A journey at it’s end – The opening of Durga Puja exhibition

By Ida Vamio and Miina Savolainen

Last Tuesday evening our journey into the world of exhibition building culminated with the opening of the Durga Puja exhibition at the Finnish National Museum. The journey which started mere five weeks ago has been both exciting and eventful. Being in charge of creating the visual multimedia experience for the exhibition was at times nerve-wracking, but ultimately rewarding.

Professor Xenia Zeiler is thanking the students from the Museum Studies programme. Photo: Anna Wessman
The exhibition comes to life. Photo: Ida Vamio

Starting out, we had no previous experience of planning exhibitions or even of using video editing programs. Our task of researching the visual look of the Durga Puja, getting ahold of the materials and putting together the final multimedia shows was more time consuming than we originally anticipated, but it also taught us the importance of time management and communication. In the end, it all came together.

Kuva 1. Indian ambassador Vani Rao holding a speech. Photo: Anna Wessman

Everyone’s hard work was rewarded at the opening as we listened to insightful and lovely speeches from the people of the National Museum, and our teachers, thanking everyone involved for their contributions. We also had the luck of having the Ambassador of India herself to give a speech about Durga Puja traditions and the myth of Durga.

It was great seeing all the guests marveling at the different elements of the exhibition and enjoying themselves. We saw our work come to life, with the lights, objects, and texts perfectly in place and with the picture and video-shows looking just the way we hoped. It was a perfect ending to our journey.

Mingling among guests. Indian Ambassador Vani Rao, Researcher Suvi Sillanpää and Dr. Anna Wessman. Photo: Ida Vamio

None of it would have been possible if not for the amazing help and expertise of Anna Wessman, Xenia Zeiler, Pilvi Vainonen, Samu Hupli, and Carita Elko, without whom the process would have been impossible. Collaboration with an as influential museum as the National Museum has been truly educational and given us a taste of real museum work.

The experience has been extremely valuable and we can only hope that it will be offered to future students as well.

 

 

 

 

Decision-making as part of the Exhibition process

By: Thomas Ermala, Eeva-Maria Viskari & Rachel Fay-Leino

Exhibition objects on table, about to be put into the showcase. Photo: Thomas Ermala

Deciding where an object is displayed in an exhibition is actually a very difficult process when considering all the different factors. Does it reach the audience? Does it fit with the rest of the objects in the showcase? What about the exhibition texts? Deciding is an endless process of throwing ideas back and forth between people with different opinions of what is the most important about the exhibition.

Planned placing for the “Public” showcase. Photo: Thomas Ermala

As we are first-timers, this was a completely new experience for all of us working with the objects for the Durga Puja exhibition. Even though we’ve all worked in a museum before, we haven’t had this insight into exhibition planning, especially at a museum as large as the National Museum. The fact that everything we wanted to do had to go through someone else was a bit confusing, but in the end it also taught us a lot about how a museum this size actually works. It also gave us insights into all of the work that is done behind the scenes.

Exhibition being built. Photo: Eeva-Maria Viskari

The first challenge we encountered was the limited number of objects. When we started the project we were given a list of the objects that were already chosen to go on display. As this was the case the options we had were quite limited but ideas still started to pop up. In the end we chose to divide the object into “Public” and “Private” parts. One showcase would show us things that were associated with the public festival and the other would be dedicated to how it is celebrated at home.

Nearly completed exhibition. Photo: Thomas Ermala

Building the exhibition itself is just the last part of the project, it’s the culmination of all the work everybody has put into it. We were lucky to have a professional designer, Samu Hupli, guiding us through the project and providing invaluable help to us first-timers. Finally the last objects are put into place and the exhibition will be ready for the grand opening tomorrow.

Teaching exchange in Amsterdam 7.–12.10.2018

Port of Amsterdam, 1538. Photo: NR

By Nina Robbins

Heritage Studies in Amsterdam is a vibrant study program, both at the University of Amsterdam and at Reinwardt Academy. In class, students engage themselves in conversation and ask relevant questions. My week as an Erasmus exchange teacher involved lectures concerning value discussions in museums. I had a chance to talk about values on a more theoretical level, and to conduct a hands-on value workshop with different master’s level heritage studies students. Both of the classes showed me that students concern themselves with very much the same issues as those here in Helsinki. The importance of learning to give a voice to heritologically significant issues will be a skill that is more and more needed in the heritage and museum sectors. It was inspiring to realize that Finnish students going to Amsterdam to study, and Dutch students coming here are able to join the mutual value discourse without any great difficulties, and I believe this will be so with all of our courses. One could say that our values are aligned.

In addition to my teaching I found some time to visit several museums and other museological locations, seeing a lot of different options for displaying art works and cultural historical objects, from plexiglass handbags to archaeological findings. Often you will find the most interesting objects in the oddest of places.

Archaeological findings in the Rokin metro station escalator in Amsterdam. Photo: NR

All in all, it seems that all of us working in the heritage field have a common concern, i.e. how to provide the best possible methods for passing on knowledge to our students and eventually to the general public. It is very much about being a mediator and passing on networks of values. In my teaching I talked about history and hands-on experiences that have been shared among museum professionals since the 18thcentury, discussing how to balance that legacy and knowhow with contemporary realities. For example, looking at Leonardo da Vinci’s drawings in a contemporary exhibition organized in the oldest museum in the Netherlands was a time-stopping moment. We are the professionals who get to choose and assign value to such items, and we are the professionals who get to be mediators, passing on the importance of these items to future generations.

Wybrand Hendriks, Teylers museum of art and science, 1810, Haarlem. Photo: Teylers Museum
Teylers museum of art and science, 2018, Haarlem. Photo: NR

It is empowering to acknowledge that we are not alone in our endeavors. There are museum professionals who find it their life’s work to protect and safeguard the idea of museums and collections. I would like to thank the students in Amsterdam for making my teaching week a memorable and fulfilling one; it was a good start for future co-operation between our heritage institutions.

As a discipline with relatively few practitioners, we certainly benefit from collaboration beyond our own borders.

 

 

 

Creating Durga Puja: An Exhibition and an Experience

By: Minna Turunen, Gwendolyne Roggeman and Clarice Bland

University courses tend to stay very theoretical. This is a sad fact that every student realises at some point during their educational process. With still some years to go before graduating and no view of the scholastic system changing significantly, most students can do nothing else than wait. But this year, we – eight students from the University of Helsinki – got the opportunity to put theory into practice and to finally learn something outside of our books and classrooms.

Empty display cabinets in the National Museum of Finland’s pop-up space. Photo: Clarice Bland

The Museum Content Planning course is a collaborative project between the National museum and university. It offers students the chance to learn things hands-on and meet actual people who have already found their place in the museum world. Writing museum panel texts, object labels, and writing blog posts are only part of the lessons learned during this course. Communication and time-managing skills are also essential when working with different people. From the student’s perspective these meetings are extra valuable. After all, we are all people who are aiming to get into museum careers. This project helped us to become familiar with the realities of working in a museum, what career possibilities we have in the future and most importantly what we need to do and study to accomplish our goals.

Durga puja altar donated by the Pujari Finland Association. Photo: Minna Turunen

On Monday 10th of September our adventure began. Our mentors, course organizer Dr. Anna Wessman and curator Pilvi Vainonen told us to get organised and to build a pop-up exhibition for the National Museum of Finland in only 5 weeks! After the practical announcements from our course leaders, Professor Xenia Zeiler gave us our first knowledge about the topic of the exhibition: the Indian Durga Puja festival.

We also got divided into small groups, each with our own responsibilities and tasks: a text group to write the information panels, an object group to decide the setup of the museum objects and a visual techniques group to enrich our exhibition with videos and images. And of course, this work also involved several members from the museum staff, because there were some tasks we simply didn’t have the knowledge to do.

Thomas Ermala, Gwendolyne Roggeman, Miina Savolainen, Ida Vamio, and Clarice Bland during our first visit to the museum. Photo: Minna Turunen

Our group prepared the texts for the objects that would be on display, as well as some background texts about the exhibit and the festival in general. One of the main problems that we encountered was the sheer amount of information about Hinduism, Durga Puja, and the festival itself – what should we include and what was irrelevant information? We also tried to keep it simple so that visitors who has no knowledge can come to the exhibition and not feel confused.

We began by looking at academic sources, but soon realised that the language was too complicated. We then looked at websites from the Hindu community which explained the festival and its importance in a much more down-to-earth manner. These websites, as well as the National Museum’s object catalogue and other texts, helped us to create a good array of texts. We also considered the sensitive aspects of creating a display about a religious festival.

Even though we had no knowledge of the Durga Puja tradition from the beginning we soon reached a point where the festival had no secrets anymore – and this only after weeks of intensive research and exhibition planning. You can probably imagine what a challenge this has been for both us, students, and the museum staff.

Follow this sign to Durga puja pop-up exhibition. Photo: Minna Turunen

After a few weeks of writing the texts, editing them, and re-reading them, we finally got to send them to Pilvi for a proofread. Everything was starting to come together! In the next post, more details will be revealed about creating an exhibition, as well as another perspective of this collaboration.

Durga Puja – pop-up exhibition at the National Museum of Finland 16. 10. 2018 – 28. 10. 2018
Free admission.

Arvot on saatava sormenpäihin

Studio Drift, Fragile Future, 2018, Stedelijk Museum. Photo: Nina Robbins

Puhe arvoista käy museoammattilaisten piirissä aktiivisena. Aihe on kuitenkin helposti karkaileva. Arvokeskustelusta on vaikea saada kiinni tai tuottaa sen päätteeksi konkreettisia päätelmiä. Kuitenkin keskustelun tarpeesta olemme kaikki samaa mieltä. Olisi hyödyllistä, jos jollakin tavoin saisimme arvot hyppysiimme, ja voisimme tässä moniosaamisen viidakossa selättää myös arvokeskustelun palvelemaan museoiden tavoitteita. Olisi toisinaan myös hyödyllistä, jos jokaisella museotyöntekijällä olisi tarvittaessa valmiudet heittäytyä täysimittaiseen arvoväittelyyn.

Olen pohtinut, kuinka konservointityössä jokainen toimenpide täytyy kyetä perustelemaan ennen työn aloittamista. Samalla tulee pohtineeksi myös omien toimiensa pitkäkestoisia vaikutuksia ja työhön sisältyvä arvolatauksia. Minkälaisen viestin tehtävä konservointityö tai valitut materiaalit välittää eteenpäin? Arvopohdinnan piiriin kuuluvat niinkin arkiset kysymykset kuten: ”Valitsenko synteettisen vai orgaanisen liiman?” tai ”Mikä on valittujen materiaalien liukoisuus viidenkymmenen vuoden kuluttua?” Konservointityössä tulevaisuuden on aina oltava menneisyyden kanssa sinut. Tämä käy ilmi esimerkiksi pohdittaessa värien haalistumista tai sitä, kuinka restauroida patina maalauksen pintaan.

Nämä pohdinnat ovat joskus hyvinkin nopeita, mutta toisinaan vaativat päivän tai kaksi kypsyäkseen. Ne ovat kuitenkin automaattinen osa arjen työtä. Usein päätöksiä tehdessä ei edes tule ajatelleeksi, että kyseessä on silkan konkretian ohella myös jonkin asteinen arvovalinta. Kun valinta on tehty, niin takaraivossa on vankat perusteet sille, miksi juuri tämä reitti kaikista olemassa olevista vaihtoehdoista on paras. Ja toisinaan tulee jopa tunne, että myös täysimittainen arvoväittelykin luonnistuisi. Tämän pohdintaketjun soisi jalkautuvan myös muille museosektoreille. Jalkautuminen ei kuitenkaan tapahdu ilman harjoittelua, joka on hyvä aloittaa aivan opintojen alussa.

On hyödyllistä, että arvokeskustelua viritetään ja käydään, vaikka sen päämäärät tai syvin olemus näyttäisivät pakenevan. Tälläkin saralla vain harjoitus saa aikaan selkeyttä, nopeaa reagointia ja väittelyvalmiutta. On hyvin todennäköistä, että työuramme aikana joudumme tilanteeseen, jossa hyvinkin nopeasti pitää kyetä perustelemaan, miksi jokin kulttuurihistoriallisesti merkityksellinen asia on merkityksellinen museon lisäksi myös kaupungin tilatoimistolle tai kaivinkonetta käyttävälle urakoitsijalle. Lukuvuonna 2018–2019 Helsingin yliopiston museologian opintokokonaisuus tarjoaa kursseillaan opiskelijoille myös mahdollisuuden käydä arvokeskustelua ja harjaannuttaa väittelytaitojaan muiden opintojen ohella. Tervetuloa kursseille harjoittelemaan.

Museum studies goes into practice

In the upcoming Museum Content Planning course (KUMA-MU 512), starting this September, the students will plan and build a small temporary exhibition about the Indian Durga Puja festival for the National Museum.

The Durga Puja altar at the Helinä Rautavaara Museum. Photo: Anna Wessman

Durga Puja is an annual Hindu festival in the Indian subcontinent that reveres the goddess Durga. It is one of the greatest festival of the Bengali people and it is celebrated also here in Finland by the bengali community in mid-October. During this course a temporary exhibition will be planned and built by the students around this theme under the supervision of Dr. Anna Wessman and curator Pilvi Vainonen from the National Museum.

Ritual artefacts associated with Durga Puja worship at the Helinä Rautavaara Museum. Photo: Anna Wessman

The students will do actual museum planning and work in co-operation with the staff from the National Museum. Instead of a classic lecture series with a written exam or essay, students will do practical hands-on museum work, such as writing museum panel texts, object labels, writing blog posts of the process and engaging through social media, which will be evaluated by the teacher. Thus, the result of the course is a real museum exhibition, which is a very rare and exciting task for both students and the teachers. Because of this, the course will be limited to only eight persons and the students will work in smaller teams, all with specific duties.

Ways of seeing – approaches to curation

by Tehmina Goskar

In November 2017 I had the pleasure of teaching a class to Helsinki Museum Studies Students. The session was about finding hidden stories from our cultural collections and tested a new philosophy and methodology for curating based on awareness and asking good questions.

But surely awareness of context and good research questions are a natural part of curating? Well it should be but very often our museums will prioritise one voice and a one-way conversation over a two-way conversation and multiple ideas and voices. It is my belief, and that of the Curators Institute, that the multiplicity of curatorial voices and investigative techniques leads to more inspiring, entertaining and ultimately thought-provoking interpretation.

Knowledge and power

Students heard about how museums construct their power through building and disseminating information and stories based on their collections. The model below is a simple demonstration of how this power is created, and amplified, if not in reality, certainly in the minds of curators. However, it is the way this power is shared with museum users, whether they are local and digital communities, visitors or communities of interest (diverse people who unite around a common passion for something).

As a curator it is your job to find and tell hidden stories and then to permit the user/visitor to make their own meaning – and please remember to reply.

Model of museum power (T. Goskar, 2017)

From theory to practice

The theory behind these ideas are based on five approaches to material culture and humanity’s relationship with it. Each approach provoked a different idea about museum objects: the archaeologist’s perspective on giving a voice to artefacts because they cannot speak for themselves (Grierson, 1959); the anthropologist’s method of tracing the life-story or biography of an object (Kopytoff, 1988); constructions of narratives through taxonomy giving the sensation (or illusion) of civilisation (Braudel, 1979, 1981); the artificial division of art and science (Obrist, 2015)—and this is especially keenly felt in the practice of curating which is heavily dominated by the fine art world; and finally ways of seeing as magisterially put forward by John Berger (1972)—and certainly the thinker that has had most influence on me. The key message I share with everyone I teach about curating is that self-awareness of our learned assumptions is absolutely critical to the success of our practice.

With this grounding in the big ideas that surround museums and material culture, it was time for practice. What is obvious to you may not be to your colleagues or audience. The best tools you can use to get the best out of museum collections is to learn how to ask open questions to find out those hidden stories:

  • The biography or the life cycle of the object before it came into the museum (creation, ownership, use)
  • The existing knowledge about the object and its contexts
  • The relevance of the object to diverse people (then and now)

Open questions start with these words, and here are some examples:

  • What … is it made of?
  • How … was it used?
  • Where …. has it travelled?
  • When … was it restored?
  • Who … would donated or sold it to the museum?
  • Why …. would someone from my community be interested in this?

A range of students brought in an object that was meaningful to them (or a photo). It was wonderful to witness the workshop in action among the students who had come from such a wide variety of backgrounds, bringing with them their own talents, know-how and interests. This diversity really came through in their presentations and in the questions that were asked.

This was an exercise in taking a person-centred approach to interpretation. Rather than see their objects as remote and other, they interpreted them to their colleagues as things that represented a story, a moment in life or a place that held meaning for them. As a consequence, the questions that were asked of them became more meaningful, more about creating resonance and mutual appreciation than just about imparting terse technical information such as the title, artist, medium and date of a painting.

Examples of the empathy created during the two-way conversations that took place were Neha’s sil batta – a kind of rolling pin for crushing and grinding to make pastes – leading to discussion about food, and feelings of longing for home and about ancestors and heirlooms. A pilgrimage certificate promoted stories of journeys and achieving goals. An 8-bit Sega Mastersystem cartridge conjured memories of childhood when it was already considered ‘retro’. This was a big part of its appeal. What was life like for young people growing up without the internet?

Walter’s replica Viking lock took a surprising turn once the class had marvelled at its workmanship and physicality. Who made it? It was Walter who made it, 10 years ago, while volunteering in the smithy of a Viking museum. Looking for more meaning in his life than he was getting at school, working at the museum gave him a new passion which he holds to this day.

Such richness of interpretation encouraged the class to have more conversations with each other. It felt like the large gap that many experience between themselves and the museums they use, work in or visit, will begin to narrow once these and other students apply their experience of their course to their practice.

Dr. Tehmina Goskar FMA

Director & Curator

Curators Institute

 

 

 

 

 

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