10.6092/issn.1973-9494/12802
L'articolo esamina lo studio degli skansens (musei a cielo aperto) nel sistema del patrimonio culturale immateriale del paese. La metodologia di ricerca consiste nell'applicare i metodi storici, bibliografici e analitici che gli autori hanno studiato per scrivere l'articolo. La novità scientifica del lavoro è di dimostrare la fattibilità e l'applicazione di un nuovo modello di attività turistiche di skansens nel sistema del patrimonio culturale immateriale di diversi paesi. Le peculiarità dello sviluppo turistico nella società postindustriale hanno influenzato gli approcci concettuali ai topos del museo, che inizialmente trasmettevano un significato cronologico, ma con la distribuzione dei musei - skansens era fuori dai confini fenomenologici del tempo e dello spazio. La diffusione di skansens come esposizioni interattive all'aperto è diventata un riflesso dei cambiamenti nella vita culturale e socioeconomica della società moderna. Le tendenze nello sviluppo del consumismo attivo nelle sfere sociali ed economiche, la globalizzazione, la crescita delle industrie culturali e creative hanno identificato nuove aree dei musei - skansens, che sono state trasformate dai musei, che mostrano collezioni etnografiche nello spazio di un nuovo essere culturale.
application/pdf
1973-9494
12802
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Larysa Liashenko
https://creativecommons.org/licenses/by/3.0
Conservation Science in Cultural Heritage
museum topos
Tourist Activity of Skansens in the System of Intangible Cultural Heritage
Text.Serial.Journal
https://conservation-science.unibo.it/
20
Articles
2021-05-13
2021-04-27
2021-05-13
2021-05-13
247-263
CSCH
Larysa Liashenko
2020
10.6092/issn.1973-9494/12802
247
Institute of Philology, Taras Shevchenko National University, Kyiv, Ukraine
1973-9494
museum topos
en
263
Tourist Activity of Skansens in the System of Intangible Cultural Heritage
https://conservation-science.unibo.it/article/download/12802/12518
20
T    OURIST ACTIVITY OF SKANSENS IN THE SYSTEM OF
     INTANGIBLE CULTURAL HERITAGE

   Stepan Dychkovskyy *
   Institute of Practical Culturology and Art Management
   National Academy of Culture and Arts Management, Kyiv, Ukraine

   Larysa Liashenko
   Institute of Philology
   Taras Shevchenko National University, Kyiv, Ukraine


   Keywords: national tradition, exhibition, communication, museum object, museum topos.



   1. Relevance of the research topic

    The growing role of cultural tourism has given impetus to the preservation and re-
vival of intangible heritage, cultural traditions and national spiritual practices. The de-
velopment of cultural tourism through the use of tools for positioning the national prod-
uct in the world market of tourist services affects the promotion of intangible assets
which, in comparison with tangible heritage, are more durable. In the modern cultural
situation, associated with the processes of the final transition of civilization to today’s
information society and post-industrial tourism, it is obvious that the simple preservation
of intangible cultural heritage has no prospects.
    The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage
recognizes the need for a deeper understanding of the importance of intangible cul-
tural heritage and its protection, especially among the younger generations; the lead-
ing role of indigenous communities, groups and individuals in the creation, protection,
preservation and reproduction of intangible cultural heritage, enriches cultural diversity
and promotes human creativity; close interdependence between intangible cultural heri-
tage, and tangible cultural and natural heritage, emphasizes that the process of global-
ization, on the one hand, poses a serious threat to the existence of intangible cultural
heritage and, on the other, may contribute to its dissemination, mainly through the lat-
est information and communication technologies, thus, contributing to the emergence
of new heritage sites [1]. It should be noted that among the measures directed towards
ensuring the viability of intangible cultural heritage, the Convention pays special atten-
tion not only to the study and preservation of intangible cultural heritage, but also to
the promotion and revival of its various aspects, as it is an “existent heritage” or a “living
culture” [2].
    “Skansen” is the open-air museum that has given its name to museums in many Eu-
ropean countries. Taking into consideration that its founder, Arthur Hazelius (1833-1901),
preserved a picture of Sweden`s old peasant society for posterity that was as authentic
as possible, the open-air museum is a natural museum. Modern skansens are com-


   * Corresponding author: 227@ukr.net
                                                                                                            plexes, unique in content, and innovative in nature, where it is possible to recreate the
                                                                                                            architecture and everyday life of the people in the most figurative and historically au-
                                                                                                            thentic way, and so demonstrate the economic activity of people who lived, worked and
                                                                                                            created in different, historical and ethnographic regions and periods of time. Despite
                                                                                                            the undoubtedly positive significance of the exhibition of the investigated or restored
                                                                                                            objects or products, the skansen also performs the function of reconstructing life mod-
                                                                                                            els in ancient societies and not only demonstrates a certain society in a certain period
                                                                                                            of its historical development, it also performs a series of investigative tasks. Thus, hav-
                                                                                                            ing been developed in this direction, the museum is not at all static – it is cultivated and
                                                                                                            constantly renewed. The skansen may also be involved in the realization of state sci-
                                                                                                            entific programs, based on the study of the material culture of any particular town and
S. Dychkovskyy, L. Liashenko - Tourist activity of skansens in the system of intangible cultural heritage




                                                                                                            country, and may be used as a promising tourist destination with an interactive exposi-
                                                                                                            tion, as well as playing a role in cultural and educational programs.


                                                                                                               2. Analysis of research and publications

                                                                                                                 The diversity of cultural heritage elements contributes to the identification of the
                                                                                                            local population through the formation of a set of values and becomes a determining
                                                                                                            factor in the tourist magnetism of the territory and the growth of attractiveness of the
                                                                                                            regions and is manifested through the emergence of brand images. However, the pro-
                                                                                                            cesses of modernization of customs, rituals and holidays, not only create new event
                                                                                                            resources in the sphere of cultural tourism for the local population and tourists, they
                                                                                                            can also distort folk traditions in favor of the commercialization of culture and the cre-
                                                                                                            ation of new attractions, according to numerous foreign and domestic research stud-
                                                                                                            ies. As a result of commodification, traditional cultural structures, norms and values,
                                                                                                            created over the centuries and ensuring the uniqueness of individual communities,
                                                                                                            acquire the form of a tourist product, namely, they are converted into objects of ex-
                                                                                                            change value, becoming goods for tourist consumption [3]. Under the influence of
                                                                                                            changes associated with mass tourism, there is the threat of an irreversible loss of
                                                                                                            socio-cultural practices in both local and national cultures, including folklore, folk fes-
                                                                                                            tivals, etc. A negative impact is also manifested in the leveling of national and cultural
                                                                                                            identity, when tourists from developed countries involuntarily impose their cultural val-
                                                                                                            ues on the inhabitants of the tourist destination, which is perceived as “cultural impe-
                                                                                                            rialism” [4]. With the constant development of the tourism industry, transformations in
                                                                                                            traditional ways of life and the weakening of local culture take place at many world
                                                                                                            heritage sites [5].
                                                                                                                 Among the main consequences of the commodification of intangible cultural her-
                                                                                                            itage resulting from the increasing number of consumers of tourist products, the au-
                                                                                                            thors report that open-air museums, having combined unified cultural practices, have
                                                                                                            included traditions in many world heritage sites. Any object in the cultural environ-
                                                                                                            ment that is interesting and attractive for tourists may be sold as a commodity and
                                                                                                            is associated with the tendency to find new elements for the formation of a tourist
                                                                                                            product [6].
                                                                                                                 Particular attention is paid to consumer cultural goods which convey symbols and
                                                                                                            ideas about intangible cultural heritage sites and help reveal the potential of local
                                                                                                            cultures. The production and distribution of cultural goods, which have a distinct na-
                                                                                                            tional specificity, is one of the ways to promote the development of cultural diversity
                                                                                                            and support the cultural sector [7]. Having created a database for the contest “Living


                                                                     248
Tradition”, having studied statistics and filled the site with information, the Ukrainian
Center of Cultural Studies found that Ukraine ranks third in the sale of handicrafts in
Europe and first in the export of tablecloths, fabrics and scarves. Meanwhile, most of
the UNESCO World Heritage Sites have become famous on the map of the most
popular tourist routes due to cultural goods that advertise their particular significance,
transforming them into global brands as well as creating a prominent image of spe-
cific countries and territories. In scientific works, the use of intangible cultural heritage
in tourism is considered from the point of view of the sustainable development of tour-
ism, emphasizing the fact that intangible cultural heritage is a tourist asset [8]. De-
pending on the peculiarities of the organization of tourist activities in a certain country,
the depth of integration of intangible cultural heritage in the sphere of tourism may
vary. It should be emphasized that intangible cultural heritage is the basis for cultural,
ethnic, religious, gastronomic and other types of tourism [9]. Due to the purposeful
policy in the field of tourism associated with the promotion of regional and local cul-
tural identity through intangible heritage sites, East Asian countries have managed to
make significant progress in increasing tourist flows in a short time. Countries such as
Great Britain, Germany, and the United States have successfully been implementing
measures for the protection of intangible heritage at national and local levels for a long
time and have become leaders in the international tourism market thanks to these mea-
sures. For Ukraine, the above factors are quite relevant, so it is necessary to move ac-
tively towards the inclusion of more elements of traditional Ukrainian culture in the List
of Intangible Cultural Heritage of Mankind [10].
     The cultural space of European countries in the past decades has been character-
ized by negative demographic changes: low birth rates, aging society, migration pro-
cesses leading to the emptying of rural areas and the concentration of urban residents.
In this context, Ukraine, as a country with a transition economy, and an ineffective tradi-
tion of preserving elements of intangible cultural heritage such as folk crafts and artisan
skills, wedding and calendar ceremonies, family and Cossack songs, traditional folk cos-




                                                                                                     Conservation science in Cultural Heritage
tumes, etc., the Latvian experience in intangible cultural heritage is useful, because it
illustrates the successful results of implementing programs and activities aimed at in-
creasing tourist flows, museum visitors, and cultural expenditure [11]. The problems in
preserving folklore heritage, decorative and applied arts, and traditional folk crafts in
the villages and small towns of Ukraine have also been emphasized by Z.O. Bosyk. In
particular, it is noted that young people have no interest in participating in folk groups,
which consequently are dominated by the elderly. Only a small number of local schools
of folk artists remain as carriers of local living traditions promoting them at festivals, com-
petitions, exhibitions and other cultural and artistic events at local, regional, all-Ukrainian,
international levels [12].
     Intangible cultural heritage is a powerful tourist resource which actively improves
international cultural exchange. [13]. Low awareness of the population of the elements
of intangible cultural heritage points to the need to develop a number of measures for
its study and promotion through tourist trips, excursions and information resources.
In March 2019, the Ministry of Culture of Ukraine and Google Ukraine presented a
joint project –“Authentic Ukraine: Intangible Cultural Heritage”– an electronic resource,
that contains information about the elements included in the National List of Intangi-
ble Cultural Heritage of Ukraine and provides coverage of areas and elements in
which the intangible cultural heritage is manifested [14]. The Ukrainian Center of Cul-
tural Studies has compiled a National list of the following samples of intangible cul-
tural heritage:


                                                                                                   249
                                                                                                            a) the “Cossack songs of Dnipropetrоvschyna” and Petrykivka painting, Ukrainian dec-
                                                                                                                 orative and ornamental painting of the 19th-21st centuries (Dnipropetrovsk Region,
                                                                                                                 Ukraine);
                                                                                                            b) white-on-white embroidery technology and the tradition of carpet weaving in the vil-
                                                                                                                 lage of Reshetylivka, Opishnya pottery (Poltava Region, Ukraine);
                                                                                                            c) Kosovar painted pottery;
                                                                                                            d) the Hutsul pysanka (Easter egg) with its unique beauty, richness of ornamental
                                                                                                                 compositions and, of course, the customs and traditions connected to it, were used
                                                                                                                 as the background in creating the only Museum of Pysanka in the world, located in
                                                                                                                 the Kolomyya Ivano-Frankivsk region;
                                                                                                            e) Krolevets weaving (Sumy Region, Ukraine);
S. Dychkovskyy, L. Liashenko - Tourist activity of skansens in the system of intangible cultural heritage




                                                                                                            f) song tradition of Luka, a village in the Kyiv-Sviatoshynsky district (Kyiv Region,
                                                                                                                 Ukraine);
                                                                                                            g) “Ornek” – Crimean Tatar ornament and knowledge about it (Crimean Peninsula,
                                                                                                                 Ukraine, the place of residence of Crimean Tatars on the territory of mainland
                                                                                                                 Ukraine);
                                                                                                            h) ornamental painting of Bubnov ceramics (Vinnytsia Region, Ukraine);
                                                                                                            i) cooking etaiaklak (Karaite meat pie) (experience of Karaites in the city of Melitopol,
                                                                                                                 Zaporizhia Region, Ukraine);
                                                                                                            j) ritual of “Driving the Bush” in the village of Svarytsevychi, Dubrovytsia district, bee-
                                                                                                                 keeping in boards, forest beekeeping (Rivne, Ukraine) [15].
                                                                                                                 The popularization of intangible cultural heritage in Ukraine should be effectively
                                                                                                            carried out by developing a tourist portfolio, an essential tool for tourist destinations in
                                                                                                            understanding, evaluating and prioritizing the attractiveness of current and potential
                                                                                                            market segments among the available heavily constrained marketing resources. Local
                                                                                                            communities have the exclusive right to be the main beneficiary of any settlement of
                                                                                                            tourist activities, associated with the cultural heritage, because they are the carriers of
                                                                                                            a ’living culture”, which is constantly interacting with nature, ethnic groups and historical
                                                                                                            conditions [16].
                                                                                                                 Some communities today actively use the elements of intangible cultural heritage,
                                                                                                            such as Petrykivka painting, Kosiv painted pottery, Krolevets weaving, as visual identi-
                                                                                                            fiers of the territory and have their images on the official web resources. Many local
                                                                                                            communities do not use elements of intangible cultural heritage as territorial brands
                                                                                                            and thus deprive tourists of the opportunity to identify the area where a particular tradi-
                                                                                                            tion is widely spread. The use of a portfolio as a method to promote elements of the
                                                                                                            National List of Intangible Cultural Heritage of Ukraine allows people to create potential
                                                                                                            attractive resources for tourist activities in a certain area.
                                                                                                                 Nowadays, intangible cultural heritage has become an original resource for the de-
                                                                                                            velopment of territories; to use this resource, however, appropriate promotion and strate-
                                                                                                            gies need to be planned to shape the national tourist product, which must be imple-
                                                                                                            mented according to the principles of historical continuity, ethno-cultural and sustainable
                                                                                                            development belonging to local communities. Tourist demand for cultural heritage con-
                                                                                                            tributes, moreover, to the financing of local traditional folk crafts and arts, stimulating the
                                                                                                            creation of new tourist destinations.
                                                                                                                 Analysis of the scientific literature revealed the commitment of Ukrainian and Euro-
                                                                                                            pean researchers to the ideas of popularization of intangible cultural heritage and the
                                                                                                            development of tourist activities, such as skansens, in different countries.
                                                                                                                 Skansens play an important role in promoting the intangible cultural heritage of the
                                                                                                            relevant region in the country.


                                                                        250
   3. Purpose of the study

    The aim is to study the activities of skansens within the system of intangible cul-
tural heritage and development of the tourist infrastructure of the region.


   3.1. Presentation of the main material

    The most important element of the tourist infrastructure that ensures the preserva-
tion and actualization of intangible cultural heritage, is the “open-air museum” or skan-
sen, which has become a place for new experiences. They were created in the late 19th
century and, at the beginning of the 20th century there were more than two thousand
museums of this type [17]. The term skansen appeared in Sweden with the appear-
ance of the first architectural-ethnographic exposition in the open air and mini-muse-
ums in separate buildings on the island of Djurgarden in Stockholm. The founder of the
skansen, Artur Hazelius, first of all wanted not just to capture the historical past, but to
awaken patriotic feelings with the help of a collection of “living paintings” [18]. Ukrai-
nian culturologist, O.M. Goncharova believes that Artur Hazelius initiated a symbiotic
genre of “park museum and museum topos” organized in the open air. In her opinion,
museum topos is the symbolized and limited space which is perceived through the
prism of meanings of a particular person who existed during a particular time in its
historic development” [19]. Later, the name “skansen” became common for a new mu-
seum trend – “skansenology” - which developed rapidly with the flourishing of the tour-
ism industry.
    Museum environments, such as skansens, can update intangible cultural heritage
through ethnographic and folklore festivals, religious ceremonies, and historical and
ethnographic reconstructions, and with the help of interactive programs, can allow
visitors not only to get acquainted face to face with current lifestyles, but also to plunge




                                                                                                 Conservation science in Cultural Heritage
themselves into a “living” culture. In such a museum, all the “exhibits” are available
and functional; they can also be used by other art institutions [20]. For example, cura-
torial projects can be organized, based on the involvement of visitors in interaction and
co-creation.
    Intensification of mass tourist trips emphasizes the need to preserve endangered
cultural heritage sites and to contribute to the intensive creation of open-air museums.
Significant successes in the creation of skansens in the postwar years have been
achieved by Poland, Bulgaria, Hungary, and Romania, in Europe, and Japan, South
Korea, and Indonesia on the Asian continent, as well as in the United States. In differ-
ent countries this type of museum has its own name: the British call it “open-air mu-
seum”, the Americans and Australians “open-door museum”, the Germans “open-world
museum”, the French “eco-museum”, the Czechs “museum in nature”. In Ukraine most
of them are called “museums of folk architecture and life, museum-reserves, open-air
museums” or “outdoor museums”. The stages in the development of the various mod-
els of open-air museums as a new type of museum activity are reflected in detail in the
monograph by M.E. Kaulen [21].
    There are two approaches to creating open-air museums: the “park type”, where
the buildings are located without interconnection, and the “collection type”, where the
buildings are a part of rural or urban ensembles. The Russian researcher V.V. Tikhonov
identifies 10 types that may be grouped under the umbrella term “open-air museums”:
archaeological complexes; historical environment of cities; palaces and palace and park


                                                                                               251
                                                                                                            complexes; defensive historical and architectural complexes; religious historical and
                                                                                                            architectural complexes; manor-type memorial complexes; military-historical complex-
                                                                                                            es; industrial complexes; ethnographic complexes; mixed type museums. In his opin-
                                                                                                            ion, the most effective way to preserve and promote cultural heritage is to change from
                                                                                                            a collecting approach in creating the exhibition space of open-air museums to an eth-
                                                                                                            nographic approach, which facilitates the reconstruction of the cultural space on the
                                                                                                            basis of detailed historical and cultural zoning. The collecting approach, which deals
                                                                                                            with the placement of unique historical objects-monuments and architecture in a sepa-
                                                                                                            rate species series, is nowadays applied in some skansen museums. V.V. Tikhonov
                                                                                                            considers the modern exposition space as a place both for new environmental objects
                                                                                                            and for authentic landscapes with an ethnographic composition [22].
S. Dychkovskyy, L. Liashenko - Tourist activity of skansens in the system of intangible cultural heritage




                                                                                                                Applying the collecting museum approach to objects of immovable and intangible
                                                                                                            heritage, the skansen-museum model only simulates a “dead” environment, separated
                                                                                                            from modern, real life [23]. Transforming the open-air museum into a modern socio-
                                                                                                            cultural environment by integrating not only objects of tangible and intangible cultural
                                                                                                            heritage in an authentic environment, also means involving people in museum activi-
                                                                                                            ties, as the carriers of cultural traditions. Skansen-museums therefore, go beyond the
                                                                                                            traditional limits of storing thematic collections; they can be transformed into environ-
                                                                                                            mental museums that are able to provide research fields, as well as being the demon-
                                                                                                            stration of a cultural landscape with all its interconnecting constituent elements.
                                                                                                                According to O.E. Afanasiev, the classification of modern socio-cultural centers
                                                                                                            should include additional categories that provide more details about open-air muse-
                                                                                                            ums: museums with exhibition sections and departments; expositions and parks of
                                                                                                            military equipment, military complexes; parks with sculptures, modern art, open-air art
                                                                                                            spaces; amusement and leisure parks created on a historical basis; industrial muse-
                                                                                                            ums, engineering facilities representing a certain period of industrial development [24].
                                                                                                            The Kreller-Müller park-museum near the town of Otterlow in the Netherlands, cover-
                                                                                                            ing 25 hectares, includes works by some of the best sculptors of the 20th and 21st cen-
                                                                                                            turies: Auguste Rodin, Lucio Fontana, and Henry Moore. Open-air sculptures may be
                                                                                                            seen if taking a walk or a cycle ride through the park. It is designed to put into practice
                                                                                                            the idea of the collector and founder, Helen Kreller-Müller, about the symbiosis of art,
                                                                                                            nature and architecture. And income is provided by ticket sales – every year the park-
                                                                                                            museum is visited by more than 300 thousand tourists [25].
                                                                                                                The ICOM Charter on the Principles of the Relationship between Museums and
                                                                                                            Cultural Tourism emphasizes that in the context of cultural tourism development all
                                                                                                            aspects of museum activities should be based on encouraging local communities to
                                                                                                            manage cultural heritage and develop tourism products; and commercialization of cul-
                                                                                                            tural tourism, which is based on heritage resources, should contribute to the develop-
                                                                                                            ment of the socio-economic sphere of the local community [26]. Cooperation between
                                                                                                            museum and tourism organizations should be based on an equal distribution of income
                                                                                                            from tourism services, while planning cultural projects should take into account market-
                                                                                                            ing strategies which are compatible with the characteristics of cultural resources of
                                                                                                            certain communities and society. “Museum collections reflect the cultural and natural
                                                                                                            heritage of the communities they come from and, thus, can be closely connected with
                                                                                                            national, regional, local, ethnic, religious or political identity”.
                                                                                                                The main goals and objectives in the creation and operation of open-air museums
                                                                                                            are connected with the need to create a model of the cultural landscape displaying
                                                                                                            household items, tools and applied art in a complex of national folk culture, architecture,
                                                                                                            helping to revive forgotten traditions, crafts and folk festivals.


                                                                            252
    Dmytro Kadnichansky notes that one of the effective ways to preserve valuable
examples of both Ukrainian wooden architecture and old residential and commercial
buildings is to transfer them to museums of folk architecture and life (open-air muse-
ums), where they are reproduced in their original form [27]. At present there are fif-
teen large skansens in Ukraine: only one has the status of national: the State Mu-
seum of Folk Architecture and Life of the National Academy of Sciences of Ukraine
(Kyiv); the other fourteen are regional, such as the Lviv Museum of Folk Architecture
and Rural Life, “Shevchenkivski Hai”, Pereyaslav – Khmelnytski Museum of Folk Archi-
tecture and Life, etc. On the territory of the Ivano-Frankivsk Region of Ukraine several
projects for skansens are being implemented: the open-air museum of Hutsul culture
in the “Hutsulshchyna” National Nature Park as a sample of ethnocultural environment
of people in Pokutsko-Bykovynian Carpathians (Figure 1a); the Ugornytsky Spaso –
Preobrazhensky Monastery in the village of Uhornyky, Kolomyia district, where monks
are engaged in gardening, agriculture, taking care of apiary in Precarpathia (Figure 1b);
the Ugornitsky Spaso – Preobrazhensky Monastery in the village of Uhornyky, Kolo-
myia district, a member of the religious male community demonstrates his handcrafts
(Figure 1c).
    The largest in the world by area (150 hectares) and by number of buildings of wood-
en folk architecture of the 16th century to the beginning of the 20th century, the State
Museum of Folk Architecture and Life of National Academy of Sciences of Ukraine is
located on the outskirts of the capital of Ukraine, in the village of Pyrohiv [28]. The
museum buildings are grouped into estates by ethnographic zones of Ukraine, such as
“Middle Dnieper region”, “Poltava and Slobozhanshchyna”, “Polissia”, “Podillia”, “Car-
pathians”, “Souh of Ukraine”. The skansen is a favorite place for people to spend folk
and religious holidays. Kyivans and tourists from other regions visit the various exhibi-
tions and fairs where folk craftsmen display their traditional products and handicrafts.
Furthermore, it is a place where interactive programs for children and youth are organ-
ised, TV shows and clips are filmed, excursions and presentations of new routes for




                                                                                                  Conservation science in Cultural Heritage
rural green tourism in Ukraine are held.
    Several samples of windmills, located on the territory of Pirogovo Village Open-Air
Museum are depicted in Figure 2; typical wooden windmill from the village of Antonivtsi,
Ternopil rergion (Figure 2a); sample of a wooden windmill from the village of Shestovyt-
sia, Chernihiv district (Figure 2b); sample of a wooden windmill in the village of Tatarbu-
nary, Odessa region (Figure 2c).
    The experience of creating and operating open-air museums shows that in addition
to their main task – preserving and promoting cultural heritage – skansen-museums
play a significant role in the development of tourist and recreational activities for the
local population and tourists. Open-air museums allow people to organize mass folk-
lore-ethnographic and cultural-historical festivals, thematic festivals, exhibition projects,
and theatrical tours and concert programs of folk groups with a background of unique
museum objects in harmony with the typical landscapes of different historical and geo-
graphical regions of Ukraine. Examples of events, in which visitors have the opportunity
to have direct contact with the bearers of folk traditions or to become participants in the
action, may be based on the well-known festivals of Ukraine, such as the International
Folklore Festival “Bukovynian Meetings”, International Literary and Art Festival “Krole-
vets Towels” at the Museum of Krolevets weaving, All-Ukrainian cultural and artistic
action “Art of one village”, All-Ukrainian historical and cultural festival “Mamay-fest”,
“Week of the national pottery movement in Opishne”, All-Ukrainian Festival of Masters
of Folk Art, “Pereyaslav Fair” and others [29].


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        S. Dychkovskyy, L. Liashenko - Tourist activity of skansens in the system of intangible cultural heritage




254
      Figure 2.
                                                                              Figure 1.
     However, some drawbacks to using skansens effectively in tourism do exist:
a) the number of open-air museums is insufficient, consequently, recreational needs
     are not fully satisfied, especially in large industrial cities;
b) many different types of buildings in skansen exhibitions are not used at all or many
     of them are closed because of inadequate financing or lack of necessary exhibits
     on the territory with recreational infrastructures and services;
c) lack of a clear location plan of the exhibition for visitors [30].
     This situation is typical for many post-Soviet countries which, having a huge num-
ber of cultural sites and landscapes, use their unique potential inadequately. This is
evidenced by monitoring data conducted by international institutions and indicators of
cultural heritage usage in tourism development [31].
     The inclusion of intangible cultural heritage in museum activities allows the forma-
tion of new conceptual museum technologies which increase the attractiveness of mu-
seum expositions and destinations in general. Therefore, an important task deals with
the active involvement of intangible cultural heritage in the skansens’ activity together
with innovative tourist products. [32]. For example, the new Beacon app, launched in
2015, enables museum visitors to use a digital guide which sends information about the
exhibits they see during the tour in the form of audio and video materials, articles and
reviews. Also, this technology helps them navigate inside large museum complexes and
galleries, and upload photos to social networks [33].
     Museum affairs currently focus on the task of involving modern technologies to at-
tract visitors to their exhibitions and taking care of and managing their exhibits. All this
is harmoniously combined in the skansen-museum, which reproduces national values
through a combination of tangible and intangible heritage.
     Thanks to skansen-museums both pre-school children and schoolchildren can learn
about national traditions. In these museums they can get a feel of the ancient crafts or
get acquainted with the different curiosities from the past, face to face.
     At present, the use of modern information technologies, including augmented real-
ity technologies or QR-codes, is becoming increasingly important in skansen-museum




                                                                                                   Conservation science in Cultural Heritage
activities. Augmented reality is a direct or indirect reflection of the surrounding reality in
real time, the elements of which are supplemented by virtual space, created on a com-
puter (sounds, video, graphics, GPS data).
     The implementation of augmented reality nowadays is possible thanks to the creation
of three-dimensional models of objects on the screens of smartphones and tablets, as
well as a series of perspective devices (Google glasses, Smart vision). These technolo-
gies provide the possibility to organize interactive environments inside the museum area.
     Besides, new information technologies facilitate public resonance campaigns and
PR-events, which help attract the attention of numerous visitors and volunteers, enticing
them to visit the museums.
     The Google team in Ukraine, under the patronage of the Ministry of Culture of
Ukraine, has recently presented a virtual tour of Ukrainian open-air museums.
     Seven museums in different regions of Ukraine are now open for a virtual tour, namely:
a) the National Museum of Folk Architecture and Life of Ukraine in Pirogovo (Figure 3);
b) the Museum of Folk Architecture and Life of the Middle Dnieper in Pereyaslav-
     Khmelnytsky;
c) the Museum of Folk Architecture and Life in Lviv;
d) the Transcarpathian Museum of Folk Architecture and life in Uzhgorod;
e) “Mamaeva Sloboda”;
f) Zaporozhye Sich;
g) Bohdan Khmelnytsky in Chyhyryn.


                                                                                                 255
S. Dychkovskyy, L. Liashenko - Tourist activity of skansens in the system of intangible cultural heritage




                                                                                                                                                     Figure 3.


                                                                                                                 Thanks to this project, those who are unable to visit the open-air museum person-
                                                                                                            ally, have the opportunity to learn more about the folk architecture and life of our ances-
                                                                                                            tors online.
                                                                                                                 Indeed, new information technologies allow us to expand the boundaries of the
                                                                                                            exhibition, to show a huge amount of additional information and to increase the visitor’s
                                                                                                            emotional impact. At the same time, these technologies are only a supplement to the
                                                                                                            museums’ exposition.
                                                                                                                 Young visitors can take part in the master classes in traditional cooking, pottery,
                                                                                                            weaving, etc. Every Ukrainian skansen museum is characterized by a variety of such
                                                                                                            activities for both children and adults. Families enjoy spending holidays and attending
                                                                                                            festivals regularly, organized by the skansen museum staff. This is effectively high-
                                                                                                            lighted by the reviews on social networks, by the museums’ and travel agencies’ data
                                                                                                            bases, which indicate the increasing amount of tours to the Skansen museums.
                                                                                                                 Thus, the appeal of intangible heritage and its inclusion in the content of museum
                                                                                                            activities can be considered as a process that brings the model of the skansen muse-
                                                                                                            um to life. At the same time the institutional features of the museum are preserved, but
                                                                                                            the museum itself becomes less conservative and more often meets the demands and
                                                                                                            desires of modern society.


                                                                                                               4. Results

                                                                                                               The activity of the world’s leading museums in the context of cultural tourism devel-
                                                                                                            opment is characterized by the transition from a social-service model to a market-ser-


                                                                          256
vice model of cultural tourism; thus, a museum may become the main element of the
tourist route as well as the initiator of the development and implementation of tourist
programs [34]. In its turn, cultural tourism may act as a factor in the development of
museums according to the innovative concept of “recreation plus knowledge and ex-
perience” and may become a new ideology for all Ukrainian museums.
     There is an expansion of the museum, which leads to its transformation: collection
– ensemble – skansen (and other forms of open-air museums) – eco-museum – envi-
ronmental museum. Thus, environmental museums embody a synthesis of the charac-
teristic features of previous museum forms in order to preserve the environments in-
side the complex, giving environmental museums the features of several museum
models simultaneously.
     The interactivity of the scientific and educational work of the museum is manifested
in a differentiated approach to different categories of visitors, with the introduction of
traditional tour games and theatrical elements, and opportunities for visitors to have
tactile access to the exhibits.
     Among the innovative forms which national art museums offer their visitors, there
may be theatrical tours, “happenings” and night-time visits, in which spectators not only
participate in different shows, they entertain themselves and have fun at the same time.
Each event can become a creative museum marketing idea. It allows museums to shift
between being a space for observation to a space for performing and acting, for impro-
visation in art, fashion shows, music concerts, workshops and spectacles.
     The scientific research analyzed in this article has been discussed at international
conferences in various European countries. A new model of tourist activity for intangi-
ble cultural heritage at skansens has been developed and introduced into the educa-
tional process at the Department of Art Management and Event Technologies of the
National Academy of Culture and Arts Management of Ukraine.
     The skansen is a cultural phenomenon that is currently undergoing constant trans-
formation. The formation and development of skansens throughout Ukraine has oc-




                                                                                                  Conservation science in Cultural Heritage
curred gradually from the beginning of the 21st century. At present, the material and
spiritual culture of almost all the ethnographic regions of Ukraine is represented by the
justification of architectural monuments in the open-air museum. The period under re-
view is characterized by the discovery of privately owned skansens supported at the
legislative level. However, most of the well-known Skansens have been unable to real-
ize all the planned activities due to lack of funding. At the same time, in the context of
globalization, on the one hand, they remain centers of preservation and actualization
of traditional culture and, on the other, are increasingly becoming part of the socio-cultur-
al sphere in the cultural industry and recreation sector.
      One of the directions in the development of the skansen as a socio-cultural center
is the reorientation of the museum from being an archive of historical and cultural
monuments to being an educational center with leisure and entertainment services.
The modern museum as a component of cultural industries faces a series of tasks that
need to be addressed.
     The main tasks have been identified as: the organization of cultural recreation for
museum visitors, the presentation of historical and cultural heritage as a unique pecu-
liarity, the ability to form a brand, the sustainable development of territories. The vast
majority of tasks are addressed thanks to the transformation of museums into tourist
attractions. It should be noted that combining museum business and tourism is one of
the most profitable industries in the world and creates a demand for the opening of
full-fledged museums with unique content, infrastructures and original tourist products.


                                                                                                257
                                                                                                            World experts declare that the impact of tourism on the economy has been growing
                                                                                                            gradually from year to year; the annual growth of world tourist flows increased up to
                                                                                                            4-5% before the COVID-19 epidemic. After the economic decline, most countries in the
                                                                                                            world understood the necessity of investing in new skansens, as it became clear that the
                                                                                                            cultural economy also depended on its success in culture and art.
                                                                                                                Within the cultural economy, much attention is paid not only to tangible, but also to
                                                                                                            intangible assets – human and creative capital, in which the main objects of the cultural
                                                                                                            economy may be traditional cultural structures, museums, libraries, theaters, etc. The
                                                                                                            state as an institution, implements a cultural policy that reflects its main ideological prin-
                                                                                                            ciples and has an important influence on the cultural economy. Thus, cultural policy must
                                                                                                            be based on a clear understanding of culture as a concept, recognizing its potential in
S. Dychkovskyy, L. Liashenko - Tourist activity of skansens in the system of intangible cultural heritage




                                                                                                            the formation of national identity, tourism development, and business attraction.
                                                                                                                The main focus of tourists’ attention is on historical and cultural heritage, i.e. a set of
                                                                                                            objects and traditions, preserved by mankind from past generations, and is represented
                                                                                                            in museums in the form of monuments and intangible assets, as well as natural heritage,
                                                                                                            about 80% of the total amount of all tourist attractions. Skansens have a high attraction
                                                                                                            level, primarily due to the fact that they attract visitors and actively involve them. This is
                                                                                                            thanks to the implementation of innovative technologies and various forms of commu-
                                                                                                            nication with the museum visitors through various sensory channels (sight, hearing,
                                                                                                            smell, taste, touch). Visitors’ involvement can be passive or active, partner-participant,
                                                                                                            partner-carrier of tradition, etc. Passive involvement happens through observation, and
                                                                                                            active involvement through conscious participation in the spectacles and events, that
                                                                                                            take place at the museum. One of the main approaches in museum interaction with
                                                                                                            visitors, unofficially called “edutainment” (from education and entertainment), may be
                                                                                                            realized on the territory of one museum. The term “edutainment” foresees the use of
                                                                                                            interactive game methods to include visitors in the recreational and educational process.
                                                                                                            Skansens, which have a recreational and educational approach, determine several pe-
                                                                                                            culiarities, such as originality of the concept, making the museum competitive in the lei-
                                                                                                            sure industry; its consumer orientation (real and potential museum visitor). The long-
                                                                                                            term or cyclical programs which encourage people to visit one and the same museum
                                                                                                            many times; the focus on cooperation with visitors, sponsors and professionals from
                                                                                                            other spheres: actors, musicians, etc. All this gives the opportunity to attract as many
                                                                                                            visitors as possible to the museums.
                                                                                                                When creating skansens, it is the idea itself that is important and the selected col-
                                                                                                            lection of museum objects that already exist, or have been specially created, with the
                                                                                                            aim of entertaining and providing a cognitive function. Today, the organization of open-
                                                                                                            air museums is one of the most promising and effective ways to preserve historical and
                                                                                                            cultural heritage and has the status of “museum of the future”. From the second half of
                                                                                                            the 20th century, changes in museum studies have transformed museum institutions from
                                                                                                            being a “storage space for museum valuables” into socio-cultural centers. Leading func-
                                                                                                            tions include the organization of cultural recreation for visitors, during which educational
                                                                                                            activities may take place. As a result, the presentation of museum information (visual,
                                                                                                            verbal) is undergoing transformation.
                                                                                                                Skansens, in contrast to collection and ensemble museums, are also a means of
                                                                                                            communication. Verbal communication is carried out by actors-imitators, talented pro-
                                                                                                            fessional masters during workshops or fairs, other sounds, such as music, may be heard
                                                                                                            from folk instruments. Natural sounds in the environment, such as the rustle of leaves,
                                                                                                            the noise of nature, animals, etc., transmit information through the “natural noise of the
                                                                                                            environment”, and not by the narration of the lecturer-guide. The environment itself ef-


                                                                          258
fectively provides a form of entertainment and relaxation for tourists by introducing
them to different sorts of activities. Furthermore, the emotional impact, determined by
aesthetic satisfaction or sense of historical involvement in ordinary museums, in skan-
sens reaches a maximum, because creating emotional interaction with museum visi-
tors is one of the priorities of the open-air museum. Promoting learning processes
through the emotional impact on visitors in the skansen enhances the importance of
other forms of communication, including tactile observation (the possibility to touch
objects, etc.), taste (the possibility to taste dishes from different historical periods), etc.
European skansens demonstrate great diversity today. In most cases this happens
thanks to the fact that they have many more opportunities to exploit the modern infor-
mation world because they function in a spatial environment that can be adapted and
applied to the design decisions of scientists, architects and museum staff. Museum
handicraft workshops present samples of their products for real use and visitors can
even try their hand at making simple products under the guidance of a master. In the
sphere of school and higher education, museums offer their monuments, landscapes,
culture and traditions as a platform for study and history lessons, with possible involve-
ment of theatrical companies. Such museums become not only tourist centers for rural
and urban areas, but are also an epicenter of information, where you can use a com-
puter and other technologies, as well as library resources. Thus, skansens, with the right
organization, professional approach and effective management, have an extremely
promising future in the museum industry.
    A comprehensive analysis of the activities of Skansens in Europe allows us to for-
mulate recommendations for a series of measures, to help solve the working problems
of such museums. In particular, in order to preserve the authenticity of constructions
and materials of wooden architectural monuments during reconstruction, it is first nec-
essary to create schools to train professionals who know the peculiarities of local ar-
chitecture.
    If Europe’s experience and achievements are taken into consideration, the activity




                                                                                                    Conservation science in Cultural Heritage
of skansens in Ukraine will undoubtedly be improved and their tourist attractiveness at
the national and international levels will increase.
    The scientific novelty of the article is to substantiate the feasibility of applying a new
model of open-air tourism in the country’s system of intangible cultural heritage and
implementing material in the educational process for teaching master’s degrees in
“Urban Production and Cultural Tourism”.


   5. Conclusion

    Peculiarities of tourism development in post-industrial society have influenced the
conceptual approach to the museum topos that has evolved from the representative-
decorative to the closed topos of public expositions, the symbolic topos of museums of
the post-industrial era, to the open topos of skansens and the virtual topos of interac-
tive museums. However, the latest innovations in museum studies still need separate
research. It may be reasonably stated that skansens belong to a relatively new direc-
tion taken in museum tourism and is now in the early stages of its formation. The spread
of skansens as interactive open-air expositions pay attention to changes that have
taken place in the cultural and socio-economic life of modern society. New trends in
active consumption in the social and economic spheres, globalization, and the appear-
ance of cultural and creative branches have determined new activities in the skansens;


                                                                                                  259
                                                                                                            they have consequently been transformed from museums that merely displayed eth-
                                                                                                            nographic collections into socio-cultural complexes directed towards developing the
                                                                                                            recreational and aesthetic potential of leisure activity, the formation of a spiritual per-
                                                                                                            sonality, and the strengthening of family values and traditions. The main mission of
                                                                                                            open-air museums is to introduce future generations to the uniqueness of the architec-
                                                                                                            ture, life, and traditions of our ancestors in conditions which are very close to being
                                                                                                            authentic. The format of the skansen exhibition as a way to preserve and reproduce
                                                                                                            these ethnic elements is therefore of great significance. All aspects of folk life from all
                                                                                                            historical and ethnographic zones are worth representing, because each of them has
                                                                                                            its own traditions, differences and features, having been formed due to relations in the
                                                                                                            system “man – environment” over many centuries.
S. Dychkovskyy, L. Liashenko - Tourist activity of skansens in the system of intangible cultural heritage




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                                                                                                               Biographical notes

                                                                                                                Stepan Dychkovskyy, PhD in Pedagogy, Associate Professor, Director of the In-
                                                                                                            stitute of Practical Culturology and Art Management, National Academy of Culture and
                                                                                                            Arts Management, Kyiv, Ukraine. Author of more than 50 scientific articles, including 3
                                                                                                            monographs: “Scientific and educational sphere as a key factor in the development of
                                                                                                            countries in the epoch of knowledge economy” (Kiev, 2014), “Cultural training of man-
                                                                                                            agers of socio-cultural activities by means of distance learning in higher education in-
                                                                                                            stitutions” (Kiev, 2019), “Cultural markers of consumption (on the example of the hos-
                                                                                                            pitality industry)” (Netherlands, 2019) and 2 textbooks “Culturology” (Kyiv, 2014),
                                                                                                            “International educational systems” (Kyiv, 2014). Scientific interests include cultural
                                                                                                            tourism, museum studies, architecture.

                                                                                                                Larysa Liashenko, Honored Educator of Ukraine, Honored Doctor of Arts, Institute
                                                                                                            of Philology, Taras Shevchenko National University of Kyiv, Ukraine. Author of more


                                                                        262
than 20 scientific articles, including 2 course-books, “IT Focus: 25 authentic ESP texts
for speaking” (Level: B1-B2, Kyiv, 2020), a coach in the University project “Practical
English course for civil servants and representatives of the security service of Ukraine”
(Kyiv, 2018-2020). Scientific interests: methodology of teaching English in higher edu-
cational institutions, pedagogical psychology, psychophysiology, genetic psychology,
arts & crafts.


   Summary

    The article examines the study of skansens (open-air museums) in the system of
intangible cultural heritage of the country (Ukraine). The research methodology is to
apply the historical, bibliographic and analytical methods the authors investigated to
write the article. The scientific novelty of the work is to substantiate the feasibility and
application of a new model of open-air tourist activity in the system of intangible cultural
heritage of different countries. Peculiarities in tourism development in post-industrial
society have influenced the conceptual approach to the museum topos that has evolved
from representative-decorative to the closed topos of public expositions, symbolic topos
of the post-industrial era, to the open topos of skansens and the virtual topos of inter-
active museums. The spread of skansens as interactive open-air expositions pay at-
tention to changes that have taken place in the cultural and socio-economic life of mod-
ern society. New trends in the development of active consumption in the social and
economic spheres, globalization, and the appearance of cultural and creative branch-
es have determined the new activities of Skansens, which have been transformed from
museums that merely displayed ethnographic collections, to socio-cultural complexes,
directed towards developing the recreational and aesthetic potential of leisure activi-
ties, the formation of a spiritual personality, and the strengthening of family values and
traditions.




                                                                                                    Conservation science in Cultural Heritage
   Riassunto

     L’articolo esamina lo studio degli skansens (musei a cielo aperto) nel sistema del
patrimonio culturale immateriale del paese. La metodologia di ricerca consiste nell’ap-
plicare i metodi storici, bibliografici e analitici che gli autori hanno studiato per scrivere
l’articolo. La novità scientifica del lavoro è di dimostrare la fattibilità e l’applicazione di
un nuovo modello di attività turistiche di skansens nel sistema del patrimonio culturale
immateriale di diversi paesi. Le peculiarità dello sviluppo turistico nella società postin-
dustriale hanno influenzato gli approcci concettuali ai topos del museo, che inizialmente
trasmettevano un significato cronologico, ma con la distribuzione dei musei – skansens
era fuori dai confini fenomenologici del tempo e dello spazio. La diffusione di skansens
come esposizioni interattive all’aperto è diventata un riflesso dei cambiamenti nella
vita culturale e socioeconomica della società moderna. Le tendenze nello sviluppo del
consumismo attivo nelle sfere sociali ed economiche, la globalizzazione, la crescita del-
le industrie culturali e creative hanno identificato nuove aree dei musei – skansens, che
sono state trasformate dai musei, che mostrano collezioni etnografiche nello spazio di
un nuovo essere culturale.




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