Please read the abstract in the section 07summary of this document / Thesis (DPhil (Cultural History))--University of Pretoria, 2007. / Historical and Heritage Studies / unrestricted

There are about 300 archaeological open-air museums in Europe. Their history goes from Romanticism up to modern-day tourism. With the majority dating to the past 30 years, they do more than simply present (re)constructed outdoor sceneries based on archaeology. They have an important role as education facilities and many showcase archaeology in a variety of ways. Compared to other museum categories, archaeological open-air museums boast a wide variety of manifestations. This research assesses the value of archaeological open-air museums, their management and their visitors, and is the first to do so in such breadth and detail. After a literature study and general data collection among 199 of such museums in Europe, eight archaeological open-air museums from different countries were selected as case studies. They included museums in a very varied state with different balances between public versus private funding levels on the one hand, and on the other the proportion of private individuals to educational groups among their visitors. The issue of ‘quality’ was investigated from different perspectives. The quality as assessed by the museum management was recorded in a management survey; the quality as experienced by their visitors was also recorded using a survey. In addition on-site observations were recorded. Management and visitors have different perspectives leading to different priorities and appreciation levels. The studies conclude with recommendations, ideas and strategies which are applicable not just to the eight archaeological open-air museums under study, but to any such museum in general. The recommendations are divided into the six categories of management, staff, collections, marketing, interpretation and the visitors. They are designed to be informative statements of use to managers across the sector.

AFRIKAANS: Enkele tegniese skeppinge wat die Tsongavrou in die tradisionele lewenswyse vervaardig en wat prominent by die Tsongakraal-Opelugmuseum in die Hans Merensky-Natuurreservaat gedemonstreer word, is as studiemateriaal geselekteer. Weens die museologiese vereiste en noodsaaklikheid van goedgedokumenteerde voorwerpe is pottebakkery, soutontginning en kralewerk deeglik volgens vorm, funksie en vervaardigingswyse binne die museum sowel as in Gazankulu, tuiste van die Tsongavrou, nagevors. Dit is ook volkekundig binne funksionele kultuurverband behandel. Historiese gebeurtenisse is nagegaan wat die Tsonga van die huidige Gazankulu met die Tsonga van Mosambiek, hul oorspronklike tuiste vir baie eeue, verbind. Ook die kulturele lewe van die mense van wie in hierdie studie sprake is, is kortliks geskets. Beperkinge wat die museumopset op 'n lewensgetroue weergawe van 'n volk meebring, en die mate van kunsmatigheid wat wel voorkom, is kortliks bespreek. Pottebakkery by die Tsonga, alhoewel deur die omliggende stamme beïnvloed, toon 'n eie karakter, veral as daar meer gekonsentreer word op die oorspronklike Tsonga-keramiekware wat tot in Mosambiek nagevors kon word. Vervaardiging kom nie meer so algemeen voor nie, maar benutting is meer verspreid. 'n Hele stel potte wat kookpotte, bier- en waterpotte, eetbakke, waskomme en maalbakke insluit, word volgens vorm, funksie, voorkoms en vervaardigingswyse bespreek. Soutvervaardiging tref ons by die Tsonga aan, omdat daar 'n paar southoudende minerale warmwaterbronne in Gazankulu voorkom. Argeologiese en etnologiese gegewens dui daarop dat hierdie ontginningsproses alreeds vir die afgelope 1800 jaar bedryf word. Handel is met sout gedryf en hierdie sout is gesog, omdat magies-religieuse eienskappe daaraan toegeskryf word. Die Tsonga was die soutvervaardigers ten minste gedurende die afgelope 100 jaar. Die Tsonga beskik oor hul eiesoortige kralewerk wat as bykomstige versiering gedra word. Veral tydens feestelikhede word hierdie kleurvolle kralesierade vertoon. 'n Kralewerk-klassifikasie kon volgens voorkoms, funksie en vervaardigingswyse saamgestel word. Hierdie bedryf kan, as 'n aspek van die tegniese skeppinge van die Tsongavrou, met welslae in die opelugmuseum uitgebeeld en uitgebrei word. Daar is tot die gevolgtrekking gekom dat die Tsongakraal-Opelugmuseum definitief bestaansreg het, omdat die Tsonga 'n eiesoortige kultuurlewe openbaar. Met 'n weldeurdagte en goedbestuurde uitstallings-, vervaardigings-, en verkoopsaksie het hierdie opelugmuseum besliste uitbreidingsmoontlikhede en kan die bestaande funksies van versameling, bewaring en opvoeding deur middel van programme en uitstallings nog beter tot hul reg kom. Band II bestaan uit 'n fotodokumentasie wat die teks oor die vervaardigingswyse van tegniese skeppinge aanvul. Bylaes wat handel oor die vervaardigingswyse van tegniese skeppinge, Tsongabotanie, 'n Tsongawoordelys oor tegniese skeppings wat in hierdie studie genoem word, asook aanvullende historiese inligting en liggingskaarte word aangeheg. ENGLISH: A description is given of some aspects of the material culture of the Tsonga women of Gazankulu as demonstrated at the Tsongakraal Open-air Museum in the Hans Merensky Nature Reserve. Pottery, headwork and the salt extraction process have been described museologically according to form, function and the process of manufacture. Anthropologically the functional approach to culture has been followed. A short historic and cultural survey has been given of the Tsonga people who first lived in Mozambique, their role as traders over the centuries on the old trade routes through Gazankulu and their reason for settlement in present Gazankulu. The restrictions and superficiality in portraying a way of life within the museum has been discussed in short. Pottery has been influenced by the surrounding tribes, but a specific Tsonga pottery tradition has been identified, leading back to Mozambique. Although there seems to be a decline in the manufacture of pots, a whole range of ceramic ware which includes cooking pots, beer and water pots and bowls could be described according to form, function, manufacturing process and decorative patterns. Archaeological and ethnological references to the 1800 year old salt extraction industry from salt pans near mineral springs in Gazankulu, assisted in the reconstruction of the whole process with its uses and magico-religious properties. The Tsonga were the salt producers for at least the last one hundred years. Headwork as adornment features prominently amongst Tsonga women, especially during festivals. A classification system of all the headwork has been compiled and described according to appearance, function and manufacture. The manufacturing of headwork can be introduced as a further aspect of material culture in the open-air museum. The study concludes that the distinguishing material culture of the Tsonga gives purpose to the existence of the Tsongakraal Open-air Museum. With creativity and a well-planned management programme, the museological functions of collection, preservation and education (recreational programmes and displays) of this museum can be extended. Annexures include a detailed photographic record of the manufacturing of items of material culture, the ethno-botany of the Tsonga, a list of Tsonga cultural terms as well as maps and historical information. / Dissertation (MA)--University of Pretoria, 2013. / Anthropology and Archaeology / unrestricted

The survival of vernacular architecture in the world, and particularly in Negeri Sembilan, Malaysia, is under threat due to rapid modernization, urbanization, socioeconomic transformation, loss of its characteristics resulting from changes and development, and misinterpretation of its typology as well as serious issues of abandonment. Most Negeri Sembilan traditional Malay houses (NSTMH), in some cases over one hundred years old, are unprotected and are becoming derelict. The vernacular value of these houses and their preservation for future generations are therefore threatened. To date, little research has been undertaken into the challenges posed in the conservation of NSTMH from the perspectives of house owners and professionals, and how the changing patterns of their form, fabric, and function have shaped the challenges of preserving them. To explore this from a more holistic approach, existing local heritage legislation that protects traditional Malay houses in particular or timber vernacular architecture in general, and international charters were reviewed, as also successful cases of preservation of similar heritage. This research employs a multi-method qualitative approach by examining as a purposive sample selected 19th-century long-roof-type NSTMHs. The research methods consisted of semi-structured interviews with house owners and conservation experts, on-site survey of the houses’ changing patterns of form, fabric, and function, as well as reviews of the conservation heritage legislation context (national/ local) and international charters. Interview data were analysed using thematic analysis, while the accepted concept model of cultural heritage was used for analysis of the patterns of changes in the cases examined. Documents were reviewed using template analysis. Findings from the research outline the main challenges that include a lack of appreciation and understanding of heritage among house owners, lack of traditional building skills, lack of government support as well as insufficient documentation. Nonetheless, there is no legislation in place at either a national or local level to protect the traditional Malay house. All of the findings were triangulated prior to the development of the initial framework and further expert validation was obtained to establish the final framework. This research makes a significant contribution in expanding the existing body of knowledge, through exploration of how the house owners understand, value, and appreciate heritage within their environment, in addition to including conservation experts’ perspectives in this regard. Moreover, the main contribution of this study is the provision of a Conservation Principles Framework for the NSTMH that may be used by house owners, conservation experts, officials, the Village Security & Development Committee, academics, and students as a form of guidance to the implementation of conservation works. It is also hoped that it may act as a starting point for the Negeri Sembilan state government to develop guidance aimed to safeguard this valuable Malaysian heritage.

The main subject of the thesis is &ldquo / interpretation&rdquo / and &ldquo / presentation&rdquo / of cultural and natural heritage sites which is an important phenomenon providing sustainability and protection of the heritage sites. Interpretation and conservation are tightly associated to each other. Individuals will learn more about the heritage site by the help of interpretation and as a result of understanding / they will have an intention to protect the historic site more / and protection will ensure continuity of the site. Interpretation and presentation of heritage sites is put into the words in Turkish Legislation by the definition of &ldquo / Environmental Design Project&rdquo / in `Amendment Act No. 5226 Concerning to Revision of Legislation Called as Law Concerning to Conservation of Natural and Cultural Entities` in 2004. In the legislation, it is stated that Environmental Design Projects which propose strategies for effective presentation, control visitor use, provide promotion and advertisement, solve problems emerged as a result of current use and circulation and answer the needs of historic sites by contemporary tools and methods must be prepared for each heritage site in Turkey. Therefore, the aim of this thesis is to define principles for effective interpretation and presentation on the selected case according to analysis and evaluations and then propose brand new comprehensive and complementary Environmental Design Project. The case selected in the thesis for the proposition of Environmental Design Project is G&ouml / reme Open Air Museum &ndash / GOAM in Cappadocia which is Turkey&rsquo / s third most visited open air museum after Ephesus in Izmir and Hierapolis in Denizli. The two main reasons for the selection of GOAM are absence of comprehensive and complementary Environmental Design Project in GOAM and insufficiency of current interpretive facilities and visitor services presented in the museum as indicated in the decisions of Nevsehir Regional Council for Conservation of Cultural Entities. Focusing on the aim, thesis is structured in three parts which are interconnected to each other as the theoretical background of the interpretation and presentation in the world and in Turkish legislations, analysis and evaluation of the selected case and finally preliminary decisions and project proposal. To conclude, &ldquo / Environmental Design Project&rdquo / is an important tool for understanding the significance of the museum and providing easygoing and enjoyable visit for the museum visitors according to the values, problems and potentials of GOAM. In that respect, proposing environmental design project is critical in order to satisfy visitor needs during their museum visit and provide safeguarding of GOAM.

Forskningen kring kommunikationen mellan museiverksamhet och skolverksamhet är inte utbredd, hur man når målgruppen skolan är heller inte alldeles givet och skolorna är en svår målgrupp att nå för landets alla museum. Uppsatsen behandlar detta fenomen med fallstudien och friluftsmuseet Bungemuseet på Gotland som ett konkret exempel. Bungemuseet har genomgått en omorganisation på grund av kraftigt reducerade besökssiffror och i samband med omorganisationen gjorde Henrik Zipsane en utredning kring verksamheten. Uppsatsen ämnar att följa upp Zipsanes utredning kring verksamheten, genom att gå vidare med påståendet att ”det finns ett behov att noggrant granska vilka målgrupper man vill och kan nå samt vad dessa efterfrågar (---) och det finns bara ett sätt att få reda på det: Fråga dem!”. En kvalitativ undersökning med intervjuer har därför gjorts med verksamma inom Bungemuseet, Fårösundskolan och Södervärnskolan på Gotland kring vad de efterfrågar. Uppsatsen behandlar Bungemuseets verksamhet och vad de erbjuder, vad minskningen av skolelever beror på, vad skolan efterfrågar och hur denna minskning eventuellt kan motverkas. De teoretiska utgångspunkterna som används i uppsatsen är John Deweys teori; Learning by doing och professor Larsåke Larssons; analysschema och målgruppsanalys. Uppsatsens syfte är att lyfta frågan kring kommunikationen mellan skola och museisektorn och kring utbud och efterfrågan. I en avslutande diskussion och analys framförs sedan eventuella förslag kring hur vidare utveckling på detta område kan se ut. Resultatet pekar på att kommunikationen mellan utbildning – och musieförvaltningen är av största betydelse för att främja besökssiffrorna. En lösning för att öka besökssiffrorna ligger i att anpassa verksamheten efter skolornas behov och vad de efterfrågar och detta sker endast genom att förvaltningarna kommunicerar och samarbetar med varandra. / Research on communication between museum activities and school operations are not widespread, how to reach the schools is not entirely obvious and schools is a difficult target to reach for all the country's museums. The essay deals with this phenomenon with the case study and the open air museum- Bunge Museum at Gotland as a concrete example. Bunge Museum has undergone a reorganization due to greatly reduced visitor numbers and in connection with the reorganization did Henrik Zipsane an investigation into the business. The study intends to follow up Zipsanes investigation of the business, by going ahead with the claim that "there is a need to carefully examine the audiences they want and can achieve and what they are asking (---) and there is only one way to find it out: Ask them! ". A qualitative study with interviews have been made to operate in Bunge Museum, Fårösund Södervärn School and the School of Gotland around what they asking for. The studie deals with Bunge museum's business and what they offer, what the reduction of schoolchildren depend on what the school asks for and how this reduction may be counteracted. This study highlight the issue around the communication between the sector of schools and museums and on supply and demand. In a final discussion and analysis performed ago any proposals on how further development in this area can look like. The results indicate that the communication between education - and museums is the most essential to promote visits digits. A solution to increase the number of visitors is to adapt the business to the schools' needs and what they want and this is done only by the sectors is communicate and collaborate with each other.

Magister Artium - MA / In 1974 an Agricultural Museum Committee was established at the Worcester Museum which ultimately led to the development in 1981 of the Kleinplasie Open Air Farm Museum.This began a new phase in the museum’s history, one that I will argue was particularly closely linked to Afrikaner nationalist historiography, in particular to ideas about frontier farmers and pioneer farming lifestyles and activities.This study will take the form of a critical analysis of the establishment of Kleinplasie Living Open Air Museum from 1974 until 1994. It will evaluate the making of exhibitions, its architecture, and the performances and public activities in the establishment of the institution as a site of memory and knowledge. The key question this work engages with is how representations, performance, exhibitions, museum activities, and public involvement were shaped to create particular messages and construct a site of cultural identity and memory at Kleinplasie Living Open Air Museum.It will also deal with questions around who decides on the voices and content of the exhibitions, architecture and displays. The role played by professionals, those who claim to represent community, donors and other interests groups will also be placed under the spotlight. There are also questions around the provenance of collections, the way they were acquired through donations and sponsorships, and the crucial role objects played in the construction of the narrative and identity of the museum.A key question that emerges from my own work is the connection between the Afrikaner nationalist scholarship and the development of the open-air museum based on the life of the frontier farmer at Kleinplasie. While Kleinplasie does not seem to follow the monumental approach that was evident in schemes such as the Voortrekker Monument in Pretoria, where triumphalism and conquest are key metaphors, it does rely on a sense of ‘independence’ and self-fulfilment in social history type setting. There is thus a need to consider how Afrikaner nationalist historiography impacted on the way history was depicted at Kleinplasie. P. J. van der Merwe’s studies of the character and lifeways of the trekboer(Die Trekboer in die Geskiedenis van die Kaapkolonie), seems to have played a central role in the construction of the theme and narrative. This three-volume trilogy provided Kleinplasie(literally, ‘little farm’) with a social and cultural history on which to construct its version of the past.

Denna studie söker sammanfatta och analysera ett drygt sekels samlingsförvaltning och autenticitetsbruk av sekelskifteskonstnären Julius Kronbergs ateljé, som sedan 1922 funnits som museal miljö på friluftsmuseet Skansen i Stockholm. Problemet som utgör studiens fokus kretsar kring den bevarandeproblematik som uppstått då man i samma stund velat använda och bevara en autentisk miljö som i grund och botten har tämligen dåliga bevarandeförutsättningar. Studien har genomförts utifrån arkiv- och litteraturstudier samt en intervju, och inleds med en bakgrundshistorik följt av ett resultat som är uppdelat i fem delkapitel som alla motsvarar varsin tidsepok i förvaltningen av ateljén. De slutsatser som kan dras av resultatet visar på hur förvaltningen delvis har skiftat under seklet, att bevarandeproblematiken ofta har lösts genom att nedprioritera tillgängliggörandet av miljön, samt att miljöns materiella autenticitet genomgående har varit väldigt viktig. / This study aims to recap and analyze a century of collections management and authenticity use of artist Julius Kronbergs studio, that has been a part of Skansen open air museum in Stockholm since 1922. The problem for the study revolves around the desire to use and preserve an authentic environment that shows poor prerequisites in terms of preservation. The study has been carried out based on archive and litterature studies aswell as an interview, and is commenced with a historic context, followed by the result that is divided into five chapters based on different eras in the collections management of the studio. The conclusions shows how the management has varied some during the century, that the problem in preservation often was solved by down prioritizing the use of the museum environment, and that the studios material authenticity was very important throughout the century.

Ever since the beginning, museums around the world have tried using different techniques to attract visitors. Some open-air museums have even started to create small worlds of their own, wherein they perform living history. The idea is that visitors will be able to step into history, and see different time periods with their own eyes. A prime example of an open-air museum that uses this kind of concept, is Skansen in Stockholm. There, visitors can walk around on cobblestone streets and go into old houses, where they are greeted by staff in historical clothing. This thesis examines how Skansen uses performance and historical clothing to teach history, in the quest to create an immersive experience for the visitors. The empirical material consists of observations and interviews with staff at Skansen, as well as visitors. Drawing upon Richard Schechners definition of performance theory, different parts of Skansen are dissected to determine how museums can use this kind of method in order to appeal to visitors.    Furthermore, the historical clothing is used as a reference point to gather and analyze the thoughts and experiences of the staff and visitors at Skansen. It became apparent that clothes can help you feel like a part of history, both in the sense that it makes you look different and move your body differently. This highlights how clothing can affect people’s bodies and minds. In that way, we see the relationship between humans and objects, and how they interact in different settings. The interviews also showed that people can have different approaches to the performance aspect. While some appreciate the playful nature of stepping into a role, others can feel uneasy about playing pretend. Nonetheless, many of the staff members stressed that they use the historical clothing to create a new persona, which separates their work life from their free time. This shows that clothing and performance can be used as tools in working environments, in order to protect one’s integrity.

Das in einem ehemaligen Steinbruch im Rhyolith des Tharandter Waldes in Mohorn-Grund befindliche Naturdenkmal Porphyrfächer und eine Anzahl in seiner Umgebung befindlicher Aufschlüsse der verschiedensten Gesteinsarten aus unterschiedlichen geologischen Zeitaltern werden beschrieben. Sie sind zum großen Teil auf einem Rundweg in einem geologischen Freilichtmuseum zu besichtigen. Darüber hinaus wird auf das Interesse hingewiesen, das Geologen und Wanderer bereits in den vergangenen zwei Jahrhunderten an diesen Vorkommen zeigten. / The Porphyrfächer in a former quarry in the forest of Tharandt in Saxonia in Mohorn-Grund and a number of further geological outcrops with different types of rocks from different geological ages in his vicinity are described. Most of them can be seen at a round in a geological open-air museum. Many geologists and visitors have shown their interest in these rocks in the last two century, too.