Museum Security: Reflections on a new course

By Suzie Thomas.

In May 2018, University of Helsinki had a first. A course on Museum Security ran for the first time, and as a joint course with Laurea University of Applied Sciences, it also represented a first ever teaching collaboration with that particular institution. Teachers responsible were Suzie Thomas from the University, and Anssi Kuusela, Reijo Lähde and Soili Martikainen from Laurea University.

The course was open to students of Museum Studies from Helsinki, to students of Safety, Security and Risk Management from Laurea, and also to students of the Open University.

The Collections store of the National Museum of Finland in Vantaa. Head of Conservation Eero Ehanti gave us a detailed tour.

In many ways the course was a pilot, presenting challenges for the teachers to provide content that was relevant and usable for students from quite different backgrounds, including a large representation of international students. We covered themes such as insurance, handling touring exhibitions, and developing risk assessments for museums. We visited sites with particular security needs such as the Seurasaari Open Air Museum and the National Museum of Finland’s collection store in Vantaa.

The students were encouraged to work together with each other for several of the assignments, and we took care to make sure that everyone worked with someone from a different institution to their own.

Mikko Teräsvirta talked about staff and visitor safety on location at Seurasaari Open Air Museum.

We had some very positive experiences on the course, and as teachers we were very impressed and happy with the ways that the students collaborated together, and that the guest lecturers all provided important and fascinating information to enhance the course. Given the sensitive nature of security issues and questions, we are very grateful for the positivity of museum professionals and others to contribute. There were obviously certain aspects of security practice that museums couldn’t discuss with the students, but we wouldn’t have expected anything different.

We also met challenges however, and it was clear that certain aspects of the course were more useful to students from one discipline than from another. Student feedback also pointed to areas where we might look to add more detail in the future, and we know that some of the delivery would be smoother in the future, now that we have the experience of running the course one time already. Almost all the students rated the collaboration between Helsinki and Laurea as “extremely positive” in their feedback, which is good news for taking this course forward and developing it further.

Students visited the exhibitions at Espoo City Museum following a lecture from Eeva Kyllönen about security considerations for arranging touring exhibitions and loans.

In the end, the course – which was possibly unique – owes a lot to the contributing guest lecturers and also to the students for coming with an open mind and a willingness to engage with this important topic.

New open access article on teaching museum studies at the University of Helsinki

The international peer-reviewed journal Museum Management and Curatorship recently published an article from University of Helsinki authors Suzie Thomas, Anna Wessman and Eino Heikkilä. The article comes out of research and consultations carried out to help redevelop the museum studies courses at the University of Helsinki in light of the degree programme restructuring. The article, titled “Redesigning the museum studies programme at the University of Helsinki: towards collaborative teaching and learning”, has the following abstract:

The University of Helsinki has made significant changes to its educational frameworks and degree programmes. For museum studies the changes have been particularly far-reaching. From autumn 2017 onwards there has been a reduction in the total number of study credits available, but also a move from bachelors- to masters-level teaching. This upheaval presented an opportunity to redesign the course in an inclusive way, consulting both with museum professionals and museum studies graduates in Finland and further afield. The resulting courses aim to implement collaboratively the preferences of these consultees, while staying true to the university’s own requirements. In this article, we reflect upon the evaluation process and offer insights that we hope are useful both to museum professionals that have (or wish to have) a relationship with a university museum studies programme, and also for the teachers and researchers involved in devising and delivering these programmes.

Keywords: Museum studiesmuseologyconsultationevaluationcollaborative teachingUniversity pedagogy

The article, published open access, is available via the journal’s web pages.

Museologian kesäkurssi: ekskursio Kaakkois-Suomeen

Kirjoittaja: Joanna Veinio

Helteisenä toukokuun tiistaina starttasi jo varhain aamulla runsaan 30 opiskelijan joukko päiväretkelle Kaakkois-Suomeen. Kohteiksi oli valikoitunut linnoituksia sekä kivikirkkoja. Kyse oli Avoimen yliopiston monitieteisen opintojakson ”Näkökulmia keskiajan ilmiöihin teemana Kaakkois-Suomi” –ekskursiosta.

Matkan ensimmäisen kohteen Sipoon vanhan kirkon (1450-1455) interiööriä hallitsevat pilarit, jotka kannattelevat uniikkia holvausta. Se on yhdistelmä kolmi-, kaksi- ja 2,5 laivaisuutta, varsinainen ”hässäkkä”. Kirkon rakentaja on mestarillisesti onnistunut muuntamaan jo aloitetun kirkon rakennetta. Sisätilassa on mm. yksittäisiä hautavaakunoita, rakentajamaalauksia sekä tilan tunnelmaa hallitseva 1700-luvun loppupuolelta peräisin oleva nupulakivilattia. Vain tämä kirkko edusti matkallamme harmaakirkkoperinnettä sillä kaksi muuta kirkkokohdettamme samoin kuin Porvoon kirkko edustavat keskiajalle alkuperäisempää valkoiseksi kalkittua tapaa.

Sipoosta matkamme jatkui Porvoon Isolle Linnamäelle, jossa Georg Haggrénin johdolla tutustuimme linnan vieläkin näkyvillä oleviin rakenteisiin. Paikka on tunnettu myös Albert Edelfeltin (1854–1905) Porvoo Linnanmäeltä nähtynä -maalauksesta. Nykyajan matkailijallakin on mahdollisuus nähdä sama maisema tosin hieman muuntuneena.

Jo hieman nälkäinen joukkomme jaksoi innostuneena tutustua Pernajan kirkkoon (1435-1445), jonka restaurointi on vuodelta 1938. Kirkko on kaunis yhdistelmä keskiaikaa sekä uutta aikaa. Keskiaikaan viittaavat triumfikrusifiksi, kasteallas sekä 1400-luvun kalkkimaalaukset, joita on otettu esille sekä maalattu peittoon vuosisatojen aikana. Minulle kirkon mieleenpainuvin elementti on uuden ajan alkupuolen kerrostuma, josta kertovat mm. saarnastuoli, hautalaaka sekä hautavaakunat. Kirkko, joka on valitettavan harvoin auki, jää siten kätketyksi helmeksi.

Kirkkojen ketjun katkaisi käynti Svartholman merilinnoituksella, johon ryhmämme siirtyi lyhyen matkan avomoottoriveneellä. Näin turistikauden ulkopuolella saari oli melkein yksin meillä. Vain yksittäinen puutarhatyöntekijä oli paikalla. Tunnelma saaressa on kuin Suomenlinnassa, mutta pienemmässä koossa. Yhdistävät piirteet eivät ole sattumaa, sillä Svartholman linnoitustyöt aloitettiin vuonna 1748 Suomenlinnasta tutun Augustin Ehrensvärdin suunnitelmien pohjalta. Molempien linnoitusten kohtalotkin ovat hyvin samankaltaiset 1800-luvun aikana. Varmasti saari jäi muidenkin matkalaisten mieleen erikoisena kokemuksena: aurinkoinen ilma, aava meri ja hämmentävä rauha.

Viimeinen kirkkokohde oli Pyhtään kirkko (n. 1460), joka myöskin avattiin erikseen ryhmäämme varten. Kirkon kalkkimaalaukset edustavat useita eri maalausryhmiä ilmeisesti eri tekijöiden eri aikoina tekemiä. Puuveistoksista erityisesti jäi mieleeni keskiajan aikana Pyhäksi Henrikiksi muunnettu pyhimysveistos. Lisäämällä pyhän Nikolauksen (?) jalkoihin Lalli saadaan aikaiseksi aivan uusi identiteetti. Asehuoneessa oli esillä keskiaikainen matka-alttarikaappi, joka oli kokenut 1800-luvun restauroinnissa aivan toisenlaisen muodonmuutoksen. Kuten Pernajassa myös Pyhtäällä on nähtävillä Uuden ajan alkupuolen kerrostumat massiivisine alttarilaitteineen, saarnastuoleineen sekä hautakappelin muodossa.

Viimeisenä kohteena kävimme vielä Stengärdsbergetin jatulintarhalla katsomassa tätä herkkää ja mystistä muinaisjäännöstyyppiä. Tämä matkamme viimeinen kohde kiinnittyi myös matkamme kivikirkkoihin, joista löytyy tämä samainen symboli: Sipoon kirkossa on rakentajamaalauksena spiraali, jonka sisällä näkyy ihmishahmo.

Ekskursio ja siihen liittyvät asiantuntijaluennot kertovat siitä kuinka monen eri oppiaineen asiasisältöjä voidaan hyödyntää osana opetusta käyttäen ilmiöpohjaisen oppimisen keinoja. Samaa kohdetta voi tarkastella useista eri ja samalla lomittaisesta näkökulmasta. Lisäksi oppiminen voidaan siirtää ulos luokkatilasta ja samalla se voi olla kokemuksena rikas ja antoisa.

#HYAVOIN #OPPIMINENTEKEEHYVÄÄ

Lähteet:

Hiekkanen, Markus 2007. Suomen keskiajan kivikirkot. Suomalaisen Kirjallisuuden Seuran toimituksia 1117. Tampere.

Utterström, Anita 1989. Pernå kyrka – Pernajan kirkko. Pernå församling. Pernå.

Tervetuloa Svartholmaan verkkosivu https://visitsvartholm.fi/ Luettu 30.5.2018

 

Where Are the Borders? Registration now open

VAR GÅR GRÄNSEN? UTMANINGAR I NORDISK MUSEOLOGI 30.8.–1.9.2018 HELSINGISSÄ (in English below)

Konferenssin ilmoittautuminen on avattu. Ilmoittaudu täällä.

Konferenssin teema on museotyön rajat. Rajoilla tarkoitetaan niin valtiollisia, kulttuurisia, kielellisiä ja etnisiä kuin sukupuoleen liittyviä rajoja. Mitä ne merkitsevät tämän päivän museotyölle ja millä tavoin ne näkyvät museoissa? Miltä näyttää tulevaisuuden museo?

Keynote-puhujat ovat tutkija Áile Aikio Siidasta, Nordiska museetin johtaja Sanne Houby-Nielsen ja professori Simon Knell Leicesterin yliopistosta.

Konferenssiohjelmaan voi tutustua lähemmin täältä.
Olemme myös Facebookissa.

Konferenssin järjestävät Nordisk museumsförbund Finland ja museologian oppiaine Helsingin yliopistosta yhteistyössä Ateneumin taidemuseon ja Helsingin kaupunginmuseon kanssa. Konferenssia ovat tukeneet Svenska litteratursällskapet ja Tieteellisten seurain valtuuskunta.

Konferenssikielet ovat skandinaaviset kielet ja englanti.

Early Bird -hinta 90 euroa on voimassa 11.6.2018 asti. Yhdistyksen jäsenille hinta on 70 euroa ja perustutkinto-opiskelijoille 30 euroa.

Lämpimästi tervetuloa!

 


WHERE ARE THE BORDERS? CHALLENGES IN NORDIC MUSEOLOGY 30 August – 1 September 2018 IN HELSINKI

Registration is now open. Please register here.

The themes of the conference are the different borders in museums work. We have national and cultural borders, ethnic borders, language and gender. What do these borders and relations mean for museum operations and collections? What does futures museum look like?

Our keynote speakers are curator Áile Aikio from Siida, the National museum of the Finnish Sámi, museum director Sanne Hoyby-Nielsen, Nordiska museet, Stockholm and Professor Simon Knell, University of Leicester, UK.

Read more about the program here.
You can also follow the conference on Facebook.

The conference is co-organized by Nordisk museumsförbund Finland, Museum Studies, University of Helsinki, Ateneum Art Museum and Helsinki City Museum and funded by Svenska litteratursällskapet and the Federation of Finnish learned societies.

Early bird fee 90 € is valid until 11 June 2018. Reduced fee (the members of the association) is 70 € and reduced fee (MA students) is 30 €.

Museologian kesäkurssit – ekskursioita ja asiantuntijaluentoja

Miltä kuulostaisi veneretki Svartholmaan tai bussimatka Kankaisten kartanolinnaan? Avoimen yliopiston monitieteisillä kesäkursseilla pääset lähestymään keskiaikaa ekskursioiden ja asiantuntijaluentojen merkeissä.

Näkökulmia keskiajan ilmiöihin, teemana Kaakkois-Suomi –kurssin ekskursiolla vieraillaan muun muassa Svartholman merilinnoituksella, jonne siirrytään avomoottoriveneellä, sekä Sipoon ja Pernajan kirkoilla. Kurssin asiantuntijaluennoilla käsitellään esimerkiksi keskiajan maaseutua, keskiaikaista asutusta ja keskiaikaisia pyhimyskultteja. Kurssilla luennoiva Tuuli Heinonen kuvailee kurssin sisältöjä osuvasti seuraavasti:

Omasta mielestäni kurssi on kaikkiaan todella mielenkiintoinen tilaisuus päästä tutustumaan yliopistolla harvemmin esiin nostettuun Kaakkois-Suomen keskiajan historiaan, eli odotan sitä ainakin itse innolla! Omalla luennollaan Tuuli pyrkii nostamaan esiin etenkin tuoreeseen tutkimukseen perustuvia näkökulmia Kaakkois-Suomen keskiaikaiseen asutukseen.

Kartanoläänejä ja kirkkoja Varsinais-Suomessa –kurssilla puolestaan tehdään bussimatka ja tutustutaan muun muassa Louhisaaren kartanoon, Kankaisten kartanolinnaan sekä Raision ja Maarian kirkkoihin. Kurssin luennoilla pohditaan esimerkiksi avioliittojen yhdistämiä ja valtataistelun erottamia aatelisia mahtisukuja sekä rahankäyttöä keskiajalla.

Molempien kurssien suoritustapoina ovat vapaaehtoinen ekskursio, luennot (5*3h) ja essee. Esseen aihe valitaan sen mukaisesti, mihin aineeseen jakson suorittaa. Esseiden aiheet sovitaan luennon aikana ja tarjolla myös valmiita aiheita.

Ilmoittautuminen opinto-ohjelmissa:

Tervetuloa opiskelemaan!

Hyvä tietää: Avoimen yliopiston kesäopetus on maksutonta ilmoittautumishetkellä läsnä oleville Helsingin yliopiston perustutkinto-opiskelijoille. (Maksuttomuus ei koske ekskursion materiaalimaksua 15 euroa.) Myös lukuvuosiopetuksessa on maksuttomia kiintiöitä Helsingin yliopiston perustutkinto-opiskelijoille. Tarkat tiedot ja ohjeet löytyvät opinto-ohjelmista. Yhteydenottolomake

#HYAVOIN #OPPIMINENTEKEEHYVÄÄ

Siina Nieminen
Koulutusasiantuntija
Helsingin yliopiston Avoin yliopisto

A Discussion of the Aino Myth, #Metoo and the role of museums

by Mari Viita-Aho

The Finnish national epic, Kalevala, has become a controversial topic during the past winter. Particularly the character of Aino has been in the center of debates inspired or proceeded by the #metoo campaign. The director of the Ateneum Art Museum (Finnish National Gallery) has received emails suggesting the removal of Akseli Gallen-Kallela’s Aino-myth from the exhibition. The Gallen-Kallela Museum, which has been founded to foster the heritage of Finnish artist Akseli Gallen-Kallela, considered its duty to take part in this conversation and arranged a discussion on the topic.

Akseli Gallen-Kallela: Aino Myth, Triptych. 1891. Photo: Kansallisgalleria / Aaltonen, Hannu

Participants had been invited from diverse fields and backgrounds. Present were Collections Management Director of The Finnish National Gallery Riitta Ojanperä, PhD Student of Musicology Sini Mononen, Professor of Folklore from the University of Helsinki Lotte Tarkka and Director of Gallen-Kallela Museum Tuija Wahlroos. The conversation was moderated by Director of the Finnish Museum of Photography Elina Heikka, and it took place at the Gallen-Kallela Museum  in 17th of March.

Tuija Wahlroos started the occasion by presenting the story of Aino as a character in Kalevala, and elaborated Akseli Gallen-Kallela’s relationship to Kalevala. The Aino-myth was Gallen-Kallela’s first major Kalevala painting and it provoked debate already at the time it was first exhibited in 1889. Since then, Gallen-Kallela’s paintings have become probably the most famous depictions of Kalevala in Finland, and they are acknowledged and appreciated widely.

Tuija Walhroos and Elina Heikka. Photo: Salla Tiainen / Gallen-Kallela Museum

One of the central topics of the discussion was the means of art in observing and reflecting society, and the importance of the reflection in itself,  as Riitta Ojanperä pointed out in her opening. Art can be perceived as a common space, in which approaching even the most awkward topics is enabled. Something very similar to this is the idea of the  #metoo-campaign: it aims to create a public space, which would be safe and open for discussion.

In the case of #metoo and Kalevala, Aino and Väinämöinen are treated as stereotypes of feminine and masculine characters in Finnish society. Debate has twirled around the image of Finland as an equal place, and whether this equality is reality or fiction. The character of Aino has been seen, in the #metoo conversation, as evidence of inequality in Finnish society. Tuija Wahlroos noted that Aino is one of the iconic characters in Finnish art history, and opens many doors for discussion. Through #metoo, the character of Aino allows to open up the conversation of equality in Finnish history without personifying it into any actual incident or individual.

Lotte Tarkka, Riitta Ojanperä, Sini Mononen and Elina Heikka. Photo: Salla Tiainen / Gallen-Kallela Museum

It is quite remarkable that Kalevala, which was first published in 1835/1849, still draws attention and stirs emotions, even provokes quarrels. People relate to the characters and their destinies so intensely, that contradictory interpretations can seem obnoxious. It seems, however, that the discussion around Kalevala is not really about the storylines of the characters, but the values in society. Some of the questions #metoo raises are: How do the gender roles of Kalevala relate to our current time? What does the Aino-myth tell about the options women had in the 19th century? And on the other hand, have those options become opportunities or otherwise changed so drastically as we have thought?

Always, when a period of transformation is ongoing in the culture, its elementary values will also be contested, noted Lotte Tarkka. Thus it seems, that we are now living in one of these cultural transformation phases. National myths, and their characters, reflect the values cherished in different eras. In art history, depictions of national epics can be seen as a mirror of society and therefore also tools for scrutinizing the inherent values, on which national identity is based on. Sini Mononen also noted, that if these conversations about the values of the society, happen in a public level, they might finally effect to the legislation. Currently, this is what is happening with #metoo. This seems to be an opportunity for institutions to open up the discussion, or to invigorate it.

Sini Mononen suggested, that the role of institutions is to take part in cultural conversations and therefore also be part of the transformation. It is interesting to observe, which ways museums do find to initiate conversations, launch new openings, and to participate into a defining process of cultural and national identity in the future. Museums are experts of art, culture, and history, and their expertise are valued in many fields of society. At the closure of this conversation, Riitta Ojanperä returned to her observation of art as a reflection of society. It could be worthwhile to imagine novel ways, through which this ability to reflect the society would be utilized.

Visual Thinking Strategy in the Art Museum Club

by Mari Viita-aho

This time the Art Museum Club takes place in Kiasma. We have come to see the exhibition Ars Fennica and gathered our chairs in front of a painting. First, we look it in a silence for a while before discussion.

Camilla Vuorenmaa: Chamber, 2017 (detail, photo: Mari Viita-aho)

Me: “So okay, what do you think, what’s going on in this picture?”

Partipant 1: “There are two flamingos in the pond.”

Me: What makes you say they are flamingos?”

P1: “Because they have red or pinkish on their beaks, which is the same colour that flamingos have.”

Me: What else can you find?

P2: There is a pond or a lake and on ashore there are two men dancing. I think they are Finnish adult pop stars Matti and Teppo!

Me: Really? What makes you say that?

P2: It’s because they’re happy and dancing, and also about the same height with each other. They remind me of Matti and Teppo. I think they live in the cottage (…)

Conversation goes on about experiences of music, singers, and Africa, which is presumed by the group to be the settings for this picture. Also, we linger in the idea of the whole room, “The Chamber”, and think about things we know about Egypt, pyramids, graves and death.

In this tour, guides (or instructors) don’t elaborate backgrounds or working styles of the artists. On the contrary, the idea is to concentrate in the viewer, viewer’s knowledge, feelings and associations, and on the issues rising from them. This conversational, participant-centered approach is called Visual Thinking Strategy (VTS) and it’s based on a long-term studies of cognitive psychologist Abigail Housen and museum educator Phillip Yenawine. At the past year, we have been experimenting with the method in the Art museum club.

Visual Thinking Strategy is based on three questions, which are asked when looking at the image. First one of them: “What’s going on in the picture?”, directs the attention of the group to a selected part of the image. Often, we leave things taken for granted unsaid, only assuming, everyone shares a similar insight of them. Many times this is not the case and it’s surprising to hear, how differently people see things.

The second question, “What makes you say that?”, encourages the viewer to think about her own reasoning: what particular thing in the image led into this interpretation? This simple question steers to observe and to discuss about the hidden clues in the image, details which can be bypassed easily. This is the actual learning point on the visual reading. For example, we have been drawn into discussions about how different painting styles can produce sometimes even opposite impressions. Or, what things are instinctively connected to certain colours or shapes.

The third question, “What more can you find?” is about starting the circle again, digging deeper and widening the conversation further.

Conversation with Tuukka Kaila about his art works in the Finnish Museum of Photography (Photo: Mari Viita-aho)

Instructor’s role is to keep the conversation going, make verbal summaries about the discussion and to make sure, everyone can follow it. When explanations are expressed, the instructor paraphrases them back to interpreters, and to the rest of the group. On the one hand, this is to give a chance to correct or specify the interpretation, but also to confirm, the viewers insight is heard and understood.

Paraphrasing of visual interpretations back to the group seems to somehow build distance between the interpretation and the interpreter. This directs the discussion more to consider the possibility of different ways of looking at images, and guides farther from assuming one, appropriate way of looking and interpreting. Thus one benefit of the paraphrasing is, that it empowers the particular visual reading, while at the same time stresses the validity of other explanations as well. This builds curious, investigative, and democratic atmosphere to the conversation.

VTS has been mostly used in schools or other student groups. In addition, some art museums have had tours with it. Art Museum Club’s experiments with the VTS will continue this spring.

Do you have experience with the VTS? If you want to share or discuss about the method, please feel free to contact me! mari.viita-aho@helsinki.fi

 

Some further readings on VTS:

Abery, Nicola. Learning to Live/Looking to Learn: A Visual Thinking Strategies Survey. In Abery, Nicola. The New Museum Community: Audiences, Challenges, Benefits : A Collection of Essays. Edinburgh: MuseumsEtc, 2010.

Yenawine, Philip. Visual Thinking Strategies: Using Art to Deepen Learning Across School Discipline. Cambridge: Harvard education press, 2013.

https://vtshome.org/

Where Are the Borders? Call for papers

Nordic museums profile themselves in the international museum field through a common vision of museums as institutions that support individual and community identity work; that support reconstruction of active citizenship, and that create space for multicultural discussions. Their task is to transcend the borders.Nordisk museumsförbundFinland (the Nordic Museum Association Finland) and Museum Studies, University of Helsinki welcome you to the conference:

WHERE ARE THE BORDERS? CHALLENGES IN NORDIC MUSEOLOGY.  30 August – 1 September 2018, HELSINKI

(Conference pages also available in Swedish)

Nordic countries are considered to be prime examples of good cooperation and neighbourly relations. However there are, and have been, many different kinds of borders as well. Historically, we have fought for national borders and self-determination. Today we have cultural borders, different ethnic groups, and language barriers. Emigration has been a major phenomenon and migration within and between the Nordic countries continues. Immigration, marginalization and polarization are major social issues in all Nordic countries. Social class and gender can also create borders.
Museums can be a facilitator and forum for crossing borders. What do the historical and cultural borders and neighboring relations mean for Nordic museum operations and collections? Are there also museological borders? Where are the borders for the individual employee? What about power and ethics?
• Are there borders also within and between museums?
• How are borders defined in an art museum or in a cultural history museum, for example?
• Which border phenomena have visibility?
• How do these borders affect the collections? What new borders arise during the musealization process?
• Where are the borders between knowledge and entertainment? Is there room for scientific work?
• Can museums decide their borders for themselves? To what extent are the borders determined by the public and different interest groups?
• What challenges do the Nordic vision encounter in the 2020s?

We welcome presentations from both theoretical and practical viewpoints. Students and early carrier scholars are also encouraged to participate. Our aim is to create dialogue between today’s and future museology and its practitioners.

Keynotes

Curator Áile Aikio, Siida the National museum of the Finnish Sámi, Inari, Finland
Museum Director, PhD, Sanne Houby-Nielsen, The Nordic Museum, Stockholm, Sweden
Professor Simon Knell, Museum Studies, University of Leicester, UK

Presentations can take the form of a PowerPoint presentation, a panel debate or a poster. We also welcome suggestions for other forms of presentation. Please state in your abstract the type of presentation you are aiming for. The length of a PowerPoint presentation is 15 minutes, and panel debate 40 minutes. A panel should consist of a moderator and max 3 other discussants from at least 2 different countries.

Submitting paper proposals

The length of the abstract proposal is max 400 words, and should contain the presentation title and 3–10 key words. Please submit paper proposals by February 2nd, 2018 using the EasyChair Submission page. The submission page opened December 4th, 2017, and closes February 2nd, 2018. There is also help available in submitting your text using EasyChair. Approved abstracts will be publicized on the conference webpage and programme. Any questions should be sent to the conference email-adress: NMAHelsinki@helsinki.fi.

Important dates

Deadline for abstract submission: February 2nd, 2018
Accepted proposals will be notified by March 31st, 2018.
Registration starts by April 4th, 2018
Early bird registration deadline: June, 3rd, 2018

Museologian seminaari 2018 hakee puheenvuoroja / The museology seminar 2018 asks for proposals

Museologian seminaari 2018 järjestetään 19.-20.4.2018 Jyväskylässä. Seminaarin aiheena on alkuperäiskansojen kulttuuriperintö ja representointi museoissa, ja aiheeseen liittyviä puheenvuoroehdotuksia pyydetään 12.1.2018 mennessä. Call for papers löytyy kokonaisuudessaan osoitteesta: http://museologian-seminaari-2018.webnode.fi/l/cfp/.

Jyväskylän yliopiston museologian opiskelijoiden järjestämä museologian seminaari on pidetty vuodesta 1996 lähtien joka vuosi. Museologian seminaarin tarkoituksena on paneutua museoalan ajankohtaisiin kysymyksiin ja edistää museoalan opiskelijoiden ja ammattilaisten verkostoitumista. Seminaari järjestetään yhteistyössä ICOM – Suomen komitean ja Museoalan ammattiliiton kanssa.

Museologian seminaari 2018 löytyy myös Facebookista: @museologianseminaari2018

By Arto Sipinen (Own work) [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons
The Jyväskylä University museology seminar will be held 19​th-20th of April 2018. The theme of the seminar this year is cultural heritage of indigenous peoples and its representation and use in the museum field. We ask for proposals regarding the theme to be sent to us by 12th of January 2018. Call for papers is available at:  http://museologian-seminaari-2018.webnode.fi/l/cfp/.

The seminar is arranged by the students of museology of the University of Jyväskylä. The seminar is organised in collaboration with ICOM Finland and the Union of Academic Museum Employees in Finland.

Museology seminar 2018 is at Facebook: @museologianseminaari2018

Staffing updates; some changes for 2018 / Henkilöstöuutisia ja vuoden 2018 muutoksia

From January 2018, Suzie Thomas will work as Professor of Cultural Heritage Studies, covering the teaching and research related to Cultural Heritage Studies for the year. Nina Robbins will become a full time University Lecturer in Museum Studies, and will take on the responsibility for delivering the Museum Studies courses for the same period (apart from Museum Security course in May, which Suzie will still teach). From February 2018 Anna Wessman starts her role as Researcher on the Academy of Finland project SuALT, and will teach one course in Museum Studies, which will be announced later.

 We’re all excited about working with the students, museum and other heritage institutions over the coming year, and wish you all the best for the holiday season!

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Tammikuun alusta Suzie Thomas aloittaa työnsä kulttuuriperintötutkimuksen professorina ja toimii vuoden ajan oppiaineen opetuksen ja tutkimuksen parissa. Nina Robbins puolestaan aloittaa museologian yliopistolehtorin tehtävässä ja hoitaa suurimman osan Suzien kursseista museologian oppiaineessa vuoden 2018 aikana. Suzie vetää museoiden turvallisuuteen keskittyvän kurssin toukokuussa ja Nina hoitaa muut kurssit. Anna Wessman aloittaa akatemiantutkijan tehtävässä helmikuussa 2018 keskittyen SuALT projektiin. Hän myös vetää yhden museologian kurssin, jonka sisällöstä tiedotetaan myöhemmin.

Odotamme kovasti vuotta 2018 ja meistä kaikista on ilo jatkaa työtä heritologia-aineiden kehittämisen parissa.

Toivotamme teille kaikille erittäin rauhaisaa ja mukavaa lomakautta!

Suzie, Anna ja Nina