Oral traditions and oral literature have long contributed to human communication. The advent of arguably the most important technology, the written word, altered human ability to create and develop. However, this development for all its potential and scope created one of the most insidious dichotomies. As the written word developed so too the oral word became devalued and pushed to the fringes of societal development. One of the unfortunate outcomes has been a focus on the nomenclatures associated with orality and oral tradition, which although of importance, has skewed where the focus could and should have been located, namely, how to support and maintain the oral word and its innate value to human society in the face of what has become rampant technological developments. It is now ironic that technology is creating a fecund environment for a rebirth of orality. The study aims to mobilize technauriture as a paradigm in order to further embed orality and oral traditions to coherently embrace this changing technological environment. The central tenet of the study is that in order to enhance the status of orality the innate value embodied in indigenous knowledge systems must be recognized. Using the work of Bongani Sitole, an oral poet, as a backdrop the study will demonstrate a basic model that can act as a foundation for the effective integration of orality into contemporary structures. This is based on work that I published in the Journal of African Contemporary Studies (2009). Given the obvious multi-disciplinary nature of the material the work covers a wide cross section of the debate, from questions of epistemology and knowledge in general in terms of oral traditions, through the consciousness and technical landscapes, via the experience with Sitole’s material to issues of copyright and ownership. This work has also been submitted for publication together with my supervisor as a co-author. The study intends to consolidate the technauriture debate and lay a solid foundation to support further study.

Cette thèse examine et réévalue l’oeuvre théâtrale d’Osanai Kaoru qui a joué un rôle fondamental pour instaurer le théâtre moderne dit shingeki au Japon et qui a incarné à lui seul le héraut de la modernité en cumulant une multitude de fonctions. Notre étude repose en premier lieu sur les écrits théoriques d’Osanai sur le théâtre et s’articule en trois parties. Tout d’abord nous procédons à l’examen de son parcours multiple et foisonnant en le divisant en trois périodes dans l’histoire du shingeki. La deuxième partie explore son rapport avec la modernité, en traitant d’abord de la réforme visée par lui dans un paysage théâtral dominé par la tradition, ensuite de sa quête du public populaire qui soustend sa seconde phase et qui se complexifie conjointement à sa quête du théâtre national. Par la suite nous examinons l’émergence de la mise en scène, point nodal du théâtre occidental, et son évolution en nous en tenant à trois pièces emblématiques. Enfin nous procédons à l’examen des apports du théâtre occidental au travers de quatre visionnaires : E.G.Craig dans la théorie duquel Osanai puise, puis trois metteurs en scène Stanislavski, Reinhardt et Meyerhold, lui donnant l’occasion d’aborder des scènes occidentales majeures et ayant une grande incidence sur son propre travail. Dans la troisième partie, nous nous consacrons à étudier le rapport complexe d’Osanai avec le théâtre traditionnel, aspect très mal évalué au Japon, principalement le kabuki sans pour autant négliger le théâtre de marionnette [bunraku] et le nô. Nous prolongeons notre réflexion sur le paradigme de la tradition à deux metteurs en scène japonais, Suzuki Tadashi et Miyagi Satoshi (Ku Na’uka). / This thesis consists in examination and re-evaluation of the theatrical works of Osanai Kaoru who played a fundamental rule to launch modern theatre called shingeki in Japan and embodied the herald of modernity accumulating different functions. Our study relies first of all on theoretic writings of Osanai on theatre and is structured in three parts. The first one examines his multiple and rich courses and is divided in three periods along the history of shingeki. The second part explores his relations with modernity regarding first the reform intended by him in a theatrical landscape dominated by tradition, then his search for a popular audience underlining his second phase and becoming more complex in conjunction with his quest for a national theatre. Thereafter we examine the emergence of mise en scène, a concept specific to western theatre and its evolution through the examination of three emblematic plays. Lastly we analyse the contribution of western theatre through four visionaries: first E.G.Craig of whom he has drawn much and then getting in touch with three directors, Stanislavski, Reinhardt and Meyerhold that impacted his own work. All along the third part we study the complexity of Osanai’s relations with traditional theatre, aspect which is not properly considered in Japan, focusing mainly on kabuki without neglecting puppets theatre [bunraku] and nô. We broaden our research on the tradition’s paradigm to two Japanese stage directors, Suzuki Tadashi and Miyagi Satoshi [Ku Na’uka].

À Zitlala, dans l’État du Guerrero au Mexique ont lieu, plusieurs fois par an, différents combats rituels où les protagonistes s’affrontent à coups réels. Présentés dans les années soixante-dix comme « tradition en perdition », ils connaissent aujourd’hui un regain d’intérêt à l’intérieur duquel s’élaborent de nouvelles significations. À la croisée de l’histoire et de l’anthropologie, cette thèse analyse ces combats à partir d’une exploration autour de trois axes. Le premier, politico-historique, s’intéresse au contexte pour comprendre cette pratique corporelle dans l’épaisseur du temps long et au-delà d’une approche première qui les réduirait à des singularités locales. Le deuxième axe présente une ethnographie de sept combats (dont deux disparus dans les années 1980), eux-mêmes resitués dans le contexte plus général de jeux d’affrontements paysans. Le troisième axe de cette recherche est dirigé vers la matérialité de ces combats et l’étude des interactions corporelles et leurs effets subjectivants sur les protagonistes actuels. Ce parcours s’appuiera sur les transformations observées sur le terrain et mettra en lumière les ajustements du système symbolique aux nouvelles réalités économiques et sociales. / In Zitlala, located in the Mexican State of Guerrero, ritual combats during which protagonists confront each other, inflicting real blows, take place several times a year. Presented in the seventies as an “endangered tradition”, these combats are today attracting renewed interest, with new meanings being elaborated. At the crossroads of history and anthropology, this thesis analyses these combats based on an exploration taking in three avenues. The first, politico-historical, focuses on the context in order to understand this corporal practice, seen as rooted in the long term and transcending a primary approach that would reduce the combats to local particularities. The second presents an ethnography of seven combats (two of which disappeared in the 1980s), themselves situated in the broader context of rural games of confrontation. The third avenue of this research deals with the materiality of these combats and studies the corporal interactions and their subjective effects on contemporary protagonists. This work will also take into account transformations observed in the field and highlight the adjustments of the symbolic system to the new economic and social realties.

Les garants de toute culture ont toujours eu le souci de transmettre ses valeurs aux jeunes générations en vue de leur sauvegarde. Dans le domaine de l’enseignement en général, et de l’enseignement supérieur en particulier, outre les valeurs culturelles, sont transmis également des connaissances et des savoirs universels qui préparent au marché de l’emploi tout en structurant la personnalité des individus bénéficiaires des apprentissages. L’organisation universitaire est, elle aussi, un construit social, et laquelle organisation est un assemblage de relations de pouvoirs que nouent les acteurs les uns envers les autres. Pour assurer cette mission et faciliter la communication du savoir et ainsi atteindre les objectifs de l’organisation, les enseignants sont ipso facto investis d’un pouvoir conféré par l’institution académique. Mais ce pouvoir ne trouve sa puissance et sa consistance que lorsque le détenteur incarne réellement l’autorité attestée non seulement par le modèle et la référence qu’il essaie de représenter aux yeux des apprenants mais aussi par ses compétences et la maîtrise incontestée de sa matière d’enseignement. Toutefois, au Bénin, ce pouvoir tend à être exagéré par des enseignants qui, eux-mêmes sont fortement influencés par leurs cultures d’origine : détenteurs du savoir et donc « sachants », ils se considèrent comme des chefs traditionnels, des demi dieux à qui l’apprenant doit une totale soumission. Alors, nous sommes là dans un modèle de reproduction sociale amplement décrite par Pierre Bourdieu qui confirme le fait « le séjour dans l’eau ne transforme pas un tronc d’arbre en crocodile », selon les expressions de Seydou Badian. Ce qui signifie que malgré sa formation, ses qualifications et ses diplômes qui font de lui un « nouvel être », un être moderne, l’enseignant au Bénin aura toujours du mal à se séparer d’un fond culturel qui lui est propre et intrinsèque. L’apprenant est conscient que son être social de par sa future carrière est engendré par le savoir enseigné dont l’assimilation confère des diplômes. Pour paraphraser Victor Hugo, je me permets de dire que chaque apprenant qu’on enseigne est un sujet, un acteur social qu’on gagne. Alors le savoir est monétarisé dans l’université choisie comme terrain d’enquête. Le développement de mon objet de recherche bénéficiera en effet d’un apport considérable de l’anthropologie sociale et culturelle, de la sociologie du pouvoir et de la pédagogie. / The guarantors of every culture are always worried about transmitting their values to young generations for their safeguard. In the field of education in general, and higher education in particular, in addition to cultural values, some universal knowledge and acquaintances which help to find a job as well as to structure the personality of those who benefit from these learnings, are also transmitted. The university organization is also a social constructed and this organization is an assembly of relations of powers that the actors establish together. In order to achieve this mission and make the communication of the knowledge easier and therefore reach the objectives of the organization, teachers are ipso facto invested with a power awarded by the academic institution. But this power finds its strength and its consistence only when the holder is really the authority approved not only by the model and the reference he tries to represent for the learners but also by his skills and the undisputed master of his teaching subject. Nevertheless, in Benin, this power tends to be exaggerated by teachers who are themselves influenced by their native culture. Because they are the ones « who know », they consider themselves as traditional leaders, demigods to whom the learner owes a total submission. There we are, in a model of social reproduction greatly described by Pierre Bourdieu who confirms the fact « the stay in the water doesn’t turn a tree trunk into a crocodile », according to the saying of Saydou Badian. It means that despite his training, his skills and degree which make him a « new being », a modern being, the teacher in Benin will always find it difficult to get rid of a cultural background which belongs to him and which is so specific. The learner is aware that his social being because of his future career is generated by the knowledge which allows to be graduated. To paraphrase Victor Hugo, I venture to say that each learner we teach is a subject, a social actor we gain. The knowledge is then marketed in the university chosen as an investigation field. The development of my research subject will take advantage from a great contribution of the social and cultural anthropology, the sociology of power and the pedagogy.

Il existe aujourd’hui dans les Pyrénées centrales françaises (65) une tradition de polyphonie chorale connue sous le terme générique de “chant montagnard“. Cette spécialité, étroitement liée à l’identité pyrénéenne, s’est maintenue dans des Sociétés plus que centenaires dont les membres ont adopté, en particulier à partir des années 1900, une posture d’orientation régionaliste à travers la promotion d’un répertoire local, en français ou en langue d’Oc. Les chanteurs de ces sociétés se présentent au public en “costume bigourdan“, inspiré du costume d’apparat des guides de haute montagne, et font ainsi référence à leur insertion dans une géographie essentiellement pastorale. Mais il se trouve que l’origine de ces Sociétés qui se réclament de leur insertion locale doit être attribuée à une impulsion venue d’ailleurs, un vaste mouvement culturel européen dont la déclinaison nationale française a produit une forme particulière, l’Orphéon. Après la Révolution française, la dissolution des maîtrises religieuses qui couvraient l’ensemble du territoire de la France provoque ce que d’aucuns décriront comme la “ruine de l’art musical“, créant une pénurie d’artistes chanteurs dans les théâtres nationaux. L’Orphéon est une réponse laïque à cette situation de carence. L’Orphéon est d’abord, à partir de 1833, un organe municipal de la ville de Paris. Réunissant les voix des enfants des écoles à celles de travailleurs adultes, ouvriers et artisans, son inventeur, Wilhem, fait entendre devant le tout Paris émerveillé des ensembles de plusieurs centaines de chanteurs qui interprètent sans accompagnement instrumental des arrangements d’œuvres du grand répertoire. En quelques années, des sociétés chorales inspirées par ce modèle se multiplient sur tout le territoire français et au-delà.Dans l’esprit de leurs initiateurs, influencés par les théories de Saint-Simon, ces sociétés chorales d’amateurs devaient permettre, en formant leurs membres à l’harmonie musicale, de les préparer à l’harmonie sociale d’un nouveau monde, industriel et démocratique.L’observation de ces Sociétés de Chanteurs Montagnards bigourdans, expression d’une tradition polyphonique locale originale mais issues en même temps d’une dynamique orphéonique nationale, permet d’alimenter la réflexion autour de notions parfois convenues qu’on exprime souvent en termes d’oppositions figées, telles que savant-populaire, oral-écrit, ouvrier-pastoral, tradition-invention, centre-périphérie, local-global, etc. / There is today in the middle of the French Pyrenees (65) a tradition of choral polyphony known under the generic term of “mountain singing”. This specialty, closely related to the Pyrenean identity is maintained in more than centenarians companies whose members, especially from the early 1900s, have adopted a posture of regionalist orientation through the promotion of a local musical repertoire, in french or language of Oc. The singers of these companies present to the public in a "bigourdan suit", inspired by the pageantry of high mountain guide costume, and so refer to their insertion in a mainly pastoral geography. But it happens that the origin of these companies who claim their local integration should be attributed to an impulse from elsewhere, from a wide European cultural movement including the French national version wich has produced a particular form, the « Orphéon ».After the French Revolution, the dissolution of the religious choirs covering the whole territory of France causes what to some will describe as the "ruin of musical art“, causing a shortage of lyric singers in the national theatres. The Orphéon is a secular response to this situation of deficiency. The Orphéon is first, from 1833, a municipal organ of the city of Paris. Bringing together the voices of children in the schools to those of adult workers and craftsmen, its inventor, Wilhem, gave to hear to all of Paris amazed ensembles of hundreds of singers together who performed without instrumental accompaniment arrangements of works of the great repertoire. In a few years, choral societies inspired by this model are multiplying throughout the french territory and beyond.In the mind of their initiators, influenced by the theories of Saint-Simon, these amateur choral societies were to allow, by training their members in musical harmony, to prepare them for social harmony for a new, industrial and democratic world. The observation of these companies of Bigorre mountain singers, expression of an original local polyphonic tradition and, at the same time, from a national orpheonic dynamic, can provide food for thought around too common concepts that are often expressed in terms of frozen oppositions like scholar-popular, oral-written, pastoral- worker, tradition-invention, center-periphery, local-global, etc.

I den allt mer föränderliga modeindustrin blir det vanligare att företag väljer att rebranda sig för att upprätthålla relevans på marknaden. Rebranding kan innebära allt från subtila visuella förändringar till mer omfattande processer som att ändra en hel företagsstrategi. Syftet med rebranding är att öka brand equity men resultatet kan bli det motsatta om processen inte utförs på rätt sätt. Eton är ett svenskt marknadsledande skjortföretag som grundades 1928 i Gånghester utanför Borås. I denna studie undersöks hur Eton genom rebranding har lyckats hålla sig relevanta samtidigt som dem tagit vara på sitt arv. Syftet med denna studie är att undersöka relationen mellan brand heritage och rebranding på Eton. Resultatet visar att anledningar som ligger till grund för Etons framgång är att de jobbar med intern utbildning, värnar om kärnvärden och aldrig kompromissar med skjortans kvalitet. Det råder en vedertagen intern uppfattning om hur mycket Eton har att berätta om sin historia, dock visar studien att brand heritage är något som företaget bör kommunicera utåt på ett bättre sätt. Studien visar att rebranding har påverkat Etons brand heritage. I denna fallstudie har data samlats in genom semistrukturerade intervjuer som har genomförts med nyckelpersoner på Eton. Datamaterialet har bearbetats genom en induktiv tematisk analys. I det teoretiska ramverket beskrivs modeller angående modecykeln, brand heritage inverkan på köpintentioner och skillnaden mellan evolutionär och revolutionär rebranding. Dessa sätts i relation till resultatet i diskussionen. / In the ever changing fashion industry, rebranding is becoming a common strategy for companies to stay relevant. A rebranding process can consist of everything from subtle visual changes to more extensive processes as in changing a corporate strategy. The purpose of rebranding is to increase the brand equity, however if the processes isn’t executed properly it may have the opposite effect. Eton is a Swedish fashion brand that specializes in shirtmaking, they were founded in 1928 in Gånghester outside of Borås. This study examines how they have maintained their relevance on the market through rebranding without disregarding their brand heritage. The purpose of the study is to investigate the relationship between rebranding and brand heritage at Eton. The result shows that Etons attention to detail, internal education and their commitment to the core values are the key factors to their success. There is an internal well established understanding of the rich history of the brand, however the study shows that Eton could communicate this more effectively to external stakeholders. This study shows that rebranding has affected Etons brand heritage. In this case study, data has been collected through semi-structured that has taken place with representatives with management positions of Eton. The data material has been processed by inductive thematic analysis. The theoretical framework describes different models regarding the fashion cycle, the effect of brand heritage on purchasing intentions and the difference between evolutionary and revolutionary rebranding. In the discussion the relationship between these factors are investigated.

Ccna [ʃ:na], est une poésie féminine traditionnelle kabyle chantée publiquement lors des fêtes de mariages dans la région d’Ighil n Zekri de Tizi-Ouzou en Algérie. Elle traite essentiellement de la condition socio-affective de la composante féminine des communautés villageoises. Bien qu’elle s’apparente à d’autres types poétiques relevant de la tradition orale kabyle, cette poésie possède des spécificités propres et une originalité expressive, tant du point de vue de son contexte de performance que du point de vue des fonctions qu’elle assure au sein des sociétés productrices. En effet, les cérémonies de ccna donnent lieu à la production d’un espace virtuel de communication et de gestion des conflits qui mérite indéniablement une étude approfondie. Ce projet de recherche est construit autour d’un corpus traduit et annoté, son étude implique nécessairement une approche, à la fois proprement littéraire des textes et anthropologique (acteurs, conditions de création, diffusion et réception). / Ccna [ʃ:na], is a female traditional Kabylian poem sung publicly at weddings in the area of Ighil n Zekri in Tizi-Ouzou, Algeria. It mainly deals with women’s socio-emotional conditions in rural communities. Although it is similar to other poetic types in the kabylian oral tradition, this poetry has specificities and a meaningful originality, from the point of view of its performance context as well as from the functions it ensures within the producing societies. Indeed, ccna ceremonies lead to the creation of a virtual space of communication and conflict management that deserves an in-depth study. This research project is built around a corpus translated and annotated, its study necessarily implies an approach, both literary of the texts and anthropological (actors, conditions of the creation, dissemination and reception).

Den här studien behandlar en musiketnologisk fältstudie i syfte att analysera och ta reda på hur kreativa processer fungerar i arbetets gång att framställa en färdig koreografi med dans, sång och musik inför en folklorefestival. Studieobjektet i denna studie är en folkloreförening i staden Novska i Kroatien. Syftet med studien var att följa föreningen i den kreativa processen och ta reda på hur den fungerar. En kreativ process börjar med en idé eller ett syftemål där många möjligheter genereras och slutar med en kreativ produkt. Som teoretiskt ramverk användes R. Keith Sawyers åttastegsmodell i den kreativa processen. De metodologiska utgångspunkterna för studien är fältobservationer och kvalitativa intervjuer. I resultatdelen skildras den kreativa processen utifrån fältobservationens empiriska tillvägagångssätt under föreningens repetitioner, därefter presenteras det slutliga koreografinummer i sin helhet. Avslutningsvis i analysdelen kopplas det vetenskapliga perspektivet, de kreativa processers funktion, i relation till det empiriska perspektivets tillvägagångssätt. Slutsatsen i denna studie visar att varje steg i de kreativa processerna framställer de faktorer, pusselbitar, som folkloreföreningen använde sig av för att kunna kreera koreografin inför en slutuppvisning. Studien utgör också en vidare grund till liknande framtida undersökningar.

This study aims to examine high school teachers experiences with non-binary students in different aspects of social and cultural factors. The use of the pronoun they will have a central role in terms of how teachers perceive its signification and function in everyday meetings with non-binary students. From its origin, circa 1970, to todays modern society the pronoun they have changed the view of the LGBTQ-circles (in background of greater influence) which has given a better general understanding of different identities and their internal processes. In this context, this study is gender orientated in the sense of how non-binary students are internalized in the educational system of Sweden today. The questions asked are solely based on teachers perceptions of these specific meetings with non-binary students. The answers given, by conducting interviews with 4 different teachers, showed that the experiences were similar to each other in many aspects. In its more simplified version the study showed that institutions are perceived as more modernized in the sense of educational inclusion but distinct complexities were instead more visible in deeper levels of human interaction, for example cultural differences were shown to be clear as to how binary and non-binary students interact. The respondents also confirmed that the educational possibilities of non-binary students are still marginalized by traditional influence, despite modern changes. More specifically, norms were shown to be distinguished in everything from language to teaching materials which gives the impression of a societal model, in its traditional sense, that is being reinforced by gender binary ambitions. / Denna studie ämnar att undersöka högskolelärares erfarenheter i mötet med icke-binära elever i olika aspekter av sociala- och kulturella faktorer. Användningen av pronomenet hen kommer att ha en central roll i termer av huruvida lärare ser på dess betydelse och funktion i vardagliga möten med icke-binära elever. Från sitt ursprung, ca 1970, till dagens moderna samhälle har pronomenet hen förändrat den samhälleliga bilden av HBTQ-kretsar (i bakgrund till ökat inflytande), vilket har giviten mer generell förståelse för olika identiteter och deras interna process. I denna kontext är studien orienterad kring genus i den mening att undersöka hur icke-binära identiteter är internaliserade i det svenska utbildningssystemet idag. Frågorna som besvaras är enbart baserade på lärares upplevelser av specifika möten med icke-binära elever.  Svaren som gavs, genom att leda intervjuer med 4 olika lärare, visade att erfarenheterna sinsemellan alla respondenter var likadana i många aspekter. I sin enklare version visade studien att institutionen uppfattas som moderniserad i mening av inkludering men andra distinkta komplexiteter blev istället synligare på ett djupare plan av mänskliga interaktioner, t.ex visade sig att kulturella skillnader var tydligare mellan binära och icke-binära elever. Respondenterna bekräftade också att utbildningsmöjligheterna för icke-binära elever kan tolkas som marginaliserade genom inflytandet av tidigare traditioner, trots moderna förändringar. Mer specifikt visade det sig att normer kunde urskiljas i allt från språk till läromedel, vilket gav intrycket av en traditionsenlig samhällsmodellsom underbyggs av könsbinära ambitioner.

The purpose of our study is to present preschool teachers’ understandings, perceptions, and experiences of how and which cultures, traditions and holidays are noticed and celebrated, as well as what is included in the cultural heritage that the preschool shall pass on to the next generation. This is based on the preschool curriculum (Skolverket, 2018) formulations that describes the preschool teacher' assignation to pass on a cultural heritage in the form of values, traditions, and knowledge and that they in the education should make diverse cultures visible. With the enlarged internationalization in Swedish society, there are increasingly high demands for people to live in and understand the value of being a part of a society characterized by cultural diversity. In addition, education should be non-confessional and not influence the children in a particular religious direction. In order to get as detailed and comprehensive answers as possible about preschool teachers' perceptions, we have conducted semi-structured interviews as a data collection method. The result shows that there is no doubt that there is lack of knowledge and strategies for this part of the curriculum and that it is perceived to be a dilemma, characterized by uncertainty and fear in preschool as the traditions that are usually present in preschool have a Christian origin while there is an increasingly multireligious variation among the children in preschool. The thinkable conclusions we make based on our study and previous research it is based on, is that there occurs an uncertainty and lack of knowledge among preschool teachers in their mission to pass on a cultural heritage containing, among other things, traditions, values, and history. This is partly because the statements about culture, cultural heritage, and traditions in the preschool curriculum; are unclear and do not provide any major guidelines for preschool to relate to. Another conclusion we have reached is that preschool teachers in our study, similar to what has emerged in previous research find it difficult to strike a balance between non-confessional education and teaching about culture, traditions and cultural heritage that are often considered strongly linked to religion. / Syftet med vår studie är att synliggöra förskollärares upplevelser, uppfattningar och erfarenheter kring hur och vilka kulturer och traditioner som synliggörs och uppmärksammas samt vad som ingår i det kulturarv som förskolan ska föra över till nästa generation. Detta utifrån förskolans läroplans (Skolverket, 2018) formuleringar om att det ingår i förskollärarens uppdrag att överföra ett kulturarv i form av värden, traditioner och kunskaper samt att de i utbildningen ska synliggöra olika kulturer. I och med det svenska samhällets ökade internationalisering ställs det allt höge krav på människan att leva i och förstå värdet av att ingå i ett samhälle präglat av kulturell mångfald. Dessutom ska utbildningen vara icke-konfessionell och inte ensidigt påverka barnen i en viss religiös riktning. För att få så uttömmande svar som möjligt kring förskollärares uppfattningar har vi utfört semistrukturerade intervjuer som datainsamlingsmetod. Resultatet visar att det inte råder några tvivel om att det saknas kunskap och strategier för kulturarbetet i förskolan samt att det uppleves bli ett dilemma, präglat av osäkerhet och rädsla i förskolan då de traditioner som är vanligtvis förekommande i förskolan har ett kristet ursprung samtidigt som det råder en alltmer mångreligiös variation bland barnen i förskolan. Slutsatser vi eventuellt kan dra utifrån vår studie och den tidigare forskning vi har utgått ifrån är att det råder en osäkerhet och okunskap hos förskollärare i deras uppdrag att förmedla ett kulturarv innehållandes bland annat traditioner, värden och historia. Detta beror dels på att framskrivningarna om kultur, kulturarv och traditioner i förskolans läroplan är otydliga och ger inga större riktlinjer för förskolan att förhålla sig till. En annan slutsats vi kan komma fram till är att förskollärare i vår studie, i likhet med vad som framkommit i tidigare forskning, upplever det svårt att skapa en balans mellan att föra en icke-konfessionell utbildning och samtidigt undervisa om kultur, traditioner och kulturarv som många gånger anses starkt kopplat till religion.