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International audience; The economic crisis of the 1970s and 1980s led to the closure of numerous textile factories in France, and since that period the industry has witnessed a movement in favour of its interpretation in museums and its recognition as heritage. This article looks at some of the initiatives which have emerged under various names—‘maison’, eco-museum, workshop-museum—and asks how pertinent the model of the museum is when it comes to preserving a physical heritage of buildings and machines and an intangible heritage of skills and technical gestures. The examples analysed all illustrate particular moments in the general history of museums, the best known and most popular being the eco-museum movement, even though this movement’s original concepts are not always respected. Another museum approach is to be seen in the case of textile companies which seek to perpetuate their tools and their technical know-how, profiting from other forms of heritage recognition, such as the protection of the machines as historic monuments or the awarding of an official label as an ‘entreprise du patrimoine vivant’, a living heritage company.; L’industrie textile a bénéficié, depuis la crise économique des années 1970 et 1980 qui a vu la fermeture de très nombreuses usines, d’un mouvement en faveur de sa muséification et de sa patrimonialisation. Cette étude, en s’intéressant à l’apparition de certaines appellations – maison, écomusée, atelier-musée –, entend montrer comment le modèle muséal a pu être interrogé pour conserver un patrimoine matériel – bâtiments et machines – et immatériel – savoir-faire et geste technique. Les quelques exemples choisis témoignent de moments muséographiques dont le plus connu et surtout le plus populaire est celui de l’écomusée, sans que le concept d’origine ne soit toujours mis en œuvre. Le point de vue muséal est complété par celui des entreprises textiles qui perpétuent des outils et des savoirs techniques, en bénéficiant d’autres formes de patrimonialisation : machines classées au titre des monuments historiques et label « Entreprise du patrimoine vivant ».

Musée récent, ouvert en 1988, le musée du Feutre de laine, à Mouzon (Ardennes), est à la fois intrinsèquement lié à une histoire locale, celle d’une des dernières usines de feutre de France, et représentatif des tendances générales des écomusées. L’extension de la notion de patrimoine et la désindustrialisation ont donné au musée du Feutre un rôle de conservatoire de la mémoire industrielle de Mouzon et d’un savoir-faire. Mais l’entrée au musée de la production industrielle modifie nécessairement son statut, et la dote de nouveaux enjeux. De plus, pour un musée ayant pour objet une matière et une technique – à savoir le feutre de laine et le feutrage –, l’évolution de la production, de plus en plus artisanale, amène à questionner la représentativité des collections. Cet article cherche donc à la fois à replacer le musée du Feutre dans le contexte de sa création et à interroger les rapports entre musée et système de production, ici du feutre de laine. The museum of wool felt at Mouzon (Ardennes) is a recent museum, opened in 1988. It is closely associated with local history and with the existence of one of the last felt factories in France, but it is also representative of the broader tendencies within the eco-museum movement in France. The extension of what we consider to be heritage and the phenomenon of deindustrialisation have given the museum a role as a conservatory of Mouzon’s industrial memory and skills. But when industrial activity enters the museum, this inevitably changes the museum’s status and brings new issues to the fore. And for a museum focused on a particular material, wool felt, and on the techniques of felting, the evolution of production, which is more and more artisanal, raises the question of how representative the museum’s collections are. This article sets out then to explain the creation of the felt museum in its context in the 1980s and to question the relations between the museum and the production system of wool felt.

広島大学総合博物館は東広島エコミュージアムの見学ツアーを紹介する動画を製作した。2020年度と2021年度に，大学生に，この動画を講義時に視聴してもらい，ツアーに対する意見を求めた。集めた意見についてテキスト分析を行い，次を明らかにした。対象とした大学生は，東広島市の周辺地域を訪れることを高く評価する。しかし，交通手段などがネックになるために提供する見学会では参加費が高くなり，ほぼ半数の者が参加を希望しない。一方で，参加を希望する場合は，提供される見学ツアーを貴重な機会だと評価し，実費レベルの参加費は妥当であり，むしろ安いと判断する。周辺地域への見学の機会をつくることは，短期間であれ自分が住む地域について知りたいという学生のニーズに応えることになるが，その実施方法について，特に費用面での工夫が必要である。, The Hiroshima University Museum created a video introducing excursions at the Higashihiroshima eco-museum. In the 2020 and 2021 lectures on human geography, the students who watched this video were asked for their opinions on these excursions. A text analysis of the answers revealed that the targeted students highly appreciated visiting the rural area of Higashihiroshima city. However, due to the high participation fee owing to the transportation restrictions, almost half of the students do not want to participate. On the other hand, students willing to participate evaluate excursions as a valuable opportunity and judge that the participation fee set is reasonable and rather cheap. Creating opportunities for the excursions of rural areas will satisfy the students who want to know about their residential area, even if for a short period of time, however, it is necessary to devise a method of implementation, especially in terms of cost.

This paper is a final report on the symposium entitled “Joint Performance by Hiroshima University, Art Museum, and Artist in Higashihiroshima City”. This event was a part of the memorial seminar series in the establishment of the Graduate School of Humanities and Social Sciences, Hiroshima University, held on December 11, 2021. The symposium was hosted by an organizer and facilitator: Hideki Kuwajima (Hiroshima University). There were two guest panelists: Aya Fujioka (Photographer) and Hiroshi Matsuda (Higashihiroshima City Museum of Art); and a special commentator from our institution: Toshihisa Asano (Hiroshima University). The topics of discussion were as follows: 1. purpose explanation and problem presentation of the event, 2. introduction of individual cases in the positions of an artist and a museum officer working in the Hiroshima area, and 3. special comments and responses based upon the eco-museum activities at the university museum of us.

This essay describes the innovative aspects of the didactic activities promoted by the Master Course in Architecture of the University of Trieste in the teaching of restoration and enhancement of the regional historical-architectural and territorial heritage, focusing attention on a case study of absolute importance: the former Amideria Chiozza factory in Ruda, in the lower Friuli plain, Italy. A case study of reuse and restoration of an important industrial archeology complex, founded in 1865 and active for over a century, the only starch factory in Europe still in possession of the original production system and machinery. Here it is demonstrated that an integrated design approach (from a disciplinary point of view) and an inclusive attitude (in the intervention choices) can promote virtuous and successful processes. This type of processes can be differentiated from many cases of restoration that we can find today in our cities and territories, unable both to protect the complex system of values that are present in a patrimonial object, and to avoid forms of banal relocation on the real estate market.

本稿は，過疎地域において自律的な地域づくりにむけた住民の協同が内発的に生成・発展する条件の考察を目的とする。 そのために，第一に，岩崎（2010）の「場の教育」論で示された「諸事象の自分事化」を可能とする学習の内実の検討，第二に，「場の構造」を作り変える学習実践の展開論理の検討を行った。対象事例に，「枯木又エコ・ミュージアムの会」が結成に至る過程を取り上げた。 分析の結果，自己や地域をまなざす空間軸の視点の拡張によって，地域資源をほりおこす視点が形成されること，時間軸の視点の拡張によって，地域づくりの当事者性が形成されることが明らかとなった。鍵となる条件は，住民自身の生活に即した学習だった。 以上の学習から住民の多様性や固有性を学び合う意義が確認され，誰もが対等に参画できる地域づくりの必要性が導かれた。そのために，客体化した人々のエンパワメントが求められ，それこそが住民の協同形成の契機だと考えられる。, The aim of this paper is to consider the condition of producing cooperation for depopulated area’s community development by people. For this project, this study grasps the facts of learning of “Personalization of phenomena” suggested by Masaya Iwasaki(2010), and the logic of the practice for restructuring “structure of the field” suggested by him. In this paper, I focus on the process of forming organization for the purpose of community development, “Karekimata Eco-museum Group” in Tokamachi, Niigata. Through the analyses, two main conclusions are indicated, as follows. Firstly, expanding a perspective on the self and the community spatially gains a fresh perspective to find local resources. Also, expanding a perspective on them temporally encourages people’s independence as the actor of community development. These are produced by learning corresponded to reality of people. Secondly, these learning lead people to know a significance of diversity and identity by learning from each other. Additionally, lead people to share the vision of community development which everybody can participate as equals. For such occasions, people need to empowerment objects like peripheral people. This is the moment of forming cooperation for depopulated area’s community development.

Ovaj rad bavi se fenomenom novih oblika interpretacije baštine – interpretacijskim centrima, centrima za posjetitelje i eko-muzejima. U radu je kroz teorijski dio prikazan povijesni okvir razvoja novih tendencija u muzejskoj praksi pri čemu je poseban naglasak stavljen na razdoblje postmoderne u okviru koje je detaljnije objašnjena ekonomija doživljaja koja je danas glavna pokretačka sila promjena u muzejskom svijetu. U zasebnom se poglavlju iznose teorijske perspektive postmoderne koje su ključne za razumijevanje srži novih oblika interpretacije baštine. Svojevrsnom studijom slučaja novih oblika interpretacije baštine u Istri daje se kratak pregled kulturne strategije i kulturne politike Istarske županije koja djeluje unutar zakonskih okvira Republike Hrvatske, a kojom se daje uvid u širu sliku pojedinih čimbenika vezanih za nastanak i djelovanje novih baštinskih ustanova. Analizom konkretnih primjera eko-muzeja, interpretacijskih centara i centara za posjetitelje prikazana je širina i raznolikost u načinu interpretacije baštine pri čemu važnu ulogu imaju suvremene metode interpretacije, audiovizualni materijali i interaktivnost postava. This paper deals with the phenomenon of new forms of heritage interpretation – interpretation centers, visitor centers and eco-museums. Through the theoretical part of the paper, the historical framework of the development of new tendencies in museum practice is presented. The experience economy, which is the main driving force of change in the museum world today, is explained in the context of the postmodern period. A separate chapter outlines the theoretical perspectives of the postmodern that are key to understanding the core of new forms of heritage interpretation. Case study of new forms of heritage interpretation in Istria gives a brief overview of the cultural strategy and cultural policy of the Istrian County, which operates within the legal framework of the Republic of Croatia. Case study provides insight into the broader picture of individual factors related to the emergence of new heritage institutions. An analysis of examples of eco-museums, interpretation centers and visitor centers shows the width and diversity in the way heritage is interpreted, using modern methods of interpretation, audiovisual materials and interactivity of exhibition.

L'approbation en 2003 de la Convention de l'UNESCO pour la sauvegarde du patrimoine culturel immatériel représente l'achèvement du processus de compréhension et de définition du patrimoine culturel immatériel commencé dans les années 1970. Les Pays émergents ont sans doute bénéficié de tout cela et ils semblent avoir trouvé dans l'écomusée l'institution qui répond le mieux possible aux exigences de sauvegarde d'un patrimoine lié aux traditions, aux savoir-faire et aux rituels plutôt qu'aux biens culturels. La recherche d'une forme de protection cohérente avec ce patrimoine a réitéré les principes de l'écomuséologie comme étant les plus aptes à implémenter les obligations de la Convention. Cet article cherche à déterminer si les corrélations entre les écomusées et la Convention, existent seulement au niveau du débat scientifique ou s’il y a eu une vraie diffusion des écomusées après la Convention de l'UNESCO pour la sauvegarde du patrimoine culturel immatériel. UNESCO 2003 Convention for the Safeguarding of the Intangible Cultural Heritage represents the achievement of a long process of comprehension and definition of ICH started in 1970. Emerging countries took advantage from this process and they seem to have found in the eco-museum the perfect institution to safeguarding a cultural heritage made of traditional knowledge, rituals and oral traditions instead of tangible goods. The quest of a coherent safeguard with this cultural heritage spreads the eco-museology’s fundamentals see as the more suitable to implement the 2003 UNESCO Convention. This article aims to understand if the correlations between eco-museums and the 2003 UNESCO Convention exist only on the scientific discussion’s level or if there has been a real diffusion of eco-museum’s model after the 2003 UNESCO Convention.

La réalité de la culture impose à chaque société ses méthodes d'évaluation. En effet, les codes ethniques de communication sont différents d'une société à l'autre. Le musée est devenu un outil majeur de gestion et de valorisation du patrimoine en Europe. Mais l'institution muséale est difficile à établir en Afrique. Or, dans le contexte de la mondialisation, les relations de domination se ressentent même dans la manière de préserver le patrimoine dans différentes sociétés. Il est donc intéressant d'étudier les politiques muséales développées au Sénégal pour promouvoir la diversité des expressions culturelles. Face à une grande diversité ethnique et religieuse, le Sénégal, au lendemain de son indépendance, a initié des politiques culturelles pour cimenter l'identité nationale. Quelle place la question muséale a-t-elle occupée dans ces différentes politiques culturelles ? Quel a été son impact sur les populations concernées ? L'écomusée est-il un bon outil pour la valorisation des cultures africaines ? C'est ce que nous essayons d'analyser dans cet article. The reality of culture imposes on each society its methods of evaluation. Indeed, the ethnic codes of communication are different from one society to another. The museum has become a major tool for managing and promoting heritage in Europe. But the museum institution is difficult to establish in Africa. In the context of globalization, however, relations of domination are felt even in the way of preserving the heritage in different societies. It is therefore interesting to study the museum policies developed in Senegal to promote the diversity of cultural expressions. Faced with great ethnic and religious diversity, Senegal, in the aftermath of its independence, initiated cultural policies to cement the national identity. What place has the museum question occupied in these different cultural policies? What was its impact on the populations concerned? Is the eco-museum a good tool for promoting African cultures? This is what we are trying to analyze in this article.

Eco-logie, Eco-nomie, Eco-systeme ? Le trouble enveloppant le mot ecomusee met en evidence la pluralite de son acception aux yeux des neophytes comme des praticiens du champ culturel et patrimonial. Son contexte d’invention, concomitant a la creation des Parcs naturels regionaux et au Ministere de l’Environnement, lui confere une portee ecologique, rurale et ethnographique, inspiree par les premieres experiences de Marqueze et Ouessant. Au tournant des annees 1970, ce concept polysemique se v...

Ce travail porte sur les écomusées en Europe de l’Est, partie du monde assez méconnue des occidentaux. Il part de l’histoire des écomusées avec l’apparition du concept en France, ainsi que la création du premier écomusée Le Creusot-Montceau, jusqu'à leur développement un peu partout dans le monde, pour s’arrêter enfin sur des exemples concrets en Europe orientale, notamment en Russie européenne, Ukraine, Biélorussie et République de Moldavie. Pour ces trois derniers pays l’écomusée et l’écomuséologie ne représentent pas encore « la nouvelle mode », mais ils trouvent des moyens et des plateformes qui leur permettront, dans l’avenir, d’implémenter cette nouvelle approche unique et exceptionnelle. Il y existe, d’ailleurs, des exemples éminents qui méritent d’être mis en évidence. This work is focused on the ecomuseums in Eastern Europe, a part of the world quite unknown for the occidentals. It starts with the history of ecomuseums since the apparition of the concept in France, and the creation of the first ecomuseum Le Creusot-Montceau; their development around the world, and it stops after, on concrete examples in Eastern Europe: the European part of Russia, Ukraine, Belarus and Moldova. For the last three countries in this list, the ecomuseums and the ecomuseology does not yet represent the "new fashion", but they are finding ways and platforms enable to help them to implement, in the future, this new, unique and exceptional approach. There are, however, outstanding examples that deserve to be highlighted.

Depuis sa création au début des années 1970, l’aura du berceau français de définition du concept d’écomusée reste prégnante. Cela tient en grande partie à la mise en œuvre pionnière des préceptes écomuséaux sous l’égide de ses inventeurs : Georges Henri Rivière, Hugues de Varine et son premier directeur Marcel Evrard. L’écomusée Creusot Montceau se distingue des prototypes ruraux en s’établissant sur un territoire façonné par l’industrie, celui de la communauté urbaine éponyme. Son périmètre d’investigation le porte à endosser un rôle tout aussi pionnier en matière de recherche et de préservation du patrimoine industriel et ethnographique afférent. Aujourd’hui, à l’aune de plus de 45 ans d’expérience, il convient d’interroger le modèle consacré à travers sa mise en œuvre. L’évolution de ses pratiques questionne la durabilité des positionnements déontologiques de départ à l’épreuve d’une quête croissante de stabilité structurelle. Le changement de tutelle scientifique, de statut, la redéfinition des missions qu’il s’était assignées, sont autant de facteurs témoignant de la nécessité de juguler la vulnérabilité d’une entreprise humaine. Ayant engendré la conjugaison de demandes discordantes, ces transformations soulèvent deux questions : le risque de dissolution de l’esprit d’innovation et, en ce début de 21ème siècle, interpelle sur sa propension à se réinventer. Since its creation in the early 1970s, the aura of the French birthplace of the eco-museum has remained significant. This is largely due to the pioneering implementation of the precepts of the eco-museum by its inventors: Georges Henri Rivière, Hugues de Varine and its first director Marcel Evrard. The Creusot Montceau eco-museum differs from rural prototypes by establishing itself in a region shaped by industry, that of the eponymous regional authority. His field of investigation leads him to play a pioneering role in research and the preservation of the associated industrial and ethnographic heritage. Today, with more than 45 years of experience, it is necessary to question the consecrated model through its implementation. Indeed, the evolution of its practices questions the sustainability of the initial ethical positions which are severely tested by the growing search for structural stability. The various changes in scientific supervision and status, the redefinition of its missions testify to the difficulties encountered in countering this vulnerability. Two challenges in these changes: how to maintain the spirit of innovation? How to reinvent itself at the beginning of the 21st century?

En donnant un concept évolutif à l’Écomusée, Hugues de Varine et Georges-Henri Rivière ont peut-être réussi à positionner le musée au cœur des questions qui se posent encore en ce début du XXIe siècle : quel développement, quel environnement, sur quel territoire ? Il est donc un acteur central du paysage culturel. Par son projet initial, le concept de l’écomusée fut un des acteurs de la nouvelle muséologie en mettant au centre la participation de la population, la pratique de l’interdisciplinarité. Ce concept évolutif, à la recherche d’une adaptation permanente aux besoins d’une population, fut à la fois une force et une faiblesse de l’écomusée. L'expérience qui se voulait contemporaine et tournée vers l'avenir a connu les crises culturelles, sociales, économiques, industrielles, et de la mondialisation (du local au global). Les sites doivent alors devenir des musées classiques, ou encore trouver d'autres fonctions, notamment touristiques au sein des parcs naturels ou de communication (comme les musées d’entreprise). Le développement des nouvelles technologies de l'information a déplacé le débat citoyen démocratique sur d'autres terrains. L'identité se vit ailleurs. Le développement du territoire (proche ou lointain) repose-t-il encore sur la mémoire ? The concept of Eco-museum, given by Hugues de Varine and Georges-Henri Rivière, raises up the issues about modern museology: which development, which environment, on which territory? Through its preliminary project, the eco-museum concept has been one of the actors of the new museology by putting at the centre the participation of the population and the practice of interdisciplinarity. This evolving concept, in search of permanent adaptation to the needs of a population, has given the eco-museum both its strength and its weakness. The eco-museum experiment underwent the cultural, social, economic, industrial crises and also faced globalization. Thus the sites must become classic museums or touristic spots inside natural parks or corporate museums. With the development of NICTs, the citizen's debate has moved to other areas, just as the sense of identity did. Is the development of territories still based on memory?

À l’instar des autres collectivités territoriales burkinabé, la commune de Koudougou regorge de riches patrimoines naturels, archéologiques et historiques. Chaque secteur et village de la commune possède ses sites patrimoniaux. Ces biens culturels constituent des repères historiques des communautés locales. Chargés d’histoire, ils révèlent aussi bien les grandes étapes de la formation des peuples que leur évolution dans le temps. Ils passent pour être des âtres de la promotion touristique pour peu qu’ils soient pris en compte dans les politiques nationales de développement. Ils sont cependant, dans leur grande majorité, menacés de destruction face aux travaux d’aménagement intensifs et d’autres facteurs anthropiques. Dans cette étude, nous verrons comment s’opère le processus de protection et de valorisation malgré la multitude de défis qui menacent ce patrimoine. Nous présenterons d’abord les bois sacrés et les sites associés, puis nous décrirons les mesures de protection et de valorisation envisagées dans un contexte marqué par l’abandon des cultures locales au profit d’une « modernité » très peu soucieuse de respecter les valeurs culturelles ancestrales. Like other territorial collectivities of Burkina Faso, the municipality of Koudougou abounds in rich natural, archaeological and historical heritages. Each sector and village have its heritage sites. These cultural goods constitute important historical references to local communities. Filled with history, these cultural goods reveal the main steps of the formation of local populations and their evolution. They could also contribute to local tourism promotion if taken into account in national development policies. However, most of these heritages are threatened of destruction with the progress of intensive planning works and other anthropogenic factors. In this study, we analyse the issue of the protection and the valorization of sacred forests and their associated sites, in a context of local cultures neglected at the advantage of the so-called “modernity”, that is, for the most, irrespective of ancestral cultural values.

Les écomusées ont été créés au début des années 1970 sur la base d’un ensemble d’idées utopiques : musée sans collection, sans visiteurs mais avec des habitants, miroir tendu vers soi-même et vers l’Autre. A posteriori, les analystes ont souvent fait de cette utopie une aporie, une impasse logique. La recherche en sciences sociales, l’ethnologie principalement, était le moteur de ces institutions théoriquement participatives. Cet article propose de se réapproprier l’utopie initiale en pratiquant une recherche anthropologique critique et réflexive, permettant aux publics de participer à la construction des savoirs et au développement culturel et social par l’action écomuséale. Ecomuseums were created in the early 1970s on the basis of a set of utopian ideas: museum without collection, without visitors but with inhabitants, a mirror offered to oneself and to the Other. A posteriori, analysts have often turned this utopia into an aporia, a logical impasse. Social science research, mainly ethnology, was the driving force behind these institutions, theoretically participative. This article wants to appropriate the initial utopia by driving a critical and reflexive anthropological research, allowing the publics to produce knowledge and to build cultural and social development through ecomuseal action.

Dans cette communication, on prétend retracer le parcours de l’évolution de quelques écomusées au Mexique qui ont démarré à partir des années 1980, et présenter les nouvelles propositions dans le cadre des « nouveaux musées » patrimoniaux d’aujourd’hui. Un parc du patrimoine est une entité complexe qui propose de traverser la volonté de développement économique, les intérêts sociaux et les zones de préservation de l'environnement en nette détérioration. Ces projets sont développés dans des zones, régions ou grands corridors géographiques. Le parc du patrimoine (Schuster, Sabaté, Álvarez) peut être considéré comme un « projet qui tente d'unir les ressources culturelles pour la gestion des territoires à la bonne gestion de ces ressources ». A Puebla, le projet de centre d’interprétation de la première usine textile d’Amérique Latine dépasse la notion de bâtiment isolé, en intégrant la totalité de l’espace productif et culturel, musées, architecture industrielle, histoire des techniques, logement des travailleurs, bâtiments sociaux actuellement réutilisés, traditions et coutumes toujours vivantes. Cela relance l’importance des écomusées en essayant de mettre en valeur de véritables paysages industriels en tant que paysages culturels. This essay shows a brief evolution of some eco-museums in Mexico that started from the 80's of the last century and highlights the new proposals in the mainstream of "new heritage landscapes of today". Heritage Parks is a complex entity that proposes to cross the task of economic development, social interests and environmental conservation areas in clear deterioration. These projects are developed in areas, regions or large geographic corridors. The Heritage Park (Schuster, Sabaté, Álvarez) can be considered a "project that tries to unite the cultural resources for better landscapes management and the proper management of these resources". In Puebla, the project of an interpretation centre of the first latin american textile plant, goes beyond the notion of isolated building and includes museums, industrial architecture, history of technology, housing for workers and social buildings, traditional uses. This revitalizes the importance of eco-museums in safeguarding old industrial territories as cultural landscapes.

Les musées dans les Pays tchèques et en Tchécoslovaquie ont une importante tradition culturelle, historique et sociale qui date du règne de Rudolph II Habsbourg (1576–1611) et du dernier tiers du XVIIIe siècle, avec le début de l'analyse naturelle et historique (philologique) des Pays tchèques. Les projets des écomusées apparaissent dans le dernier tiers du XXe siècle en pensant que la notion traditionnelle des musées était vétuste et que la présentation des collections devait être plus attrayante, attirer les spectateurs dans la vie des musées, assurer l'interactivité et l'union avec les objets présentés. Les nouveaux musées, éventuellement écomusées, visent l'identité des lieux et des gens qui créent les territoires définis. Ces postes de travail réalisent des activités multi ou interdisciplinaires et représentent la manière dynamique par laquelle la communauté d'un territoire donné conserve, interprète et gère son legs naturel et culturel (historique et social). Il s'agit des écomusées, musées sociaux ou musées utiles (Écomusée-Station d'épuration des eaux usées de Prague, Musée de la technique et des métiers Koloveč, Écomusée Růže, Écocentre Kavyl, Écomusée Ratenice, Musée à ciel ouvert Modrá, Pragulic, la Nuit des musées, etc.). L'importance des écomusées est actuellement éclipsée dans une certaine mesure par les musées virtuels et 3D. Museums in the Czech lands and Czechoslovakia have significant cultural, historical and social dating from the reign of Rudolph II Habsburg (1576-1611) and the last third of the eighteenth century, with the beginning of the natural and historical analysis (philological) of the Czech lands. Projects ecomuseums appear in the last third of the twentieth century thinking that the traditional concept of the museum was old and the presentation of the collection was to be more attractive, draw viewers in museum life, ensure interactivity and union with the objects presented. The new museum, possibly open-air museums, designed the identity of the places and people that create the defined territories. These workstations are making multi and interdisciplinary activities and represent the dynamic way in which the community of a given territory preserves, interprets and manages its natural and cultural legacy (historical and social). This eco-museums, social or useful museums museum (Ecomuseum - treatment plant wastewater Prague Technical Museum and Koloveč trades, Ecomuseum Růže, Écocentre Kavyl, Ecomuseum Ratenice, open-air museum Modrá, Pragulic the Night of museums, etc.). The importance of ecomuseums is currently overshadowed to some extent by virtual museums and 3D

Požega kao grad koji obiluje kulturnom baštinom i kreativnim ljudima zaslužuje da se barem razmotri ideja ekomuzeja kao načina suvremene muzeološke interpretacije koja počiva na zajedništvu s cijelom zajednicom. Činjenica je da su projekti koji prelaze okvire uobičajenog muzejskog djelovanja i razmišljanja u našim sredinama kratka daha. Razlog tome, sudeći po Muzeju u loncu (neuobičajenoj interpretaciji nematerijalne kulturne baštine putem okusa i mirisa zaboravljenih jela), ali i Muzejskoj brijačnici, čija se ideja zasniva na oživljavanju postojećeg muzejskog predmeta in situ (namještaja i opreme brijačnice s početka 20. stoljeća), jest problem muzeja da se uza svoju ustaljenu djelatnost i postojeće probleme teško nosi s organizacijskim i zakonskim ograničenjima i zahtjevima takvih muzejskih projekata. Po tome se čini logičnim postaviti sudbinu tih dvaju projekata u okvir djelovanja jedinstvenog ekomuzeja koji će pokrenuti zajednicu oko samoodrživog modela prezentacije duha i nekadašnjega načina života grada. Ako njima dodamo još i običaj Grgureva, koji se u novim uvjetima drastično i bez kontrole mijenja gubeći uporište u zajednici koja ga sve manje doživljava kao dio svojeg identiteta, o Ekomuzeju Požega vrijedilo bi ozbiljno razmisliti., Being a town rich in cultural heritage and creative people, Požega deserves at least considering the idea of opening an eco-museum as a way of modern museological interpretation, resting upon togetherness with the entire community. The fact however remains that unusual projects, which exceed the boundaries of ordinary museum operation and way of thinking, cannot take root in communities such as ours. Judging by the cases of the Museum in the Pot (an unusual interpretation of nonmaterial cultural heritage by the means of the taste and smell of the forgotten dishes) and the Barbershop Museum (the idea of which rests upon reliving an existing museum exhibit in situ – furniture and equipment of an early-20th-century barbershop), the principal difficulty lies in having to deal with additional organizational and legal limitations and demands parallel with the regular ongoing museum activities and existing problems. Hence, the problems arising from these two projects might potentially be solved by forming a unique eco-museum, which could gather the community around a selfsustaining model for presenting the spirit and the traditional way of life in the past. Additionally, due to the new conditions, even the Grgurevo custom has become drastically changed and poorly managed. It has thus lost its identity and strength in the community, which has ceased to regard it as a part of its identity. Consequently, Požega Eco-Museum should be seriously considered.

本稿では，近年注目されている都市住民と農村との交流・協働事業に着目し，その実践事例を報告し，それぞれ考察するものである。一つ目の事例は，葛飾区郷土と天文の博物館で実践している田んぼの学校による都市住民と農村交流のひろがりについてである。この事例では，博物館という場を通じて都市住民と農村が今後いかにして交流事業を行い，活動を続けていくべきかを考察する。二つ目の事例は，都心から90 分という身近な田舎である南房総での10 年間に渡る実践活動についてである。この事例では，農家と都市住民との“協働”が，未来の食の安全，里山の環境保全へ果たす役割について考察する。

В статье затрагивается необходимость проведения комплексных мер, направленных на охрану и популяризацию трансграничных объектов культурного наследия, на развитие туризма и проведение совместных исследований на трансграничном местном районе, на региональном и национальном уровнях., The article addresses the need for comprehensive measures aimed at protecting and promoting cross-border cultural heritage sites, developing tourism and conducting joint research at a cross-border local area, at regional and national levels.

The title of this section consciously recalls that of the project currently running in Doclea for 2018-2020 ('The Future of the Past: Study and Enhancement of Ancient Doclea, Montenegro'). The Authors focus their attention not only on extracting scientific knowledge and seeking the preservation of the site, but also on considering its future development and utilisation. The final goal is the design and completion of a sustainable plan for the relaunch of the site, in order to hand it back to its community as a tool for socio-cultural and economic growth. The rediscovery of the cultural identity of the territory and the collective memory of a community can give new life to past material culture and traditions, offering to visitors and inhabitants an integrated human experience of physical and mental well-being.

The bamboo-art industry in Taiwan&rsquo, s Jhushan Township is inseparable from local life. In the face of local industrial-development difficulties in smaller towns, the Taiwan government aimed to achieve a range of (re)development goals using eco-museums as collaboration platforms and required such museums to combine their operations management with cultural preservation, local industrial development, and local residents&rsquo, goals. As such, the likely future performance of such operations management has emerged as a crucially important factor in decision-making about whether such museums should be constructed. This study, therefore, reviews the relevant literature on the operations-management performance of museums, with special attention to eco-museums, and proposes an operations-management performance measurement framework for eco-museums based on that review and a two-stage questionnaire administered to experts. The first stage utilized the Fuzzy Delphi Method, which focuses on impact factors, and the second, the Analytica Network Process Method, deals with performance factors. The results indicate that the key impacts on the performance of eco-museums and their operations management were, in order of importance, (1) community symbiosis, (2) cultural inheritance, and (3) regional revitalization. The preservation of cultural heritage, local identity, and community participation are the most important criteria in the operations management of eco-museums, and Jhushan Town can promote such museums through these guidelines.

Les industries hydroélectriques ont fortement modelé le paysage rural du Nord de l’Italie. Après avoir été critiquées, ces industries ont été perçues comme des atouts, permettant l’aménagement d’espaces culturels et loisirs, voire la reprise d’activités industrielles décentrées. L’article propose de très nombreux exemples concrets de cette patrimonialisation du paysage modelé par l’industrie hydroélectrique. Il se penche ensuite sur le cas particulier de la ville de Vérone. (Résumé rédigé par la rédaction). Hydroelectric industries strongly shape the rural landscape of northern Italy. After being criticized, these industries were seen as strengths in order to develop cultural and leisure spaces, and even the resumption of a non-centralized industry. This paper offers many examples of the process of “patrimonialization” of the landscape shaped by the hydroelectric industry. This paper then looks at the particular case of the city of Verona. (Abstract written by the journal).

Rad istražuje pojavu selektivnih oblika turizma nasuprot dominaciji masovnog turizma. Razlozi potrebe razvoja novog oblika turizma nalaze se u prevenciji ekonomskih, sociokulturnih i ekoloških dugoročnih posljedica na destinaciju, tj. turizam se okreče poslovanju po konceptu održivog razvoja. Kod ekoturizma, prirodni i kulturni resursi imaju ključnu ulogu u valorizaciji turističke destinacije i to čine naoptimalnoj razini za dobrobit turističke resursne osnove pritom njegujući tradiciju i običaje te samu egzistenciju lokalnog stanovništva. Ekoturizam kao vrstu selektivnog i održivog turističkog razvoja privlači turiste koji su zainteresirani za upoznavanje prirodne i kulturne baštine, za specifična i izvorna prirodna područja. Istra bi ekološkim turizmom iskoristila dio nedovoljno valoriziranog potencijala teostvarila kvalitetniju turističku ponudu. Primjer je udruga ˝Istarsko - Ekomuzej iz Vodnjana˝. The paper examines the emergence of selective forms of tourism as opposed to the domination of mass tourism. The reasons for the need for developing new forms of tourism are found in the prevention of economic, socio-cultural and ecological long-term consequences to the destination, ie. tourism is changing business by the concept of sustainable development. For eco-tourism, natural and cultural resources play a key role in the evaluation of a tourist destination I provide the optimum level of benefits of tourism resource base while cherishing traditions and customs, and ultimately the existence of the local population. Ecotourism, as a type of selective and sustainable tourism development atracts tourists who are interested in exploring the natural and cultural heritage in specific and original natural areas. Istria would with ecotourism used partially insufficiently valorised potential and achieve a better tourist offer.An example is an association ˝Istrian - Ecomuseum of Vodnjan˝.

AIM: This paper aims to establish a method for a micro-design intervention as a social acupuncture used to stimulate sustainable development consciousness among young students during fieldwork in mountain and rural areas of Bulgaria.MATERIAL AND METHODS: A theoretical framework of a sustainable approach for a micro-design intervention is established on the base of the phenomenological approach of Yuhani Pallasmaa, the concept of eco-museum type of endogeneous rural development by Toshio Mitsuhashi and the design philosophy of “Rural Studio” in USA. At the Department of History and Theory of Architecture at the Faculty of Architecture there are annual summer fieldworks for students of architecture usually organized at various mountain or rural villages within the country. Students are asked to conduct research on vernacular architecture, community relationships and local cultural milieau as part of their education curricula during the second year of their studies and in the 5th year as a pre-diploma architectural practice. By means of micro-design interventions at focal public points or buildings students tried to find a way to activate people environmental consciousness and attitudes to their immediate environment. The main aim of the fieldworks was to connect research with a Design & Make approach in order to catalyze citizen participation in a fusion with an environmental education.RESULTS: These practical experiences seek to transform the research theory of sustainable environmental design into a pragmatic strategy to strengthen environmental consciousness for young generations of students in architecture in Bulgaria. Working and living together in rural or mountain traditional environments, trying to understand and assist local people by creating micro-design interventions is one of the best ways to heighten environmental design consciousness by an immersion in the milieau of local culture and community relationships.CONCLUSION: A socially sustainable micro-design intervention as a strategy is only possible by combining the tools of an anthropologist and a designer or in other words by finding the intersection and cross-fertilization points between the cultural values of insiders and observers.

Folklorom se nazivaju različiti umjetnički aspekti tradicijske kulture kao što su tradicijski (usmeni) oblici književnosti, glazbe i plesova te dramskog i likovnog stvaranja. On se nalazi unutar područja nematerijalne kulturne baštine, a moguće ga je gledati i kao kulturni identitet. Folklor je, kako u svijetu tako i u Hrvatskoj, često prepoznat kao potencijal za otvaranje eko-muzeja ili muzeja na otvorenome. Selo Koprivnički Ivanec poznato je po bogatoj folklornoj tradiciji počevši od ivanečkog veza, narodne nošnje, tradicionalnih obrta i običaja, pjesama i plesa, sve do njegova dijalekta. Kao takvo ima izuzetnog potencijala osnovati eko ili muzej na otvorenome i na taj način osvježiti i održavati tradiciju, pružiti drugima veći uvid u ivanečki folklor pa čak i potaknuti turističku promidžbu sela., Folklore includes various artistic aspects of the traditional culture, such as traditional (oral) forms of literature, music and dance, and the dramatic and fine arts. It is contained within the intangible cultural heritage, and can be viewed as part of the cultural identity. In Croatia and globally, folklore is often recognised as a potential for the opening of eco-museums or outdoor museums. The village of Koprivnički Ivanec is known for its wealth of folklore tradition, beginning from the Ivanec embroidery, folk costumes, traditional crafts and customs, song and dance, and its dialect. As such, it has exceptional potential for the establishment of an eco-museum or an outdoor museum, which would act to revitalise and nurture the tradition, provide others with a chance to become acquainted with the Ivanec folklore, and to stimulate the tourism promotion of the village.

The Fujinomori campus of Kyoto University of Education is covered with many trees and plants which were planted when a military base of imperial army was placed in the same site more than 60 years ago. Many of the plants and animals living in the precincts are used as natural aids not only for education for students on campus, but also for social education of local citizens and children. In fact, our campus is intended to be a sort of natural museum. In order to make a proper contribution to the community, it is important to open the university campus to the public and to grant every facility for social education. Now we are considering the idea of founding an open air museum where people can learn about nature and appreciate sculpture as well. This paper describes our efforts to establish an open air museum and presents a possible plan for future development.

「災害に強いまちづくり」を行う上で最も重要な課題の一つは、住民が地域の災害リスクを認知できるような環境を整えることだろう。本研究では、地域をまるごと博物館と考えるエコミュージアムのコンセプトを桜島で適用・実践し、その防災効果について検討した。これまで実践の結果、エコミュージアムのコンセプトは防災教育を持続的に行う社会教育システムの一つとして機能することが分かった。また、まちづくりや地域振興の方法の一つとして行政にも注目されつつあり、今後はエコミュージアムのコンセプトを適用した都市計画が策定されるであろう。エコミュージアムの運営は地域住民が主体となる必要があり、NPOなどの存在が重要である。今後はNPO等の組織づくりと運営のための財源確保が重要な課題である。, One of the most vital issues in developing a community resistant to disasters, is to create an environment where inhabitants are aware of the disaster risks of their own region. We are implementing efforts to utilize an eco-museum concept that regards the whole area as a museum. Through our practices, the following points were found. (a) The concept of an eco-museum is an effective measure for conveying the disaster risks of a region. (b) An eco-museum has the expectations of governments to work as a tool for regional development and disaster prevention. (c) In order to implement an eco-museum, the formation of an organization such as an NPO is necessary. Stable management can be developed through collaborated works with governments.

Perhaps it is still possible, before it will be cancelled forever, to keep alive traditional practices of fishing, agricultural cultivation and handicraft related to the daily life in Chan Chan, the ancient capital of the Chimu Empire, that between the years 400 and 1470 extended over much of the northern coast of Peru. As shown on the bas-reliefs of its palaces and huacas, the means of sustenance of the town were related to agriculture and fishing, two large production systems that can be symbolized by the totora reed. The totora is a typical product of the northern coast of Peru, whose cultivation is carried out in specific wetlands called huachaques or totorales. Its use is an expression of the living culture of the local community which materializes in the construction of traditional boats (caballito de totora), of traditional houses (casas de tapa) and traditional handicrafts (mats, baskets) denoting continuity in the knowledge of the ancestral technology and contributing, in this way, to the regional and national identity that form part of the intangible cultural heritage. Due to several concomitant factors, the cultivation of totora is in sharp decline. The lack of raw material together with the abandonment of the traditional techniques of construction and the absence of connection with the tourist activity has almost cancelled the local crafts. Finally, the uncontrolled urban development of the nearby town of Trujillo seems to undermine the survival of the ecological areas of the coastal environment (totorales) whose absence causes coastal erosion and building activity. Fortunately there seem to be strong possibilities and instruments to invert the trend with the involvement of the local population: starting from the Chan Chan archaeological complex, the fishing village of Huanchaco (home of international surfing) and the fishing with caballito, it is possible to set a program of revaluation and preservation of traditional practices, handicraft and related economic aspects. The program foresees the realization of an eco-museum of the totora by restoring the huachaques of Chan Chan and the totorales of Huanchaco and by the creation of an "Interpretation Center", a place of meeting and discussion of the local community, handicraft training laboratory cultural and educational centre. An eco-museum of the totora, mainly based on the involvement and participation of the local community, is the solution to preserve a peculiar example of living and working, with the result of a strengthening of the tourist vocation in the area and with a direct socio-economic advantage for the population historically and culturally linked to the archaeological complex of Chan Chan.

A new cultural policy developed in Sweden in the 1960’s in order to renew the activities of mseums in a more socially relevant direction. The dissertation examines whether the museums adopted the new policy and to what extent the objectives were achieved. The thesis analyses three main areas: the new cultural policy and the attempts to implement it; activities in selected museums along with different intellectual trends that shaped their activities; and the debate between different “thought collectives” (L. Fleck) regarding museums’ missions and objectives as well as expectations within the museum sector. How did the various “actors” relate to the objectives of the new cultural policy? The thesis confirms the potential of the museums as generators for renewal and innovation in terms of democracy and development of the society. There was a clear shift in attitudes from values associated with the “Cultural heritage museum” towards the in this thesis introduced idea of the “Community museum”. The study shows how museums tried to introduce activities relating to current political and social issues, which supports the principal hypothesis in the study, that the museums became more socially relevant during the investigated period. However, during the 1980s, there could be seen a clear recurrence back to the idea of “Cultural heritage museum”. The movement in opposite directions illustrates the museums’ strong ties to the earlier traditional ”styles of thought” (Fleck) and their role as cultural guardians, which severely restricted their capacity for innovation and new ways of thinking. Nevertheless, the Swedish Exhibition Agency (Riksutställningar) performed a role as a searhead for the new cultural policy, corresponding with the heterodoxy and new style of thinking represented by the “Community museum”. A number of persons dominating the debate within the museum sector had a crucial importance in the shift towards the concept of “Community museums”. A revitalisation of the exhibitions, pedagogy and content was accomplished, often as a result of the Swedish Exhibition Agency’s efforts to develop the medium. During the period 1965–1990 Swedish museum exhibitions moved towards a temporary and more socially oriented content. According to Steven Conn’s principal thesis “Do museums still need objects?” the importance of objects gradually declined during the last century. In line with this development, the new Museum of Work had no objects/collections of its own. Furthermore, the arrival of new technology in the late 1980’s gave preconditions for reshaping knowledge and contributed to new attitudes towards communication. Museums were now seen as centres for social contact and communication. The role of museology as an academic discipline in the reprogramming of the museums towards a more socially oriented approach is another important issue. Museology has been criticized by those who – int the debate – questioned the entire idea of “Community museum”.