and Pallasmaa propose a different Pink that focuses on the multi-sensoriality of kind of vision, in order to see and approach experience, perception, knowing and practice atmosphere; they define this vision in different (Pink 2015). ways, but suggest that atmosphere is sensed by Pink argues that sensory interviews are means of a different gaze. social and affective encounters, and she refers to the concept of the research encounter, which relates to the shared moment through which The methodological approach and the researcher learns and knows about other walk-along interviews people’s experiences and how these moments The theory of atmosphere stresses the fact that produce multisensorial and emplaced the experience of it is individual, multisensorial, learning and knowing (Pink 2015:96). Sensory dynamic and complex. This presents a challenge ethnography takes a phenomenological ap- when investigating visitor experiences, but proach to the world and the ways we perceive informed by Böhme, Ingold and Pallasmaa, in the environments we engage in. Using a walk- what follows I suggest a method with which it along interview methodology in a museum is possible to grasp this complexity. is appropriate, as sharing a walking rhythm In the museum space the visitor will be with respondents can lead to closeness and a walking either alone or with others. Therefore, bond between researcher and researched, as anthropological theories on “walking” seemed Ingold and Lee also point out (2006:67). Doing Tina Anette Madsen

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Fig.3. Two visitors sharing the same pace and the same view. Photo: Sven Storm, 2015.

sensory research offers an alternative way to to The Danish User Survey, the figures from ethnographic learning and knowing, as the the 2009–2014 survey show that around 90 researcher participates with others through per cent of museum visitors go to a museum in joint embodied engagement (Pink 2015:115) the company of others (Jensen and Lundgaard (fig. 3). 2015:64). In order to conduct such walk-along As a consequence, I planned four qualitative interviews, I originally considered approaching walk-along interviews as a pilot, with visitors that entered the museum, asking them participants recruited through my personal to participate in an interview. However, people profile on Facebook, asking my network to who go to a museum are often in a special share the request for participants for sense- mind-set, or they are at the museum with orientated interviews at Faaborg Museum. friends or family as a social event. According Out of six responses to the call, three women Walking and sensing at Faaborg Museum

(participants 1, 2 and 3) and one couple (female access to two atmospheric experiences; one of 131 participant 4 and male participant 5) were them in the one key location – in the Dome chosen for these interviews, as their schedules Gallery and the other was an experience that were comparative with the selected interview came across, throughout the museum under dates. Though they were recruited through my various forms as a time warp. In the analysis, personal profile, I did not know any of them I shall draw not only on the participants’ very well beforehand and none of them knew reactions, but also on my own reactions, using the aim and focus of my investigation. From the kind of auto-ethnography suggested by the questionnaire that the participants filled Pink (2015:98). Gathering and interpreting in just before the interviews, I realised that sensory data and considering the sensoria participants 1 and 4 had spent considerable of others as well as one’s own, however, are time at the museum before this visit, whereas both challenging and delicate. According to participants 2 and 3 were not familiar with Pink, it is also important to acknowledge that the museum and participant 5 had never been the multisensorial environments that people there before, nor had heard of it. are inhabiting are constantly being re-made, The interviews were conducted as events, and therefore reflexivity is important in both during which both parts continued to be the fieldwork situation and in the process of active participants using their bodies, senses, sorting and analysing the research material available props and the ground under their (Pink 2015:160). feet to narrate, perform, communicate and All interviews started at the Small Painting present their experiences (Pink 2015:78). The Gallery where the participants decided our participants were informed that we were to further walk and the two situations to be walk in the museum space together, where explored in-depth in the analysis below took they decided what route to take. They were place in the Dome Gallery and in the Gallery made aware that a mobile would record the Bays, respectively. These two locations in the interview. In addition to these recordings, I museum will be presented in details below. also made field notes during the interviews. Using this participatory research method, I The museum as a (time) warp raised simple questions as to the immediate sensorial experience of the collection, the The long and narrow museum first contains interior and the architecture, seeking to two larger galleries, with the Dome Gallery prompt spontaneous answers. The interviews placed in between; glass panels in the ceiling contained questions of sensory elicitation, provide daylight here. Stepping down to the as material objects can elicit responses or Bay Corridor with the smaller Gallery Bays to evoke memories through tactile or visual the right, windows are placed above human engagements, as described by Pink (2015:88). height on the left sidewall, and therefore From the four interviews, which each there is no outside view, besides the sky (fig. lasted around an hour, I will focus on two key 4). During the interviews, participants talked locations that brought insights with regard about the experience of a “time warp” in to sensations of atmospheric qualities, as different ways. The metaphor expresses the well as researching those experiences. Also, sense of being transposed to another time, or I want to present how the interviews gave time being frozen. This is an experience often Tina Anette Madsen

132 related to historical museums, as this type of and she responded positively, that to her it museum, through its setting, presents a time indicated variation, that something happened that is different from the time of the visitor.4 In all the time. She added that she liked the this case, it is an experience of being cocooned changing colours as well, as it held a repeating, when walking in the museum, due to the fact recognisable rhythm: The first gallery is ochre- that there is only a limited sense of any outside. coloured the next is dodenkop, next again The visitors are moving in the enclosure ochre and so forth. The colour change helps in between the interior and the artworks, the sense of separation of the galleries and which are all part of the stage, the script adds to the feeling of retreating into separated for the museum (Houlberg Rung 2013:22). small warps. The following are descriptions of this subtle Example 4, participant 1: The participant phenomenon of the time warp, which came up noticed the mosaic floor pattern in the Gallery during the walk-alongs. Bay and how it characterised the Bay: “But this Example 1, participant 1: As we entered the continues. This is really nice.” She added how Small Painting Gallery, the participant decided she liked that the floor patterns were different she would rather start in the Dome Gallery and in each different Gallery Bay, and different we went there. Here she explained how they from the long line in the Bay Corridor, and normally visited the museum when they lay at how it made each of the rooms delimited. “Yes, berth in the town and compared it to a “warp” it is actually right, so it is delimited. It becomes and called it a peaceful place. a room in the room in some ways.” Later, Example 2, participant 1: As a mobile during the interview, she added that it was like phone rang in the Large Painting Gallery, we a room to retreat into (fig. 5). both reacted to the sound and I questioned the Example 5, participant 1: The participant sound in the room and she responded: “I think suddenly looked out of the window, as she it is fine when there are only a few people in caught sight of a very tall industrial chimney here, but just with a mobile phone… it means rising outside the window and she commented a lot where you are.” With the opportunity on how she was reminded of the fact that the to talk about digital equipment being taken, museum was located in the urban setting of she commented: “When you look at the Faaborg. This “recent” chimney being the only colours here and then if you suddenly see a visible sign from the outside pinpoints the mobile screen or something else… The eyes architectural feeling of being in a time warp. have gotten a bit sensitive, so you can tune Example 6, participant 5: As we entered the into the details.” The participant had earlier Gallery Bays I also asked participant 4 and 5 the characterised the museum as “a time warp” elicitation question about the changing room and as I mentioned this, she said: “Yes, you sizes. Participant 5 first said he did not have an have to be careful that you don’t pollute it [the opinion about it, but after we had walked to the experience, my note] in some ways…Because end of the Bay Corridor, he responded: “OK, it is so delicate, I mean, something that can be when you come all the way to the other end, holy in some ways, and not disturbed.” after you asked me about the rooms… Then Example 3, participant 1: In the Bay Corri- actually, it makes, it makes good sense”... “That dor, I asked the participant an elicitation it changes”… “ Because then it breaks all the question about the changing room sizes time”…”You expect the same, but it changes.” Walking and sensing at Faaborg Museum

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Fig. 4. The Gallery Corridor with Gallery Bays and windows in the side façade. Photo: Tina Anette Madsen, 2015. Tina Anette Madsen

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Fig. 5. One of the various floor mosaics in an ochre Bay. Photo: Hélène Binet, 2015.

Example 7, participant 5: At the last Gallery and change of room colour etc. These elements Bay, the Archive Room is located. The room is may also be characterised as generators and said by participant 5 to be: “Pause room” and are here recognised not only as things, but explained as: “It also gives… it invites you as a also as non-things, as defined by Böhme. The pause room.” generators can cause visitors and participants Not all participants answered with an to act in certain ways and give access to a space explicit allusion to the “time warp” in response in the space, as seen in examples 3, 4 and 6. to my elicitation questions about the changing With the words of Ingold: “To be sure, the colours and room sizes. However, in a different indoor atmosphere is created by the coming way, they reacted to aspects of both Ingold’s and together of people and things, but only because Pallasmaa’s notions of atmosphere. Pallasmaa of their common immersion in the medium” argues how the atmosphere of a place can be (Ingold 2012:81). Being in a time warp is an developed by a strong sense of materiality, but immersion in the medium, and as the time stresses that the characteristic atmospheric warp is an enclosed space, it holds atmosphere quality might also be a scent or even weather as spatiality. conditions (Pallasmaa 2012:35). Furthermore, Also, the issue of noise and silence in he suggests that when we experience architec- architecture can be drawn forward, as example 2 ture, it is always a multi-sensory experience, illustrates. Pallasmaa suggests that experiencing where all elements “are measured equally significant architecture can exclude surrounding by the eye, ear, nose, skin, tongue, skeleton, noise, and experiencing architecture as all art can muscles” (Pallasmaa 2007:41). As is clear from open up an existentialistic solitude (2007:52). the participants’ sensorial reactions, examples Furthermore, architecture can hold another 2, 3 and 5 are attendant to the materiality of the time; “time of architecture is a detained time; setting, as they respond to both floor patterns in the greatest of buildings, time firmly stands Walking and sensing at Faaborg Museum

still” (2007:52). With this in mind, participant at the museum, where visitors commented on 135 1’s statement makes good sense, as she claimed the presence of digital screens for a current that it was better if there was just a few people exhibition, which they disliked; there was in the gallery, which opens up the capability to a clear wish not to have mediating tablets or experience a kind of existentialistic solitude; projectors in the galleries. The topic is most an experience that is not “polluted”. relevant today and my findings can point out The above invites two sets of reflections: the some of the difficulties for curators in including first on the method of walk-along-interviews digital devices in period museums. Pink and the second on the digital devices in the writes how digital media has by now become museum. Before the interviews I had not part of everyday activities and how human considered the “time warp” or “rooms in experiences are generally digitally mediated the room”; it came up spontaneously as a (2015:119–121). In this situation, historical response to rather simple questions, but can period museums can be seen as a “sacred” nevertheless be seen as a result of the particular place for retreat and literally a time warp in focus of the sensorial, phenomenological which the opportunity arises to disconnect perception and actions. Thus, the metaphor from the digital humdrum of the everyday and came as a serendipitous insight, called forth find space for reflection. I suggest that visitors’ by the methodology, and in particular in the resistance to digital devices in the galleries can case of participant 1, who engaged the most be explained by the peripheral perception or in the interview and was able to verbalise her smooth vision, which is also the perception sensations. of atmosphere that they generate, and which Interviews shall be seen as a social, is appreciated. Moreover, when following sensorial and affective encounter and it is Pallasmaa it can be suggested that the warp important to understand that doing sensory shall be seen as a sensory time warp, where ethnographic methodology shall be understood time and room become one, where time stands as participation, not just observation (Pink still and allows for subjects to dwell in this 2007:75). Just before the interview situation, space. However, there might be a discrepancy the participants had been informed about here, as the participants were all mature adults; the project’s focus on atmosphere, and in participant 1 and 5 in their mid-thirties, our joined walk it gave a different bond and participant 2, 3, 4 mid-forties, and judging the interview situation between “researcher” and age-range from the handwriting of the visitor- “researched”. The sensory subjectivity shifted notes, they were fifty plus. Younger visitors- in the encounter and this enabled knowledge, participants might not have had the same not previously available in this context, to be resistance towards inclusion of digital devices, drawn out. but there is no data to prove this included in Böhme suggests that to really be there, as in the research material. mindful physical present, means experiencing the resistance of things (Böhme 2013a:27–29). The Dome Gallery and the uneven As to the digital devices and screens, it colour came up in particular in the interview with participant 1, in example 1 and 4. Furthermore, The blue Dome Gallery is the second room it was an issue in the initial small-scale survey in the museum, in between the two main Tina Anette Madsen

136 galleries. It is entered through two pillars and a step down from the red distemper-coloured Small Painting Gallery. It is an octagon-shaped room, with a dome ceiling, that houses a big sculpture of the patron Mads Rasmussen and a large painting, Adam and Eve by Kristian Zahrtmann. The Gallery is the only room painted with al fresco colour, and the squares with slight colour differences are the evident result of the fresco process (fig. 6). The participants responded to the Dome Gallery in different ways, but all with subtle attentiveness to the forms, colours and play of light and shadow. Through all the verbalisations, there was a recurring theme of transformation. According to The Compact Edition of the Oxford English Dictionary, to transform is to “change the form of”, to “change into another form or shape”, to “metamorphose” (1971:3380). Example 1, participant 1: “This is simply such a wonderful room...” “Well, yes, then you are… at these walls [the participant looked at the walls in the gallery], … it gives some peace, you get away from the street. I think… and Fig. 6. The Dome Gallery with the Small Painting then a room like this, you get such a… you Gallery in the background. Photo: Tina Anette Madsen, 2016. land and then you can go on in and see… and there is like time to look… So it might be good to start here.” Adam and Eve by Kristian Zahrtmann, the Example 2, participant 1: “There is a lot participant commented: “But I think that to look at, [In the Small Painting Gallery, my when you stand and look, that it complements note] so it might be, that when you come in really nicely here… it can easily carry it… so here, then you are ready to… to really look… big a painting here… But I think that when it It is also that to really look… Then I come was all blue without, [the painting, my note] to think of the colour. The colours are really that gave something as well. Knowing that the strong, I think personally that it is rather eye can wander without being disturbed.” impressive.” Example 4, participant 3: “This is indeed Example 3, participant 1: “But it is also such a beautiful room, I absolutely love that the fact that the colour is alive, in some way. blue colour on the wall. I just want to say… I It is not like it is the same colour all over [the have great difficulty with, I get really annoyed room]. It gives…it gives a play of colours in with the sculpture there” [The sculpture of some ways.” When I mentioned the painting Mads Rasmussen, my note]. Later, when I Walking and sensing at Faaborg Museum

asked how she liked the colour in the room, generators, which can both be things but also 137 she said: “I love it… Clear blue. And I like the non-things. way it is painted…. It looks like distemper.” Böhme and Pallasmaa both argue how the Example 5, participant 2: “Yes, it is such a living and sensing body has to be reconsidered pompous room really and he does something in architecture. Böhme further argues in favour [Mads Rasmussen, my note] and I don’t even of a mindful physical presence and sensitivity know who he is, but I think he must be… and that this ability can be trained. The above somebody quite important”. “But it had not examples show how some participants had been such a pompous room” [if the room easier access to such a sensual experience had been used for paintings, my note]. “No, it than others, but also that they all in some hadn’t. And that’s why I think he is allowed to respect felt a particular quality of the room. stand on his own.” With Böhme’s notion of the mindful physical Example 6, participant 5: Responding about presence, Pallasmaa’s notion of the peripheral the Dome Gallery: “I really like the ceiling…. vision and Ingold’s notion of the smooth It is like it disappears… with the shadows there space, we are given the means to analyse the are being formed naturally it is helping create fascination with the Dome Gallery. Pallasmaa such a…” [He did not finish the sentence, further elaborates on vision and the way unable to find words]. humans react to shadows and light. He argues Example 7, participant 5: On the light and how the shadows give shape and life to the the painting in the Dome Gallery (fig. 7): “I object and “how imagination and daydreams think it’s a bit annoying with the light up there are stimulated by dim light and shadows” [skylight, my note], I think it ruins the picture (2007:46). if you want to come close to it… It makes it a The above leads to two sets of reflections on bit annoying, because it’s actually a really nice the qualities of the Dome Gallery and the art picture… And does the blue colour behind it works, respectively. As commented upon in make it bluer, or would another background examples 1, 2, 3, 4 and 5, the gallery was sensed make the picture clearer?” to hold qualities that can be approached by All participants spent a considerable means of the concepts of peripheral vision amount of time in the octagon Dome Gallery, and the embracing gesture. The octagon and they all responded and sought to verbalise architecture, the dome ceiling and the al fresco their sensory encounter with the room. At no colour add to these sensorial qualities. The point did the participants use the exact word shape of the room, for instance, can be said to “atmosphere”, but as they had been informed correspond to multi-perspectival space, which about the research beforehand, it had created allows the subject to walk around the statue of an established purpose and bond; that they Mads Rasmussen. The blue colour becomes a were aware on the focus on the verbalisation material object and transforms from a colour of their senses, but that experiences not on a flat wall to a material of substance, and experienced, should not be forced. As is clear it can be suggested that the distemper colour, with examples 2, 3 and 4, there is a focus on the room formation, the dome ceiling, the the architectural form, the colour, the ceiling light and the shadows add to the room’s ability and the light and shadow. These factors can, to act as a place for a transformation, before through the theory of Böhme be suggested entering the next hall. Also the dome ceiling Tina Anette Madsen

138 that resembles the hollow upper half of a sphere has architectural abilities that may also help activate this transition.5 The dome-shaped architecture, which resembles the geophysical sky and air and the hemisphere, can be a generator for transformation alongside the other elements. I suggest, along Böhme, Pallasmaa and Ingold, that this particular space performs atmospheric qualities and through these, calls forth a subjective transformation. This leads to further reflection on the peripheral perception, which seems to be present in examples 1, 2, 3 and 4, where there is a focus on the blue colour and a sense of transformation, of “landing” and entering another mode, by “knowing that the eyes can wander”. This comes very close to the theories presented above and I will suggest that for sensitive bodies this space gives access to mindful physical presence and the opportunity to enter peripheral vision. In evaluating my walk-along method, it is interesting that some participants in this room were able to verbalise Fig. 7. The painting Adam and Eve in the Garden of their sensations that in a way come close to Eden from1892 by Kristian Zahrtmann. The painting has been hung in the Dome Gallery for a current atmosphere as described through the theories. exhibition. Photo: Tina Anette Madsen, 2016. Some participants responded easily to what has here been conceptualised as multi-perspectival space, as with participant 1 and to some extent dim) painting, he reacted with irritation, as participant 5. the dim light did not allow him to properly The second reflection regards the sculpture see the painting. To a certain extent, this could and the painting. As mentioned in examples 4, also explain example 4’s frustration with the 6 and 7, some felt a disharmony or “irritation” sculpture in the gallery: There is a conflict caused by these elements, in particular in between the ability for transformation in relation to the effects of light and shadow the room, and the artworks [especially the and the glass ceiling, which can be explained dark painting] that calls for a different way with Pallasmaa’s elaborations on lights and of looking. Pallasmaa suggests that uniform shadows; he suggests that dim light stimulates bright light weakens the imagination, just as daydreaming and the imagination and this standardised space flattens the experience of can explain example 6 and participant 5’s being (2007:46). Thus, these experiences also fascination with the light and shadows in demonstrate that such a room can open up the Dome Gallery, which he was unable to (serendipitous) issues. This again can be of explain. Later, in response to the (dark and use for other museums and an argument for Walking and sensing at Faaborg Museum

experiments with atypical rooms. Rooms such rhythm, the same (tiles) under your feet and 139 as stairwells or walkways might be used for breathing the same air, sharing the visions creating alternative rooms for picture hanging to be disclosed and adjusting to each other. and for creating extraordinary experiences at As mentioned, the interview situation with art museums. information on the purpose of the interview given beforehand, created a special bond between the “researcher” and “researched”, Conclusion – atmosphere and as there was an awareness of the focus on sensorial experiences at the atmosphere during the interviews, but also museum on the fact that experiences not experienced Approaching the conclusion, it is necessary should not be forged. In this, connection to bring the key questions forward again: the verbalisations shall be seen as sense- How is atmosphere present, or rather, how orientated assessments. If attending to sensory does it occur to visitors in the art museum experiences, an opportunity to analyse from and how can we investigate it? Can theory on new perspectives the verbalisations and atmosphere inform a method of investigating activities, which might on the surface seem these experiences? standard and often everyday familiar (Pink The first attempt to get access to atmosphere 2007:103). The participants were verbalising through the national Danish user survey, the material and physical reality that they as well as the small-scale survey at Faaborg experienced visually, but during the walk, both Museum, was meant to open the search for they and I were aware of the situation and used verbalised atmosphere. However, the national means to capture and verbalise sense-borne user survey reduces atmosphere to numbers impressions through our conversation. The on a scale, and the small-scale survey did research seems to prove that the participants not give the hoped-for results either, as only experienced atmosphere when they were a few visitors were enthusiastic about their trying to express their sensed impressions experience of atmosphere. of the physical frame of the museum. The In order to investigate visitor experiences research has been conducted as a pilot study of atmosphere and as an approach to open and as the results are delicate and subtle, the up to situations where atmospheres appear, further use of sense-ethnographic methods sensory walk-along interviews were chosen as has to be refined and re-tested. a methodology by the theories and concepts The analysis of the two key situations of Böhme, Ingold and Pallasmaa. This type of revealed that the blue Dome Gallery holds walk-along interview combined with sense- qualities that appear to evoke atmosphere ethnography has not previously been used in through multi-perspectival, smooth space and museology and was therefore conducted as peripheral, haptic perception, the generators a pilot study. Even if still at a small scale, the so far being ascribed to the colour, the dim findings indicate that the method of sensorial light and the room’s multi-perspectival shape. walk-alongs is a possible way to explore This adds knowledge to how museums can use atmospheric qualities through sense carried irregular spaces for exhibitions. experiences and try to articulate its substance. Recall Ingold, as he argues how people and Walk-along interviews mean sharing a walking objects create the indoor atmosphere, as they Tina Anette Madsen

140 are immersed in the medium. In the museum, tion to the people who came to visit the museum objects and people are immersed in the museum or took part in the interviews. The terms “user” space and thereby interact in the creation of or “guest” are only being used in connection with atmosphere. Following Pallasmaa’s and Böhme’s the Danish National Survey. arguments about peripheral perception, multi- 3. The Annual Survey for Faaborg Museum 2014, perspectival space and the sensitivity of mindful p. 10: https://slks.dk/fileadmin/user_upload/0_ bodies, the Gallery Bays and Corridor can then SLKS/Dokumenter/Museer/Fakta_om_museerne/ be said to enact atmospheric qualities through Statistik_om_museer/Brugerundersoegelse/ light, the rhythm of colours, the mosaic-floor- Udstillingssteder_og_afdelingsrapporter_2014/ pattern etc. This knowledge proves the theories Faaborg_Museum__for_Fynsk_Malerkunst__ of architecture and atmosphere by Pallasmaa, Afd_205.pdf (accessed 27 October 2017) and is new in the sense that it has not previously 4. Examples of the use of the word ‘time warp’ in been verbalised in the context of Faaborg describing historical museums: http://www.feline. Museum. The sense-borne verbalisation of dk/artikler/ringkøbing-museum, http://natmus. “rooms in the rooms” can as such be used in dk/museerne/, http://www.greenland.com/da/ curatorial relations for future exhibitions and at providers/groenlands-nationalmuseum/ (accessed other museums with comparative architecture. 27 October 2017) As to the methodology, there might have been 5. https://www.collinsdictionary.com/dictionary/ a certain bias, in particular with regard to the english/dome (accessed 27 October 2017) way the method enhances a confusion between “researcher” and “the researched” experience. Literature This intersubjectivity in the encounter between “researcher” and “researched” has been impor- Allen, Jamie, Jakob Bak, David Gauthier & Chris tant to reflect upon, in order to understand Whitehead 2014. “Seeing yourself in the how my own sensory subjectivity shifts in the Museum.” In Luca Basso Peressut, Christina F. research encounter. Such reflections have been Colombu & Gennaro Postiglione (eds.). Museum a main concern throughout the research and Multiplicities. Field Actions and Research by still are. The theoretical and methodological Design. Milano: Mela Books, 95–113. reflections thus lead to the conclusion that even Bjerregaard, Peter 2014. “Dissolving objects. on a small scale, the sense-orientated methods Museums, atmosphere and the creation of used in this research have given results that presence.” Emotion, Space and Society, 1–8. enable conceptualisations of atmosphere, Bjerregaard, Peter 2015. “Disconnecting relations. and this method can provide additional Exhibitions and objects as resistance”. In Øivind knowledge with regard to visitor experiences Fuglerud & Leon Wainwright (eds.). Objects and of atmospheric qualities. Imagination. Perspectives on Materialization and Meaning. New York/Oxford: Berghahn, 45–63. Notes Böhme, Gernot 1993. “Atmosphere as the fundamental concept of a New Aesthetics,” Thesis 1. Projektet er et samarbejde mellem Syddansk Eleven, 36, MIT, 113–126. Universitet og Faaborg Museum og er støttet af Böhme, Gernot 2003. “The space of bodily presence VeluxFondens Museumssatsning. and space as a medium of representation”. In 2. I use the terms “visitor” and “participant” in rela- Mikael Hård, Andreas Lösch & Dirk Verdicchio Walking and sensing at Faaborg Museum

(eds.). Transforming Spaces. The Topological Turn Lee, Jo & Tim Ingold 2006. “Fieldwork on foot. 141 in Technology Studies. http://www.ifs.tudarmstadt. Perceiving, routing, socializing.” In Simon de/gradkoll/Publikationen/transformingspaces. Michael Coleman & Peter Collins (eds.). html (accessed 27.10.2017) Locating the Field. Space, Place and Context in Böhme, Gernot 2013a. “Atmosphere as mindful Anthropology. Oxford: Berg Publishers, 67–83. physical presence in space.” Building Atmosphere. Pallasmaa, Juhani 2007/2005. The Eyes of the Skin. OASE 91, 21–32. http://www.oasejournal.nl/en/ Architecture and the Senses. Chichester: Wiley- Issues/91/AtmosphereAsMindfulPhysicalPresen- Academy. ceInSpace#021 (accessed 27.10.2017) Pallasmaa, Juhani 2012. “Space, Place, and Böhme, Gernot 2013b. “The art of the stage set as a Atmosphere: Peripheral Perception in Existential paradigm for an aesthetics of atmospheres.” Experience.” In Borch, Christian (ed.). Ambiances http://ambiances.revues.org/315 Architectural Atmospheres. On the Experience and (accessed 27 October 2017) Politics of Architecture. Basel: Birkhäuser, 18-41. Bourdieu, Pierre 1995. Outline of a Theory of Practice. Pink, Sarah 2015/2009. Doing Sensory Ethnography. Cambridge: Cambridge University Press, 159–171. London: Sage. The Compact Edition of the Oxford English Dictionary Wiil, Pernille Henriette 2015. “Atmosfære på museum 1971. Oxford: Oxford University Press. – at (be)gribe en stemning.” Nordisk Museologi 1, Gjedde, Lisa & Bruno Ingemann 2008. Researching 40–55. Experiences. Exploring Processual and Experimental Methods in Cultural Analysis. Web sources Newcastle: Cambridge Scholars Publishing. Gumbrecht, Hans Ulrich 2012. Atmosphere, Mood, Annual Survey for Faaborg Museum 2014: http://slks. Stimmung. On a Hidden Potential of Literature. dk/fileadmin/user_upload/0_SLKS/Dokumenter/ Stanford: Stanford University Press. Museer/Fakta_om_museerne/Statistik_om_ Hedin, Gry & Gertrud Hvidberg-Hansen 2015. “I museer/Brugerundersoegelse/Udstillingssteder_ skøn forening. Carl Petersen og kunstnernes og_afdelingsrapporter_2014/Faaborg_Museum__ Faaborg Museum.” In Gertrud Hvidberg-Hansen for_Fynsk_Malerkunst__Afd_205.pdf & Gry Hedin (eds.). I skøn forening. Faaborg Museum 1915. Faaborg/København: Strandberg The Danish National User Survey: http://slks.dk/ Publishing, 12–50. museer/fakta-om-museerne/statistik-om-museer/ Houlberg Rung, Mette 2013. Negotiating Experiences. brugerundersoegelse/ Visiting Statens Museum for Kunst. Ph.d.- Thesis, Leicester University & Statens Museum for Kunst. Ingold, Tim 2012. “The atmosphere.” Chiasmi Tina Anette Madsen International 14, 75–87. [email protected] Jensen, Jacob Thorek & Ida Brændholt Lundgaard (eds.) 2015. Museums. Social Learning Spaces Faaborg Museum and Knowledge Producing Processes. København: Grønnegade 75 Kulturstyrelsen. DK-5600 Faaborg, Danmark Projektpresentation • Nordisk Museologi 2017 • 2, s. 142–147

Ulleråker – kulturarv, genus och funktionsnormer

Cecilia Rodéhn

Title: Ulleråker – cultural heritage, gender and functionality norms

Abstract: This paper provides a presentation of the project Ulleråker – funktionsnedsättning och kulturarv funded by the National Heritage Board. The project seeks to investigate the transformation of Ulleråker, a former psychiatric hospital in the outskirts of Uppsala (Sweden). The project will study how cultural heritage is transformed, and formed, during urban development and rebuilding processes, with a particular focus on gender and functionality norms. The project examines different kinds of material in order to illuminate how cultural heritage is articulated and materialized in the area. The material is analyzed using a composite theory of critical heritage studies coupled with crip and gender studies. The purpose of the project is to contribute to develop methods and theories in how to deal with the cultural heritage of psychiatric hospitals during times of transformation.

Keywords: Psychiatric hospitals, gender, functionality norms, cultural heritage, museum, mental health geography.

Hur förhandlas minnet av Ulleråkers mental- betets FoU-medel. I projektet ingår musei- och sjukhus under den pågående omvandlingen kulturarvsvetaren Cecilia Rodéhn och konst- av Ulleråker och under stadsutvecklingen av vetaren Hedvig Mårdh. Projektet är ett samar- Uppsala? Hur skapas platsens kulturarv? Hur bete mellan Centrum för genusvetenskap och skapar de aktörer som är delaktiga i omvand- Konstvetenskapliga institutionen vid Uppsala lingen olika versioner av kulturarv? Vilken roll universitet. Ett samarbete med externa aktörer spelar genus och funktionsnormer i kulturarvs- såsom Uppsala kommun, Medicinhistoriska processerna? Den föreliggande studien syftar museet i Uppsala, Länsstyrelsen i Uppsala län till att undersöka och problematisera hur per- och andra aktörer håller i skrivande stund på soner med normbrytande kroppar, närmare att etableras och ingår i projektets arbetsbe- bestämt mental ohälsa, representeras vid och skrivning. under omdaningen av Ulleråker. Syftet är att I följande text ges en inblick i det nyligen synliggöra normer och värderingar kopplade påbörjade projektet genom en kort bakgrund, till normbrytande kroppar och genus samt ar- en positionering i tidigare forskning samt en beta för en mer diversifierad bild av kulturarv. insyn i hur projektet ska genomföras. Texten Projektet Ulleråker – funktionsnedsättning avslutas med vilka resultat som projektet har och kulturarv finansieras av Riksantikvarieäm- som målsättning att uppnå. Ulleråker – kulturarv, genus och funktionsnormer

Bakgrund dit, vilket gör att det finns ett behov av att lösa 143 bostadsbristen. Ulleråker – med sin närhet till Området Ulleråker i Uppsala står inför en stor stadskärnan är fortfarande relativt oexploaterat förändring. Här planeras 7 000 nya bostäder med många ”tomma” ytor – ses som en idealisk vilka beräknas vara klara år 2030. Omvand- plats att bebygga. lingen kommer drastiskt att förändra områdets När platsen byggs om, vad händer med min- karaktär och möjligheterna att förstå platsens net av den tidigare institutionen och minnet av historia. Ulleråker har en speciell historia – re- de människor som har vistats där? Vilken his- dan 1811 flyttade Uppsala hospitals- och lasa- toria och vilket kulturarv är det som lyfts fram rettsinrättning till ett hus som tidigare varit ett i och med omvandlingen? Vilka personer blir kronobränneri. Huset ligger fortfarande kvar synliga och vilka glöms bort? Ulleråker står in- vid Fyrisån vid det som då var Uppsalas södra för ett vägskäl, gamla vårdbyggnader rivs och utkanter. Det kom dock att dröja till mitten av öppna ytor skall bebyggas. Detta förändrar 1800-talet innan det blev ett psykiatriskt sjuk- områdets karaktär och spåren av patienternas hus och Sveriges första psykiatriska universi- liv på Ulleråker riskerar att försvinna. tetsklinik. Sjukhusområdet var först tämligen litet men växte snart både till ytan och till patient- Tidigare forskning antal. Till slut kom det att omfatta ett cirka tre kilometer långt område och 1931, när sjukhu- Det saknas svensk forskning om kulturarvs- set blev ett statligt sinnessjukhus, hade det över processer kopplade till omvandlingar av men- 1 200 vårdplatser. Sjukhuset fungerade som ett talvårdsanstalter, däremot existerar det en hel eget självförsörjande och inhägnat samhälle där del forskning om mentalvårdsanstalternas och patienter, skötare och läkare bodde och verkade. mentalvårdens historia (se t.ex. Österberg & Här fanns fruktträdgårdar, växthus, tvätteri och Ekblom 1999, Eivergård 2003, Johannisson verkstäder där patienter och skötare arbetade 2013a, b, c). Den internationella forsknings- (Österberg & Ekblom 1999). fronten liknar den svenska men här har om- Introduceringen av psykofarmaka ledde till vandlingar av mentalvårdsanstalter utforskats att sjukvården började förändras och i samband något mer. Graham Moon, Robin Kearns och med psykiatrireformen under sent 1980- och Alun Joseph (2015) föreslår att forskningen 1990-tal lades stora delar av vården ned (Öst- kan grupperas i två kategorier: (1) återanvänd- erberg & Ekblom 1999). Avvecklingen av Ul- ning i enlighet med jurisdiktion och vid en viss leråker och många andra mentalsjukhus såsom tid (Dolan 1987, Lowin et al. 1998, Chaplin & Umedalen, Beckomberga och Långbro har ska- Peters 2003) och (2) hur återanvändningen har pat andra användningsområden och flera har tett sig sedd genom olika fallstudier (Franklin förvandlats till bostadsområden. En liknande 2002, Macchi 2003, Bowden 2012). process kan skönjas vid Ulleråker där en initial Inom dessa två kategorier kan fyra teman ur- småskalig förtätning av bostadshus skedde på skiljas. Det första temat handlar om hur men- 1990-talet då olika sjukhusinrättningar gjordes talvårdasanstalterna fortsätter att existera som om till bostäder, skolor och kontor. Omvand- vårdinrättningar (Dolan 1987, Prins 2011), lingen som Ulleråker står inför idag är dock det andra temat diskuterar på vilket sätt men- storskalig. Uppsala stad vill växa och bli en stor- talvårdsanstalter har övergivits, vandaliserats stad, parallellt med att allt fler människor flyttar och hur återstående strukturer bevaras eller Cecilia Rodéhn

144 destrueras (Prins 2011, Moon et al. 2015). Ett tredje tema behandlar omvandlingen av men- talvårdsanstalterna där de går från att vara en typ av institution till en annan. Forskning visar att ett vanligt scenario är att de omvandlas till fängelser eller campusmiljöer för gymnasiesko- lor eller universitet (Dolan 1987, Lowin et al. 1998, Chaplin & Peters 2003, Prins 2011, Moon et al. 2015). Det fjärde temat behandlar en omvandling till bostadsområde, speciellt diskuterar forskare hur mentalvårdsanstalter ombildats till lyxområden och ”gated communities” (Chaplin & Peters 2003, Prins 2011, Moon et al. 2015). Moon, Kearns och Joseph (2015) diskuterar Fig. 1. Tavla gjord av Augusta Strömberg, patient mentalvårdsanstaltens kulturarv och vilket min- vid Upsala hospital och asyl från förra sekelskiftet ne som aktiveras i olika processer. De avhandlar till hennes död 1954. Foto: Stewen Quigely, Uppsala också hur mentalvårdsanstaltens historia aktivt universitet. glöms bort, vilket de menar är en konsekvens av att platsen associeras med negativa känslor. (eller inte vill) att detta arv ska synas i stads- Som Moon, Kearns, Joseph (2015) antyder landskapet. Läser man Moon, Kearns och Jo- är mentalvårdens historia inte lätt att förhålla sephs (2015) studie ser man att stadsutveckling sig till, vilket gör att platser som Ulleråker blir och andra omvandlingar gör att spåren efter ett ”svårt kulturarv”. Mörkt, svårt eller disso- mentalvårdsanstalten ofta förvinner i landska- nant kulturarv – ett kulturarv som framkallar pet. De menar att populärkultur kommer där- känslor av obehag, skuld eller sorg eller något för att i allt större grad spela en avgörande roll som befolkningen helst vill glömma – har på för hur mentalvårdsanstalter blir ihågkomna. senare tid blivit ett uppmärksammat ämne Att populärkultur kan komma att spela en inom musei- och kulturarvsstudier (se t.ex. stor roll för att representera minnet av men- Ashworth 2002, Bonnell & Simon 2007). Svårt talvårdsanstalter är problematiskt. Filmer som kulturarv kan vara t.ex. krigsskådeplatser el- One Flew over the Cuckoo’s Nest (1975) och ler koncentrationsläger, det som blottar män- Sucker Punch (2011) presenterar scener där niskans mörka sida, ondska i samhället eller tvång och övergrepp sker och filmerna skildrar förtryck av en grupp människor (Tunbridge kaotiska och obehagliga sjukhus. Läkare, skö- & Ashworth 1996, Crouch 2015). Det finns tare och sjuksköterskor framställs som sadistis- många mörka sidor och exempel på mänskligt ka personer som försöker kontrollera, manipu- lidande vid Ulleråkers mentalsjukhus och det lera och tvinga de intagna. Patienter, som inte finns en lång historia av förtryck av människor är huvudpersonen, framställs vanligen som som har fallit utanför samhällsnormen. En vik- sorgliga, vansinniga, våldsamma eller farliga. tig fråga att ställa sig är hur människans mörka Forskning har visat att även om museer inte sida eller förtryck av olika grupper materialise- framställer läkare, skötare och sjuksköterskor ras vid ombyggnadsprocesser av mentalvårds- som sadistiska så är det vanligt att patienter anstalter och om kommun och byggherrar vill framställs som just våldsamma, okontrollerba- Ulleråker – kulturarv, genus och funktionsnormer

ra och farliga. Detta är kanske inte helt oväntat relation till detta (jmf. McRuer 2013). För att 145 då forskning har visat att museer, till skillnad ytterligare fördjupa förståelsen av detta anläggs från filmer, berättar vårdhistorien ur läkarnas, också ett genusperspektiv som bidrar till att sjuksköterskornas eller skötarnas perspektiv, problematisera på vilket sätt som feminiteter vilket gör att patientperspektivet blir osynligt och maskuliniteter spelar roll i kulturarvspro- (jmf. Obermark & Walter 2014, Birdsall, Parry cesser och i framställningen av personer med & Tkaczyk 2015). En annan konsekvens av att mental ohälsa samt vilka ojämlikhetsregimer populärkultur får träda in för att berätta pa- som kan spåras i detta. tienters historier som Moon, Kearns & Joseph För att undersöka de kulturarvsprocesser som (2015) beskriver, kan göra att det vardagliga tar sig uttryck i omvandlingen av Ulleråkers livet och patienter med icke uppseendeväckan- mentalsjukhus och hur personer med normbry- de mental ohälsa glöms bort. En målsättning, tande kroppar representeras kommer nedslag i men också en utmaning, med projektet är att ett brett material att göras. Projektet undersöker identifiera på vilket sätt som patienter repre- dokument och planer med relevans för om- senteras vid omvandlingen av Ulleråker och vandlingsprocessen men också tidningsartiklar, vilken roll genus spelar i processen. skyltar, offentlig konst, museiutställningar, platser samt gatunamn. Materialet synliggör olika praktiker genom vilka mentalvårdsanstaltens Att undersöka kulturarv görs och vilka konsekvenser detta får. kulturarvsprocesser Utifrån materialet har vi identifierat fyra teman: För att genomföra projektet tar vi utgångs- Omvandling – undersöker hur minnet samt punkt i kritiska kulturarvsstudier som stu- vilka minnen av mentalsjukhuset som inklu- derar de sätt på vilket kulturarv skapas, om- deras när Ulleråker omvandlas. Utifrån under- skapas och upprätthålls (jmf. Smith 2006, sökningen ämnar vi utveckla både praktiska Harrison 2013, Waterton & Watson 2013). och teoretiska modeller för att förstå kultur- Utgångspunkten för kritiska kulturavsstudier arv som genomgår förändringsprocesser. En är att kulturarv konstant skapas genom olika utmaning som projektet står inför är att stu- praktiker och processer. Kulturarv är alltså dera förändringsprocessen när den pågår till inte någonting som är, det är ingen speciell sak skillnad från musei- och kulturarvsforskning (t.ex. en mentalvårdsanstalt), utan det är något som gärna studerar kulturarvsprocesser när de som görs (Smith 2006, Harrison 2013). Det är avslutade (jmf. Rodéhn 2015). Utmaningen är alltså olika slags göranden av mentalvårds- kan dock ge möjligheter till metodutveckling anstaltens kulturarv som projektet studerar. och att diskutera forskarens roll i kulturarvs- Projektet tar därför hjälp av den form av kritisk processerna (jmf. Rodéhn 2015, Mårdh 2017). diskursanalys som har utvecklats inom kritiska Uttalanden – undersöker de sätt på vilket kulturarvsstudier (Smith 2006) och som sedan kulturarv kopplat till mentalsjukhuset ar- har vidareutvecklats (jmf. Harrison 2013, Wa- tikuleras i olika dokument, tidningsartiklar, terton & Watson 2013). Till kritiska kultur- offentlig konst och skyltar men också genom arvsstudier kopplas ett crip-perspektiv som namngivning av platser och vägar. Hur för- problematiserar hur idén om den normalfung- handlas kulturarv i detta material och vad ger erande kroppen står som norm i samhället och det uttryck för (jmf. Smith 2006, Waterton & hur andra kroppar framställs som den Andra i Watson 2013)? Genom att studera artikulatio- Cecilia Rodéhn

146 ner undersöks både hur mentalsjukhuset ma- genom detta verka för en ökad inkludering av terialiseras genom olika diskurser och vad som kulturarv kopplat till personer med normbry- åsyftas i begreppet mentalsjukhusets kulturarv. tande kroppar och med fokus på mental ohälsa. Bevarande – undersöker hur olika intres- Inom ramen för projektet kommer vi också att senter och aktörer väljer att bevara minnet arbeta med workshops för aktörer inom kul- av mentalsjukhuset genom praktiker såsom turarvssektorn och med personal kopplade till ombyggnad, utställning, offentlig konst, tid- ombyggnadsprocessen. Projektet arbetar också ningsartiklar och skyltar (jmf. Smith 2006). för att göra olika aktörer och allmänheten upp- Vilka konsekvenser får dessa praktiker och vad märksamma på forskningen och administrerar är det som bevaras av sjukhuset? Genom att därför en facebooksida där uppdateringar om studera hur olika praktiker skapar olika slags vad som genomförs inom projektet förmedlas kulturarv är det möjligt att förtydliga att kul- till allmänheten.1 Parallellt med detta visar si- turarv inte enbart görs av kulturarvspersonal dan också arkivbilder som ett sätt att göra all- utan också av byggherrar och kommunens mänheten uppmärksam på områdets historia stadsbyggnadskontor. Detta gör det möjligt att och de människor som levt där. Ett speciellt diskutera ansvaret för kulturarvets bevarande. fokus har lagts på att lyfta fram olika patienters Mångfald – lägger specifikt fokus på genus prestationer inom olika områden såsom konst, och funktionsnormer och undersöker vilken litteratur och skådespeleri. Projektet har också roll dessa spelar i förhandlingar, diskurser och en blogg där lite längre texter ska kunna publ- materialiserandet av mentalsjukhusets kultur- iceras.2 Slutligen syftar projektet också till att arv under omvandlingsprocessen. Temat tar publicera forskningsartiklar med fokus på kul- ett samlat grepp på praktiker, diskurser och turarv, genus och funktionsnormer. materialiseringar och söker att teoretisera hur genus och funktionsnormer spelar roll i olika Noter kulturarvsprocesser. En central fråga är vem som görs synlig och osynlig i kulturarvet. En 1. www.facebook.com/ulfuku viktig utgångspunkt är därför att ställa frågan 2. https://ullerakerkulturarv.wordpress.com om vilka kroppar som ses som en obligatorisk norm för hur kulturarv görs och hur perso- Litteratur ner med normbrytande kroppar kategoriseras samt om det finns en skillnad mellan dessa Ashworth, Gregory J. 2002. ”Holocaust tourism. The normbrytande kroppar (jmf. McRuer 2013). experience of Kraków-Kazimierz.” International Här undersöks hur normer påverkar omvand- Research in Geographical and Environmental ling, uttalanden och bevarande av kulturarvet Education 11:4, 363–367. samt hur det materialiseras i t.ex. utställningar. Birdsall, Carolyn, Manon Parry & Viktoria Tkaczyk 2015. ”Listening to the Mind.” The Public Historian 37:4, 47–72. Tänkta resultat Bonnell, Jennifer & Roger Simon 2007. ”’Difficult’ Målsättningen är att projektet ska resultera dels i exhibitions and intimate encounters.” Museum en handbok med verktyg och metoder för att ar- and Society 5:2, 65–85. beta med inkludering av problematiskt kultur- Bowden, Kirstie 2012. ”Glimpses through the gates. arv i stadsomvandlingsprocesser. Projektet vill Gentrification and the continuing histories of the Ulleråker – kulturarv, genus och funktionsnormer

Devon County Pauper Lunatic Asylum.” Housing, 2015. The Afterlives of the Psychiatric Asylum. The 147 Theory and Society 29:1, 114–139. Recycling of Concepts, Sites and Memories. Surrey: Chaplin, Robert & Steve Peters 2003. ”Executives have Ashgate. taken over the asylum. The fate of 71 psychiatric Mårdh, Hedvig 2017. A Century of Swedish Gustavian hospitals.” The Psychiatrist 27:6, 227–229. Style. Art History, Cultural Heritage and Crouch, David 2015. ”Affect, heritage, feeling.” I Emma Neoclassical Revivals from the 1890s to the 1990s. Waterton & Steven Watson (red.). The Palgrave Uppsala: Uppsala universitet. Handbook of Contemporary Heritage Research. Obermark, Lauren & Madaline Walter 2014. ”Mad Hampshire: Palgrave Macmillan, 177–190. women on display.” Reflections 14:1, 58–80. Dolan, Lawrence W. 1987. ”Reuse of state hospital Prins, Seth J. 2011. ”Does transinstitutionalization property, 1970–1985.” Psychiatric Services 38:4, explain the overrepresentation of people with 408–410. serious mental illnesses in the criminal justice Eivergård, Mikael 2003. Frihetens milda disciplin. system?” Community Mental Health Journal 47:6, Normalisering och social styrning i svensk sinnes- 716–722. sjukvård 1850–1970. Umeå: Umeå universitet. Rodéhn, Cecilia 2015. ”Democratization. The Franklin, Bridget 2002. ”Hospital–heritage–home. Recon- performance of academic discourse on structing the nineteenth century lunatic asylum.” democratizing museums.” I Kathryn Lafrenz Housing, Theory and Society 19:3–4, 170–184. Samuels & Trinidad Rico (red.). Heritage Keywords. Harrison, Rodney 2013. Heritage. Critical Approaches. Rhetoric and Redescription in Cultural Heritage. London & New York: Routledge. Boulder: University Press Colorado, 95–110. Johannisson, Karin 2013a [1994]. Den mörka Smith, Laurajane 2006. Uses of Heritage. London & kontinenten. Kvinnan, medicinen och fin-de-siècle. New York: Routledge. Stockholm: Norstedts. Tunbridge, John E. & Gregory J. Ashworth 1996. Johannisson, Karin 2013b [1997]. Kroppens tunna Dissonant Heritage. The Management of the Past as skal. Sex essäer om kropp, historia och kultur. a Resource in Conflict. Virginia: John Wiley & Sons. Stockholm: Norstedts. Waterton, Emma & Steve Watson 2013. ”Framing Johannisson, Karin 2013c [1990]. Medicinens öga. theory. Towards a critical imagination in heritage Sjukdom, medicin och samhälle. Historiska studies”. International Journal of Heritage Studies, erfarenheter. Stockholm: Norstedts. 19:6, 546–561. Lowin, Ana, Martin R.J. Knapp & Jennifer Beecham Österberg, Eric & Bengt Ekblom (red.) 1999. Historia 1998. ”Uses of old long-stay hospital buildings.” om och kring Ulleråkers sjukhus. En bildkavalkad. Psychiatric Bulletin 22:3, 129–130. Uppsala: Psykiatridivisionen, Akademiska Macchi, Silvia 2003. ”The ‘citadel of exclusion.’ sjukhuset. Regeneration processes in the area of Santa Maria della Pieta in Rome.” I Francesco Lo Piccollo & Huw Thomas (red.). Knights and Castles. Minorities Cecilia Rodéhn, fil.dr, projektledare and Urban Regeneration. London: Ashgate, 33–40 [email protected] McRuer, Robert 2013. ”Compulsory able-bodiedness and queer/disabled existence.” I Lennard J. Davis Centrum för genusvetenskap (red.). The Disability Studies Reader. 4. uppl. New Uppsala universitet York, NY: Routledge, 301–309. Box 527 Moon, Graham, Robin A. Kearns & Alun E. Joseph SE-751 20 Uppsala, Sverige Projektpresentation • Nordisk Museologi 2017 • 2, s. 148–155

Our Museum Studying museum communication for citizen engagement

Kirsten Drotner

Abstract: Our Museum was initiated in 2016. It is a five-year Danish national research and development programme comprising seven university departments at five universities and eight museum partners. The project aims to facilitate new forms of citizen engagement and inclusion by developing and studying how museums communicate with audiences in innovative ways. In this text the background, aims, hypothesis and organization are presented.

Keywords: Museum communication, citizen engagement, collaboratory research between university and museums.

Museums have always interacted with the world Museums’ own research priorities are still chiefly around them. Yet, it seems as if the scale and related to the substance of collections – be they scope of interaction has increased in the past art history or astronomy, archaeology, biology two decades. The almost universal presence or history. An interest in audiences is chiefly of museums online is an indication of this expressed in surveys on visitor throughput, development: an expansion of user-focused marketing efficacy or simple analytics of the museum communication that is often policy-led number of online clicks. A similar situation is and the visibility of museums in environments seen in museology departments and programs beyond the museum walls. The number of at universities. While museology and heritage museums have doubled worldwide 1992–2012 studies have become established features of (Temples 2013), and the new institutions are many universities, they develop remarkably often heralded as beacons of tourism and as little sustained research on the ways in which levers of local and regional cultural economies actual and potential audiences communicate (Falk & Sheppard 2006). Not least private with museums. Visitor studies remain the funding goes into the establishment of the new key inroad to theory-based studies of actual museums and into a transformation of existing museum-goers whether it adheres to the museum sites and settings. All these trends put traditional socio-cognitive approach (Bitgood increasing emphasis on fostering new relations & Shettel 1996, Falk & Dierking 2000, 2013) to actual and potential museum audiences. or to more recent trends focusing on visitors’ However, while museums’ interaction and meaning-making and learning practices communication practices with audiences (Hooper-Greenhill 2006, Bounia et al. 2012, gain in importance, the same cannot be said Dodd 2012, Pierroux & Ludvigsen 2013). for systematic research on these practices. Museums’ introduction of digital tools online Our Museum

and onsite has sparked research on usage of experience, learning outcomes or the use of 149 these tools, but both museums and universities digital technologies – all of which are often at the primarily study the “digital turn” from a technology- core of innovative communication practices? led perspective, for example the application of This is because we want to hold on to the iPads or the use of blogs (Cameron & Kenderdine fact that public museums are key catalysts in 2010, Runnel & Pruulmann-Vengerfeldt 2014). generating a society’s understanding of itself, In a Nordic context, two Danish surveys on both past and present. Museums are resources universities’ museum research document that for people’s abilities to act in the world, and museum communication is now increasingly on the world, because museums offer people taken up, but mostly on a short-term basis, scripts to relate to the wider world. Still, as conducted by master or PhD students with is well known, not all groups harness these individual museums and with little aggregate democratic museum resources, and not all knowledge formation or sustained research museums understand what it takes to involve development as a result (Villadsen & Drotner new audience groups. To focus on museums’ 2011, Gransgaard et al. 2014). citizen engagement offers a unique pathway In other words, there currently exists to understand museums’ interaction with the a gap between considerable economic, wider world and, in more concrete ways, to political and practical developments in develop evidence-based tools for advancing museum communication and research-based such interactions in democratic societies. Our knowledge on these processes/progresses. This Museum’s overall aim, then, is to help advance gap means that museum communication and widen citizen engagement through remains under-theorised, the societal impact theory-driven empirical designs and studies of communication practices and projects of museum communication whose results remains under-documented, and innovation have transfer value beyond the research and of museum communication remains too little development programme. based on systematic evidence. Other studies, also in the Nordic countries of Europe, have focused on museums’ role for democratic participation and citizen Why focus on citizen engagement? engagement (Stuedahl 2011, Sattrup & Taking note of this gap between practice and Christensen 2013, Runnel & Pruulmann- research in museum communication, Our Vengerfeldt 2014). Similar aspects have been Museum was initiated in 2016. It is a five-year addressed by networks such as the Nordic national research and development programme Research Network on Learning Across comprising seven university departments at five Contexts, directed by professor Ola Erstad at Danish universities and eight Danish museum the University of Oslo (2011–14); by Culture partners. The total budget is c. 6 million EUR. Kick (2011–14), directed by professor Dagny We aim to facilitate new forms of citizen Stuedahl, Norwegian University of Life engagement and inclusion by developing and Sciences, and by the ongoing Cultural Heritage studying how museums communicate with Mediascapes, directed by professor Palmyre audiences in innovative ways. Pierroux at the University of Oslo. Our Why focus on advancing citizen engagement Museum helps advance these efforts in three and inclusion and not, for example, personalised capacities: we add a historical perspective, a Kirsten Drotner

150 design perspective and a systematic evaluation selected to cover important nodes in this perspective. development and to cover the diversity of communication modes. For example, one project on antiquarianism illuminates pre- What we do modern practices of communication and International museum studies largely under- interaction, while another project hones in on stand museums’ interaction with their open air museums and their performance of surroundings through a historical master living history. narrative that takes us from an emphasis Eight projects study key areas of contem- on citizen enlightenment, public education porary museum communication. The projects and betterment of the unruly masses in the are selected based on an inclusive definition early days of museum development on to a of what a museum is, since we surmise that situation today when individual experience such an approach best traces varieties in and consumer enrichment is at the core of communication practices and organisational museum communication (Hooper-Greenhill frameworks. So, art, natural and cultural 1992, Bennett 1995, Anderson 2004). While history museums are partner museums as well this trajectory may be correct on a discursive as a planetarium. Also, projects are selected level, we want to explore museum practices, from around the country and including small and we want to go beyond national museums as well as very large institutions. In this way, and similar icons that are often referenced as we are able to document institutional as well documentation in the master narratives. as substantive similarities and differences. Our thesis is that museums’ communication In empirical terms, the projects follow a practices, both past and present, are marked joint research ecology: from (co-)designing by balancing enlightenment and experience new communication initiatives, through as constant dimensions to be handled, rather documentation of their implementation, and than as elements to abandon or strive for. on to evaluating the results of these initiatives. To this effect, our key research questions are Many, but not all, projects involve the use as follows: Which dilemmas in handling of digital modes of communication such as dimensions of enlightenment and experience augmented reality installations and smart do we see in Danish museum communication phones. Since we are keen to understand in the past and today? And on that basis: How how museums practice communication as a can museums’ communication with audiences lever of citizen engagement, our focus is not be designed, developed and evaluated so as to on technological innovation as such, nor is widen and advance museums’ means of citizen it on museum communication as a form of engagement? marketing or branding. Based on these research questions, our research design encompasses a historical Who is involved and a contemporary strand of research. Five projects study the history of Danish museum Our Museum is funded by two Danish philan- communication, adding depth and richness thropic foundations, the Nordea-fonden and to existing histories (Floris & Vasström 1999, the Velux Fonden, along with the universities Larsen & Ingemann 2005). The projects are involved. Partner museums contribute with Our Museum

in-kind funding, which means that museum by a group of senior scholars engaged with 151 professionals grant time to the programme. the Danish Centre on Museum Studies, the Both foundations are major donators to substance of the Our Museum programme Danish museums, with the Velux Fonden also has been developed jointly by the university funding research-based collaboration, while and museum partners involved. The cases the Nordea-fonden supports cultural research we study in the 13 projects are located and for the first time with its grant to Our Museum. explored within particular museums. In the Interestingly, the foundation notes that it is time contemporary projects, cases are selected by to help advance research-based evidence about partner museums, while research questions and museum communication, so that foundations theoretical and methodological approaches are may spend their money more wisely. From drafted by university partners. a university perspective, the Our Museum Each project involves a senior researcher initiative is unique, since it is a researcher- and a junior researcher – 11 PhD students and driven programme organised by the arts and two postdocs in all and 13 senior scholars. For humanities and across regional boundaries at the eight contemporary projects, a collaborator a time, when Danish research policy invites for each partner museum is also part of the competition between universities, rather than project team. Here, junior researchers spend collaboration, just as it prioritises strategic part time at the partner museum and part time research within the STEM (Science, Technology, at the university where they are appointed. Engineering and Mathematics) areas. This project organisation facilitates knowledge In addition to its 13 funded projects, Our development and knowledge exchange on a Museum involves a number of associated day-to-day basis. projects conducted by one or more project An executive board of four is an aid to the partners. Taken together, about 40 people programme director in strategic programme collaborate in the programme, making us be development. The vice-director is chosen in a position to reach beyond the short-term among the two museum members so as to and individual projects that have characterised balance the programme director’s university Danish research and development studies on affiliation. A coordinator manages the museum communication so far. Participants programme and is also key to implementing come from a range of professional backgrounds, the programme’s communication strategy. from astrophysics and biology to education, Naturally, a programme on museum art history, museology, history, performance audiences’ engagements should practice studies, media and communication science modes of communication that further such and ICT studies. This diversity is in tune with engagements in addition to producing our inclusive definition of museums, and with traditional academic output. As a modest the demands made to study the complexities of beginning, all participants have been on a museum communication in a historical as well training course in video production so that as a contemporary perspective. we are able to communicate with a wider public during the course of the programme. Such process communication is important How do we collaborate not least for local community involvement at Based on an overall research objective identified our partner museums. Kirsten Drotner

152 While the empirical basis of Our Museum perspectives at our themed seminars (see is a national one, the wider context of the below) and be mindful of the dynamic nature programme is, of course, of international even of our key concepts enlightenment and relevance. We therefore have an international experience. How empirical findings can be scientific advisory board which advises on integrated across the two strands remains to be programme organisation and development seen, as none of the projects have progressed and offers critique where needed. that far. Programme progression is optimised by having all projects contribute to overall Programme challenges – and how programme milestones in terms of, for to handle them example, popular communication. Moreover, A research and development programme of each project has defined milestones in terms this size faces a number of challenges in terms of substance and impact. Many participants of cohesion, progression and synergy. Key at Our Museum have considerable experience among these challenges is how to avoid 13 with, for example, EU funding where projects developing their own research agendas milestone demands are very detailed leaving and focus points with the result that overall little room for substantive modification and programme cohesion is lost. We have handled innovation. Based on these experiences, we this challenge by having all partners agree have identified fewer milestones and they are to the programme’s key research questions chiefly of a substantive nature. In addition, prior to receiving funding. While these senior researchers of each project organise questions remain very general, we have also regular project meetings addressing issues of identified joint analytical dimensions that all organisation and tackling possible obstacles projects address: an organisational dimension to planned developments. The programme (how do different types of museums handle director also makes visits to all museums to dilemmas of enlightenment and experience?); discuss work processes and organisation. a representation dimension (what is the It is well known that overall programme substantive focus of audience communication synergy is the most decisive part of successful in terms of balancing aspects of enlightenment research and development processes, and and experience?); and a reception dimension often also the most difficult to obtain. Our (who are included and excluded by particular museum is home to different organisations communication practices?). Still, Our Museum and different disciplines, both of which pose faces a dilemma of cohesion in terms of particular challenges in shaping and sustaining optimising insights gained in the historical programme synergy. In terms of organisation, and contemporary strands of research. Ideally, museums and universities are very different the historical projects would be conducted professional cultures, even when working in prior to the contemporary projects, so that the similar fields. Canadian museologist Élise historical insights on balancing dimensions Dubuc notes how “museology studies become of enlightenment and experience would feed detached from the museum as institution” into the design of contemporary projects. so that the gap has widened between the In practical terms, this is not feasible. So, we two professional cultures (Dubuc 2011:500). try to alternate historical and contemporary Our museum is one among many recent Our Museum

attempts to forge new professional alliances in the term is defined and understood very 153 museology across museums and universities. differently by the two traditions. So, during Time is key to developing organisational our seminar key terms are taken up, unpacked, synergies in such alliances, since museums discussed and exemplified to qualify overall often operate within stricter time-frames than programme synergy. In more mundane ways, do universities. A PhD student may want we seek to advance synergy by having our to convey research results when his or her partner institutions host programme seminars. research process is almost complete for fear In this way, all participants get a sense of that not everything is covered and controlled ownership and they come to better understand prior to that. A museum, on the other hand, organisational and substantive differences. may find it useful that the PhD student shares also small insights and do so early on, for Implications example insights culled from a focus-group interview or an intervention with a group of In organisational terms, Our Museum is a non-users. Based on previous experiences laboratory of collaboration facing differences with directing collaboration across museums in terms of institution, knowledge formation, and universities, Our Museum regularly discipline and generation. Our experience so far hosts knowledge-sharing sessions from our is that these differences are not only obstacles various projects at our partner museums. Such of collaboration, they are also options. This is sessions have the added value of illuminating because the programme has sufficient time to the museum’s project involvement to the build a community of trust allowing learning entire organisation and perhaps the local trajectories to be explored within and across community, thus operating as a pathway to the interdisciplinary partnerships. As such, wider knowledge exchange. Our Museum can help strengthen the basis In terms of discipline, Our Museum is host for new networks and modes of collaboration to a very wide range of fields, approaches and across such differences. practices. Museums and universities exercise In substantive terms, a key to programme different knowledge formations and priorities success is the quality of insights gained during of knowledge exchange. But equally important the programme. It is our hope that our results is to take note of different disciplinary can demonstrate the validity of researching approaches to what are seemingly identical museum communication as a lever to advance issues and themes. It is adamant to form a joint and widen citizen engagement. Such results knowledge base across these diversities while may act as pathways to increased recognition harnessing participants’ respective resources. of audience communication as a valid and Again, time is of the essence. During the first two important research area on a par with established years of the programme, all participants meet disciplines of research in museums as well as very regularly for one- or two-day seminars. universities. Moreover, it is our ambition to The seminars focus on particular themes based deliver examples of best practice that other on input from participants, and they form the cultural institutions can apply, thus widening heartbeat of the programme. For example, their relevance for new groups of audiences. museology and media and communication Last but not least, increased knowledge studies both apply the term “audience”. But about ways in which museums interact with Kirsten Drotner

154 the world around them is a unique option for Museums and Other Cultural Institutions. Oxford: institutions to challenge their own identities Altamira Press. and rationale of existence. This is because such Floris, Lene & Annette Vasström 1999. På museum. interactions invite museums to see themselves Mellem oplysning og oplevelse. Roskilde: Roskilde from the outside, to critically examine what is University Press. often taken for granted, and hence invigorate Gransgaard, Helle, Jens F. Jensen & Ane H. Larsen museums’ societal impact for the future. 2014. Dansk museumsforskning. Status og tendenser 2013 [Danish museum research. Status and trends]. Aalborg: Aalborg University Press. Literature Hooper-Greenhill, Eilean 1992. Museums and the Anderson, Gail (ed.) 2004. Reinventing the Museum. Shaping of Knowledge. London: Routledge. Historical and Contemporary Perspectives on the Hooper-Greenhill, Eilean 2006. “Studying visitors.” Paradigm Shift. Lanham: Altamira Press. In Sharon Macdonald (ed.). A Companion to Bennett, Tony 1995. The Birth of the Museum. History, Museum Studies. Hoboken, NJ: John Wiley & Theory, Politics. London: Routledge. Sons, 362–376. Bitgood, Stephen & Harris H. Shettel 1996. “An Larsen, Ane H. & Bruno Ingemann (eds.) overview of visitor studies.” Journal of Museum 2005. Ny dansk museologi. Aarhus: Aarhus Education 21:3, 6–10. Universitetsforlag. Bounia, Alexandra et al. 2012. Voices from the Pierroux, Palmyre & Sten Ludvigsen 2013. Museum. Qualitative Research Conducted in “Communication interrupted. Textual practices Europe’s National Museums. Linköping: Linköping and digital interactives in art museums.” In University Press. Kirsten Drotner & Kim C. Schrøder (eds.). The Cameron, Fiona & Sarah Kenderdine 2010. Theorizing Connected Museum. Social Media and Museum Digital Cultural Heritage. A Critical Discourse. Communication. London: Routledge, 153–176. Cambridge, MA: MIT Press. Runnel, Pille & Pille Pruulmann-Vengerfeldt (eds.) Dodd, Jocelyn et al. 2012. Voices from the Museum. 2014. Democratising the Museum. Reflections on Survey Research in Europe’s National Museums. Participatory Technologies. New York, Berlin: Linköping: Linköping University Press. Peter Lang. Dubuc, Élise 2011. “Museum and university Sattrup, Lise & Julie L. Christensen 2013 “Museums mutations. The relationship between museum as spaces for cultural citizenship. An example practices and museum studies in the era on how museums and cultural institutions in of interdisciplinarity, professionalisation, Denmark examine their role as spaces for cultural globalisation and new technologies.” Museum citizenship.” The International Journal of the Management and Curatorship 26:5, 497–508. Inclusive Museum 6, 31–41. Falk, John H. & Lynne Dierking 2000. Learning from Stuedahl, Dagny 2011. “Social media and community Museums. Visitor Experience and the Making of involvements in museums. A case study of a local Meaning. Plymoth: Altamira Press. history wiki community.” Nordisk Museologi 1, 3–14. Falk, John H. & Lynne Dierking 2013. The Museum “Temples of delight.” The Economist, 21 December 2013. Experience Revisited. Walnut Creek, CA: Left Villadsen, Rikke & Kirsten Drotner 2011. Dansk Coast Press. museumsforskning. Status og tendenser [Danish Falk, John H. & Beverly K. Sheppard 2006. Thriving museum research. Status and trends]. Odense: in the Knowledge Age. New Business Models for Danish Centre on Museum Studies. Our Museum

Our Museum – in brief 8) Art, dialogue and experiment: User participation 155 Programme duration: 2016–2020 as a social catalyst for museum communication Total budget: 6 million EUR. 9) Old art and contemporary users: New ways of Website: www.ourmuseum.dk communicating the Skovgaard family’s art and age 10) Astrophysics: Designing exhibitions for inclusion Museum partners 11) Participatory and professional interchange in The Danish Castle Centre digital museum practice The Historical Museum of Northern Jutland 12) The museum as a site for mediating experiences Limfjordsmuseet 13) Rethinking existing participatory practices: Natural History Museum of Denmark Options and obstacles for digital museum RAGNAROCK: The Museum for Pop, Rock and development. Youth Culture Randers Museum of Art Associate projects Skovgaard Museet 14) Join or die! Design Museum Denmark between Tycho Brahe Planetarium communication, practice and co-creation. University of Copenhagen: Dept. of Nordic University partners Studies and Linguistics Roskilde University: Dept. of Communication and Arts 15) The new museum experience: Dimensions of University of Copenhagen: Royal School of Library and public engagement at Louisiana Museum of Information Science; Dept. of Science Education Modern Art, 1958–98. University of Copenhagen: University of Southern Denmark: Dept. of History; Dept. of Arts and Cultural Studies Dept. for the Study of Culture – Media Studies 16) Securing significant cultural heritage values in Aalborg University: Dept. of Communication and local communities: Between conservation and Psychology communication. Aalborg University: Dept. of Aarhus University: School of Communication and Culture and Global Studies Culture. 17) Exploring production criteria for a transmedia exhibition. Aalborg University: Dept. of Projects Communication and Psychology 1) Antiquarianism and private collections before the 18) 3D scanning, modeling and printing in the rise of museums: Transnational networks, mediation museum: The use of 3D technology in current and erudition of Danish antiquarians, 1600–1750 museum communication. Aarhus University: 2) Between centre and periphery: Museum School of Communication and Culture. development, 1850–1950 3) 100 years of living history at Danish museums 4) Generalist or specialist? Developing the museum Kirsten Drotner, professor, dr.phil. profession since 1958 [email protected] 5) Digital museum communication in Denmark: Assessing implementation and impact Department for the Study of Culture Media 6) Experience design og evaluation as means of University of Southern Denmark museum learning Campusvej 55 7) Immersive digital experiences at unguarded DK-5230 Odense M, Denmark exhibition sites Anmeldelser • Nordisk Museologi 2017 • 2, s. 156–164

Anmeldelser

Udstillinger rande sker runt om i världen trots lagstiftning. Än i dag upptäcks stöldgods som tillhört judar i privata hem. Så sent som 2012 upptäckte poli- documenta 14: Learning from Athens sen över tusen verk av framstående konstnärer Aten, Grekland, 8 april–16 juli 2017. i en lägenhet i München. 300 av dem hade på Kassel, Tyskland, 10 juni–17 september 2017. uppdrag av nazisterna stulits från judiska hem och sedan förvaltats av den tyske konsthandla- ren Hildebrand Gurlitt. Mitt på golvet i Neue Galerie i centrala Kassel Eichhorns konstverk ingår i documenta 14, står en hylla fylld från golv till tak med litte- en av världens största och mest betydelsefulla ratur som nazisterna beslagtog från judar som utställningar för samtida konst. Utställningen, deporterats och mördats under andra världs- som sker var femte år, startades 1955 med stöd kriget. Runt väggarna i utställningslokalen står av Marshallplanen, i en tid då Tyskland var på glasmontrar med stulna föremål och noggrant väg att återuppbyggas efter andra världskriget. uppförda förteckningar över möbler, smyck- Stödet till utställningen var en del av den inter- en och konst som sedan skulle säljas vidare. nationella ”mjuka” diplomati som utvecklades Materialet ingår i konstnären Maria Eichhorns i USA och Europa efter kriget i syfte att skapa konstverk Rose Valland Institute (2017), ett förståelse och gemenskap mellan människor projekt som letar reda på och dokumenterar och nationer. Avsikten var att konst och kultur de ägodelar som togs från judar i Europa från skulle påverka hur människor tänkte och age- 1933 och som fortfarande inte har återlämnats. rade, profilera västvärlden mot Sovjetunionen Det handlar inte bara om enstaka föremål, och rymde också en förväntan på att kulturen utan även om hela bibliotek (i bara Berlin stals skulle bygga broar och fred mellan nationer. 40 000 böcker), patent, företag och lantegen- Precis som att många nationalmuseer bild- domar. Projektet är namngivet efter konsthis- ades under mitten av 1800-talet för att mani- torikern Rose Valland som i hemlighet doku- festera den nya tidens kunskap och genom his- menterade nazisternas stölder av judiska hem toria, traditioner och symboler skapa en känsla i Paris, och vars arbete kom att spela en avgö- av nationstillhörighet, bär även documenta på rande roll vid återlämnanden efter krigets slut. en historia byggd på en politisk avsikt. Samhäl- Konsten kan undersöka det som osynlig- let är i ständig förändring, men den politik och gjorts och glömts bort i historien och skapa de normer och värderingar som rådde under förbindelser mellan det förflutna och samti- 1850- respektive 1950-talet påverkar naturligt- den. Den kan också vara en plats där det för- vis institutionernas innehåll än i dag. Det är en flutna, samtiden och framtiden existerar sam- balansakt mellan att se på historia som något tidigt. Eichhorn inte bara samlar bevis från det som bevarar en struktur – minnesmärker – och förflutna till institutets forskningsarkiv, utan håller saker på plats, och att se på historia som belyser även det faktum att plundring fortfa- något i ständig förändring. Men kanske mest Anmeldelser

väsentligt är att förstå i vilken kontext insti- 157 tutioner har skapats, och hur de sedan använts genom tiderna. På så sätt kan vi bli medvetna om vår egen samtid och de beslut vi träffar i dag. I år, den fjortonde upplagan av utställning- en, har curatorn Adam Szymczyk och hans team valt att förlägga utställningen i två vitt skilda kontexter – i Kassel och Aten. Anled- ningen sägs vara Tysklands och EUs roll i den ekonomiska och sociala krisen i Grekland och Szymczyk menar att samtidens lokala och globala katastrofer påverkat innehållet i utställ- ningen. Skuldkrisen i Grekland är i fokus, men även kriget i Syrien, flyktingsituationen i krigets spår, neoliberalismens negativa inflytande och dekonstruktionen av välfärdsstaten har in- verkat vilka val teamet gjort. I The documenta 14 Reader skriver Szymczyk: ”This darkening global situation has leaned heavily upon our daily (and nightly) thinking about, and acting on and for, documenta 14. Indeed, it has made us ask ourselves how our work might become meaningful and purposeful for the world we Fig. 1. Dan Peterman: Kassel Ingot Project (Iron), live in today” (Latimer & Szymczyk 2017a:23). 2017. Foto: Helene Larsson Pousette. Szymczyk menar också att vi lever i en tid av rädsla och därför behöver vi skapa nya visioner och till en moské under renässansen. Under för det samhälle vi vill ha, och den demokrati 1800-talets början fraktade engelsmännen de vi vill leva i. Precis som många andra i vår tid skulpturer som fanns kvar till museer runt om har utställningsteamet en stark vilja att ifråga- i Europa – bland annat till samlingarna på Brit- sätta och påverka, och documenta 14 bygger ish Museum och Louvren. Under tre decen- därmed på en politisk avsikt. nier har Grekland utan resultat begärt att få Aten blir symbol för en samtida kris, men tillbaka skulpturerna, nu senast under Brexit- Aten har också en historisk roll som ett mång- förhandlingarna. Den argentinska konstnären kulturellt centrum mellan kontinenter och kul- Marta Minujin har för documenta 14 skapat turer runt Medelhavet, en korsväg som trafi- Parthenon of Books (2017), ett verk som knyter kerats av olika människor genom tiderna. Det samman Kassel och Aten och samtidigt belyser som vi i dag kallar Grekland har ständigt för- plundring och skövling av kulturarv, historiska ändrats och omformats i mötet med andra. I platser och monument. På det centrala torget Aten byggdes mellan 447 och 432 f.Kr. templet Friedrichsplatz i Kassel, som var platsen för Parthenon och användningen av templet har nazisternas bokbål under andra världskriget, förändrats över tid. Bland annat omvandlades står hennes gigantiska metallkonstruktion av templet till en kristen kyrka under medeltiden Parthenon med 100 000 plastinslagna böcker Anmeldelser

158 som bannlystes av nazisterna. Minujin skapa- gestaltningar. Konstnärer är ofta tydliga av- de konstverket första gången i Buenos Aires sändare till sina verk, medan intendenter på 1983 med 25 000 av de böcker som beslagtogs kulturhistoriska museer sällan redogör för sina av militärjuntan. Minujin återskapar inte bara erfarenheter eller politiska ståndpunkter när Parthenon som symbol för demokratin med de skapar gestaltningar av historiska skeenden. ursprung i Grekland, utan återtar med sitt ko- Ett exempel på museiförmedling är den lossala monument också det offentliga rum- storskaliga Trümmermodellen på Stadsmuse- met och ger det ny mening. et i Kassel. Modellen från 1950-talet visar för- Huvudfokus i årets utställning är koloni- ödelsen av Kassel innerstad efter andra världs- alism och nationalism, ursprung och makt, kriget. På grund av sin vapenindustri utsattes migration och miljö. Påfallande många konst- staden 1943 för kraftiga bombangrepp och 80 verk förhåller sig till historia, framför allt procent av staden lades i ruiner. Under do- osynliggjord eller bortglömd historia, ofta cumenta 14 ställs den stora modellen i relation krigshistoria. Många verk tar sin utgångspunkt till den irakiske konstnären Hiwa Ks film View i museers samlingar, i arkivet, och följer i From Above (2017), som gestaltar människor många fall även i sin utformning samlingarnas på flykt från Irak och Kurdistan. FN har be- premisser – urval, katalogisering, tolkning och slutat att Kurdistan är en säker zon, och som förmedling. Men till skillnad från museernas flykting måste du bevisa att du kommer från ansvar att utgå från faktabaserad kunskap, har den osäkra zonen för att kvalificera dig som konstnärer inga krav på sig att förmedla fakta flykting. Under intervjun som krävs för flyk- och sanning. Genom sitt undersökande kan de tingstatus kontrollerar en tjänsteman din berät- istället vidga vår perception, ge oss nya per- telse, frågar om små detaljer om den stad du på- spektiv som i sin tur leder till nya tankar och står dig komma ifrån och jämför dina svar med nya handlingar. Konstnärerna kan även ställa en karta. Om du inte kan bevisa att du kommer obekväma frågor om ett material och gestalta från den osäkra zonen, skickas du tillbaka. oväntade händelser på ett helt annat sätt än Konstverket pekar på det orimliga att bevisa dig museerna. som flykting i dag, medan Trümmermodellen i Men varför intresserar sig så många konst- sin glasmonter visar på ödeläggelsen av Kassel närer för museisamlingar? Är det för att i men även stadens triumf över förstörelsen. Kan- dem finns en inbyggd omöjlighet? Det är en ske är det just kombinationen av mikro- och omöjlighet att samla allt som skett – urval har makrohistoria som gör det fängslande – indivi- gjorts och annat valts bort, och vissa narrativ dens ”lilla” berättelse kontra en stads konstruk- har prioriterats framför andra. Museers idea- tion av sin historia. Kan detta få oss att bättre ta lisering av vissa berättelser kan vara mycket till oss krigets alla absurditeter – föreningen av tydlig, vilket också visar på deras makt att ska- den lilla människans öde och hela normsystem, pa och gestalta lokal, regional eller nationell samhällens kollaps? historia och därmed identitet. Museerna ra- Krig rymmer individers erfarenheter som mar ofta in en tid, en plats och situation som vi sällan hör, men även materia. Hiwa K lyf- bejakar den egna självbilden och som samti- ter individens berättelse i View from Above, digt, om man tittar noga, synliggör de normer och undersöker också i ett tidigare verk, The och värderingar som råder. Det finns dock en Bell (2007–15), krigets materialitet.1 I The Bell stor skillnad mellan konstnärers och museers följer Hiwa K under flera år en skrothandla- Anmeldelser

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Fig. 2. Ur Marét Ánne Sara: Pile o’ Sápmi, 2017. Foto: Helene Larsson Pousette. re i Irak som samlar ammunition från kriget Återbruk och handel med metaller har på- mellan Iran och Irak och de båda Gulfkrigen. gått i alla tider. Dan Petermans verk Kassel Han smälter ner ammunitionen som kommer Ingot Project (Iron) (2017) på Neue Neue Ga- från ett tjugotal länder, bland annat Sverige, lerie består av metalltackor i stora vita säckar och säljer metalltackorna åter på den globala (fig. 1). Tackorna är av relativt rent material marknaden. Konstnären fraktar i sin tur tack- och har en form som lämpar sig för trans- orna till en kyrkklockstillverkare i Italien där port och betalningsmedel. Tackorna består en klocka gjuts på traditionellt vis. På klockan av återvunnet material som finns överallt i sätter han assyriska och mesopotamiska före- samhället – i våra huskonstruktioner, maski- mål som förstörts av IS. Även i detta verk zoo- ner och fabriksbyggnader. Materialet bär i sin mar Hiwa K in och ut, och gestaltar berättelsen nedsmälta form spår av historia från långa om den enskilda individens öde i krigets Irak tidsrymder och befinner sig i mellanrummet och berättelsen om vårt gemensamma ansvar mellan det förflutna och framtidens använd- för global vapenindustri, förstörelse av kultur- ning – i not-yet-made things. Konstnären har arv och dagens flyktingsituation. funnit järntackor i Kassel och koppartackor i Anmeldelser

160 Aten och genom materialen spårat platsernas let approprierades renen som en betydande historia. Transport av koppartackor skedde på symbol för samiskt liv. Detta blev särskilt tyd- Medelhavet redan 1 200 f.Kr., och järntackor ligt vid publiceringen av boken Lapponia av har producerats inom den tunga metallindu- Johannes Schefferus 1673 och som fick stor strin i Kassel och i Tyskland. Båda metallerna spridning. Boken byggde på dåtidens kunskap har mycket stor betydelse för den ekonomiska om samisk kultur och var rikt illustrerad. Jonas utvecklingen och den industriella historien i M. Nordin skriver i artikeln ”Skandinaviens Europa. koloniala arv” om de framgångsrika bröder- Fotografiet i första rummet på Neue neue na Momma-Reenstierna, som var grosshand- Galerie visar en hög med 200 renskallar utan- lare inom järnexport under senare delen av för Indre Finnmarks tingsrätt den 1 februari 1600-talet och som ägde järnbruk och gruvor 2016. Skallarna är placerade där av renägaren i Västmanland, Dalarna och Tornedalen. De Jovsset Ante Sara som en kommentar till en skapade sitt varumärke baserat på den samis- påtvingad renslakt. Renarna har tvångsslak- ka kulturen som bland annat gestaltades med tats till följd av statens nya bestämmelser att en stegrande ren. Jonas skriver att brödernas minska antalet renar i Sápmi. Fotografiet av vurm för den samiska kulturen är exempel på skallarna ingår i konstnären Máret Ánne Saras kulturell appropriering av andra folks identi- konstverk Pile o’ Sápmi, och dess centrala del tet och kulturarv: ”Genom att använda sig av är ett draperi gjord av renskallar från en hjord symboler för det samiska, kunde bröderna som också tillhört konstnärens bror (fig. 2). både hävda rätt till Sápmis resurser och förmå- Sara menar att den norska staten för en poli- ga att utvinna dem. Sápmi kunde göras till de- tik och stiftar lagar som strider mot samernas ras egendom och samtidigt, i ljuset av den just grundläggande rättigheter, något som i prak- inledda förslavningen av jordens folk, kunde tiken hotar deras framtid. Pile o’ Sápmi visar samer göras till bröderna Momma-Reen- på hur den koloniala makten manifesterar sig stiernas egendom” (Nordin 2017:193). Redan genom lagar men också hur statens strukturer under 1400-talet gavs samer och renar som definierar samernas liv än i dag. Människors diplomatiska gåvor till de kungliga hoven runt möjlighet att bestämma sin egen identitet och om i Europa. Och så sent som under första kultur står alltid relation till de regler, struktu- hälften av 1900-talet visades samer på interna- rer och normer som finns i samhället i stort. tionella utställningar, bland annat fick konst- Máret Ánne Saras konstverk pekar på ett ak- nären Nils Nilsson Skum representera en ”folk- tivt motstånd mot dessa strukturer och samti- typ” på Nordkalottenutställningen i Berlin. digt på en tvist som är oavslutad. Hennes bror Britta Marakatt-Labba, uppvuxen i en ren- Jovsset vann stämningen mot norska staten, skötarfamilj i Idivuoma utanför Kiruna, är som i sin tur överklagade domen i januari den enda konstnären från Sverige som ställer 2017. Historiskt sett är konflikten mellan stat ut på documenta 14. Hennes 24 meter långa och renägare i Norge och Sverige lång. I Sve- broderi Historia (2003–07) visas i Documenta rige har motsättningarna åter blommat upp Halle och är en av utställningens höjdpunkter. mellan rennäringen och internationella gruv- Broderiet visar scener ur samisk mytologi och företag på grund av planerad gruvbrytning. historia – naturen med rävar, björnar och re- Att just renen är central i Máret Ánne Saras nar, men även bilder från den samiska revol- verk är inte konstigt. Redan under 1600-ta- ten i Kautokeino 1851 och det första samiska Anmeldelser

landsmötet 1917. Det är ingen kronologisk nas personliga och politiska ingångar ut och 161 berättelse, säger Britta när jag träffar henne, blir till en blandning av händelser och insikter utan består av olika skeenden i samisk historia från hela världen. Maria Eichhorn har valt en och kultur, som vecklar ut sig från båda hållen affisch från Kvinnodagen den 8 mars 1928 där och kan ”läsas” från både vänster och höger. Social Democratic Party of Austria uppmanar Det är fantastiskt att uppleva detta extraordi- till demonstration för kvinnors rättigheter. nära verk, kanske särskilt som både textil och ”WIR DEMONSTRIEREN: FÜR DEN FRIE- minoriteters konst ofta negligerats i konstsam- DEN” står det på affischen: för ungdomens rätt manhang. till bildning, för bättre försäkringar för äldre Jag hade möjlighet att delta i en middag ar- och handikappade, för jämlika familjelagar och rangerad av OCA – Office for Contemporary för internationell solidaritet. Denna affisch blir Art Norway, där den norska sametingspre- för mig en kuslig påminnelse om hur kamp om sidenten talade om vikten av minoritetskul- rättigheter och rättvisa kan ske parallellt med turers närvaro på documenta. Fokus på den politisk turbulens. Bara tio år efter affischens samiska konsten i sådana här sammanhang tillblivelse tågade tyska trupper in i Österrike, belyser både den utsatthet gruppen upplevt som då blev en del av Hitlers Nazityskland. historiskt sett, men även den kraft och kreativi- Det finns kritik mot documenta 14 som tet som samiska konstnärerna bär. Att de stora handlar om brist på information och organi- internationella utställningarna documenta 14 sation, och att konsten används för en politisk och Venedigbiennalen har fokus på ursprungs- agenda. Eller som Andreas Gedin skriver i befolkningarna beror på, enligt konstnären konsten.net: ”Som jag ser det är Szymczyk allt- Joar Nango, att vi nu är redo att hitta lösningar för upptagen av att ta position och för lite in- på den ekologiska och ekonomiska krisen ge- tresserad av att curatera Documenta 14. Hans nom att titta på urfolkens sätt att leva och på insats präglas tyvärr av vår tids polarisering ge- deras värderingar. Hur ska vi leva tillsammans nom att vara mer upptagen av att ha rätt, än av i framtiden, och hur ska vi respektera vår ge- att göra rätt” (Gedin 2017). Men kritiken finns mensamma jord? också mot att utställningens kärna, dess titel Till utställningen hör publikationen do- Learning from Athens, förespeglar ett lärande cumenta 14: Daybook. Här presenteras konst- men egentligen handlar om att besökaren ska närerna inte i alfabetisk ordning utan efter ”lära om”. Många kritiker anser att denna am- de 100 dagar som utställningen pågår. Varje bition att ”lära om” uppfattningar om koloni- konstnär har också fått välja ett datum, bidra alism och eurocentrism, ekonomi och skuld, med en text om varför det betytt något speciellt förslavning och motstånd snarare bekräftar en för dem och välja en bild som illustration, vil- rådande ordning. ket gestaltas på varje sida i boken. Jag tror mig förstå att documenta-teamet genom denna nya Noter ”logik” vill bryta mot en traditionell form, ett vällovligt försök som inspirerar men inte helt 1. Visas inom ramen för utställningen History övertygar. Konceptet känns konstlat och med- Unfolds – samtidskonst möter historia på för onödig frustration om man är ute efter att Historiska museet i Stockholm, november 2016 läsa texter om konstverken. Men ändå - genom till november 2017. att bläddra i publikationen vecklas konstnärer- Anmeldelser

162 Litteratur profession, and almost always gender, besides Gedin, Andreas 2017. ”En curator klädd i kattens having the potential to transgress categories. skinn.” konsten.net (läst 14 november 2017). In the same vein fashion museology resides Latimer, Quinn & Adam Szymczyk 2017a. The docu- in a borderland between classical museology menta 14 Reader. München: Prestel. and market consumption, between commercial Latimer, Quinn & Adam Szymczyk (red.) 2017b. design and public exhibition, between art and Documenta 14. Daybook. München: Prestel. everyday street-ware, between history and Nordin, Jonas M. 2017. ”Skandinaviens koloniala contemporaneity. arv. Bröderna Reenstierna, den tidigmoderna This rich collection of articles is based on a globaliseringen och exploateringen av conference held at Nordiska Museet, Stockholm människor och natur i Sápmi.” I Helene Larsson in 2011. The contributors represent a range Pousette (red.). History Unfolds. Samtidskonst of disciplines and a wide spectre of theory möter historia. Stockholm: Art and Theory and practice, ranging from design to history Publishing, 185–195. of fashion, and from curatorship to art and ethnology. In the introduction Marie Riegels Melchior presents the ideas behind the book Helene Larsson Pousette, curator and the conference. She distinguishes between [email protected] fashion museology and dress museology as two ways of addressing the challenges museums have to face, when taking up the relatively new genre fashion museology that relates to haute couture, design and branding, Bøger and when at the same time dealing with the not so new dress museology, which relates to the more folkloristic traditional collection of Marie Riegels Melchior & Birgitta Svensson dresses relating for instance to specific ethnic (eds.) Fashion and Museums. Theory and groups. Both forms are present in the different Practice. London, New York: Bloomsbury. collection and exhibition policies that are dealt 2014. 210 p. ISBN 978-1-4725-2766-0. with in the articles. Riegels Melchior further explains and discusses how fashion exhibits Fashion is not exclusively about clothes, but have become fashionable and relates their fashion is indeed mainly associated with those success to the so-called new museology, arguing kinds of objects that cover the human body that the new museology’s “aim of reflection on and provide it with protection from cold, rain our cultural heritage and its multi-vocality or heat. The functionality of such objects is, is as yet unfulfilled by fashion in museums, however, not its most interesting aspect. As except in rare instances”. Giving a brief survey social skin clothes are in-between-objects par of examples of fashion displays she analyses excellence, living their life in the borderland the trend, among other things in relation to between nature and culture, human subject ethnologist Orvar Löfgren’s examination of the and social community, historical conformity “catwalk-economy” (Löfgren 2005). Some of the and individual taste. Distinction markers made dilemmas and challenges that museums face in flesh, clothes signify status, class, sometimes displaying dress and fashion are addressed, and Anmeldelser

it is argued that fashion exhibits create visibility poraneity and curatorial strategy through the 163 and may draw new categories of visitors to the example of the Mode Museum of Antwerpen, more traditional museum. and Julia Petrov opens up for the important The ensuing contributions are divided issue of gender in her discussion of the into three sections, the first one dealing with gendered public wardrobe of 19th century fashion as a new territory of museums and England and the self-styled consumer of more presenting history as well as concrete examples recent times. of exhibitions. Section 2 focuses on the body Examples of collection histories and exhibition as an inescapable element in fashion displays, experiences from concrete museums, such as and section 3 presents a number of concrete the famous Bath museum of costume, presented examples of how fashion and dress have by Rosemary Harden, and Amagermuseet in been dealt with in exhibition practices. In the Denmark’s recent experiments with dress and concluding afterword, Birgitta Svensson sums identity in new experimental exhibition designs up the main points, not ignoring the dilemmas as discussed by Ingeborg Phillipsen are highly and challenges that still exist in both theory illuminating and invite further reflections on and practice concerning the link between the constraints and potentialities given by fashion and museums. collection histories and new insights in public Along the way we get concrete ideas for relations. The presentations of the Design technical solutions to mannequin problems, Museum in Copenhagen by Kirsten Toftegård, discussions and examples of what variations in and of the Norwegian Museum of Science exhibition displays can do, among other things and Technology by Tone Rasch and Ingebjørg through historical disclosures. Also border Eidhammer both interestingly point to the role areas between display technique, scenography of textiles and fabrics in further exploration of and traditional naturalistic museum exhibits design and fashion. are addressed in a variety of ways. For instance Several contributors deal with the question in discussing the abstract and the naturalistic of what representations do. It is done directly as do Harold Koda and Jessica Glasscock in Anna Dahlgren’s discussion of fashion in relation to the Costume Institute at the photography, but the one that sums up the Metropolitan Museum of Art. We get a lot issue theoretically in relation to the challenge about how fashion functions as a cultural of presenting the human body is Anne-Sofie phenomenon through examples such as the Hjemdahl’s article on how to exhibit the exhibition on the corset that José Teunissen body and dress as well as time in a historical uses as one of his illustrations, or the role of ski perspective. clothing in women’s liberation as in Marianne I cannot resist a small autobiographical Larsson’s article. We get discussions about how note. Back in the 1970s when working as an storytelling and narratives influence design, anthropology student in the Ethnographic and how the potentials of biographies of Department of the National Museum in designers through materiality can be explored, Copenhagen, I was part of a group of female as shown in Jeff Horsley’s enticing suggestions curators and university women, who worked to use autobiography as an approach to fashion for a couple of years to prepare and create an exhibition. exhibition, which was eventually opened in Marco Pecorari addresses issues of contem- 1977 under the title Women of the World, the Anmeldelser

164 World of Women (Verdens kvinder – kvinders on gender theory, class, and cultural theory as verden). At the first meeting between on the such? Also, a more explicit elaboration of the one hand theoretically inclined university dilemmas – which are mentioned explicitly academics and on the other experienced here and there, but which lie between the lines museologists, who knew the challenges of in most of the articles – of the collection-loyal transforming abstract ideas into material form, presentation of authentic objects versus the one of the curators expressed a concern that heavily curated, the spectacular, the seductive, we had to solve the problem of mannequins the performative and entertaining that (giner). I still recall my astonishment at deliberately and strategically takes advantage hearing this. Not yet familiar with concrete of such elements in museological work, would exhibition work, I could not help hearing it as a be most welcome. superficial preoccupation with a small detail in However, the book is indeed rich in the light of the grand theories on gender issues illustrative substance, not only on fashion in the global world that preoccupied us as through recent times but also on museology university women. Today I know better. And if and display techniques, and it nicely sums I didn’t, this book would surely enlighten me. up the fashion exhibition in the borderland It is a great satisfaction to be presented with between the authentic object and the issues of how to deal with theory in practice, entertaining and seductive exhibition design. and reversely, the potentialities of gaining new It must have been an inspiring conference. theoretical insights from practical experience. One only has to imagine the richness of This collection of knowledge, thoughts and illustrations that could accompany the theme concrete experiences amply demonstrate that (a few are included in the book), and this such potentialities exist. What I saw as a small collection of articles will surely find its insignificant problem is here addressed in audience both among museologists, designers, competent and interesting manners, and it has and scholars of material culture besides a opened the eyes of the present reader further to broad spectre of people interested in clothes, the challenges of operating in the borderland fashion, and design on many scales. between traditional museum collection and contemporary curated and designed exhibition Literature installations. As a small critique, which should be under- Löfgren, Orvar 2005. “Catwalking and coolhunting. stood rather as a call for more, it could be The production of newness.” In Orvar Löfgren & claimed that some issues such as for instance Robert Willim (eds.). Magic, Culture and the New gender and class perspectives might have been Economy. Oxford: Berg. addressed more directly, theorizing them by way of the insights gained by practical museological work with material objects. Inger Sjørslev, senior lecturer Matter matters, as we now know from people Department of Anthropology like Judith Butler and Bruno Latour. So, how University of Copenhagen does materiality matter in making us wiser [email protected]