Theatres and museums share many similarities with each other. Therefore, it can be beneficial for museums to use the potential that performance and museum theatre can provide. The aim of this analysis is to gain a better understanding for museums’ reasons to use drama as an educational method and the different forms of drama that are being used. The following research is a comparative analysis of the use of the theatrical play “The Wider Earth” at London’s Natural History Museum as an educational tool and the active use of creative drama in Swedish museums. The main source material consists of qualitative textual data, collected by means of semi-structured interviews with staff members of all participating museums. For an additional perspective, an interview was conducted with one of the theatrical play’s visitors and my own observations of the play were considered. The theoretical frame for this analysis consists of performance theory, Susan Bennett’s model of theatre audience’s experience and Dorothy Heathcote’s and Gavin Bolton’s view on drama as a learning medium. The empirical source material was analysed by means of content analysis. The results show that more could have been done to incorporate “The Wider Earth” into the museum’s educational program to achieve a better visitor experience. The Swedish museums that are part of this research use different forms of creative drama, but the overarching goal is to combine memorable experiences with education. The main conclusion to this research is that the museum visitor plays a considerable part in every form of creative drama in the museum space because the holistic experience is created by visitor and museum together. This is a two years master’s thesis in Museum and Cultural Heritage Studies.

This study focuses on the educational activities carried out in Swedish museums. Activity pedagogy is a concept that concerns learning with a combination of activities. The museums meet a new generation of museum visitors who want to experience and participate in the educational activities. As going from being passive participants to active actors becomes more natural, this could create a problem för the museums. The pedagogical tools that are available today for the museum educators are based on cultural-historical objectess and clothes that have a direct connection to the historical time period the museum manages. The museums act as an arena för knowledge, but it has been stated that there are shortcomings in the educational activities. The basis is the objects that are available in the museums exhibition and the educational offer is based o the exhibitions, but there is an opportunity to discuss and highlight other topics. Tactile spaces and digital tools have begun to become a more natural of the museum's activities, but there are pros and cons to it. The study is based on the educational activities carried out at Old Uppsala Museum and the Nordic Museum. A combination of observation and interview studies, but also current research of museum pedagogy has been the basis for this study. The result is that the tools available in today's museums have a basic idea, but that there is room for development. Offering visitors to participate and make suggestions for improvment is a step in the right direction. Activity pedagogy and object-based tours must be preformed for each visitor group, regardless of age. It has emerged in my study that objects incorporated in the displays increase the quality of the guided tour. This is a two years master's thesis in Museum and Cultural Heritage Studies.

A goal in conservation is that cultural heritage should be for everyone and therefore should be experienced by everyone. With ramps, lifts, Braille exhibitions, sign language interpreted tours, tours for the visually impaired, etc., adaptions are made for people with physical disabilities. The purpose of this paper is to highlight how the Nordic Museum works to reach people with neuropsychiatric disorders along with the specific needs and disabilities which may need to be met by the museum. The case study will aim to highlight problems and opportunities in pedagogy of exhibitions focused on neuropsychiatric disorders. Moreover, it provides an indication of how the works with these issues at the museums are implemented, etc., which can create a greater awareness for the various professions in museums and conservations. This has been examined by the means of interviews, with the unions that advocate groups of neuropsychiatric disorders, and observations of selected exhibitions and shows, museum space, some audioguide-tours and part of the museum's website. In addition, other interviews are made with a museum educator with experience in the subject and a museum educator and head of the department of hosts and shops from the Nordic Museum. The materials which are used are mainly written public reports, as for example the Nordic museum Annual 2015. The museum caterers mostly focus on physical disability. They have also focused on reading disabilities and dementia, in addition to the physical functional limitations. The museum does its best and have a desire to improve themselves, which is shown at their website. The educational tools and approaches, etc. is well thought through, but the focus here is primarily on children and not adults. Something that may be because they have more impressions for children than for adults, if one example is taken. Some of the unions advocate “design for all” and more focus on a different view from the society, as well as personal attitudes to face persons with neuropsychiatric disabilities. They believe this will also affect the museum's education in general. Also, the use of different types of media and interactions in the exhibitions, as well as peace in the museum hall will make an impact in the pedagogy of the museum. The conclusions are that it probably always will be development potential in the pedagogy of the museum. The Nordic Museum has come a long way in the use of several media, but the design could in some cases be fine-tuned. Awareness of neuropsychiatric disorders could also be developed, both in society and in museums. / Ett mål inom kulturvård är att kulturarvet ska finnas till för alla och därmed ska kunna upplevas av alla. Anpassningar till personer med fysiska funktionsnedsättningar görs till exempel med ramper, hissar, blindskrift på utställningar, teckentolkade visningar, visningar för personer med nedsatt syn etc. Syftet med uppsatsen är att belysa hur Nordiska museet riktar sig till personer med neuropsykiatriska funktionsnedsättningar, vilka åtgärder som görs och kan göras för att tillgängliggöra museet för dessa personer samt vad för behov som kan behöva tillmötesgås hos dessa personer. I sammanhanget får fallstudien syftet att belysa problem och möjligheter med utställningspedagogik inriktad mot neuropsykiatriska funktionsnedsättningar. Detta kan dessutom ge en indikation på hur arbetet med dessa frågor på museer ser ut etc., vilket kan skapa en större medvetenhet hos olika museala professioner samt inom kulturvårdens andra professioner. Detta har granskats med hjälp av intervjuer och korrespondens med förbund som representerar olika grupper inom neuropsykiatriska funktionsnedsättningar samt observationer av utvalda utställningar och visningar, museets lokaler, vissa audioguiderundor och delar av museets hemsida. Utöver detta har intervjuer gjorts med en museipedagog med erfarenhet i ämnet och en museipedagog samt sektionschefen för bl.a. museivärdar vid Nordiska museet. De material som har används är främst offentliga skriftliga källor, som exempelvis museets årsredovisning 2015. Museet riktar i första hand sitt tillgänglighetsarbete mot fysiska funktionsnedsättningar. För neuropsykiatriskt funktionsnedsatta fokuserar de i första hand på lässvårigheter samt demenssjukdomar. Museet gör sitt bästa och har en vilja att förbättras, vilket märks på exempelvis hemsidan. De pedagogiska verktygen och angreppssätten etc. är väl uttänkta, men fokusen ligger här främst på barn. Detta kan bero på att de har fler visningar för barn än för vuxna. En del av förbunden förespråkar design för alla samt mer fokus på en annan samhällssyn, samt personliga attityder emot personer med neuropsykiatriska funktionsnedsättningar. Detta är något som de tror kommer att påverka museets pedagogik i stort. I övrigt, gällande hela museets pedagogik, lägger de störst vikt på tydlighet, användning av olika typer av medier och interaktioner i utställningar samt försöka få fram ett lugn i lokalerna. Slutsatserna blir här att det troligen alltid kommer finnas utvecklingspotential inom museers pedagogik. På Nordiska museet har de kommit långt i användandet av flertalet medier, men utformningen skulle i vissa fall kunna finputsas. Medvetenheten kring neuropsykiatriska funktionsnedsättningar behöver och kan också utvecklas både i samhället och på museer.

The aim of this study is to examine the temporary museum exhibit World of the Vikings (Welt der Wikinger), created by Sweden’s Statens Historia Museum (SHM), through the lenses of  gender and pedagogical analysis. The exhibit which was planned to be showcased in the German city of Kiel in time for the sailing Olympics in 1972 and had several goals in mind. The primary goals were to showcase models of Viking ships and achievements of their ship art (to coincide with the sailing Olympics), provide an overview of the Viking Age and showcasing all its different aspects as opposed to just the infamous warrior. Using a gender theory and the overarching analyst method ‘The Feminist Museum Hack’, primarily utilizing a discourse analysis and a visual method (as well as comparative reading, a quantitative method and content analysis, depending on which objects were analysed), this study examines archival material of the exhibit in order to unveil both gender and pedagogical aspects. The material used, consisting of protocols, memos, exhibition texts, booth overviews (consisting of photographs), catalogues and letter correspondents, provide an extensive look into the exhibit, its purposes as well as the overall structure. The main findings of this study are that the exhibit had a clear pedagogical goal in mind, as its content was divided into different parts and chapters to detail various parts of the Viking Age, including their everyday life. Several artifacts collected from various museums were showcased, and the exhibition texts were designed to both educate its visitors and inspire to seek further knowledge. Nuancing gender roles was not part of its purpose, which is confirmed by a gender analysis of the exhibit. A significant portion of the Nordic people mentioned were men while only a few women were mentioned, but  most of the featured men and women were also from a higher hierarchical standing. In terms of expression of gender and gender roles, men were the primary focus in describing and showcasing everyday Nordic life, whereas the women remained passive and secondary. Through the exhibit material, it is clear the roles and chores performed by men were deemed of a higher importance.

My essay aims to illustrate how an industrial memory is created based on Sandvik AB's premises. Industrial heritage and industrial memory are interrelated, but have different characteristics and conditions. I examine what conditions are required to create an industrial memory in the form of a museum. I describe the problems that exist in the various industrial concepts and contribute with an analysis of the different concepts. I am using Sandvik AB as a case study and by using the identified criteria for an industry memory my essay show the process in which an industrial memory can be created. I further investigate whether Sandvik AB can create a museum based on there industrial heritage. My research proves this fact and I finish the essay by proposing how a Sandvik museum in Sandviken can be designed. My research shows that Sandvik AB fulfills the criteria for being able to create an industrial memory from there industrial heritage. My research contribute with interpretations of the concepts of industrial heritage, industrial memory, living industrial memory and industrial history landscape. My essay shows that an industrial memory can represent a living company which shows against the usual view of an industrial memory as a representative of a discontinued production. My essay also examines two consulting firms which give proposals in creating a museum, a market that can be find outside Sweden. The research also contribute with supplementary proposals for the consulting firms different steps in the process of creating a museum. From a Swedish perspective, this study therefore contributes with a first proposal for the Swedish market in creating a museum.

I denna studie undersöks hur narrativ och äventyr kan användas som en konstpedagogisk metod. Syftet med ett studien är att hitta metoder för att tillgängliggöra, engagera och skapa intresse för konstupplevelser till barnfamiljer. I barnkonventionen, som blev lag år 2020, står det att alla barn skall ha rätt till att ”till fullo delta i det kulturella och konstnärliga livet”. Därför är det viktigt att utveckla metoder som syftar till att nå målgruppen genom engagemang och intresse. På historiska museer används ofta äventyr och narrativ som ett pedagogiskt grepp, vilket har visat sig blivit populärt för målgruppen. Men skulle detta arbetssätt kunna användas i konstsammanhang också? Undersökningen genomförs genom semistrukturerade intervjuer av konstpedagoger och museipedagoger, samt genom utvecklandet av ett konstpedagogiskt material utformat som ett narrativ. Materialet prövas tillsammans med en barnfamilj som efteråt uttryckt hur deras upplevelse varit. Resultatet visar på att narrativet kan skapa engagemang och lust för att lära samt att det kan öppna upp för barns fortsatta fantasiskapande.

This thesis investigates the factors that influence whether visitors to art exhibitions experience accessible introductory art labels or not. From the need of making art exhibitions and their communication available to more people of society the aim with this study is to increase awareness about the factors that influence accessibility and generate ideas about useful theory concerning accessible labels. By connecting theory concerning the purpose of art exhibitions, the social context of art exhibitions, orientation and disorientation and different views related to exhibition labels the author, by influence from the swedish Special pedagogy educational authority (Specialpedagogiska skolmyndigheten) accessibility model ”tillgänglighetsmodellen”, creates a accessibility model concerning the context of introductory art labels. The study gathered material from visitor interviews and observations from two different art exhibition institutions in Stockholm: Bonniers Konsthall and Spritmuseum, one art gallery and one cultural museum with an art exhibition feature. The analysis from the field work then formed the content of the accessibility model concerning the context of introductory art labels. As a background to the ideas behind the labels interviews where also performed with personnel in command of the communication concerning the labels. The results show that the visitors experience of accessible introductory art labels can be related to physical, social and pedagogical factors. Where the physical factors included reading situation, placing, lighting and soundscape. The social factors included other visitors, the willingness to ”do things right” and disorientation, confusion and uncertainty. The pedagogical factors included legibility, readability and well worth reading. The study also shows that the visitors pre-knowledge of art and habit of visiting art exhibitions could influence the visitors experience of accessibility. Where visitors without pre-knowledge about art history in the art gallery Bonniers Konsthall all found the texts non-accessible depending on a mix of physical, social and pedagogical factors. At the cultural museum Spritmuseum however visitors without pre-knowledge of art could find the text accessible. There a positive experience of the reading situation, including lightning and few other visitors, made visitors feel that the text where more accessible even when they experienced some difficulty with the accessibility related to pedagogical factors like text length. The study shows that the different factors of accessibility related to introductory art labels interacted and influenced the overall experience of text accessibility. This is a two years master's thesis in Museum and cultural heritage studies.