Through a comparative case study of Trisha Browns choreographies Floor of the Forest (1970) and Accumulation (1971), presented in a visual arts context in the 1970's and in the 2000's, this paper traces how performative aspects of Browns work has changed over time.  Floor of the Forest and Accumulation are analyzed through Erika Fischer-Lichte's theory of performativity in performance and the performing arts. The original choreographies in the 1970's are further contextualized by Browns history and role in the visual arts field in the 1960's and 1970's. Performances of Floor of the Forest and Accumulation in museums in the twentieth century are discussed in relation to Claire Bishops concept dance exhibition.  The findings show how the place/site continued to be a central factor in Brown's choreographing also after her site-specific performances in the 1970's. The exhibition of Floor of the Forest and Accumulation in museums took place through an adaptation of the choreographies to the specific site of the museum, in order to enable new performative spaces. An adaptability to the visual arts institution that, according to Bishop, characterizes the phenomenon dance exhibition. / Genom en komparativ fallstudie av Trisha Browns koreografier Floor of the Forest (1970) och Accumulation (1971), som har tagit plats i bildkonstens rum på 1970-talet och 2000-talet, spåras i uppsatsen hur performativa aspekter av Browns konstnärskap har förändrats över tid. Uppföranden av Floor of the Forest och Accumulation analyseras genom Erika Fischer-Lichte's teori om performativitet i konsthändelsen. De tidiga koreografierna kontextualiseras i relation Browns roll i 1960- och 1970-talens konstfält. Rekonstruktionen av koreografiernas uppföranden på museer på 2000-talet diskuteras vidare utifrån Claire Bishops koncept dansutställningar. Studien visar hur platsen/rummet fortsatte att utgöra en central aspekt i Browns koreograferande även efter hennes platsspecifika koreografier på 1970-talet. Utställningen av Browns koreografier på museer ägde rum genom en anpassning till museets specifika plats, för att således möjliggöra nya performativa rum. En anpassningsförmåga som enligt Bishop präglar fenomenet dansutställningar.

The representation of national identity in museums of the 21st century´s diverse and multicultural societies is a challenging task. It is a task that involves questions of narrative and heritage inclusivity as well as questions of power and ideology. This thesis includes an investigation of the representation of the Turkish national identity in two state owned museums, one private museum and two contested heritage sites in Istanbul. Both contested sites were legally transformed from museums to mosques in 2020. The investigation also involves questions of power and legitimacy in the Turkish heritage sector in the past decade. Qualitative methods including observations, grounded theory initial coding, exhibition spatial syntax analysis and objects´ value analysis are used in the research. The analysis results revealed a fragmentation in the Turkish national identity representation and in the power structure of the Turkish heritage sector where different key actors are involved in national identity production and representation. The History narrative represented is linear and fragmented where each selected museum presents a different historical period with an emphasis on the multicultural nature of the region historically. Ideology and the heritage policy analysis has revealed that the Turkish heritage sector is heading towards an Ottoman based ideology instead of the secular Kemalism ideology that had built the modern Turkish national identity since the establishment of the republic in 1923.  The results show that the challenge of representing inclusive and sustainable heritage and national identities in multicultural societies is complex. However, to achieve that, museums and heritage sectors would have to adopt policies of recognition and civil society involvement. The state would have to take an architect role by funding the museum and heritage sector without interfering in museum´s function. This is a two years master’s thesis in Museum and Cultural Heritage Studies. / Representationen av nationella identiteter i museerna av 2000-talets mångkulturella samhälle är en utmanande uppgift. En uppgift som involverar frågor om integration, nationellt kulturarv och narrative inkludering samt frågor om makt och ideologi. Denna uppsats omfattar en undersökning av den turkiska nationella identitetsrepresentationen i två statliga museer och ett privat museum samt två omtvistade kulturarv i Istanbul. De två omtvistade platserna omvandlandes från museer till moskéer år 2020. Undersökningen omfattar också frågor om makt och legitimitet inom den turkiska kulturarvssektorn med fokus på det senaste decenniet. Kvalitativa metoder inklusive observationer, grundad teorins kodning, rumslig syntaxanalys och objekts analys används i forskningen. Analysresultaten avslöjade fragmenteringen av den turkiska nationella identitetsrepresentationen och maktstrukturen i den turkiska kulturarvssektorn där olika nyckelaktörer är involverade i representationen och produktionen av det turkiska nationella identitet. Det historienarrative som är representerat är linjärt och fragmenterad där varje utvalt museum presenterar en specifik historisk period med fokus på regionens mångkulturella historia. Ideologi och kulturarvspolitikanalysen har avslöjat att den turkiska kulturarvssektorn är på väg mot en ottomansk baserad ideologi i stället för den sekulära Kemalism-ideologin som byggde den moderna turkiska nationella identiteten sedan republiken grundades år 1923. Resultaten visar att utmaningen att representera inkluderande och hållbara kulturarv och nationella identiteter i multikulturella samhällen är komplex. För att uppnå detta måste emellertid museer och kulturarvssektorer överväga erkännandepolitik samt civilsamhällets-engagemangspolitik och staten måste ta en arkitektroll genom att finansiera museets och kulturarvssektorn med ett armslängdavstånd. Detta är ett tvåårigt examensarbete i Musei- och kulturarvsvetenskap.

The purpose of this essay is to look at how museums design their activities as tourist destinations through the dissemination of history. In order to research this problem we have posed the following questions: How do museums act in order to animate and interpret history? What does the future hold for the museums? In order to find the answers to these questions we have made a deep-going analysis of the activities of four museums, Nordiska Museet, Etnografiska Museet, Historiska Museet and Naturhistoriska Museet. These museums have been analyzed by means of interviews, observations and the study of documents. Our theoretical perspective is informed by a hermeneutic perspective as well as Foucault´s definition of museums as institutions, and the concept of storytelling. Our conclusions are as follows: Museums have progressed from an Enlightenment ideal to a more post-modern approach, which means that they want to activate the visitors and make them reflect and form their own opinion by presenting different versions of the past that will stimulate imagination. Our belief is that this trend will continue and the museums will become even more oriented towards creative tourism at the same time as they will protect their position as vehicles and creators of knowledge and guardians of the Swedish cultural heritage. Unfortunately a growing centralization of the field is working in the direction of limiting the range of offers and restricting the museums´ potential to offer different versions of the past. / Syftet med denna uppsats är att undersöka hur museer genom förmedlandet av historia formar sin verksamhet som besöksmål. För att få svar på detta har vi ställt oss följande frågor: Hur verkar museerna för att levandegöra och tolka historia? Vad har museerna för framtid? För vår undersökning har vi genomfört en djupgående analys av fyra museers verksamhet, Nordiska museet, Etnografiska museet, Historiska museet samt Naturhistoriska Riksmuseet. Dessa har analyserats genom intervjuer, observationer samt dokumentstudier. De teoretiska utgångspunkter vi använt oss av är hermeneutik, Foucaults definition av museer som institution samt storytelling. De slutsatser vi kommit fram till är följande: Museerna har utvecklats ifrån ett upplysningsideal till en mer postmodernistisk inriktning där de vill aktivera besökarna till att tänka själva. Museerna arbetar aktivt för att visa fler perspektiv i historieredovisningen och försöker på olika sätt finna nya sätt att aktivera besökarna för att ge en levande bild av det förflutna. I framtiden tror vi att museerna kommer att fortsätta denna utveckling mot att bli mer upplevelseorienterade samtidigt som de värnar om sin unicitet som kunskapsförmedlare och bevarare av vårt gemensamma svenska kulturarv. Tyvärr går utvecklingen mot en ökad centralisering vilket minskar mångfalden av museer samt ger färre möjligheter till fler tolkningar av historien.

This study examines uncontested human remains from a staff- and institutional perspective in Scandinavia. Focusing on Sweden and Denmark, this study aims to understand more of the practice and approach concerning the Egyptian mummy, Bog bodies and Relics. Today, human remains are debated and treated in different ways depending on different ethical issues concerning the category. Here, we can talk about contested and uncontested human remains. Contested human remains is, for example, ancestral remains belonging to indigenous groups or remains of a more modern date that are deemed for have been inappropriately handled historically. The uncontested human remains however, are remains that do not fit in given examples above and that have not been seen as problematic as the contested human remains. With that said, the uncontested human remains are more prone to be covered, moved around or discussed, but in the end of the day they are still there in the exhibition or in the collection and not removed. This study is based on Tiffany Jenkins (2011) definition about the contested and uncontested and Berit Sellevold’s (2013) figure of ethical aspects in which groups of people and researchers view certain remains. Arisen from these theories and the earlier research of human remains this study attempts to examine the practice and the approach about uncontested human remains. The result of the nine case studies in this thesis shows that the Egyptian mummy, Bog bodies and Relics are used and being used for bringing human beings closer the human remains as the individuals they are and for telling stories of the past. In a concrete way of understanding this, it is the staff of the institution that makes this use and approach possible neither if it’s connecting humans to the individual, the history or the religious sphere. Two main results from this study are that the appearance and context are highly affecting whether the institution, mainly the museum, chooses to exhibit uncontested human remains or not. This is a two years master’s thesis in Museum and Cultural Heritage Studies.

The aim and purpose of this essay is to study if three museums are using Facebook strategically to promote two-way communication with their target audiences in their external communication. A qual-itative and comparative research method and has been used and communication managers from each of the three museums have been interviewed. These interviews have been transcribed and coded in order to reveal opinions and views on how that particular museum feels about social media and the use of these tools in their external communication. A number of Facebook statuses have also been collect-ed in order to discover how each of the museums is using social media in order to reach and engage their target groups. Should the results of this essay be summarized it would show that the museums are using the communication channel that they feel suits the needs of reaching a specific audience. These channels can be a variety of newspaper ads, television or radio commercials. This kind of one-way communication does not give the audience any chance of direct feedback or the possibility to voice opinion about the message that has been sent. The social media networking sites such as Facebook have filled this gap; this is also the main argument as to why these museums are using Facebook to reach promote two-way communications with their target audiences. Because of this Facebook has earned a central place in the practice of external communication for these museums. Those responsi-ble for the internal and external communication agree that the tools used to communicate with their audiences, whether it is social media or otherwise, no tool should be considered to be “better” than the other. The tools should instead be used to complement each other, and the need of the organization should dictate the choice of communication tool not the other way around.

<p>The purpose of this essay is to look at how museums design their activities as tourist destinations through the dissemination of history. In order to research this problem we have posed the following questions: How do museums act in order to animate and interpret history? What does the future hold for the museums? In order to find the answers to these questions we have made a deep-going analysis of the activities of four museums, Nordiska Museet, Etnografiska Museet, Historiska Museet and Naturhistoriska Museet. These museums have been analyzed by means of interviews, observations and the study of documents. Our theoretical perspective is informed by a hermeneutic perspective as well as Foucault´s definition of museums as institutions, and the concept of storytelling. Our conclusions are as follows: Museums have progressed from an Enlightenment ideal to a more post-modern approach, which means that they want to activate the visitors and make them reflect and form their own opinion by presenting different versions of the past that will stimulate imagination. Our belief is that this trend will continue and the museums will become even more oriented towards creative tourism at the same time as they will protect their position as vehicles and creators of knowledge and guardians of the Swedish cultural heritage. Unfortunately a growing centralization of the field is working in the direction of limiting the range of offers and restricting the museums´ potential to offer different versions of the past.</p> / <p>Syftet med denna uppsats är att undersöka hur museer genom förmedlandet av historia formar sin verksamhet som besöksmål. För att få svar på detta har vi ställt oss följande frågor: Hur verkar museerna för att levandegöra och tolka historia? Vad har museerna för framtid? För vår undersökning har vi genomfört en djupgående analys av fyra museers verksamhet, Nordiska museet, Etnografiska museet, Historiska museet samt Naturhistoriska Riksmuseet. Dessa har analyserats genom intervjuer, observationer samt dokumentstudier. De teoretiska utgångspunkter vi använt oss av är hermeneutik, Foucaults definition av museer som institution samt storytelling. De slutsatser vi kommit fram till är följande: Museerna har utvecklats ifrån ett upplysningsideal till en mer postmodernistisk inriktning där de vill aktivera besökarna till att tänka själva. Museerna arbetar aktivt för att visa fler perspektiv i historieredovisningen och försöker på olika sätt finna nya sätt att aktivera besökarna för att ge en levande bild av det förflutna. I framtiden tror vi att museerna kommer att fortsätta denna utveckling mot att bli mer upplevelseorienterade samtidigt som de värnar om sin unicitet som kunskapsförmedlare och bevarare av vårt gemensamma svenska kulturarv. Tyvärr går utvecklingen mot en ökad centralisering vilket minskar mångfalden av museer samt ger färre möjligheter till fler tolkningar av historien.</p>

Avhandlingen rymmer en ”stor” och en ”liten” berättelse. Den lilla berättelsen börjar omkring 1870 och handlar om Nordiska museet och dess grundläggare Artur Hazelius. Den stora berättelsen tar sin början i 1800-talets första decennier och förankrar det kulturhistoriska museiväsendets framväxt och formering i en mera vidsträckt och kronologiskt utsträckt historie- och museipolitisk kontext. 1800-talet har karaktäriserats som en period av stark statlig mobilisering på det musei- och historiepolitiska fältet. Avhandlingen visar att det var osäkert vilken roll staten skulle spela. Det var osäkert vilket slags offentlighet som museerna tillhörde, vilka syften museer fyllde och hur de skulle utformas. Det var omtvistat vem som ägde fornminnena. Två rörelser kan urskiljas. Den ena rörelsen ville åstadkomma ett långtgående statligt ansvar för historiebevarandet. Den andra rörelsen var framväxten av ett civilsamhälleligt associationsväsende på historiebevarandets område. Historie- och museipolitikens grunddrag kännetecknades av spänningarna mellan dessa rörelser. Den stora berättelsen överlappar den lilla berättelsen om Nordiska museet och Artur Hazelius. Avhandlingen belyser det spelrum som de övergripande osäkerheterna om historiebevarandets mål och organisering lämnade åt Artur Hazelius och hur Nordiska museets utveckling efter hand kom att ge återverkningar på hela det historie- och museipolitiska området. Den belyser också hur Nordiska museets stegvisa etablering som kulturhistoriskt centralmuseum påverkades av det kulturhistoriska museiväsendets professionalisering. I avhandlingen är det historiografiska perspektivet centralt. Ett utmärkande drag för den dubbla historia som avhandlingen berättar är den betydelse som historieskrivningen har haft, både för formeringen av det kulturhistoriska museiväsendet och för efterhandsförståelsen av detsamma. / This thesis traces and analyses important changes in cultural heritage and museum politics during the 19th century. It tells two overlapping narratives. One is about the museum founder Artur Hazelius and the creation and expansion of The Nordic Museum (Nordiska museet). The other concerns the indecisive construction of meaning and organisational forms for state responsibility for the cultural heritage. The latter story begins in 1810 and the former in 1872. The 19th century is commonly described as the breakthrough for a new era, a time when the cultural heritage became a matter of the state and a part of state promoted nationalism. This thesis instead sheds light on the uncertainties, hesitations and conflicts involved in the construction of national cultural heritage politics and practices. It emphasises the alternatives to state administration that were launched and the crucial role played by associations and voluntary organisation in the preservation of the cultural heritage. It observes the significance of histories and of counter-histories in the controversies over the ownership of and responsibility for the cultural heritage. The way different political positions grow out of conflicting stories of institutional origin is considered. The thesis also focuses on the gradual emergence of a museum profession and its implications for the development of the Nordic Museum and for museum politics in general.

This thesis focuses on Paradox Interactive's information seeking as a process in the construction of historical computer games. The study is collecting data through a series of interviews with two professional groups: Content designers and 3D graphics. The study focuses on the role of information gathering as a internal process in the creation of the game but also on how the two professions, which have been involved in the study's interviews, gather information relevant to their specific tasks. The study also touches on whether it exists a connection between how Content designers and 3D graphics conduct their searches for information and the ABM sector (that is archives, libraries and museums) as sources/distributors of information. The study has resulted in knowledge regarding the professional groups' information behaviour, what factors that affect the process of gathering information. The study has also resulted in an awareness regarding what kind of information sources that are attractive. Furthermore, the interviews conducted have produced information on how archives, libraries and museums function as information sources for the selected professional groups. The information gathered through the interviews shows that archives, libraries and museums are not used as information sources by the professional groups. Reasons as to why this is the case are a lack of awareness as well as the professional groups' various needs, such as right content and easy accessibility. Games which are utilising or relate to popular history are a clear aspect of modern days popular culture. There exists an abundance of games which relate to history whether they are historical strategy-focused computer games or more action-packed videogames constructed around historical events and contexts. There exists an equally abundance of studies which focuses on games in certain aspects; one such area of research is how history is utilised in games. This study, as noted above, doesn't focus on the games themselves or how they utilise history but rather on the specific question of how the developers gather the information about the past, what sources that exists, and how archives, libraries and museums can better accommodate game creators as a specific group of information gatherers and users.

When teachers reason about where they take their students to places such as cultural heritage sites, historical places and museums, they usually have a motive for why they choose to make such a trip. And it is usually because they want to evoke their students' abilities to work and study the school subject history. One of these abilities the teacher wants their students to uphold, are for example historical empathy. The aim of this study is to map the state of knowledge for how visits to historical sites and museums are used within and motivated in history teaching. The information retrieval was mainly performed on searching empirical information via databases such as SwePub, Libsearch and Google Scholar, through the search engine in Malmö University library webpage. After an extensive and thorough research, the information gathered from the search shows that both scholars, museum educators, teachers and students agree that it is good to make these kinds of field trips. It can help students to engage with and within history, to evolve their perspectives on the history and abilities to understand other people and their actions, thoughts and beliefs in the past. The reason for doing this research is to understand the purpose of these kinds of visits and in the near future to use this as an advantage, for ourselves when we want to evoke historical abilities in our future students.

Syftet är att bidra till ökad förståelse kring hur Malmö konstmuseum, Moderna museet, Malmö konsthall och Malmö museer använder sig av digitala verktyg på plats och på deras webbplats. Studien kommer granska vilka faktorer som påverkar hur, och varför de digitala verktygen används. Studien kommer även att granska hur digitala verktyg kommer att användas på museerna i framtiden. Metodkapitlet grundas i semistrukturerade intervjuer med kommunikatörer från respektive museum, samt av systematiska observationer av de fyra institutionernas webbplatser. Materialet har sedan bearbetats med hjälp av en kvalitativ innehållsanalys. Utifrån analys och diskussion av studiens resultat samt teori, dras slutsatsen att varierande i användandet av digitala verktyg på museerna, påverkas av faktorer såsom ekonomiska resurser och avsaknad av digital kompetens. Ytterligare en faktor som framkom är att museernas inställning till digitala verktyg spelar in. Vidare bidrog covid-19 till påskyndandet av en digital omställning och appliceringen av digitala verktyg, vilka har prioriterats mer hos varje institution. Ytterligare dras slutsatsen att varje museum kommer satsa mer på digitala verktyg i framtiden för att informera och kommunicera till besökaren på ett mer anpassat och underhållande vis. / The purpose of the study is to contribute to an increased understanding of how Malmö konstmuseum, Moderna museet, Malmö konsthall and Malmö Museer use digital tools on site and on their website. The study will look at the factors that affect how, and why digital tools are used, as well as what the future vision for digital tools looks like. The study method is based on semi-structured interviews with the communicators from each museum and on systematic observations of the four museums' websites. The material has then been processed using qualitative content analysis. Based on analysis and discussion of the study's results and theory, the conclusions are summarized that the different uses of digital tools in all museums are affected by factors such as economic resources and lack of digital competence. Also, each museum's attitude to digital tools. Furthermore, covid-19 has accelerated the digital transition and digitalization has been given higher priority at each institution. It is concluded that each museum will invest more in digital tools in the future to inform and communicate to the visitor in a more adapted and entertaining way.