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Cultural heritage gives places meaning and an atmosphere called genius loci based on tangible and intangible values. Nowadays, we can observe a commercial and consumerist approach to the spirit of place: it is used as a promotional tool and a tourism product, reduced to a cliché satisfying popular consumers tastes. The aim of this study is to identify the values which determine the identity of a place and the dangers they face, trying to answer the question: how can genius loci be protected? We analyse the problem based on the example of selected open-air museums at defensive castles in Poland's Jurassic Belt. These museums have become a field of commercial entertainment and fallen victim to irreversible transformations. [ABSTRACT FROM AUTHOR]

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the article is to identify changes in the cultural and leisure activities of open-air museums in Ukraine through the prism of digital transformation, to characterise the activities of open-air museums in new cultural and social conditions. The research methodology provides general scientific principles of systematisation and generalisation, which made it possible to analyse and determine aspects of the transformation of the cultural and leisure activity of openair museums in the field of digitalisation. The purpose and tasks of the publication also determined the application of an axiological approach, which made it possible to determine the role of open-air museums in the implementation of cultural and leisure activities and their transformational manifestations through the prism of digitalisation. The application of the analytical method contributed to the delineation of the conceptual foundations of further scientific perspectives for the study of the cultural and leisure activities of open-air museums in the ХХІ century and the analysis of the impact of digital transformation on the cultural and leisure activities of open-air museums in the first quarter of the century. The principles of objectivity and reliability formed the methodological basis for analysing the impact of digitalisation and the transformation of cultural and leisure activities in the period under study. The scientific novelty consists in outlining the aspects of the cultural and leisure activity of open-air museums in Ukraine under the influence of the digital transformation of the cultural sphere, determining the future prospects of the researched issues. Conclusions. Thanks to digitalisation processes, the number of interactive museum programs and projects is increasing, which makes visiting open-air museums and getting to know their cultural and leisure activities more accessible to the public. At the same time, their accounts in social networks, the use of online tours with electronic accompanying material, audio guides, QR codes and other devices that help in recognising and assimilating information to users are widespread and developing. However, the transformation of the manifestation of cultural and leisure activities of open-air museums in the ХХІ century has its negative and positive aspects. But the digitisation of museum collections is a reliable way to preserve works of culture and traditions for the future. [ABSTRACT FROM AUTHOR]

Tourism appropriates tourist attractions and takes possession of them, marking them both physically and symbolically. Tourists visiting attractions tend to create distinctive marks, usually characterised by some significance in terms of self-identification, on the places and monuments visited by them, and this could be regarded as a symptom of a specific 'I was here' syndrome; in the present study, the authors examine the prevailing practices of marking attractions in tourist spaces, as also the marks themselves. We endeavour to identify the nature of the phenomenon and the consequences for both the attractions and the subjects managing them. The survey carried out involved several chosen sites in Poland, all of which are characterised by a recognised historic status in the realm of public space as well as a clearly identified sociocultural or legal value, which by definition imposes the requirement for adhering to a certain behavioural code when within their precincts and towards them, and excludes other kinds of behaviour. These attractions are all subject to different forms of institutionalised control, which, however, fails when it comes to safeguarding them from the practices of marking undertaken typically by tourists; these occurrences have become a routine phenomenon, which is unsurprising given the fact that the rituals of the contemporary mass and mediatised tourism have made this kind of tourist behaviour common, albeit on a lower scale than previously expected. [ABSTRACT FROM AUTHOR]

The purpose of this article is to examine how modern techniques of measurement and visual representation using ICT can aid in the assessment and preservation of wooden architectural landmarks in open-air (folk-life) museums. By developing a general understanding of vernacular architecture, experts can more effectively plan for maintenance and large-scale interventions to protect these structures. Specifically, the article focuses on the use of photogrammetry to assess and diagnose roof coverings, which are a crucial component of vernacular architecture. Roof coverings not only impact the aesthetic of a building but also play a significant role in its function. As they often reflect local customs and beliefs, they are essential to a community's cultural identity and sense of belonging. Measuring roof coverings in vernacular architecture sites can be challenging due to the availability of materials like thatch, clay tiles, or wooden shingles, and the negative impact that a degraded roof can have on the overall state of a building. [ABSTRACT FROM AUTHOR]

Vernacular architecture is an integral part of the national cultural heritage. Today, however, many of these buildings exist only on old plans or photographs and the average citizen has no opportunity to get acquainted with this part of the national identity. Therefore, in our work, we present the development of two web applications with the aim of creating a virtual open-air museum for presenting vernacular architecture in the Czech Republic. The applications were created using opensource technologies, and are implemented with methods that allow easy transfer from one operating system to another. The presented content is a carefully selected sub-sample of more than 10,000 available records representing all regional types of vernacular architecture. The result is one application designed for editors to manage the presented content and one application allowing interactive viewing of the available geo-located records designed for the general public. Individual records can be searched either directly using the map window or by querying the attribute table. These records contain descriptive information about the object, as well as historical photographs and plans and, for some objects, additional information in the form of 3D models, PDF documents and other files. The applications are designed in such a way that their content can be freely expanded in the future and thus contribute to the popularization of vernacular architecture among the general public, which was the main reason for their creation. [ABSTRACT FROM AUTHOR]

The work tries to highlight the activity of a complex personality such as Alexandru Tzigara - Samurca?, who through his efforts made a rich contribution as a museographer and ethnographer having an important role in preserving the objects of folk art. He laid the scientific foundations of museography, pioneering the classification of objects and the introduction of catalogs in the museum. He also played an important role in the establishment of the National Ethnographic Museum in Bucharest and also made an important contribution to the creation of open-air museums. He also had a rich journalistic activity in various newspapers of the time and was an important art critic. [ABSTRACT FROM AUTHOR]

The work tries to highlight the activity of a complex personality such as Alexandru Tzigara - Samurcaș, who through his efforts made a rich contribution as a museographer and ethnographer having an important role in preserving the objects of folk art. He laid the scientific foundations of museography, pioneering the classification of objects and the introduction of catalogs in the museum. He also played an important role in the establishment of the National Ethnographic Museum in Bucharest and also made an important contribution to the creation of open-air museums. He also had a rich journalistic activity in various newspapers of the time and was an important art critic. [ABSTRACT FROM AUTHOR]

Nwadjahane, a small village in southern Mozambique, is set apart from other settlements as the birthplace of Eduardo Mondlane, one of the nation's founding fathers. Declared a national heritage site and made into an open‐air museum, Nwadjahane has become a landscape where national and local memories are negotiated. Mondlane is at once a national hero celebrated with statues, exhibitions, and commemorations, as well as locally linked to ancestors and memorialized through ritual sites and sacred trees. I examine how diverse audiences engage, appropriate, and contest the different spaces of Nwadjahane: the village, the museum, the space of ancestors. Highlighting the fractured nature and the politics of this landscape, the tensions, contradictions, claims, and counterclaims made upon a single locale, I use Foucault's concept of heterotopia as an analytical tool to interrogate the juxtaposition of distinct spaces and temporalities, focusing particularly on local interpretations and the historical conditions that made Nwadjahane a national heritage site. [ABSTRACT FROM AUTHOR]

The "Rzeszowiacy" ethnographic group inhabits the central and northern part of the Podkarpackie Province, which is located in the south-eastern corner of Poland. At the beginning of the 1970s, as the result of an initiative drawing attention to the need for documentation of the rapidly disappearing traditional Rzeszowiacy vernacular wooden architecture (and that of the neighboring ethnographic group, the Lasowiacy), the Folk Culture Open-Air Museum in Kolbuszowa was created. This paper presents a short overview of the open-air museum's establishment and describes in detail its role in the study and protection of the wooden architectural heritage of the Rzeszowiacy ethnographic group, based on the museum's research, carried out over fifty years, and its collection of buildings. [ABSTRACT FROM AUTHOR]

This article focuses on how the demand for social and political meanings, generated by nation-building processes and competence between nationalisms in Central Europe, has determined the protection and heritagisation of vernacular architecture. The problem has been analysed using the example of the wooden churches in Upper Silesia--the region contested by Germany and Poland. These monuments gained unprecedented importance as they were believed to testify to ancient architectural traditions and were used to prove the Germanic or Slavic roots of regional culture. The article reveals the evolution of churches' meanings and the ways they have affected the monument protection and functioning of open-air museums. [ABSTRACT FROM AUTHOR]

Copyright of Zeszyty Kaliskiego Towarzystwa Przyjaciół Nauk is the property of Kaliskie Towarzystwo Przyjaciol Nauk and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Problem statement: Today, the status and values of architecture and indigenous habitats and their conservation have become increasingly important, and for this reason, the idea of creating open-air museums is expanding. Despite the variety of topics, these museums have one thing in common, and that is the transfer of structures from the original location to the museum. This study is concerned with the main problem as the manner of conserving hidden values such as authenticity when moving the piece from the original location to the open-air museum. Also, with what changes would be made in the authenticity of the work and the environment around it, in terms of principles of architectural conservation, by dismantling and transportation of house components from the original location and reconstructing them in the new space and the museum? Research objective: The study aims to investigate the authenticity of the works in open-air museums and the impact of the surrounding environment on the authenticity of their spirit. Research method: This article uses a descriptive-analytical method with documentary and field tools, and experiences obtained from the project of Guilan Rural Heritage Museum. Considering the importance of the subject, this is a fundamental-applied article. Conclusion: The study found that although by separating an architectural work from its original climate and environment, the authenticity of the work’s spirit and the surrounding environment is distorted, but based on the comprehensive view of the theory of the authenticity of existence (Existentialism), the continuity of the integrated existential movement of the work towards perfection is still sought after. Also, the creation of facilities to preserve and save the body of the work in another place, providing the opportunity for people to get acquainted with architecture, customs and unwritten knowledge of architecture, and its material and spiritual information, thus justifies the change of materials and even the change of use and spatial context of the work. [ABSTRACT FROM AUTHOR]

In the text, the authors demonstrate that a Czech open-air museum was founded in Prague in 1895, well ahead other European countries. It was the first open-air museum in the then Europe south of Scandinavia. It was far ahead of its time also through the connection with a large collection museum. The original exhibition village changed into a permanent open-air museum. The Czech “skansen”, likewise the Swedish one, meant an inspiration for further exhibition and museum projects. From the very beginning of the existence of an ethnographic village at the Czechoslavic Ethnographic Exhibition, it was planned to maintain it. For subsequent six years, the village was used for ethnographic and cultural purposes, just as current open-air museums are. Its spaces were not closed and non-functional. For this reason, we could consider the ethnographic village to be “wooden heritage”, which does no longer exist now. Despite its uniqueness, and scholar, social and cultural benefits, the ethnographic village from the year 1895 has not survived. Its extinction in the year 1901 was caused by a wood-decay fungus. The authors believe there is still a possibility of renewing this ethnographic village. [ABSTRACT FROM AUTHOR]

The modern open-air museum needs a new attitude to itself and new approaches to its exhibition design that combines the historicity, authenticity, and veracity of monuments with modern requirements, methods, and means of the exhibition, meets the visitor requirements and makes the museum unique and viable. The article aims to determine general principles and identify effective approaches to the formation of open-air exhibitions in both Ukrainian and foreign museums. [ABSTRACT FROM AUTHOR]

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In South Africa's past, museums were often established without considering that one of the intentions of such institutions is to serve local communities. This article considers the position of the Bakone Malapa Northern Sotho Open-Air Museum in the Limpopo Province in post-apartheid South Africa. Research addresses the assessment of how the museum could be transformed and do justice to serve local communities living in the region. To be meaningful with a community, a museum must enable the community to play a part for engagement and education purposes. This paper argues that the Bakone Malapa Northern Sotho Open-Air Museum as a dynamic social institution should thus serve societies equitably. Due to South Africa's oppressive history, this remains an ongoing challenge. Based on archival documents and personal interviews, this paper considers the social justice perspective of the Bakone Malapa Northern Sotho Open-Air Museum and questions whether decisions used to establish the institution remain relevant today for planning its future. Research suggests five possible roles that could redefine museums in line with the demands and approach of social justice: as a mediator, an enabler, an educator, an advocate and as a facilitator. Hopefully, this study's final recommendations may help to bring into being a 'temporary museum' that plays a more pertinent role in respect of the region's cultural, social, and economic issues. The plans of a future museum, ideally should be informed by modern museological discourses on new directions for inclusive and transformative best practices. Globally, such benchmarks are already well-developed for creating sustainable and more inclusive institutions, that first and foremost serve social justice. [ABSTRACT FROM AUTHOR]

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In the article, the peculiarities of created on the basis of memorial places and battlefields open-air museums space formation are revised. The author substantiates principles to their architectural and spatial organization. Main directions of development of memorial places are highlighted. [ABSTRACT FROM AUTHOR]

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Hand spinning has become increasingly popular as a recovery of the traditional techniques of natural fibre processing and cultural heritage protection. Modern spinning wheels are usually made of easily available wood species, particularly hardwoods, and one spinning wheel usually consists of one or two species. However, the wood species that were used for the individual parts of old spinning wheels in Central Europe are still unknown. To improve our understanding of traditional craftsmen and their skills, we investigated old spinning wheels that originated from Central Europe in the 19th and the 20th century. In this study, we present a collection of 643 samples from 54 artefacts representing the region between the European Alps and the Western Carpathians. Spinning wheels were usually made of 3 to 5 wood species, and the species selection varied among regions. Generally, high wood density (> 600 kg.m−3) species prevailed in Austria and Western Slovakia, but lower wood density (< 600 kg.m−3) species were preferred in the south-eastern Czech Republic. Easily workable species were used for the production of the spinning wheels, primarily Tilia, Fagus sylvatica, Picea abies, and Acer. In addition to these species, a high proportion of fruit-bearing trees and three shrubs were identified. Wood anatomy, as an important scientific method, contributed to understanding the reasons for species selection and the suitability of their properties which will enable the conservation of sustainable folk traditions and crafts, as well as the knowledge of traditional craftsmen. [ABSTRACT FROM AUTHOR]

Archaeological excavations have revealed important sites from the prehistoric sites, with the cultural achievements of the early lithic tools of hunters-gatherers in the Palaeolithic, to the emergence of the farmer-village societies in the Neolithic, reaching on to urbanisation and the complex societies of the Chalcolithic. On the other hand, natural landscapes reveal the distribution of prehistoric sites near resources related to open-air lands or in caves. The biggest asset of presenting prehistoric sites is in not only boosting tourism and local economy, but also diversifying cultural activities. This covers not only the preserving and restoration work on the original sites, but also a "Discovery Centre" by creating sites like "Open-air Stand" with a permanent exhibition, as well as indoor and outdoor spaces. These can be dedicated to workshops, conferences and temporary exhibitions, and allows visitors to learn and practice "Early Human Lifestyle" activities. Attracting visitors to prehistoric sites and museums complements the sites with new job opportunities via restaurants, gift shops and bookstores, in order to achieve prosperity and welfare within the partnerships. This paper comes into three directions and depends on the UN's Sustainable Development Goals "SDGs"; first, analysing the problem and challenges, second a more dynamic design of prehistoric sites, while the third is for the strategy's feasibility, refreshing and possible benchmarks. [ABSTRACT FROM AUTHOR]

Den Gamle By is the largest open-air museum in Denmark. Since 2004, the museum has run special programmes for elderly people with dementia, and these programmes have been shown to strengthen the elderly people's memories, as well as improving their well-being. [ABSTRACT FROM AUTHOR]

This article substantiates the relevance of the museumification of Kazakhstan's mounds based on foreign experience. The authors present general information about the Issyk mounds and analyze the theoretical concept of the spatial solution of the museum complex around them. A number of studies devoted to the museumification of the Besshatyr burial mound are considered. The history and specificity of the spatial organization of the Ak-Baur temple intended for funeral rites as well as the modern concept of its museumification are analyzed. [ABSTRACT FROM AUTHOR]

Copyright of Conservation Science in Cultural Heritage / Quaderni di Scienza della Conservazione is the property of Salvatore Lorusso and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The idea of a permanent public exhibition of translocated pieces of pre-modern folk architecture with their equipment and surroundings emerged fully implemented for the first time on 11 October 1891, when Arthur Hazelius' Skansen was opened to the public. In many aspects this bottom-up project, by using a ‘translocative’ method of the conservation of monuments and introducing the idea of a ‘living museum', was ahead of its time, and, hence, very attractive for its followers all over Europe. The origins of the Polish adoption of the Skansen model are associated with the activity of the socially engaged intelligentsia even before Poland regained its independence in 1918. However, a Polish skansenboom erupted only in the 1960s and 1970s under the rule of the Polish People’s Republic. Nowadays, Sweden is becoming more and more a ‘late’ welfare state, Poland is no longer a communist country, and post-modern Europe misses its modernity perhaps even more strongly than modern Europe yearned for the ‘good old (pre-modern) days'. Nevertheless, the basic hidden modern determinants composing the Skansen itself as well as the Skansen model are still in force and matter. [ABSTRACT FROM AUTHOR]

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Surface transportation was a crucial element of all human activities ever since the beginning of the exploration of the seventh continent. At the Argentine Antarctic research base 'Base Esperanza' there is a small informal collection/museum on Antarctic transportation that constitutes the only transportation museum in Antarctica. [ABSTRACT FROM AUTHOR]

The article focuses on the preservation of cultural heritage in Astra National Museum Complex in Sibiu, Romania. Topics discussed include cultural assets in the open-air museum, such as the mural paintings and artefacts, collaboration with Danish School of Conservation for measuring temperature, relative humidity, volatile organic compounds and ozone, using organic acids and ozone samplers in the storeroom, and monitoring ultraviolet radiation and visible radiation with the help of sensors by measuring the wavelengths.

The article focuses on the preservation of Astra National Museum Complex, which is an open-air museum featuring ethnographic monuments. It discusses the zones of enclosure of cultural property storage space ith climate control, experimental campaign surrounding the constructivist sculpture Construction in Space by artist Naum Gabo, how this art work is damaged due to crystal growth and warping, the sculpture's construction from cellulose acetate (CA) and polymer storage crate with charcoal cloth and points of interest (POIs) due to VOCs like acetic acid and phenol.

This practice-based paper discusses an approach to an innovative collaborative pilot project between Beamish Museum, The Living Museum of the North, and an Occupational Therapist. The “Men's Group” was developed in response to a growing need in the community for more opportunities for men to engage in activities to help combat isolation and mental and physical health issues. Despite the accumulation of qualitative data which indicated a hugely positive impact upon the well-being of the men who attended, this pilot highlighted deficiencies in previous approaches to evaluate and communicate such findings with others. It has since led to further explorations of more appropriate methodologies and key learning outcomes for both partners involved. [ABSTRACT FROM AUTHOR]

Olsztynek is a small town in the area of so called Regained Territories, which used to belong to Eastern Prussia before the end of world war II. Most of the residents of the municipality settled there after 1945 year occupying houses displaced Mazurians and Germans. The Museum of Folk Architecture was founded by people, who used to live in Prussia before war. Its aim was to present variety of folk architecture styles of Prussia. The purpose of this article is to present the past of the Museum in favor of the fact, that we can talk about it as an inconvenient relic of history. This paper is based on historical sources, like archival documents and literature, as well as ethnographic research, which I conducted in the municipality of Olsztynek in 2015 year. My main question was to describe memories, information and feelings, which come to minds of the informers when they think about open-air museum in Olsztynek, through what I wanted to examine residents attitude to museum. Many of the results were significantly different from that I assumed in the beginning, what It proved to be very valuable for further research. [ABSTRACT FROM AUTHOR]

In the present study, anatomical features were used to identify tree species chosen to craft farming tools from the 19th and first half of the 20th century preserved in specimen inventories of the open-air museum in Strážnice, southeastern Moravia (Czech Republic). In total, 701 samples from 337 historical farming tools were obtained from museum specimens. The samples were identified at micro- or macroscopic levels, or both. Results indicated local people used floodplain forest wood to construct farming tools in the study region. Nineteen wood species were identified; from this total, those with higher densities and better mechanical properties were used to manufacture tools, and included predominantly beech, oak, and ash. Softwood species, with lower densities were mainly used for chiseled out implements. We hypothesized regional forest species composition played an essential role in woody species choice, however the species also possessed appropriate properties. Cultivated tree species, such as fruit trees, were employed to create common objects; however, currently, these species are typically applied for special purposes. We concluded an increased number of species were employed in the past for utilitarian purposes, including tree species grown outside local forest boundaries, including cultivated fruit tree species; and species were utilized with good, although perhaps tacit, knowledge of their properties. [ABSTRACT FROM AUTHOR]

The article is devoted to the basic processes of formation of an outstanding museum institution in Ukraine in 1940-1960's - National Historical and Ethnographic Reserve "Pereyaslav". A number of archive documents, records of the repository collection of NHER "Pereyaslav" were used that allowed to clarify some aspects of the history of the museum institution formation in Pereyaslav-Khmelnytskyi. The aim of the given research is the integrated coverage of the history of formation of Pereyaslav-Khmelnitsky Historical Museum on grounds of the analysis of unintroduced, little known and published sources. During the research, systematic and diachronic analyzes as well as the retrospective method, and general scientific methods (analysis and synthesis) were used. The museology is quite a potent cultural layer due to which visitors get an idea of various aspects of human existence, and museum institutions themselves play an important role in the preservation and investigation of cultural heritage of any country. The establishment of museology in Pereyaslav area was preceded by a period of accumulation and collecting. In 1917 the first regional historical museum in Pereyaslav-Khmelnytskyi was situated in the building of Pereyaslav collegium of the 18th century. This museum sustained considerable damages during the Russian-German War in 1943, and funds were destroyed. The next museum exhibition was created in 1946 in the fitted premises - the building of the local doctor A.Y.Kozachkovskyi, who was a friend of the famous Ukrainian poet Taras Shevchenko. The new museum was located in three rooms and its newly raised funds amounted to about 700 museum pieces, the pre-war funds were not preserved. The Council of Ministers of USSR planned to close the regional historical museums both in the town of Pereyaslav-Khmelnytskyi and in the city of Bila Tserkva to establish on their basis Bila Tserkva District Museum of Local Lore. On the basis of archival sources of the State Archive of Kiev region and the Central State Archive of Supreme Bodies of Authorities and Management in Ukraine the article makes a hypothesis that it was the state level celebration of the 300th anniversary of Pereyaslav Council and the appointment of Mikhailo Ivanovych Sikorskyi that have become the main catalysts for the creation of the Reserve in the town of Pereyaslav-Khmelnytsky. Currently it plays an important role in maintaining and investigation of the cultural heritage of Ukrainian people. In view of the laid down statements in the article, it was concluded that in 1950's the historic museum of Pereyaslav area promoted achievements of socialist construction and the Soviet regime. The article indicates some aspects of the opening of the first museum expositions in Pereyaslav area (the Archaeological Museum, the Memorial Museum of architect V.H. Zabolotnyi) that form a part of the museum complex structure. The prerequisites and the beginning of creation of the first Ukrainian open-air museum - the Museum of Folk Architecture and Life of the Middle Naddnipryanshchyna have been predetermined. Particularly, the first ethnographic exposition was placed in the fitted premises in Mykhailivskyi Monastery, which is why it could not depict the life of the Ukrainians in the 19th century to the full extent. Therefore, beginning from the 1960's an ethnographic exhibition was created on the new site that eventually covered an area of over 24 hectares. The above-mentioned open-air museum was founded mainly on the basis of immovable historic-cultural monuments of the Middle Dnieper villages that were flooded during the creation of the Kaniv reservoir. The main structural unit of the open-air museum is a manor house. Along with the manor houses there were windmills, sacral and public buildings of the 19th century. In a period of sixty years, Mykhailo Sikorskyi has made a significant contribution to the study of the history and culture of Ukraine, in particular, of Pereyaslav area, turning the town into a prominent center of culture and spirituality, the treasury of monuments of our country, and has created a unique museum complex - Pereyaslav-Khmelnytskyi State Historic and Cultural Reserve, which in 1999 was granted the status of National Reserve. The employees of Pereyaslav museums, headed by M.I. Sikorskyi, in a period of almost half-century could create an important culturological resource that we have to use skillfully today in order to critically redefine the past of Ukrainian people. [ABSTRACT FROM AUTHOR]

The article examines the postwar transformations of one particular legacy of the Bucharest School of Sociology, the Village Museum, now the Dimitrie Gusti National Village Museum. It argues that in new political context of the late 1940s and 1950s, the open-air museum radically changed its mission and approach to the collection and display of folk architecture and artifacts. The article also explores the relationship between the museum and two central policies of the socialist state: the collectivization of rural property and the construction of vast modern housing districts for the urban population. [ABSTRACT FROM AUTHOR]

Den Gamle By (The Old Town) is an open-air museum showing Danish urban development. Since 2011 it has also served as a local museum for Aarhus. A strategy has consequently been developed, in which the museum proactively meets with local communities to listen to messages about their lives and where they live. This strategy was unexpectedly challenged in 2012: a homeless man approached the museum, wanting to show his home in the museum grounds, to draw attention to conditions the homeless live under. After discussion with the homeless man and museum management, the decision was made for the man to set up his 'home' at the museum. The project ran from September through December 2012. The exhibition was open for the public from October 13th and year out. The project has given rise to reflection about the essence of inclusion. At the beginning, we considered whether the museum had gone too far in the name of inclusion - that we were putting a live person on show. However findings from visitor engagement data and other documentation, which suggest that the project heightened people's awareness of homelessness, spurred people to take affirmative action towards the vulnerable and increased their respect of the homeless. The museum provided a setting for meetings between people who are not equals. [ABSTRACT FROM AUTHOR]

In Japan, over 1,000 prehistoric house reconstructions have been built at 360 different locations since 1949. Pit houses from Neolithic Jomon Period (14,000-300BC) are the most common but they are mostly based on archaeological remains limited to pits and postholes. Therefore, decisions on material and structure come from various sources, some based on research and others rooted in cultural ideologies or individual's preferences. This paper compares reconstructions at three sites in the Central Highlands region of Japan. Despite the similarities in archaeological remains, the approaches toward reconstructions at each site are remarkably different. At Togariishi site (built 1949) the pit house design was made by Horiguchi Sutemi, a modernist architect and historian inspired by the past to find a Japanese essence in traditional farmhouses and tea houses that could intermix with Western architecture. At Idojiri site (first built 1958) archaeologists rejected mainstream academic concerns and embraced a community-centered approach to archaeological research and reconstruction. Lastly, the four pit houses at Umenoki site (built from 2014) were based on ethnographic examples from North America and were built by a carpenter and re-enactor who collaborated with the site archaeologists and the public. [ABSTRACT FROM AUTHOR]

As part of the EU project RETOLD, the Stadtmuseum Berlin in Germany is responsible for creating standardised documentation strategies for archaeological house models and evaluating them by engaging with the open-air museums of Astra in Romania and the Steinzeitpark Dithmarschen in Germany. In order to start creating these workflows, as a first step, other open-air museum were approached asking them to share their existing documentation forms and workflows, if any. Most open-air museums did not have existing workflows, confirming the need for this project in the first place. Of the 21 Museums approached, six did not reply, eight replied but had no standardised documentation forms and only seven did use regular documentation procedures and shared them with the project. [ABSTRACT FROM AUTHOR]

"Cooperating to create a greater impact" was a session during the ICOM General Conference in Kyoto, Japan. It was organized by ICOM NL, ICOM JP, DEMHIST, EXARC and the Japan Museum Sieboldhuis. The session took place on September 4, 2019 at Kyoto International Conference Centre. The session focused on themes of collaboration, cooperation, joint ownership and the possibilities in continued contacts. During this conference I presented a case study on the history of the Dejima restoration project and its current utilization strategy under the title "Dejima Transcending Time Itself ". In this article I will show the significance of Dejima and how it contributes to improvements in the recognition of National historic sites and facilities. [ABSTRACT FROM AUTHOR]

Archaeological site museums may not be that well defined worldwide, yet, they are found almost everywhere. Archaeological sites with reconstructed buildings based on archaeology however seem to be a younger phenomenon and are mainly concentrated in Europe, Japan and North America. Both types of museums however have old roots. Important is not so much the site per se, but the message the management wants to bring across, how they like the site to be interpreted. Reconstruction is then one of the options. Prospects for archaeological sites with a museum function are, like for all museums, critical: one must find relevance of the museum in modern society. [ABSTRACT FROM AUTHOR]

Asthe authors point out, with increasing attention paid to climatechange and environmental sciences, the ground is fertile forimproved attention to environments and environmentalism. Protected natural sites are invited intothe same conversation as more traditionally historic sites, andthe authors encourage each type of site to increase attention totopics of interest across disciplinary lines by including morehistorical materials at nature-first sites, and more naturalhistory at history-forward sites - and more STEM in both cases. [Extracted from the article]

This paper stems from a keynote talk I was invited to give at the Archaeology for the People: Exhibition, Experience and Performance conference, in Kernave, Lithuania, in September of 2018. When I began investigating this conference I was unclear as to how well EXARC's focus on experimental archaeology would blend with International Museum Theatre Alliance (Imtal)'s approach of museum theatre and interpretation. They seem after all, two very different disciplines. It could be said that experimental archaeology is about hard science, or at least scientific method-theory, experiment and conclusion, whereas Imtal's work in museum theatre is concerned with a different set of skills and methodologies-performance, cultivating emotional connection, and interpretation. In the following I suggest they may have more in common than might initially be thought. [ABSTRACT FROM AUTHOR]

Every two years, Danish archaeological open-air museums meet up at a significant conference. They prefer the designation 'historical workshops', a concept which originated in the 1960s (see Bay 2004). The Danish Association of Historical Workshops (De Historiske Værksteder i Danmark, 2019) totals to over one hundred members. With their conferences, they ensure continuity (the first generation of museum staff is retiring) and maintain the thriving relationship between the workshops. [ABSTRACT FROM AUTHOR]