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This article investigates mobility patterns from a coastal area exposed to changing and challenging environmental conditions are investigated by identifying the driving forces towards three waves of relocations from Limfjordstangen (an isthmus on the West coast of Denmark) in the period 1825 to 1915. Inspired by contemporary migration studies, we use records of valuations of the victims' losses, descriptions and reports from the local administration, the arrival and departure lists of the church registers, as well as topographical and historical descriptions of the conditions on the Limfjordstangen to piece together narratives that analytically illuminate the numerous and mutually related driving forces of mobility. Throughout the studied period, mobility was characterized by group moves. The mobility patterns away from the isthmus were in the first periods characterized by storm surges and floods putting pressure on the population's housing and land properties. The last of the three relocation waves was characterized by families migrating to optimize fishing and earning opportunities. We thus conclude that there is a change from forced relocations affected by natural disasters to more planned well-considered and profit-seeking relocations. The article discusses the change in mobility patterns as part of an emerging modernity seeping in at the isthmus and consider the possibility that a special local tendency to migrate occurred in the area during the late 1800s. This article investigates mobility patterns from a coastal area exposed to changing and challenging environmental conditions are investigated by identifying the driving forces towards three waves of relocations from Limfjordstangen (an isthmus on the West coast of Denmark) in the period 1825 to 1915. Inspired by contemporary migration studies, we use records of valuations of the victims' losses, descriptions and reports from the local administration, the arrival and departure lists of the church registers, as well as topographical and historical descriptions of the conditions on the Limfjordstangen to piece together narratives that analytically illuminate the numerous and mutually related driving forces of mobility. Throughout the studied period, mobility was characterized by group moves. The mobility patterns away from the isthmus were in the first periods characterized by storm surges and floods putting pressure on the population's housing and land properties. The last of the three relocation waves was characterized by families migrating to optimize fishing and earning opportunities. We thus conclude that there is a change from forced relocations affected by natural disasters to more planned well-considered and profit-seeking relocations. The article discusses the change in mobility patterns as part of an emerging modernity seeping in at the isthmus and consider the possibility that a special local tendency to migrate occurred in the area during the late 1800s.

Titusindvis af danskere nyder i denne uge et frirum fra hverdagens trummerum i et sommerhus tæt ved skov, kyst og krat. Mange er i selskab med den nære familie, og siden det første sommerhusområde blev opført for 130 år siden, har ’det andet hjem’ da også ofte været familiers foretrukne møde- og mindested.

Frilandsmuseer og historiske oplevelsescentre er som en slags tidsmaskiner, der formidler kulturhistorie gennem genstande, bygninger, landskaber og en række andre elementer. Men hvilken rolle spiller planter på sådanne besøgssteder? Vi mennesker er planteblinde i mange sammenhænge, er vi det også når vi går på besøg i udendørs, rekonstruerede og levendegjorte fortidsmiljøer? Hvordan kan man arbejde med at tydeliggøre plante-menneske relationer gennem tiderne på sådanne besøgssteder, og hvilke effekter har forskellige formidlingsgreb i denne sammenhæng? I artiklen undersøges publikums oplevelser af planter på et frilandsmuseum og et historisk oplevelsescenter og de måder som planterne tillægges betydning og inddrages i museumsbesøget identificeres og diskuteres.

Hvordan skaber vi plads i det kulturhistoriske museum til at undersøge, forundres over, sanse, reflektere og øge bevidstheden om planternes rolle i menneskelivet? I artiklen beskrives og analyseres et forsknings- og formidlingsprojekt på Struer Museum med særligt fokus på haveejeres relationer til planter, og altså de bio-sociale møder, der finder sted i private haver. Artiklen beskriver et udstillingsarbejde, hvor levende planter blev gjort til centrale genstande, og hvor der blev lagt særligt vægt på at katalysere refleksion hos publikum over egne og andres relationer til haven og dens planter. Gennem en publikumsundersøgelse identificeres og diskuteres, hvordan udstillingen, dens budskab og formål, omsattes til oplevelse og refleksion hos publikum.

This paper presents a study on collaborations between museum professionals and municipal organizations in their dealings for safeguarding heritage. Since 2001, Danish cultural-historical museums have been legally required to promote the preservation of significant heritage assets in historical buildings and environments of recent modern history. Taking three provincial municipalities and their local museums as the empirical starting point, this interview study was aimed at shedding light on a specific branch of museum collaborations where the enactment of heritage in relation to public planning administration is at stake. Several challenges confronting museum professionals in this field were identified. However, analytically investigating co-existence also revealed that effective ways of overcoming the aforementioned challenges are constituted occasionally during the collaborations. Finally, it is suggested that a self-reflective continuation of engagement in practical projects might be just as effective for improving museum–municipal collaborations as an adjustment of legal regulations in this area.

Since 2000, the concept of the Anthropocene has moved from its geologic field oforigin into numerous other academic disciplines and into the world of museums.Based on journal papers, exhibition reviews and online material, this paperdescribes 41 exhibitions about the Anthropocene, analyzes how museums andgalleries understand the Anthropocene, and how they use exhibition media as wellas their authority as museums in dealing with this topic. It is argued that exhibitions generally display the Anthropocene as an unsettled category. Audiences are presented with complex factual accounts and highly emotional images of the past and the future. They are invited to reflect upon the Anthropocene not as a well-defined issue but as heritage in the sense of ‘transformable practices’ (Harrison 2015: 34). However, most exhibitions appear to deliberately exclude significant controversies about the Anthropocene and the predicament of the world from their arenas for reflection.

The materiality of family-inherited second homes offers a rich example of musealization in the private sphere. Presuming that relational socio-material practices that enact family culture and history take place at these houses, we conducted an observation and interview study by visiting ten family-inherited second homes in Denmark. In our analysis of these visits, we examine various practices by which musealization takes place in the second homes. We emphasize that the inherited second homes set scenes for musealization practices concerning a wide collective and temporally elongated family member circle. We also claim that unstable and undecided musealization practices can sometimes be useful for balancing past, present, and future claims of the second home’s materiality. We finally suggest that musealization practices in family-inherited second homes present vibrant and negotiable ways of relating to the past that might inspire cultural historical museums.

Taking a mixed-methods, visitor-focused approach to views on museums, this article examines what views young Danes aged 13–23 years (n = 2,350) hold on museums and how these views can be categorized and articulated. Arguing that studying views of museums as socially situated meaning-making practices adds theoretical and empirical depth to existing research and practice, we apply semantic categorization, speech-act theory, and cognitive linguistics as analytical tools. Our results demonstrate that respondents’ most prevalent semantic categories are ‘exciting,’ ‘educative,’ and ‘boring.’ Their responses fall into two main types: assertive speech acts providing factual descriptions and expressive speech acts providing more evaluative judgments. In general, young Danes make sense of museums along three different routes. One group wants museums that expand and challenge prior perceptions and knowledge, another group prefers museums that cater to existing interests, while members of a third, smaller group take it upon themselves to make museum visits enriching experiences.

Taking a mixed-methods, visitor-focused approach to views on museums, this article examines what views young Danes aged 13–23 years (n = 2,350) hold on museums and how these views can be categorized and articulated. Arguing that studying views of museums as socially situated meaning-making practices adds theoretical and empirical depth to existing research and practice, we apply semantic categorization, speech-act theory, and cognitive linguistics as analytical tools. Our results demonstrate that respondents’ most prevalent semantic categories are ‘exciting,’ ‘educative,’ and ‘boring.’ Their responses fall into two main types: assertive speech acts providing factual descriptions and expressive speech acts providing more evaluative judgments. In general, young Danes make sense of museums along three different routes. One group wants museums that expand and challenge prior perceptions and knowledge, another group prefers museums that cater to existing interests, while members of a third, smaller group take it upon themselves to make museum visits enriching experiences. Taking a mixed-methods, visitor-focused approach to views on museums, this article examines what views young Danes aged 13–23 years (n = 2,350) hold on museums and how these views can be categorized and articulated. Arguing that studying views of museums as socially situated meaning-making practices adds theoretical and empirical depth to existing research and practice, we apply semantic categorization, speech-act theory, and cognitive linguistics as analytical tools. Our results demonstrate that respondents’ most prevalent semantic categories are ‘exciting,’ ‘educative,’ and ‘boring.’ Their responses fall into two main types: assertive speech acts providing factual descriptions and expressive speech acts providing more evaluative judgments. In general, young Danes make sense of museums along three different routes. One group wants museums that expand and challenge prior perceptions and knowledge, another group prefers museums that cater to existing interests, while members of a third, smaller group take it upon themselves to make museum visits enriching experiences.

Openness and inclusiveness toward the public are mandatory aspects of contemporary museums. Museum projects and studies responding to this imperative have been frequent in recent years, but how does participation in museums unfold, and how can external partners’ contributions be evaluated and understood? Based on a practice-led and ethnographic study of a participatory collaborative design process in the Danish Museum of Rock Music,1 I argue that questions of how participation works – rather than how much and what type of participation is accomplished – should be asked when studying and reflexively planning for participatory collaborative processes in museums. Using a descriptive, symmetrical approach inspired by actor-network theory, this study exemplifies how tracing the relations between process and end product (e.g. digital tool or exhibition) reveals the contributions of a participatory process. This approach provides an understanding of participation as something that emerges relationally an...

Vi har i artiklen beskrevet tre analytiske perspektiver på det indhold, som deltagerne i de første faser af Rockens Danmarkskort har bidraget med. I vores beskrivelser har vi fremhævet, hvordan disse bidrag relaterer sig både til deltagerne og til museet som vidensinstitution. Vi har vist, hvordan historier om oplevelser med rockmusik på specifikke mødesteder indgår i deltagernes selvformationer, både som del af mere kollektive, kulturelle praksisser og samtidig måske mere personlige udviklingshistorier. Dertil har vi diskuteret, hvordan disse tre typer af historier kan bidrage til mødestedsportrætter og til nye perspektiver i relation til international populærmusiklitteratur. Og vi har foreslået, at brugergenererede historier som disse også kan hjælpe til at sætte rammer op for, hvad der skal fokuseres på, når mødesteder skal defineres og deres særkende og karakteristika skal beskrives i en museumssammenhæng. På den baggrund ser vi, at der i Rockens Danmarkskort er potentiale til et museumsprojekt, hvor brugere i samarbejde med museet kan generere indhold, der både bidrager til brugernes oplevelse og til museet som vidensinstitution.

I 1886 solgte staten et plantageområde samt nogle klittermed tør marehalm, og snart var fiskerlejet ved Hornbækforvandlet til en lille kopi af Amalfikysten. Landets førstesommerhusområde var en realitet, og konceptet tiltrakdanskere som et fluepapir. I Skagen var malerne en slagstidlige Airbnb-gæster, i Nordsjælland nød borgerskabet roog fred i familiens skød, i Hvidovre fik storbyens godtfolket lille kvadrat til kål, kartofler og skramlede lysthuse, ogsnart stod en rand af små weekendhytter ved enhver bynærsandstrand. Men den slags bosættelser sled på miljøetog blev ofte arkitektoniske øjebæer. Fredningslove harforhindret første parket til kysten, men ikke svækket voreslængsel efter det andet hjem væk fra hverdagen.Slap af med etnolog Line Vestergaard Knudsen, lektor påAalborg Universitet, når hun fortæller sommerhushistorie.

Numerous new types of cross-institutional collaborations have beenconducted recently at the intersection between museums and universities. Museumsof all subject areas have collaborated with university researchers, just as scholarsfrom a broad range of disciplines including communications, media studies, ITand 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.

Museums increasingly contribute to public development processes that include the promotion of heritage values in everyday urban and rural environments, such as historical buildings, city structures or landscapes. In Denmark taking part in municipal regulation and planning activities in order to safeguard preservation worthy assets in the physical and built environment is a law-given task for museums. This study examined three cultural historical museums as they engaged in heritage promotion and communication processes in the Danish towns Houlkær, Dronninglund and Gedsted. Based on interviews, fieldwork and the analysis of heritage-promoting acts, such as an exhibition, a book, a preservation style guide and public talks, the analysis identify how certain stories, recipients, and communication strategies make up configurations of local heritage and local heirs. While the study found that all three museums strived to stimulate care for heritage values among the public, local heritage and local heirs were configured in numerous ways. Stories worked to configure local heritage as more or less unique or ordinary, scoped by a more or less synchronic or diachronic perspective, and balanced between material or immaterial presences. Local heirs were configured as either inhabitants of certain areas, private house owners or public authorities. Combining places, stories and people museums communicatively configured the local, while they engaged in safeguarding preservation worthy assets in their surrounding societies.

Temanummer i temp - tidsskrift for historie

Limfjordens kyster befolkes året rundt af sommerhusbe­boere. For over 100 år siden blev de første sommer- og fritidsboliger opført i den fjordnære natur, men det var først med sommerhusenes brede samfundsmæssige ud­bredelse i 1960-70’erne, at Limfjordsområderne for al­vor blev bebygget med sommerhuse. Væk fra hverdagen - Sommerhuse ved Limfjorden giver et indblik i Limfjor­dens sommerhuskultur.I denne bog sættes fokus på forskellige aktører, som gennem tiderne har været med til at præge sommer­husområderne ved den vestlige Limfjord. Her fortælles om statens og kommuners planlægning og regulering af sommerhusområder, om sommerhusejere og -brugere, der forestiller sig og praktiserer ‘det gode sommerhus­liv’, og om de lokale foreninger, der organiserer og ved­ligeholder sommerhusområderne. Gennem disse per­spektiver giver bogen et historisk og samtidigt indblik i de visioner, drømme, muligheder, praksisser og udfordrin­ger sommerhuskulturen i den vestlige del af Limfjorden har foranlediget.Bogen er lavet af Center for Kulturarvsforskning og –formidling, et samarbejde mellem Limfjordsmuseernes Samvirke og Aalborg Universitet, Institut for Kultur og Globale Studier.