Eesti Rahva Muuseumi aastaraamat最新文献

{"title":"Etnograafiapärandi määratlemisest ja kogumisest Eesti muuseumides","authors":"Jana Reidla, E. Kõresaar, K. Jõesalu","doi":"10.33302/ermar-2023-009","DOIUrl":"https://doi.org/10.33302/ermar-2023-009","url":null,"abstract":"This article examines how Estonian museums understand ethnographic heritage. More specifically, it is an attempt to answer the questions of how the concept of ethnographic heritage is made visible through museums’ various practices. An analysis of what criteria museums use when assigning objects to ethnographic collections is submitted as well as a description of what dilemmas they face when making a choice, and how these dilemmas are resolved in practice. It was demonstrated that assigning objects to ethnographic collections has been and continues to be a cognitive and subjective activity. What has served as the main ethnographic criteria is the object’s social origin (a farm environment, which is contrasted with the urban and manor milieu) and the method of production — manual production and the use of traditional work methods, which is contrasted with factory production and store-bought goods. Museums that focus on the way of life of an ethnic or social group rely on their own set of defining principles, as do those whose permanent in situ exposition dictates the ethnographic content in a more classical sense (farm and open-air museums). At the same time, the simultaneous use of disparate criteria has led to different results in practice. The effort to define ethnographic heritage as dating from the first quarter or first half of the 20th century has resulted in a \"special treatment\" of newer hand-made objects in museums with ethnographic collections. This mainly affects the placement of contemporary textile handicrafts in an ethnographic collection. Faced with the build-up of problematic choices, some museums have \"frozen\" their ethnographic collections, while others have adopted a dual attitude to previously set temporal and other criteria of ethnographicity. When assembling and organizing collections, museums are looking for ways to bypass the narrow boundaries previously set for ethnographic heritage and are attempting to view everyday culture as a whole. One such practice is the formation of a separate textile collection. Thus, ethnographic heritage (ethnographic object) is a changeable construction not only from the perspective of modern ethnological science, but also from the perspective of museum practice. Explicit collecting principles have an impact on the museums’ collection practices, or more generally, what kind of heritage is being created for the future. At the same time, less formal trends, such as the difficulty of collecting objects from recent history, or the special importance of stories in assessing the value of an object, or the lack of specialists working with collections and poor storage conditions are all important factors in the creation of future heritage. The subject of auxiliary collections and replicas is also of much greater significance in the practice of museum work than it appears from the formulated collection policy.","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"218 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122360744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Aeg, sotsiaalse aja kiirenemine ja ajalised taktikad Eesti muuseumitöötajate vaates","authors":"Krista Lepik","doi":"10.33302/ermar-2023-004","DOIUrl":"https://doi.org/10.33302/ermar-2023-004","url":null,"abstract":"This article seeks to map out the use of time and instances of acceleration of social time as experienced by museum employees. It is also an attempt to delineate the danger points resulting from the acceleration of social time and the respective coping strategies employed in museums. Although certain aspects of time, such as deadlines or duration of work, are often clearly fixed by the documents guiding museum work, time is a more multifaceted phenomenon than the typically regulated time units would suggest. Thus, by paying attention to different dimensions of time and discussing the symptoms and problems of the acceleration of social time, we may gain a clearer understanding of one of the sources of possible conflicts in hectic everyday work, both theoretically and practically. Drawing on the theories of acceleration of social time, it is also possible to address some of the more difficult-to-measure aspects of time, i.e. its subjective and social aspects. Taking this theoretical framework as a starting point, this article draws upon semi-structured interviews conducted with eight Estonian museum workers. The interviews were analyzed using the tenets of constructivist grounded theory. The collection of data for the research took place in the disruptive spring of 2020, when due to the emergency situation, museums were initially completely closed to visitors and museum employees were encouraged to use more flexible work forms than before. The changes caused by the emergency situation and the corona crisis are therefore also discussed in this article. With regard to time, there are three major topic areas: the conceptualization of time more generally, a multitude of work tasks and social pressure in time management. All three topics are related to the gaining of control over one's work time, and as a result, it is possible to develop strategies to overcome the challenges faced in these three areas. Some of the aspects through which time conceptualization may be perceived include: setting aside time for tasks that require deeper focus (as urgent, more superficial tasks press their way into the working day anyway), balancing between scheduled and freely planned activities in the working day and the creation of time buffers. Miscellaneous work tasks that multiplied even more with the arrival of the emergency situation in 2020 reflect the multitude of work tasks, as do longer- and shorter-term shifts of attention from one task to another and then back again as well as the techniques for managing work tasks. Some of the manifestations of social pressure accompanying time management include the continual attention to colleagues, visitors and interest groups, the daily, weekly and yearly work rhythms as well as the drawing of boundaries necessitated by the urgency of some tasks. In all three of the topic areas regarding time, there is a search for a certain temporal balance in work activities both at the level of the museum employee and the museum, while ","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130959150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ärimudelite analüüs Eesti muuseumite näitel","authors":"Birgit Prikk","doi":"10.33302/ermar-2023-005","DOIUrl":"https://doi.org/10.33302/ermar-2023-005","url":null,"abstract":"According to the author of this article, the developments of Estonian museums are most influenced by the country's cultural policy and funding model. As emphatically non-profit organizations, museums today are at the service of society and seek to create value in their own unique way through collecting, preserving, researching and presenting historical memory. This does not cause any problems as long as a museum functions as a memory institution, since the functions of a memory institution are largely supported by the state or municipality. In the case of a museum as an attraction, however, the bar of ambitions must be set higher and the availability of competitive relevant competences and resources must be ensured. Since the state or local government is the main financier of most of the major museums, the entire planning logic of museums mainly focuses on the funding conditions stated in the laws and regulations. However, this significantly inhibits the development of activities related to the raising of private revenue, as resources are directed towards the fulfilling of conditions set by the ‘state commission’. For most museums, the ambition to generate private revenue is quite low—their activities are constrained by limited resources and the real revenue potential is largely untapped. In order to compete as an attraction in the experience services market, museums must also invest in the development of an experiential visitor environment and additional services throughout the visitor's journey. New trends are no longer set in years, but in days. Expectations that are raised by the market demand must be responded to more quickly, for timeliness has become equivalent to relevance in creating expositions and developing the visitor environment. Both from the perspective of the visitor environment and taken as a whole, it is possible to detect trends that are influenced by the introduction of new technologies and intellectual property, as well as social media developments and lifestyle trends. Museums as visitor environments must adapt more and more to the expectations and needs of visitors in terms of their interests, lifestyle and everyday needs. To provide an experiential visitor experience, it is not enough to just organize an attractive exhibition, all stages of the visitor's journey must be thoroughly thought out and appropriately furnished. It is only by doing this that it is possible to operate sustainably in an ever-increasingly competitive situation. In summary, it has to be acknowledged that visitors' expectations of museums are becoming more and more demanding, and in order to remain competitive ever greater effort must be directed towards experience. Both as research and educational institutions and as tourist attractions, museums all over the world face challenges that require change. Whether and how these challenges are accepted and overcome depends on the maturity stage of the market in a particular country and the financing model o","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"13 9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134348077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Muuseumide arendamine: kogudest külastajateni","authors":"Pille Runnel","doi":"10.33302/ermar-2023-002","DOIUrl":"https://doi.org/10.33302/ermar-2023-002","url":null,"abstract":"","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"59 21","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113933599","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Muuseumikogude potentsiaali kaardistamine päritolu-uuringute kaudu","authors":"Jaanika Vider","doi":"10.33302/ermar-2023-010","DOIUrl":"https://doi.org/10.33302/ermar-2023-010","url":null,"abstract":"This article focuses on the possibilities created through provenance research in the museum. Setting out current interest in provenance research against the backdrop of antiracist and decolonial movements such as Black Lives Matter and Rhodes Must Fall, the article focuses specifically on the history of research in ethnographic museums shaped by legislative acts such as NAGPRA in the USA, critical thinking about representational practices in anthropology, and collaborative work with originating communities. Using the Siberian collection acquired by Maria Czaplicka in 1914 and held at the Pitt Rivers Museum in Oxford as a case study, I argue that broad-ranging and open-ended provenance research akin to anthropological fieldwork allows to uncover different narratives pertaining to museum objects. It enables to understand why and how the objects were brought to the museum, the kinds of epistemic realities they have helped to build but also to attend to different cultural meanings and realities embedded in these objects. A close historical study of the Czaplicka collection has added to our understanding of the nature of ethnographic research in the early 20th century, brought to attention immoral acquisition of grave goods and human remains during the Siberian expedition but also highlighted close relations between ethnographers and their Indigenous hosts. Contemporary fieldwork in Siberia and creative engagement with the collection have further broadened the understanding of the origin of these objects in relation to Evenki worldview and lived experience. Through such nuanced research, a “thick description” emerges that enables a museum interpretation that can speak to the emergence of drifts and fault lines in the society, bring different worldviews into one space, and within that space address topics of global concern.","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116926449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Toidupärandil põhinev arenduskoostöö: Eesti Rahva Muuseumi projekti kogemus","authors":"Anu Kannike, Ester Bardone","doi":"10.33302/ermar-2023-003","DOIUrl":"https://doi.org/10.33302/ermar-2023-003","url":null,"abstract":"The origins of this article stem from the involvement of the authors in the Estonian National Museum’s (ENM) food culture project which ran from 2017 to 2019. The project was devoted to food culture, or more precisely, to the current interpretations and uses of Estonia’s historical food culture. The aim of the project was to achieve some practical, workable research results in cooperation with various interest groups. Being an institution offering expertise in cultural heritage, the ENM welcomed the challenge posed by the project, as it would combine the fundamentals of inclusive museology with research and collection-based knowledge as well as provide a site fostering discussions and multi-voiced interpretations. The food project managed to highlight clearly various interpretations of food heritage for food production businesses and the tourism sector. The entrepreneurs and developers involved in the project informed the museum of their needs and expectations, while all the parties jointly evaluated the museum’s potential for meeting those needs and expectations. We recognized that the researchers could not afford to limit themselves exclusively to the sharing of expertise on cultural heritage, but also needed to extend their skill set to match the expectations of their cooperation partners, contributing also to the creation of marketing materials (such as films and the Livonian Culinary Route in the past). For the museum, the desire to participate in the process of product development led to some innovative forms of cooperation and outcomes. For example, the application of artistic research was born out of the principles of co-creation and as such, differed from the ENM’s earlier practice of ethnographic documentation via the film medium. In this case, the films were made and uploaded onto the social media platform YouTube, which enabled the museum to expand its outreach. Another experiment that was initiated was the food souvenir contest for which entrepreneurs submitted a relatively representative set of food heritage products within a short period of time. The products and their stories vividly demonstrated many different ways for entrepreneurs to connect their products to heritage. This experience also made us realize that competition is not always the most suitable format for inviting entrepreneurs to take part in joint development programs related to food heritage. Our participation in the Livonian Culinary Route project created the opportunity for us, as researchers, to make our contribution to the development cooperation in the area of gastronomy tourism. Unfortunately, since tourism developers interpreted food heritage in purely instrumental terms, we were not perceived as an equal and important partner. We learnt a valuable lesson that when heritage creation is solely underpinned by marketing goals, it cannot be the basis for sustainable cooperation for researchers of cultural heritage. In a way, the food project also constituted the ","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"10 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114125372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Teadustöö ja muuseumid","authors":"Pille Runnel","doi":"10.33302/ermar-2023-001","DOIUrl":"https://doi.org/10.33302/ermar-2023-001","url":null,"abstract":"","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132818316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Miks on see eksponaat digitaalne? – Digitaalsete eksponaatide dimensioonid muuseumiruumis","authors":"Pille Runnel, Pille Pruulmann-Vengerfeldt, Krista Lepik","doi":"10.33302/ermar-2023-006","DOIUrl":"https://doi.org/10.33302/ermar-2023-006","url":null,"abstract":"Digital objects are used in the exhibition space in different ways. They can be indeterminate, so to speak, mandatory elements which have been created without a clear concept or a needs analysis and their function is to highlight the modernity of the exhibition. But they can also be the most important element of the exhibition – a strategic exhibition layer shaping the entire experience of the visit. Drawing from research on museum communication, this article aims to propose an analytical framework for digital exhibits in exhibitions. This framework should be regarded as preliminary. Our empirical examples draw upon one case study – we look at and analyze the exhibits of the Estonian National Museum's permanent display \"Encounters\", by placing them in a dialogue with other examples and analyzes from the literature of the field. We discuss the potential function of digital exhibits by examining it through the analytical dimensions that were applied in the development of the exhibitions, although this was done not consciously for the most part, since the exhibition relied on a different, primarily content-based organization. We propose seven distinct dimensions in this paper, starting with 1) spatiality, which encompasses the possibilities and limitations of digital elements related to space, and 2) temporality, which relates to the permanence and changeability of the digital exhibit content. Next, we look at 3) digital exhibits considering the dimension of private and public spheres, and 4) the aspect of the exhibit’s single or multiple users, which allows for a better understanding of the previously explored dimension of participation. 5) The creation of a narrative presenting the past relies more and more on combining fictional and documentary formats. Finally, from a critical perspective, we also discuss the questions of 6) authoritative and collaborative interpretation and 7) the openness and limitedness of interpretation possibilities. By highlighting some theoretical starting points with the help of specific examples, we attempt to show the heuristic value of the discussed dimensions in understanding visitor engagement.","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130118030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Teadmiste koosloome ja õppimine Eesti Rahva Muuseumi osalussaalis","authors":"Pille Runnel, Agnes Aljas, Jaanika Jaanits","doi":"10.33302/ermar-2023-008","DOIUrl":"https://doi.org/10.33302/ermar-2023-008","url":null,"abstract":"The Estonian National Museum has been hosting inclusive exhibitions for over ten years. The purpose of the participatory hall is to attract people and provide space for various topics, thereby strengthening ties with different audiences. This exhibition format grew out of the museum's desire to collaborate with various groups and people and give them an opportunity to use the museum as a platform for self-expression and a place where their ideas and opinions could be visualized. After a long-term joint effort, it is important to examine what the participants have learned from the exhibitions, how their experience has benefited them and how the museum can apply this towards further cooperation. The article analyzes the exhibition creation practices carried out by non-professional participants using the examples of two participatory hall exhibitions where the curators were enthusiasts and students. Two major aspects emerged that should merit greater attention in the future when evaluating the participatory hall experience: first, imagining the curation of the participatory hall exhibitions as citizen science, and second, the emphasis on the context of learning for the participants. For the latter, the staging of an exhibition is a research method in which they undertake action similar to professional curators. In particular, the existing sources and collections are reviewed and new materials are produced. Thus, more than before, exhibitions in the participatory hall should be viewed as contributions to the museum collections. In the same way, the staging of an exhibition can be seen as a transformative learning process that takes place in an informal environment. The format of the participatory exhibition had not been originally planned or conceived as such, as this process is similar to the learning process taking place in the environment of everyday life, in which the outcomes are not immediately and easily visible. Helping the participants to realize that they have acquired a number of new and transferable skills when mounting the exhibition would also help strengthen their motivation. Similarly, the exhibition has the potential to serve as a part of a non-formal learning endeavor supporting the formal education system. The whole process must be framed by the systematicity, thoughtfulness and flexibility of the museum’s support that takes into account the diversity of the curators.","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":"118 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115486446","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tingens metod – asjast lähtumise meetod auditooriumide kaasamiseks","authors":"","doi":"10.33302/ermar-2023-007","DOIUrl":"https://doi.org/10.33302/ermar-2023-007","url":null,"abstract":"As scholarly institutions, museums are expected to produce research similar to academic institutions, i.e. journal articles, book chapters and monographs. At the same time, there are ongoing discussions in the academic sector about the status of artistic research, and it is possible to approach exhibition making from the perspective of artistic research. In order to bolster the contribution of museums towards spreading democracy and participatory culture, it becomes necessary to devise methods for bringing together audience engagement and possibilities for artistic research in the creation of new knowledge. The article presents the Tingens Metod or the thing-based method as an opportunity to involve audiences in exploring museum objects. Based on the actor network theory, the object method capitalizes on the possibility of allowing objects to be at the center of gatherings in the museum. In order to ensure that work with the audiences does not remain only sporadic or, for example, limited to the domain of pedagogues, it is necessary to find different methods that would allow other departments and activities of the museum to cooperate with a wider audience. Four workshops using the object-based method were held in cooperation between Malmö Museums and Malmö University. The workshops brought together teenagers, media technology and graphic design students, as well as young adults who discussed different objects found in the museum. We selected twelve items that had also been on display at the exhibition of sailors' memorabilia of the Malmö museums. The workshops took place on the Zoom platform using the Google Jamboard application, which set low technological barriers and encouraged participants to focus on the museum's objects in a way that a single thing rarely receives in the context of an entire exhibition. The participants talked about history, culture, migration, economic and trade relations, art, war and much more. Focus on things makes it possible to lower the participation barrier, and with their questions and curiosity, participants can make their contribution towards work with museum collections. Linking the object-based method with artistic research allows us to examine the items by combining methods such as reading and discussion with, for example, drawing and the search for information on the Internet. In this way the self-confidence of the participants is boosted and their interest sparked. The object-based method can be part of the preparation of the exhibition, where participants can ask questions that the exhibition will later answer, or be part of the work with collections or discovery learning. Integrating the object -based method into the museum's activities through a range of different activities invites audiences to participate in a museum that will never be finished. Questions asked by visitors can reveal gaps in the museum's knowledge and create unexpected and miscellaneous connections. They can likewise help find new and i","PeriodicalId":307696,"journal":{"name":"Eesti Rahva Muuseumi aastaraamat","volume":" 41","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120826441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}