Author Information

Henrik Zipsane
Henrik Zipsane's picture
Offline

The Changing Roles of Museums

The Nordic Centre for Heritage Learning was founded in 2005 after discussions with several directors of museums and archives and professors in history, museology and education in the Nordic Countries. The initiaive came about when we realised that our relatively small branches in the small Nordic countries were all trying to find their ways forward in getting the influence of policy development in UNESCO, OECD and EU together with daily needs for development and improvement in the heritage sector. Our basic thinking has naturally been influenced from many souces. The following can be seen as an outline of that. Colleagues will without problems realise from where the influences come and our dependensy of all our colleagues goes beyond description.

The heritage institutions are all engaged with collecting, preserving and displaying material and immaterial traces from the past.

These three fundamental functions of a museum or an archive have during the 20th Century undergone a development which has shaped the specialization of the three. Today nobody in the sector can seriously claim to be the master and expert of all three functions even though we may all know something about all of them to a certain extend. By the end of the 19th Century when the museums were young and in their age of pioneering growth the situation was quite different. It was natural for the museum staff – which was very small in numbers – to engage themselves with all kinds of activities in the service of the museum. The white gloves were not yet required when handling the artefacts. Transportation of the collections was done the easiest and cheapest way and the curator were themselves creating the displays. Nobody talked about climatic conditions for the preservation of the artefacts.

During the 20th Century the original way of functioning in the heritage institutions was developed in such a way that it became almost scientific! From the influence of scientific positivism the museums and archives began to divide the phase of collecting into two different phases. Before going out to actual collecting the curators had to establish knowledge about the items in a context prior to the collecting phase. We may call it the establishing of knowledge about the items, artefacts or archives before they become collections. This work is often seen as the phase of documentation. The preservation function was in the same way divided into two different phases. One phase was the work done in order to physically preserve the collected item which would include issues such as climate, safety and handling. Another phase was the actions taken to preserve knowledge about the item itself often concentrated around the description and the search systems created in order to find the item whenever relevant. Even the function of displaying was during the 20th Century divided into two separate phases which reflects the specialisation developed from different professional perspectives. On the one hand the production of exhibitions has been enriched by professionalization of everything from sound and light to imaging, stage setting and ITC. On the other hand pedagogical thinking has created its own demands to the outcome of audience and visitor experiences in museums and archives.

All in all it makes sense to claim that what started in the 19th Century as collecting, preserving and displaying material and immaterial traces from the past as we reached the beginning of the 21st Century had been developed through further specialization into documentation, collecting, registration, preserving, pedagogy and displaying

This process which by a first glimpse could be described as a rather natural specialization and professionalization of the sector has had decreasing instrumentalism as a side effect which should get more attention.

The museums became very popular around the turn of the 20th Century in Europe. There were several reasons for that. The museums offered possibilities for participation in controlled and safe forms and the subject matter on display – the past - was a reservoir of experiences which could be used to bring together what would by other contemporary forces in society most often be split into opponents. The banker, the civil servant, the industrial worker, the farmer and even the noble families could visit the same place – the museum – and see the same exhibition and leave the museum with the same influence of being British, German, Swedish or whatever nationality and with an understanding of what that particular nationality was about.

There was real participation from the people who were contributing to establishing the collections by donating the items, artefacts, archives and personal stories and family legends. By having the knowledge that you contributed with you was a part of the collective memory and collective image of the past. The individual became a citizen! What a magic outcome from a museum visit!

The museum created their own basis of popular trust by the way they worked. At the same time the museum produced what was needed at the time: Common identity. The public learned in the museum about the common roots, the richness of their common background from a common historical territory and about their common strive for development and the public learned that the development all in all moved in the right direction. Putting on top of this common religion and language too the scene was sett for nationalism.

The common package for these ingredients was the nationality and the museums were ideal places for experiencing just that. Nationalism was the most advanced political tool of the 19th and early 20th Century to create social cohesion and at the same time to downplay the class differences and thereby out right defusing class struggle. Some museums like The Nordic Museum (Nordiska Museet) in Stockholm and not least the part of this museum called Skansen – the first open air museum in the world – were especially popular in exactly the here mentioned aspect and were actually used for meetings arranged by the labour movement, the agrarian movement and the bourgeoisie. The effectiveness of the heritage sector and especially the museums as learning or education facilities when it comes to create, develop or strengthen attitudes was recognized early and has been politically interesting in modern times too.

The establishing periods of museums can at least in Europe almost be used as a quite accurate measurement for the advancement of nationalism. The originality of the museums in the later part of the 19th Century became standard procedure during the 20th Century. An interesting detail in this development is how to interpret and understand the establishing and growth of the many regional and local museums and even archives during the same period. When we look closer into this phenomenon we see that the regional and local heritage institutions almost always define themselves in relation to the national institutions and thereby also the nation state. It is therefore natural to see the regional and local heritage institutions as official or unofficial agents of the institutions on national level.

The museums became too professional and lost momentum. Sometime in the 1960ies or early 1970ies the academic world of history, archaeology, art and ethnology lost its believe in the great narratives based upon unchallengeable interpretations of material and immaterial traces from the past. History came into the forefront of political science. Being a historian was to be a political activist who uses the past as a reservoir for analysis of present issues. By the end of the 1980ies this development had gone so far that quite many historians saw the traditional historical narrative as a replica from the past (Fukuyama 1989). There seemed to be no demand for the big national or even universal narratives anymore. The big narratives had been based on the belief that all members of a society can have a basic part of their social identity constructed by the use of the same elements from a “mutual” past. Francis Fukuyama was among the first to formulate that the social and cultural basis of such belief was disappearing.

In the museums and the heritage sector at large this shift was noticed. The reaction was critical or ignoring and has been so ever since. Some museum people find it very problematic that the universities do not educate their students of ethnology or anthropology in what the museums want to call classical material history. A master degree in ethnology does not mean that you can anything about the artefacts that the museum holds in the store room. Many or most museum curators seem to have ignored the development in the academia and continues with their interest in material history and their studies where the method all in all is about detecting a system in collections. Then the system in itself becomes the result of the research efforts.

This development has created growing distance between the museums and the universities. For years now the academics has been aware that history is indeed not what it used to be. In the heritage sector the recognition of the past as a reservoir of possibilities to be used in present time processes has come slowly if at all.

I am convinced that the indifference in the museums towards the development in the academic mother disciplines of the museum such as history, ethnology, art and even archaeology is not to the benefit of the museums in terms of public and political respect and support. You may argue that the museums and other heritage institutions are doing fine today and we can underline that by looking at the investments which are seen throughout Europe and the rest of the world even in times of economic upheaval and turbulence. Well, if you look more closely into these investments it seems that they are done in hope of achieving results which are terribly familiar to what museums used to contribute with – nationalism! A few examples from Europe may illustrate this point. In the Netherlands they now construct a very expensive national cultural history museum at the entrance to the national open air museum in Arnhem. The new museum is planning to show and tell the history of the Netherlands through 50 objects which all relate to great narratives of that country. In Szentendre a few kilometres from Budapest the national open air museum is erecting village after village which are illustrating the different regional and ethnic cultures in the country but even with villages from Hungarian minorities which in present day Europe is located in neighbouring countries.

Henrik Zipsane

Comments

The learning potential in Open Air Museums

by Henrik Zipsane - May 27 2012 - 16:54

Sweden – The Land of Open Air Museums


In 1891 the mother of all Open air museums Skansen opened in Stockholm. The creation by Artur Hazelius became an inspiration almost directly. Already the year after in 1892 Kulturen in Lund, in Southern Sweden opened, 1894 Norsk Folkemuseum (Norwegian Popular Museum) in Oslo, 1901 Frilandsmuseet (Open land museum) in Kongens Lyngby by Copenhagen, 1904 Maihaugen in Lillehammer in Norway and in 1909 Den gamle By (The Old Town) in Århus in Denmark and so on.


During the firs phase of the history of Open air Museums until the outbreak of the First World War around 15 such museums were established and all of them in the Nordic countries. After the war around 50 Open air museums more were established throughout Northwest, central and Eastern Europe before the outbreak of the Second World War. After the last war that development continued and today we see more than 200 Open air museum sin Europe and even more outside. There are now Open air museums in all parts of the world. Many of the “new” Open air museums are called “Skansen” – spelled one way or another – and it seems that this word has become internationally synonymous with Open air museums. In Sweden and in Scandinavia we are of course proud about this contribution to the international development of museums.


But nowhere do we see as many such museums as in Sweden – the self-proclaimed motherland of all Open air museums. The organization of Open air museums in Sweden has 26 members by 2012 and that is in a country with less than 10 million inhabitants!


If we want to understand the reason why the concept of Open air museums became such a success in Sweden and Scandinavia we partly find it in the roots of the Open air museum as a concept and partly in the first experiences with this kind of museum. One of the primary inspirations was experienced by Artur Hazelius at the world exhibition in Vienna 1873. Here he saw three dimensional full scale panoramas of landscapes with houses from different regions of the Habsburg Empire. He also saw how popular these were. As he came home to his beloved Stockholm he did many experiments with the concept and had his focus on two further developments to what he had seen in Vienna. Besides the three dimensional and three scale presentation of different regions he also wanted to bring the presentations back in history to the 16th and 17th centuries. Secondly it was important to inhabit the full scale panoramas with people. As he finally opened Skansen almost 20 years after his experiences in Austria he had developed his concept so that the final aim should be to present all of Sweden during a couple of centuries in such a way that a visit to Skansen should be a time travel around Sweden. This was a very attractive strategy to other governments in the era of nationalism as it looked as an ideology around 1900.


The other background for the immediate success for Open air museums in Sweden and Scandinavia we find in the overwhelming popularity among the public. The full scale three dimensional time travelling proved to be a very effective way to reach many people regardless of class and educational background and not least towards family visits. It was cultural history easy to digest but without loosing the magic of good and exiting history. The Open air museum movement is in many ways a popular form of the more elitist movement of Arts & Crafts.


These tendencies made the Open air museums attractive to exploit in the nation building process of that era. In the Open air museum would come people of all social classes to get a dose of knowledge and impression of their supposed mutual national past and thereby a good base from which to look to the future of the nation.


In many ways the here drafted ideology and method would later be the same when most of the younger Open air museums were planned and erected. Even in modern times most of the new Open air museums are predominantly focusing on agricultural and crafts traces in history.


The Swedish organization of Open air museums defines their member museums minimum standard the following way:


“An Open air museum is an out door museum, where the public in totally or partly reconstructed environments are provided experiences and knowledge about history and the interaction between man and nature.


The Open air museums are public owned permanent institutions which belong to a foundation, an association, the municipality, the regional government or the national government. They are led by academically educated staff and work by collecting, documentation, preservation and by creating and exhibiting historical environments with houses, landscape, objects, animals, people and other historical traces. An Open air museum may be an organization in itself or it can be part of another organization.”


26 museums in Sweden see themselves as Open air museums and have a standard according to this definition.


These museums have very different sizes and function under different circumstances. The largest Open air museum is Skansen in Stockholm which is organized as a government controlled foundation and is the only state owned Open air museum in Sweden. Skansen is today as much an Open air museum as a zoo. Skansen houses and expose animals – both domesticated and wild animals – from the whole of Sweden.


A number of large Open air museums forms part of regional museums who do as well consists of indoor cultural history, archaeological and art museums. The largest ones are found in Umeå (Gammlia), Östersund (Jamtli), Härnösand (Murberget) and Skara (Skaraborg). The largest municipal Open air museums we find in Luleå (Hägnan), Västerås (Vallby), Linköping (Gamla Linköping), Borås and in Helsingborg (Fredriksdal).


While Skansen normally have about 1,4 million visits per year an Open air museum such as the small one in Borås get around 60 000 visits per year. Skansen employs around 170 people while Borås Open air museum has 5 employed and not all of them full time.


Beside the group of 26 Open air museums organized in the national association there are about 900 other “Open air museums” or nearly Open air museums throughout Sweden. That is the group of Heimat associations which are more that 2 500 out of which 900 have more than one building and many of them actually have quite many historical buildings. Thee very local museums does normally not have any employed staff and certainly not any academic staff. These small museums are almost always owned and governed by the local community history association and a general characteristic is strive to be and maintain independent of public grants.


The association of Open air museums in Sweden has the tradition to have the director of Jamtli in Östersund as chair and the head of the cultural history department at Skansen as secretary. The association does not normally take any responsibility as an organization towards the smaller 900 cousins. In Swedish museum tradition it will normally be one of many tasks for the regional museums to have responsibility for and offer support to the local museums and local history associations.


Naturally Open air museums and the smaller museums share many challenges. One of the challenges which we all have now more than ever before is the maintenance of the many cultural historical buildings in our museums. In short we all experience the unfortunate meeting of three tendencies these years. Firstly the building traditions in middle and northern Scandinavia are predominantly based on extensive use of wood from our enormous forests. Wood is an organic material and therefore is highly sensitive to the second issue we meet now – the one of climate change. Since 1960 the average annual humility has grown 15 percent in Sweden and the periods of high humility has become longer. We can see that on our houses and we can see it in the rise of costs for maintenance. That brings us to the third issue which we confront these days and that is of course the current financial situation in the world and in Europe which is of course also felt in Sweden. Many Open air museums are right now struggling with their budgets but the challenges are of different magnitude depending on where we look in the country. It is not hard to imagine the problems in some of the so called smaller museums where some of them have more than 30 houses to take care of at the same time as they are proud of their independence!


The model of Open air museums is however not questioned in Sweden or Scandinavia or in the rest of Europe or the world for that matter. That is because of the continued and respected very special synergy between what we may call architectural and pedagogical thinking.


The collections of houses in the Open air museums are interesting by their own right. Especially in the older Open air museums we today find that special architectural traces are preserved which has nowadays disappeared elsewhere. This naturally makes it very important for the Open air museums to preserve these buildings by the use of correct materials and craft competence. This again makes it natural for Open Air museums to be very active in the actions taken to preserve old crafts. In Sweden Skansen is coordinating such initiatives on behalf of the national association of Open air museums. In much the same way Den gamle By (The old Town) in Århus in Denmark and Maihaugen in Lillehammer in Norway are coordinating such responsibilities and initiatives in respective country.


To some extend this understanding of the potential of the Open air museums in the field of architectural and building crafts history has had a side effect in the field of agricultural and gardening history. In the wonderful Open air museum in Helsingborg named Fredriksdal you will today find a number of agricultural setups in farms with small scale fields and gardens as they could be in the 19th and 18th centuries. In a smaller scale other Open air museums have done the same and today you will be able to visit and experience small scale farming in historical settings with original crops and races of animals in several Open air museums throughout Sweden from Fredriksdal in the south to Jamtli in the north. In the north the farming was historically because of the climate combined with foresting, fishing and hunting.


Fredriksdal is coordinating the work with preservation and visualisation of agricultural history for the national association in Sweden. Much work is done together with the Swedish University of Agriculture in this field.


A third are where the Open air museums in Sweden collaborate is in development of the learning and educational potential. Jamtli in Östersund coordinates this work and even chair the European network called LLOAM (Lifelong Learning in Open Air Museums) in this field. The pedagogical possibilities in Open air museums are enormous! The impact of visits to Open air museums on families, school classes, and specific vulnerable groups and even on the vast numbers of volunteers is being researched by specialists in many countries and even in Sweden. The Nordic Centre of Heritage Learning of which Jamtli Foundation is majority shareholder initiates many development projects on this issue. Some examples from recent years at Jamtli may illustrate the diversity in this work:


1. Time travelling Children aged 2-5 and their parents or grandparents) 


Aim: The programme shapes an impression of what “old days” is all about and creates a positive attitude towards cultural history and historical environments


Description:  In the setting of an old farm house from the 19th Century children and their parents participate in a time-travel in which they change their names and personality in order to handle the challenges of 19th century rural life in our region. This includes anything from playing and “hard” work at the farm to walking into town and the market or even emigrating to America. These activities includes such things as repairing the farm house, trying to pack the most important stuff and memories to bring on the journey to America or to discuss what could be traded against what on the market.


Outcome: The activities stimulate a positive feeling and respect for history and the people who lived before us. In many cases the programme gives the participating parents simple knowledge about history and an understanding of the ecological economy and its potential and limits.


Variety: Time-travelling with children with special needs and disabilities, aged 6-12. All activities are designed in such a way that they can be carried out by the children with as little help as possible from adults and often in cooperation.


 


2. Real mathematics in open air (Schoolchildren aged 6-10)


Aim: The programme reaches out to children who have difficulties with mathematics because they don’t visualize it and gives the children a taste of the possibilities in looking closer at buildings and historical environments.


Description: The buildings in the open air museum are used as cases where the children in groups are to solve questions such as how many trees were used for constructing houses, fences, barns and even the interior such as furniture. As older crafts are demonstrated and explained the children also solve challenges about how long it takes to produce different things.


Outcome: The programme creates an atmosphere around the topic of mathematic which is characterized by fun and curiosity. Children who have difficulties with traditional education in the classroom grow.


 


3. Energy struggle (Schoolchildren aged 12-14)


Aim: This programme stimulates the development of respectful attitudes towards nature and natural resources and it gives the children concrete knowledge on many details related to every day behaviour which takes climate development into account.


Description: The participants are moving from station to station in the open air museum where they have to solve problems which are all related to climate development, and related to the energy used to heat a house and use electronic equipment, and how that has been done at different time-periods.


At all stations, the only solution to the problems are of a kind which is more or less “wrong” – in the sense that the children will always have to “pay” for their solution with an amount of carbon dioxide.


Outcome: The children acquire elementary knowledge about the relationship between behaviour and sustainable development and are stimulated in their personal development of positive and constructive attitudes.


 


4. In Ida’s footsteps, 1904 (School children aged 12-14. The programme has been used successfully with adult groups.)


Aim: The programme gives the children an impression of the cultural history of their home town and stimulates their interest in preservation of historical traces as well as curiosity for cultural history as such.


Description: The programme is a cooperation between Jamtli and The State Provincial Archive in Östersund, which has in their collections a diary written by a 12-year-old girl named Ida, who lived in Östersund in 1904. The children walk through the old quarters of Östersund and find traces of Ida’s story using the diary, historical maps, lists of historical addresses and historical photos as the main material. Through the walk they learn about the city, its houses, and former residents and even about Ida!


Outcome: The participants acquire knowledge about the history of Östersund and knowledge about the values of traces of the past as well as positive attitude towards preservation.


 


5. Refugees (School children aged 15-16)


Aim: The programme is designed to stimulate the empathy for asylum seekers in Europe as well as the public servants who are professionally engaged in asylum and immigration issues. The programme gives the participants basic knowledge about current immigration and the laws and regulations in this field. 


Description: The school class participates in a pedagogical programme based on role play. Each student is given a role based on a real case, and by the help of human smugglers they try to get to Sweden. Borders and border control as well as offices for immigration authorities are created in the open air museum. Smugglers, police officers, border control officers, immigration service officers and Save the Children and Red Cross servants and volunteers are all actors from the museum staff.


After four hours play where the students experience all sorts of activities such as arrest, interrogation, interview, registration and so on, they are presented with the decision about their request for asylum in Sweden and Europe. As in real life only 10-15 % of the participants are allowed to stay.


When the role play is finished the school class discusses the immigration issues together with the museums pedagogical staff and the teacher. The school classes are also presented with material which makes it possible for them to continue discussions back in the classroom.


In the roleplay the buildings at Jamtli are an essential part, used to lock the refugees in, for them to hide in and other things.


Outcome: The participants acquire interpersonal and civic competences and knowledge about asylum policies. Research into the effects shows that the programme has an especially deep impact on the participating girls.


 


6. A poor life for Jonas (School children aged 15-16)


Aim:  The participants are given an impression of the 19th century average life conditions in the rural areas in northern Sweden. The programme aims to inspire the participants to reflect on such issues as justice, love and xenophobia.


Description: The group experiences a one-man theatre piece for 25 minutes in the environment of an old farm house where the interior is set in the 1850’s. The story, which is told in a dramatized way, is about a young man called Jonas. He is from another part of Sweden and marries a woman from a small rural setting in the region.


When the first child arrives it coincides with an extremely hard and cold winter and in order to feed his family Jonas steels grin from a larger and more resourceful farm and gets caught. Jonas is sent to prison for 6 years and when he comes back he finds that his wife has now two children, of which the youngest is only 3 years old.


Outcome: The participants acquire knowledge about history and life at a farm in the 19th century, but are also stimulated to develop attitudes around justice.


 


7. Back on track (Unemployed early school leavers aged 18-25)


Aim: This programme aims to stimulate the participants to re-engage with education in order to acquire basic skills.


Description: The participants are invited to experience different aspects of activities in the State Regional Archives and the museum. The activities include both repairing and painting older houses and fences as well as activities in the fields around them. From there they may go on to try genealogical studies of the families who once lived in the houses and search for photos and other items in the collections. They may also go on a study tour to the countryside to look at similar houses still in their original location but often changed to be almost unrecognisable. The participants also try activities with bookbinder, archaeologists, the conservator and the exhibition producer.


The activities last up to six months and the participants are gradually introduced to alternative education systems where they can get a second chance to complete their education. Not least the folk high school system is often attractive for the participants.


Outcome: Around 40 % of the participants re-enter education and another 10 % get a job. The participants - who often belong to a social group which seldom get acquainted with history, archives or museums - get a positive experience of heritage.


 


8. After work (Primarily 3rd age)


Aim: This programme gives the participants knowledge about and an interest in cultural history, art and archaeology.


Description: The programme offers free lectures which bring the participants in direct contact with first hand knowledge by meeting the archivists, curators and other specialists from the State Regional Archive and Jamtli museum.


The lectures are very popular and often the participants will also have an offer to continue their learning through activities at the museum or the archive. In collaboration with a local folk high school Jamtli also offers courses in some of the areas which the participants have shown special interest for.


Every season some of the lectures address issues which relate to building history and historical gardening.


Outcome: The participants acquire knowledge about different historical issues and have their learning to learn competence as well as interpersonal competences stimulated. A special outcome seems, after four seasons, to be that the lectures attracts women and men equally which is especially interesting because Jamtli normally predominantly attracts women.


 


9. Activities of the association “Jamtli’s friends” (Primarily 3rd age)


Aim: “Jamtli’s friends” is an association which works with Jamtli to enhance cultural heritage activities. The “friends” offer the participants to be part of a social network with people who share the same interests and values. “Friends” make use of their personal competences, based on lifelong experiences in one aspect or another, and feel useful and appreciated.


Description: The activities cover a vast field of cultural history related issues. Among the most popular activities are sewing, baking and cooking among the women and carpeting, painting and making food as in old time foresting culture among the men.


The activities are all self governed by a group representative from the association and a staff member from the museum.


Outcome: The participants acquire more knowledge and competence about local history and traditions and have their self esteem stimulated.


 


10. Do you remember? Jamtli reminiscence programme (Primarily 4th age people with some symptoms of dementia.)


Aim: This programme is designed to give the participants a positive and happy experience of how their lives were when they were young and by that produce a higher quality of life.


Description: The participants arrive together with health care staff from the municipality to a small farm house in the open air museum where time stands still in the year 1942. Here they are met by a woman who could have been their mother and are invited to experience the life of their youth. That includes the use of all senses and thereby the stimulation through music, photos, radio, newspapers, coffee, chocolate, trying out hats, trying some crafts and maybe even song and dance.


Outcome: The participants are in a very good mood when they leave the farm, and staff from the municipality confirms that their experiences at the farm are the most popular topics for conversation for days after. Especially the participating men tend to become less aggressive for several days after having participated in the reminiscence programme.


 


 


The Jamtli museum in Östersund is indeed highly dedicated to educational work and is constantly experimenting with new methods. You may however find similar dedication to the work in three dimensional full scale cultural historical environments in most other Open air museums. Most Open air museums have their own profile of speciality being it works with crafts, restoration, crops, gardening or what ever.


 


The newest trend among Swedish Open air museums is to work with information about historical development of environmental thinking, re-cycling, and self supplying housing etcetera. Many development projects are run currently in Sweden and we see the same tendency throughout Europe and North America among Open air museums.


 


Open air museums in Sweden are surviving and developing even though it is hard times. The most important reason for that is the almost magical potential which is formed by the combination of full scale three dimensional historical re-creation and therefore the easy to digest experience with cultural history. The potential through this magic has for decades been exploited in tourism and for many Open air museums that has been the hard core reasoning for public funding in times of crisis.


 


In the association of Swedish Open air museums we have in recent years talked much about the need for another leg to stand on in political argumentation in order to sustainable development of our museums. That has forced forward great creativity in our work and today many of the museums are endorsed by the public for special engagement in social cohesion, climate and environment understanding and preservation of crafts and other profiles.


I am sure our fine Open air museums have a great future in front of us!


 


 


References:


Borgström, Britt.-Marie (2010) Kommer du ihåg? - Minnesupplevelser i socialpedagogikens


tjänst – Delrapport” (Swedish) (Do you remember? Reminiscence in social pedagogical practice - Project Report Part One). Jamtli – Östersund


 Chris­tian­sen, Palle Ove (2000)”Kulturhistorie som opposition. Träk af forskellige fagtraditioner” (Danish) (Cultural History as opposition – Tendencies in different Academic Traditions), Munksgaard - Copenhagen


Rentzhog, Sten (2007)”Open Air Museums. The history and future of a visionary idea”, Carlssons - Jamlti - Östersund


Stoklund, Bjarne (1993)    ”International Exebitions and the New Museum Concept in the Latter Half of the Nineteenth Century”, ”Ethnologia Scan­dina­vica”.


Zipsane, Henrik (2008a). “Cultural heritage, lifelong learning and social economy of senior citizens” in H. Kraeutler (Ed.)  Heritage learning matters – Museums and universal heritage (pp. 89-95), ICOM/CECA 2007 proceedings. Vienna, AU: Österreichische Galerie Belvedere.


Zipsane, Henrik (2008b). “Lifelong learning through heritage and art” in P. Jarvis (Ed.) “The Routledge International Handbook of Lifelong Learning (pp. 173-182). London & New York: Routledge.


Zipsane, Henrik (2011) “Heritage Learning in service of the memories and life quality of senior citizens”, in Weiyuan Zhang,   Young Chien Ming Enoch, Dorothy Cheung, May Lau and Duan Chenggui (ed) “International Journal of Continuing Education and Lifelong Learning” 2011, The University of Hong Kong.


Zipsane, Henrik (2011)  “We are more! Learning through cultural engagement”, pp. 288-291 in Michal Szpiller (ed.): “Competences in Culture”, Post Conference Publication 18-20 July 2011 in Warsaw, Ministry of Culture and National Heritage - Warsaw

Click the image to visit site

Click the image to visit site

Click the image to visit site

Click the image to visit site

Click the image to visit site

Click the image to visit site

Click the image to visit site

Syndicate content
X