zbornik SIROGOJNO 2012.pdf

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The Memoir has been ini ated regarding to 20th Anniversary of working of TheOpen Air Museum Old Village in Sirogojno and it has been realized due to inten-

si ed coopera on with the colleagues, the members of Associa on of Europeanopen air museums (AEOM).


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OPEN AIR MUSEUMSMEMOIR

2012


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InPrint

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PublisherThe Open Air Museum Old Village inSirogojno

For publisherStrajin Nedovi, director

EditorshipNikola Krstovi, PhD,The Open Air Museum Old Villagein Sirogojno, Center for museology andheritage studies of Faculty of Philosophy inBelgradeLjiljana Gavrilovi, PhD,Ethnographic Ins tute of Serbian Academyof Science and Arts (SASA) Jelena Toski, MA,The Open Air MuseumOld Village in Sirogojno

Transla onEmina Jeremic Micovi

LecturerVesna ekelji

DesignTijana Jev , Design Studio

LayoutMilu n Marjanovi

PrintInPrint Uice

Circula on300


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SADRAJ /CONTENTS

................................................................................................ 9EDITORIAL PREFACE .......................................................................................................... 9

..Zorica Zlati IvkoviTHE ORIGIN AND DEVELOPMENT OF THEOPEN-AIR MUSEUM OLD VILLAGE IN SIROGOJNO ......................................................... 1

Aurelia TudorA UTOPIA IN THE MIDDLE OF THE 20TH CENTURY?

THE SOCIAL MUSEUM VERSUS THE OPEN-AIR ETHNOGRAPHIC MUSEUM........ ? ...................

Gaute JacobsenTHE BOURGEOISIE AND THE ORIGIN OF MAIHAUGEN OPEN AIR MUSEUM ....... ...................

- ......................................... 79Bojana Bogdanovi-Nikoli, PhDINSTRUMENTALIZATION OF THE TRADITIONTHE EXAMPLE OF FASHION PRODUCTION SIROGOJNO STYLE ....................................... 79

............................................................................ 93Miladin IvkoviCONSERVATION AND RESTORATION IN THE OPEN-AIR MUSEUMOLD VILLAGE IN SIROGOJNO .......................................................................................... 93

................................................................................... 111Jelena Toski, MA

INFORMATION IN THE PROCESS OF DOCUMENTING IN AN OPEN-AIR MUSEUM ................................................................................................ 111


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........ 1Dragan CicvariETHNOLOGICAL FILM FROM THE CINEMATOGRAPH TO OPEN AIR MUSEUM ..................

............................................................... 143Svetlana aldoviOLD VILLAGE AND MUSEUM PUBLIC ............................................................................. 143

Marianna Janotnov, PhDORAVA VILLAGE MUSEUMAND LOCAL COMMUNITYS INVOLVEMENT IN ITS PROGRAMS ................... ...................................................................................................... 161

- ................................... 1Sneana Tomi-JokoviINTEGRAL PROTECTION OF CULTURAL HERITAGE IN THE OPEN AIR MUSEUM OLD VILLAGE IN SIROGOJNO .............................................. 1

Thomas Bloch Ravn, MAUPDATING DEN GAMLE BY ................................................................................... 191 , ................................................................. 191

Ewa KronTHE STORY OF A MODELDESIGNING CULTURALLY HISTORIC ENVIRONMENTSUSING A MODERN NARRATIVE ............................................................................. 205 - ............................................................................. 205

....................... 2Nikola Krstovi, PhDOPENED OPEN AIR MUSEUMS: OUT IN THE REAL WORLD ............................................... 22


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EDITORIAL PREFACE

Public usually sees the muse-ums as elite ins tu ons for culturalproduc on, isolated from every-day life and turned their sights ex-clusively into the past. What publicand very o en museum employeesconsistently overlook is the fact thatmuseums have been, during theirestablishing and over the whole XIXcentury, in the core of what wasbeck-then scien c rou ne, but so-cio-cultural everyday comprehen-sion of the world as well. The mod-ern age, of which the museums arethe products, was born in thebreaking up with dark middle ageand turned towards the an quityduring the period of Enlightenment.A glance in past, as model for re-

shaping the present, has been con-nued in the me of Roman cism


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and through reevalua on of medi-eval period. But, both of these eyesturnings to past were very much infavor of present, further more infavor of promised (be er) future:Enlightenment founded in an quitythe cornerstone for ra onal observ-ing of the world and founda on ofscience; Roman cism, while discov-ering the medieval age, cri cizedmaterialism and ra onalism of itsown era. Even though the direc onshave been quite opposite, the goalshave been pre y much the same:

achieving (be er) future. From thevery beginning of its existence themuseums were ac ve par cipants inthat process, shaping and support-ing the horizons of expecta ons(to recall Jirgen Habermas in mind)which emanated from basic idea ofpermanent progress and supportedby another important and inevitableaspect in me of museum`s genesis:

the idea of (na onal) self-knowl-edge as a reliance for building ofbe er (state) future.

In the mean me the ideals ofnew ages have been forgo en andup to 70-ies of 20th century theytransformed to be petri ed look in-to the past which has had nothing todo with present mes, even lesswith the future the museums havebecome idealized images of pastwhich lecked consciousness of u li-ty or purposeness of that este zedpicture-like form: isloated, self-su-ciant en es with no connec onswith real ongoing life. Then, the shihas happened: museum profession-als realized that their ins tu onshave to change the a tude towards

reali es and start doing somethingconsidering the lives of real, living


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people, or their relevance in societyis going to dissapear. Professionalsstarted to turn their thoughts andacc ons towards public and it`s in-terests thus becaming importantturist a rac ons.

Open air museums, estab-lished fairly later than majority ofclassic museums, have been goingrather the same paths, even thoughit was easier for them to make theirexhibi ons more a rac ve to thepublic. During last few decadesopen air museums thoroughly re-

ected and revolved their own mis-sions in order to organize the workwhich is going to transform them in-to constant living spaces throughenlivening diverse simula ons of re-al life from di erent poques. Thetransfer of all those new and diverseexperiences through publishing edi-

ons or/and through conferences isone of the most important links inthe process of the change of en rework where every open air museummust look for its own speci c wayconsidering local communi es.

The Memoir Open Air Muse-ums, published by Museum OldVillage the only o cial open airmuseum in Serbia (even thoughthere are several private museumsor ethno-spaces which alreadycan or could in the future pretend tobe o cially named museums) is apart of the process of self-ques on-ing and at the same me of processof crea ng a rac ve museum`s ev-eryday existence. There are twotypes of contribu ons in Old Vil-lage Memoir (which deals with 20years of o cial museum`s work and

32 years of complex existence butalso with phenomena of open air


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museums generally): rstly, the con-tribu ons which explore the historyand work of Old Village and sec-ondly, the contribu ons that re ectthe ways the open air museumsshould or/and could go includingthe Serbian museum as well. The

rsts are rather conven onal butimportant as indicator of the waythat the museum has been thoughtof (and not just indicator of muse-um development). The seconds arethe call for opening the possibili esof further up ming of museum

works - those available to the publicand those hidden from the publiceye (documenta on, for example)but necessary for successful func-

oning of any museum.This Memoir posi ons The

Old Village on the special place ofSerbian cultural map: it is the lead-ing posi on in museology which ac-tually belongs to this museum for a

long me but this is the fact noteasily recognized because the mu-seum is outside Serbian capital forwhich we assume to be the place ofmost important cultural events.Old Village, almost hidden in Mt.Zla bor`s pastoral idyll, succeededin mission to have signi cantly morevisitors than any other big Bel-grade museum and at the same

me to make some of the very dis-nguish break-troughs in the Serbi-

an museological theory and prac-ce above all to make vivid its ex-

hibi ons more than any other mu-seum but also to get involved in thelife of local community in which itexists.

These are the reasons why

Memoir, through which the work ofOld Village is evaluated parallel to


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experiences of the other, big Euro-pean open air museum, is essen al-ly important for the Museum itselfbut for the whole museum profes-sion in Serbia. In fact, comprehen-sions about open air museums(even though they look like at a rstsight just as a narrow part of protec-

on and presenta on of culturalheritage) have much wider conse-quences: all other museums couldand should learn from open air mu-seum prac ces. Undoubtedly clas-sic museums have to make greatere orts in order to transform them-selves and their roles to t contem-porary reali es crea ons and de-mands in their environments that`s the biggest challenge for theprofession nowadays.

As Ms Ewa Kron (Skansen, Swe-den) put it out in her contribu onwri ng about the me of Skansenestablishing and its contemporary

work: Then as now, the values ofthe day mo vate di erent endeav-ours. Adop ng contemporary val-ues and stressing them in the rstplain of its missions all museums(not just open air ones) would goback in the best possible way to ba-sic ideas of founding fathers: touse collec ons, stories and memo-ries to help nowadays, living people

to improve the quality of their ev-eryday lives which is the precondi-on for more op mis c look in the

future no ma er how the future isgoing to be.

Ljiljana Gavrilovi, PhDEthnographic Ins tute of SASA


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Zorica Zlati Ivkovi

Art historian with three decades of ex-perience in protec on of cultural her-itage. Work in The Open Air Museum

Old Village rst on museums sepa-ra on and a er cons tu on (1990-1992). Up to 2003 work as a directorstriving to nalize building en esand create basic museum and pro-gram ac vi es. A er 2003 work as achief curator of Museum`s art collec-

on and permanent museum exhibi-on. As a museum consultant manage

the Department of basic museum ac-vi es.

THE ORIGIN ANDDEVELOPMENT OF THEOPEN-AIR MUSEUM OLDVILLAGE IN SIROGOJNO

Facing the problems of protec-on of cultural ethnographic heri-

tage and par cularly the state of ne-glect of tradi onal rural architectur-al units, the discussions and propos-als on reloca on of tradi onal archi-tecture facili es and designingeth -no parks as environmental unitswere ini ated during 1960-ies,

which, in addi on to heritage pro-tec on, would meet other socialneeds, par cularly in the tourismsector which started to be more ex-ploited1. Upon the ini a ve of the

1 Consul ng of experts on the problemsof protec on of ethnological culturalmonuments was held in April 1960 inCacak. Published papers indicate signif -

icant problems in protec ng this type ofcultural heritage and the search for ap-


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Ins tute for the Protec on of Cul-tural Monuments of Serbia, the sev-en-year work plan from 1960 pro-vided signi cant funds, and thenformed a special commission to con-duct a study on ethno parks 2 .

It was decided to build the rstsuch unit on Zla bor,in a dis nctethnological environment , easilyac -cessible for visitors , and then anoth-er one, in Belgrade (Drljaca 1963,295). The proposed solu on con-tained a bold concep on based on acompromise of ethnology with oth-er disciplines as the only possibleway to protect and preserve the ru-ral heritage3 . The greatest a en onwas paid to a rac ve tourist ameni-

es of the future unit called theCamp-museum, in which, in a sepa-rate part, they plannedrural garden

propriate solu ons. In: Maari, Vlado(ed.) 1960.Proceedings of the protec -

on of cultural monuments XI Belgrade:Yugoslav Ins tute for Cultural HeritagePreserva on.

2 The signi cant thing was that the com-posi on of the Commission, in addi onto the two architects who were en-gaged in rural architecture, also includ-ed three ethnologists who acquiredtheir knowledge through eld work inSerbia but also were familiar with Euro-pean experience in this sphere.

3 At the selected site, area of 10 hectares

, near the main road in the centre of thetourist resort which was developing atPar zanske Vode, Zla bor, the threeplanned units would house restaurantsand sales of tradi onal Zla bor prod-ucts, and demonstra ons of old ruralcra s . The central part of Zla boreth -no-park would consist ofrural object ofgeneral purpose which would be used jointly such as water and rolling mills bythe creek, then a few old housing objects and reconstructed wooden church

with a bell tower on the hill that domi-nated the selected area.


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se ng that would have a display func on , while ethnographic objects to equip it would be taken fromcollec ons of the Library in Caje na.(Drljaca 1963, 296-297)

Despite the agreements andprecise projects and es mates, Zlat-ibor Camp-museum has never beenrealized, but the idea of its a rac-

veness and bene ts that could be

pro tably exploited, has not beenforgo en even a er several years. Inlate November 1979 the labour or-ganiza on Sirogojno from Sirogoj-no, also from Zla bor, formulated aproposal for buildingethno-ambi -ence , ethno park or a hamlet 4 , in or-

4 These terms were used in correspon-dence, minutes of mee ngs and other

records that are kept in the records ofthe open-air museum Old Village in

The illustra on of projected appearance of Camp museum on Mt. Zla bor


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der to expand the core businessbased on local industries and revital-iza on of the tradi onal occupa-

ons of rural women - kni ng woolgarments. By bringing together ex-perts and other associates, rstfrom the Ethnographic Museum inBelgrade, and later from the Ins-tute for the Protec on of CulturalMonuments, a working group wasestablished with the task to proposeand develop the content of thestudy for construc on of the muse-um, as well as special unit of produc-

on and sales facili es and hotel-tourist resort5.

Sirogojno. Based on previous experi-ence in research in Poland, the authorsof the concept of the future museum inSirogojno used the name ethno-park asan abbrevia on of the Polish ethno-graphic park-museums and it has beenfurther recognized among the laity aswell as in professional circles without avalid excuse, preven ng the use ofproper name open-air museum , thatwas used in most European countries.

5 Ethnologists Nikola Pantelic and DusanDrljaca, Ranko Findrik architect and thedirector of Republic service for preser-va on of cultural property, art historianRadomir Stanic par cipa ed in theWorking Group. Organiza onal ac vi-

es were guided by Dobrila VasiljeviSmiljani, Director of the Organiza onSirogojno and her assistant ethnolo-

gist Bosa Rosi. Informa on about theini a ve for construc on of a smalleth -no park, Ethno Park Zla bor village,Ethno ambience is in correspondence,conducted from late November 1979un l July 1981 between the companySirogojno as organizer and client andthe Ethnographic Museum, the Ins-tute for Cultural Heritage Preserva onas collaborators on the project and theRepublican self-interest groups, the Re-publican Commi ee for goods and ser-

vices trade and other economic organi-za ons or associa ons in order to se-


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According to the plan, it wasdecided to use the old buildings oftradi onal architecture from Zla-bor that should be transferred toSirogojno. The loca on for the con-struc on of the planned unit in thevillage center was chosen; it was sit-uated on the north-western slopenear the village church of Saints Pe-ter and Paul, built in the eighteenthcentury. The selected terrain o ereda good spa al rela on of the futurevillage to the modern se lement, vi-sual separa on from groups of ur-ban buildings and their contents,easy and seamless access to the vil-lage center and good infrastructurenetwork. The con gura on of theterrain had certain advantages rep-resented in the tradi on of selec ngan appropriate place to set up ruralhomestead. The possibility of fur-ther expansion of the projected unitand its contents by purchasing sur-

rounding parcels of meadows andwoods was also considered. Churchcommunity in Sirogojno donatedfour cadastral parcels of their landwithout compensa on for the con -struc on of ethno-park in Sirogoj -no 6, while other areas of meadows

cure funds for the construc on of theplanned unit in Sirogojno. The corre-spondence is preserved in the recordsof the Open Air Museum Old Villagein Sirogojno.

6 Two contracts were concluded betweenthe Church municipality in Sirogojnoand the company Sirogojno. TheChurch was represented by the thenparish priest Mihailo Smiljani, and thelabour organiza on Sirogojno by Do-brila Smiljanic in the rst contract con-cluded on September 8 1980, andBosiljka Rosi in the second one, con-

cluded on October 30, 1980. The con-tracts emphasized that the present - a


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and an orchard were purchasedfrom private owners.

Owing to funds provided bythen-Republican culture of commu-nity, the works could begin duringthe 1981 when the Republic Ins-tute for Protec on of Cultural Heri-tage accepted the terms of cooper-a on inthe provision of technical as -sistance for the construc on of eth -no park , which meant the selec onof facili es, development of techni-cal documenta on, running the siteand appropriate workshops for con-

serva on of the transferred oldbuildings and items7. Agreed andadopted program, published in 1981(Findrik 1981), clearly indicated thebasic tasks that the creators of themuseum se ng in Sirogojno set asgoals8.

During the eigh es, Yugoslaviawas one of the few countries in Eu-rope which had no open-air muse-

ums or any specially protected, relo-cated units of tradi onal folk archi-tecture. In Serbia, we started with

land area of 1 hectare, 84 res and 62square meters was provided withoutcharge, and a donee undertakes tobuild anethno-park on these lots. Bothcontracts are kept in the records of themuseum in Sirogojno.

7 The Contract, no. 01-591 was conclud-ed on August 27, 1981 between Ins-tute for Protec on of Cultural Monu-ments and company Sirogojno is inthe documenta on of the Museum.

8 The text was the announcement of theplanned and started construc on workon the ethno-park Sirogojno and there-fore contained the whole site plan, pho-tographs of appropriate facili es thatwere found during the eld survey andaxonometric drawing of a two-piece

wooden house typical of the Zla borregion architecture.

,

1980.

The re-crea on of one of the buildings in Theopen air museum Old Village in Sirogojno, 1980


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regional plans to preserve tradi onwith care for characteris cs of archi-tecture and housing culture. Certaina empts to design museum unitsrepresented the wishes and e ortsof zealous workers who were notgiven the expected support fromwider community, so that necessarytenacity and perseverance quicklyex nguished (Pesic-Maksimovic1984, 24) 9.

Despite the failure of local ini-a ves that had been advoca ng forregional projects, na onal ins tu-

ons further supported the idea ofbuilding a largeethno park underAvala, near Belgrade (Findrik1984)10. The ambi ously imagined

9 The rst steps were made in Vladimircifor the regions of Macva and Drina inwestern Serbia, in the village Kupinovoin Srem, in Tulba near Pozarevac for theregions of Pomoravlje, Podunavlje andSumarice near Kragujevac where the ar-chitecture and tradi ons of the villagesin Central Serbia should be presented.

10 Programme outline of the planned unitof relocated facili es of the na onalconstruc on under Avala near Belgradewas printed as a handout intended forfurther work of experts in nding ap-propriate solu ons. The rst project,

done in 1964, planned the transfer ofrepresenta ve preserved specimens of


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unit should assemble regional pecu-liari es caused by various factorsthat can not be repeated in oneplace or shown reliably11.

In Sirogojno, however, the re-sults of research that preceded de-sign of the whole Museum, pointedto the existence of a su cient num-ber of preserved original structures,houses and buildings that possessedmonumental characteris cs and tes-

ed about the high culture of livingin mountain villages in the past andexcep onal self-taught folk art of

the builders in the area of Zla borplateau, and in generally in the areaof large Dinaric region12 (Findrik

tradi onal architecture of the area overSerbia in the space of 75 hectares of di-verse terrain, which would enable thedisplay of the lowland and mountainplots, as well as commercial water orwind -powered proper es.

11 Perceived problems such as lack of run-ning water, a large open site to the en-vironment, threatening urbaniza ondue to spread of capital or inability toneutralize the visual and audio contactof visitors and a big city, were certainlynot the only obstacle. One searched forsolu ons that would improve estab-lished prac ces and limits a ained inexis ng similar units in the world.

12 Line of development in architecture ofna onal builders changed very slowly in

living condi ons of that period in Ser-bia, liberated from O oman Empire,impoverished by libera on wars andmigra ons, and then su ering duringthe long, exhaus ng World War I. Nei-ther the interwar period during thethird and fourth decades of the twen-eth century brought major changes inthe rural parts of Serbia, so the way oflife, and therefore the building changedvery li le. On the eld, during researchand reloca on of facili es, one could

s ll see re on the hearth in the middleof the house, undivided family cooper-


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1981, 35, 1982). In addi on to thea empt to have all recognized andreported types of facili es in theplanned monument unit, we alsohad to take into account the capabil-i es of purchasing, dismantling andtransferring them, their conserva-

on and necessary restora on13.Buildings, furniture parts and ancil-lary facili es which could not betransferred, such as bakeries, brickoven in the rooms of the houses ordi erent types of fences, wereplanned to be reconstructed.

Based on the preserved docu-ments (decisions, minutes, con-tracts, le ers), it could be concludedthat the projected unit, in its inten-

ons, plans and implementa on,moved in two direc ons. The ini a-tor was the domes c industrySirogojno, which strived to the ex-pansion of its produc on facili es,

a ves with preserved tradi onal moralnorms and customs, unchanged housesand buildings, furniture and lifestyle. Inthe years that during the second half ofthe twen eth century recorded, com-pared to much of the con nent, de-layed process of industrializa on, andhence rapid changes in rural lifestyle,construc on of new buildings and thedestruc on of the tradi onal ones, jus-

ca on for the idea of reloca on ofthe remaining old buildings and valu-able gained more importance and be-came more actual.

13 In eld research, planning and projectimplementa on in Sirogojno, in addi-

on to the team leader, architect RankoFindrik, there also par cipated ethnol-ogist Bosa Rosi, architect Bosiljka To-masevic, junior assistants, chemist, car-penter-conservator, carpenters, ma-sons and labourers. Involvement of vil-lage ar sans tradi onally addressed in

the old cra skills was valuable at allstages of work.


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building workshops for wood andleather processing, po ery making,tex le prin ng, as well as the con-struc on of a hotel - tourist complex(Rosi Boanovi-1984). At the same

me, in coopera on with the ser-vice for protec on and competentmuseums, a new museum part,popularly named ethno-park wasplanned, and the authors of theproject planned it as future open-airmuseum, taking into account itscontent and concept of the se ng.The documenta on that tes es

about the years of construc on,constant struggle to provide missingfunds and reconcilia on of o en dif -ferent and hardly conciliatory a-tudes, has shown the tend to join di-verse programs of cultural, touristand economic ac vi es, relying onlocal tradi on and its achievementsbut also the needs and require-ments of a modern man, into a unit

which during the construc on usedto change its names:Ethno ParkZla bor village, 14 ethno-park Siro-gojno Hamlet 15 and others.

During 1982, the documenta-on for the museum part was not

completed yet, nor were the fundsprovided, while the produc on andsales facili es possessed all that wasnecessary for provision of money for

14 The Report about undertaken works onEthno park Sirogojno village fromFebruary 1st 1981. The Report is in theDocumnta on department of the Mu-sum in Sidogojno.

15 The Request of the company Sirogojnosent to the Community O ce for the is-suance of the approval for project anddocumenta on of July 23, 1981. The

Request is kept in the museum inSirogojno.


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the construc on16. The objects ofone homestead were transferred toSirogojno and set with a house inthe central part, then barn, farm,one building and a reconstructedbakery. Their interiors were plannedto be equipped and then an o cialopening for visitors to be orga-nized17. Over the next two years,there were several mee ngs whichclearly indicated the need, above all,to resolve the problem ofstatus andsocial veri ca on of the formed mu-seum unit, the ques on ofcurators ,

guardians and the appropriate pro-spectus18. The author of the projectpresented to European professionalcommunity the future Museum offolk architecture (Findrik 1985),while in Sirogojno they insisted onproviding condi ons for the exerciseof cultural, economic and social roleof the built monumental unit, andespecially for comple on of con-

struc on of produc on facili esnecessary for future self-sustainabil-ity of the en re complex.

16 Le er to the Ethnographic Museum no.01-47 of January 27 1982, including in-forma on on works

17 Publishing report on work performed inSirogojno during the rst three years,the project author presents data thatduring the year 1980, 6 objects weretransferred at the new loca on of thefuture museum complex; over the nextyear 3 more objects, and in 1982 eightobjects as follows: 3 houses, 7 buildings(sheds), 2 barns, a farm, a dairy; bakingoven and fold were reconstructed. Thenew material, but also wood, was usedto build a modern workshop for tex leprin ng..

18 A record from the mee ng held on May

14, 1984, kept in the Museum docu-menta on.


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, , - -

, , . 18 - - (Findrik, 1985), - - , - , - .

, - 1985. - - .19 ,

), , , - . -

, , -.

18 14. 5. 1984., .

19 6-81/85 27.11.1985. , .

In order to achieve a rmer ba-sis for future investments and careof the state for preserva on of thepresented architectural and ethno-graphic heritage, the competentheritage protec on service madeproposals on the basis of which in1985 the Municipal Assembly ofaje na decided to declare theComplex of Old Village in Sirogojno of immovable cultural property - acultural monument19. As stated inthe Decision, the protectedComplex consisted of the Church of Saints Pe-

ter and Paul with the cemetery anda number of individually listed Zla-bor authen c log cabins, which,were transferred to Sirogojno un lthen. For its immediate natural envi-ronment, a strictly controlled re-gime of protec on was determined.By the Decision of the republicangovernment, the protected areaaround the church had already been

placed in the rst, highest categoryof cultural property of outstandingsigni cance20.

In a protected and highly val-ued cultural monument, on whosefunding of the purchase of buildingsand exhibits, as well as works in con-struc on, in addi on to labour orga-niza on Sirogojno, mostly assetsof Republic of Serbia were invested,directed in the design of unique mu-seum with share of the competentheritage protec on service, the con-

nua on of works during 1986brought new problems related to itsopera on, responsibility and future

19 Decision of Municipality of aje na No.6-81/85 of November 27, 1985, The

Museum documenta on20 O cial Gaze e RS No 7, 1983


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The house from village Alin Potok a er reloca on

to the Museum Old Village

in situ.

Museum`s house form rsthousehold in situ.


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28

. - - . - ,

- , - .20

- , - ,

, , - - , - , 1986. , - . , - - - , -

- . (- , 1987) , - , -, - , . ,

- , - , , -

- - - . ( ,2004, . 72)

20 7, 1983.

work . The author of the project, inan e ort to bring general publiccloser to the achieved results and topresent the monument unit and itsvalues, has published a small mono-graphic study describing its contentsin the tle itself -Museum of folk ar -chitecture (Findrik 1987). At the sit-ua onal sketch, published in thebook, there were drawn all alreadytransferred facili es, but also theones meant to be relocated to thegroup of housing estate, the rst ofthe three planned units. In the sec-

ond, which was to be located nearthe church, the ancestry tables, likethe ones once existed near theSirogojno temple were to be recon-structed and used for gathering ofthe believers sharing meals a ercommunion in the days of certainChris an holidays (Zla Ivkovic2004, 72). The third unit would con-sist of restored mills and rolling mills

on a small river, Vrelo in the villageof Gos lje (Findrik 1987, 10).

Despite the plans, works in therst monument unit in Sirogojno

were not completed un l the end of1989 and therefore there was noopening ceremony for visitors. Up tothen, a total of 33 objects weretransferred, reconstructed or rebuiltin the future museum complex; twoyards were formed there, and andsummer shepherd house was setaside in the woods. In a separateunit intended for tourist ac vi es, alog cabin was transferred for futurevillage inn as well as 5 woodenbuildings, two of which were pre-pared for rest and stay of visitors byinterior furnishing. Several old build-

ings housed the workshop for woodprocessing, Museum recep on desk


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- . ( ,1987, . 10)

, 1989.

, - . -, - - , - , . -

, - - , , , - . - -, -

, - - . - , , , - -, - .

, , -- , . - , -

and a modest space for work of theprofessionals and in a newly builtbuilding there was a workshop fortex le hand-prin ng. The interior oftwo more old log cabins was adapt-ed for exhibi on and sale of souve-nirs, a former big sheds, situated atthe entrance to the museum com-plex, planned for the exhibi on andother program ac vi es, had al-ready been supplemented by a suit-able summer theatre stage.

In the late nine es, in addi onto organized visits of domes c and

foreign guests and the gatherings onthe occasions of the promo on ofhandicra s made by Zla bor knit-ters, fashion shows and cultural - ar-

s c programs, Sirogojno also rep-resented a tourist des na on. It wastherefore necessary to completeconstruc on of the protected cul-tural property unit and to presentand revive it in an appropriate way,

by the program ac vi es. Researchand conserva on - restora onworks on the Sirogojno church be-gan in spring 1989, and completedin July next year the with consecra-

on of the restored temple, the fes-ve liturgy on St. Peters Day and

the tradi onal rural Fair (Zla Ivkovic 2004)21.

Works in the Museum, at thatme, were in a lull phase22, so the

21 Research and conserva on work werecarried out on the church during 1989and 1990 by the experts of the Ins tutefor the Protec on of Cultural Heritagefrom Kraljevo, Slavica Vujovic architectand art historian Zorica Zla Ivkovic.

22 The author of the project Ranko Findrikgot a well-deserved re rement, andethnologist Bosa Rosi who ac vely

par cipated in the construc on of theOld Village for over ten years, le


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- .

-

1989. , - - , . ( , 2004)21

,22 - - - . - - - -

, . 1990. , - , - - -, , -

21

1989. 1990. , -

.

22 , , - - , 1989.

-.

decision to begin prepara ons forthe separa on of cultural en es ofthe future museum from the socialenterprise Sirogojno in whoseframework it was created, wasmade. Lack of adequate quali edsta that would create and con nueto lead and develop dis nc ve ac v-ity of a speci c ins tu on in a pro-tected cultural property was a bigproblem. At the beginning of 1990,involved in research and conserva-

on works on the Sirogojno church,knowing the value and importance

of preserving tradi ons and oppor-tuni es for revitaliza on of its richcontent, responding to a call, a fam-ily of conservators and art historianseducated on many years of experi-ence gained in the protec on of cul-tural of goods, moved to Sirogojnoand permanently se led there23. Itwas an opportunity, in the bestmanner, with the constant presence

of researchers and conserva onists,to complete the works on the site ofthe temple, and to con nue shapingthe future of the whole museum,prepare its speci c programs andac vi es and carry out the extrac-

on procedure. They sought thesupport of the competent Ministryof Culture and of Republic of Serbia,which over the past decade invested

Sirogojno by the end of 1989 and joinedthe Na onal Museum of Uzice.

23 Miladin Ivkovic, sculptor was on train-ing exactly in the eld of conserva onat the University of Ljubljana, andworked at the Na onal Museum inKraljevo. Zorica Zla Ivkovic, as art his-torian, gained her experience ini allyby many years of eld work, and thenduring the12 years she spent working

at the Ins tute for Cultural HeritagePreserva on in Kraljevo.


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- - .23 ,

-, - , , - .

- -

. - - .24

- , , - - , - 30. 1992. , , -

23 , , - , -

. , , - , - .

24 - , - , -. -

, .

heavily in building Old Village. Co-opera on with the Republic Ins-tute for Protec on of Cultural Heri-tage was s ll the basis of plans andworks24.

Upon comple on of a two-yearperiod of preparing the necessarydocumenta on, dra ing appropri-ate studies, complying a tudes inthe profession and obtaining neces-sary approvals, the Museum OldVillage began its work by enteringthe ins tu on into the Register on30 July 1992, on the feast of its fu-

ture patron saint Marina, respectedamong people - Tierra del FuegoMary25. During the development ofprograms and recogni on of the fu-ture ins tu on pro les, all plansand commitments were directed to-wards the European open-air muse-ums. Valuable experience, primarilyof the architect Findrik, from the vis-its to Scandinavian and especially

Polish, as well as many other Euro-pean museums of this type, andthen of his followers who were fa-miliar with open-air museums inAustria, Switzerland, Czech Republicand Slovakia, have focused e ortsfor largely set unit of relocated facil-i es, to be reshaped and adapted byequipment and new facili es, ac-

24 Further work in cultural property wasmanaged, on behalf of the Ins tute forthe Protec on of Cultural Monuments,by architect Bosiljka Tomasevic. Copy-right by architect Findrik was s ll re-spected, and coopera on with him con-

nue in the future, as well.25 At the beginning of its opera on, the

Museum had 13 workers taken fromthe company Sirogojno but it imme-diately hired a few new ones that were

required for the normal func oning ofthe ins tu on.


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.25 -

, - -

. -, - - , , , , - , - - . -

- -, 1990. -, , ,

, -

.26

25 - , , - - .

26 1966. , - 1972. ,

, , ICOM-.

cording to the requirements set outclearly the then current skansenolo-gy. The project of Zla bor Museum,with archaic structures and displayof dis nc ve living culture, was in-troduced in 1990 at the regular con-ference of the Associa on of Euro-pean Open Air Museums in Ronov,then Czechoslovakia, which was fol-lowed by the membership, furthercontacts, coopera on and exchangeof experiences that were invaluableat the beginning of the work26.

Accep ng the exis ng con-

tents, created under the in uenceof di erent and o en con ic ng objec ves - of economy on the onehand, protec on of cultural heritageon another and a clear posi on ofindividuals sta ng that only with es-tablishing of an open-air museum,based on European experiences, thecontents and objec ves could beachieved appropriately, we searched

for solu ons that would least jeop-ardize implementa on of the pro-tec on of cultural property in theac vi es of open-air museums de-

ned by the precise provisions ofthe ISOM Declara on, but also bydi erent prac ce recognized ingood examples (Zippelius 1982)27.

26 At rst as a group, formed during meet-ing in Bokrijk in 1966, representa vesof many European countries at the Con-ference in Helsinki in 1972, decided tofound the Associa on of EuropeanOpen Air Museums, which later joinedICOM.

27 Declara on of ICOM was ini ally adopt-ed in 1957, and then its changed, actu-alized text in 1982; it was used in thedevelopment of future ins tu on of

the Open Air Museum in Sirogojno. Thetext of the Declara on was published in


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-a, , - - , , , - - - -

I-, - . (Zippelius, 1982)27

27 ICOM- 1957., , - 1982.

.

The chronicle of the ins tu onthat has un l now remained an iso-

lated example and the only open airmuseum in the country, noted somevery di cult years at the beginningof its work - the wars in the immedi-ate environment, interna onalsanc ons and the lack of communi-ca on with those who were expect-ed to help and provide guidance inthe work. It was necessary to pro-vide constant care and preserva onof cultural property in which, in anarea of less than ve acres, therewere over thirty old and valuablewooden objects, a large number ofexhibits, while the re protec onsystem was only being installed, aswell as the systems of external light-ing, trails, informa on boards and

the Report of the Conference held in1982 in Hungary.

in situ .Co age (vajat) with crosses on the roof in situ and a er reloca on to the Museum


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,

, - , - - - . ,, - , - , - , -, - , , , . , - - .28 - , - ,

- , -,

1982. .28 , : -

, :

. 9, 1985, . 81

, - ,

, , -

.

signs. Despite the di cul es, thetransfer of planned facili es and theinterior equipment con nued be-cause temporary and poorly orga-nized se ng included only a fewhouses and buildings28. In the yearsof almost natural exchange of goods,since money lost all value, duringthe suspension of the Museumfunding and the struggle for under-standing and acceptance of new in-s tu ons that were not counted inany list of classic, pre-exis ng muse-ums, nor the protec on of cultural

heritage ins tu ons, the impact ofdi erent disasters including naturaldisasters - storm, which in ictedgreat, permanent damage to the oldwooden roofs causing their muchfaster decay, the absolute lack of ba-sic equipment and facili es for workfurther hampered normal func on-ing. It should be noted that the roleof sponsors and donors and support

of individuals who recognized theneed to preserve values and heri-tage was of crucial importance insuch years. It is di cult not to men-

on the enthusiasm and dedica onof the joint e orts and dedica on ofa small group of zealous workerswithin the team who managed toachieve the planned contents andprojected goals at the open air mu-

28 R. Findrik, The works on construc on ofthe Museum of folk architecture inSirogojno - the next step, the Journal ofthe Society of conservators Serbia 9(1985) 81. A er making the se ngs inthe rst plot prepared for the opening,the author argued thatdespite the mul -

tude of items that are exhibited ande orts made to arrange them, it seems,

at least according to our opinion, emp -ty and lifeless


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, , - -

, - - - . - -

- . - - -.29 ,

29 , , , - , -- - , - - -, - . , -, - .

- - . - , , - - , , , -

.

seum in Sirogojno29. Despite ad-verse circumstances, the Museum,during the rst decade of its opera-

on, transferred and set 11 newbuildings including a stable with alamb cot, surrounded by recon-structed folds and district with hay,within the unit housing livestock.Next to the orchard an object withtradi onal equipment for makingbrandy -kaara was set as well as afacility for drying fruit, and in thenewly built building adjoining thehouse, there was a blacksmiths

shop with an old wooden carriage,cart, sleighs and other farm toolsplaced under its old wooden porch.Reconstructed, isolated in thewoods, there was an object made of

29 In addi on to the conservator MiladinIvkovic, new workers of the Museumwere: an ethnologist - Snezana TomicJokovi, economists - tourismologist Bil- jana Stojanovic and carpenters as assis-

tant conservators - Vladeta Ilic, and lit-tle later village master Budia Sekulicwho par cipated in dismantling, trans-por ng and placing objects in the Mu-seum from the rst day. The rst guardsand a janitor got jobs; administra onand accoun ng were organized as wellas other related services intended forvisitors to the museum. Art historian,Zorica Ivkovi accepted the challengeand responsibili es of managing thenew ins tu on. Such division of labour

in prac ce was o en unable to performas the circumstances required that allemployees, by mutual e orts, engagein di erent ac vi es and they did so asa small tradi onal family coopera ve,according to arrangements, with re-spect, in harmony, with love for the mu-seum and mutual respect . It was ateam of dedicated zealous workers wholaid the solid founda on for successfuldevelopment of a complex open-airmuseum, a strong founda on which en-

dured all subsequent changes and trou-bles that went through the museum..


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, , ,

- . - , , - - , , , . , ,

- . - ,

, , -

, - . - - , - . - -

, - . -

-

,

.

branches and hay kulaca with aplace for ca le as the most primi vehabitat o en used in the migra onof popula on to new terrain. O cesfor curators, a room housing libraryand documenta on, a conserva onworkshop with basic equipment andtwo smaller depots for storing ex-hibits were built and furnished with-in the old transferred buildings of alog cabin and a barn. In the exis ngold barn was a hall for program ac-

vi es was completed, and in the at-c, there was a space for work of the

Museum management. In the unitintended for organiza on of educa-onal programs and tourism ac vi-es, the interiors of the kitchen and

restaurant with large terrace andameni es there were arranged. Be-sides the buildings already set, twomore old sheds were added, and ina short period of me all sevenapartments were ready to receive

par cipants of the organized work-shops, summer schools and semi-nars designed to educate youngpeople to whom tradi on was notavailable enough and therefore li leknown (Zla Ivkovic 2002)30.

Problems of reconstruc on ofa certain period of me, with the in-evitable presence of various anach-ronisms, did not overly burden these ng of Old Village. Althoughvery archaic, the phase of life withan open re from the hearth in Ser-bian mountain villages remainedpreserved un l late twen eth cen-

30 Educa onal programs of summerschools and workshops were developedin coopera on of the Museum expertsand professors of the University of Art

on the basis of the Agreement on long-term coopera on.


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, ,

. (

, 2002)30

- , , . , - -, - XX , je - : . - - XIX , , - , , - , - . , , - , - , , , .

30 - -

-.

tury, so it was easier to solve the of -ten present dilemma: to preserveand present the original appearanceof the building or its status quo.Such bene t was the possibility ofchoice for reconstruc on of the old-est stage of life in the last decades ofthe nineteenth century, actually the

me when the objects originatedand display of their original, authen-

c and unaltered architectural lay-out, interior, environment and life-style, as much as possible. The set-

ng of two neighbouring gardens

showed a homestead of one familyand a rural family community, sepa-rated by division, with two two-parthouses in the developed residen alunits, surrounded by buildings forliving and performing economic ac-

vi es, facili es to house livestock,gardens and meadows in the area.

Revived by the presence ofhousewives who took care of re at

home hearths, planted owers andvegetable gardens, woven garmentsand covers taken out to be washedor sun-dried, by di erent sounds ofold equipment and tools of black-smith ar sans, carpenters, cask-makers and po ers working in themuseum workshops, imbued withthe smell of cut grass, smoke, basiland plums dried in the autumn, byvoices calling remembered messag-es and tones, the spaces of Old Vil-lage provoke nostalgic remem-brance of experiences or fabulousnarra ves, the need for understand-ing the world of ancestors and theability to assume responsibility andpreserva on. During the further de-velopment of the Museum complex

and all of its various facili es collect-ed together by mutual goals of


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, -

, -

, , ,,

, , , ,

, , - -

, , - . - - , , ,

- , , , .

- -, - , -- , - - -, , - , , -, - , - - , , -

achieving new knowledge, reason-ing, alterna ons and amendmentsto the se ng, there has always beenexchange of experiences and knowl-edge among visitors and experts,because nothing is nalized, butopen to new, certainly well basedcontents.

From the Camp-museum of aZla bor chalet, through smallethnoambience , ethno-park or ahamlet inwhich, within the hotel-tourist com-plex and the produc on and salesfacili es, a Zla bor homestead

could be organized and presented inthe museum, over three decades ofdesigning ideas, in uences, deci-sions and the space inhabited by oldlog cabins, furniture and recon-structed environmental elements,because of revival of di erent seg-ments of tradi onal values collectedtoday in Sirogojno on Zla bor, everyday throughout the year, visitors

with di erent interests come tolearn or re-experience the OldVillage31. The jus ca on of invest-ment in the development and oper-a on of this, s ll only Serbian muse-um of this kind, nds its con rma-

on in iden ca on of the featuresand di erences that clearly dis n-guish it from commonly acceptedfashionableethnic trend , for private

31 The number of visitors has varied large-ly depending on the o er and the at-trac veness of the museum and its con-tents; it has not always been directlycaused by di cul es that have a ictedthe wider community. Though 20 to 30km from the busy roads and closest set-tlements, during the most successfulyears it recorded the arrival of over 100000 visitors, and the on the rst of May

2002, there were 1000 sold ckets inone day.


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, - - .31 -

, - - - - , -, - ,- - - .32 -

, XX , ,

31 - -

. 20 30 - , - 100 000 -, 1. 5. 2002. 1000 .

32 - - - , -

, , - , - -, , -

- , - , , - -

n.

ini a ves unprofessionally, butimagina vely designedethno-hous -es , ethno-yards or ethno -villages which are springing up every day allover Serbia and its environment32.Never overcome weaknesses thathave always dominated the seg-ment of ethnographic heritage,were observed back in the six es ofthe twen eth century, and now, halfa century later, they show, with halfdevastated and destroyed heritage,disorienta on and absence of per-sistent zealous workers, agreed po-

si ons, serious ini a ves, and scien-cally and professionally organizedprotected en es which should begoverned by ins tu ons of open-airmuseums. Even destroyed, demol-ished or burned en es of Tara andSumarice in Kragujevac, which theprotec on service formed by thewithdrawal of the most valuable objects of na onal architecture, not

deeming it necessary to con nuetheir survival, protec on and pre-senta on of the planned ac vi esby establishment of appropriate in-

32 Notwithstanding the provisions of ap-plicable Law on the protec on of cul-tural property according to which eventhose registered facili es that havemonumental characteris cs and values,and not a decision on declara on, enjoy

precedent protec on, a rich na onalcultural heritage of rural areas has be-come the prey of clever individuals ma-ny of whom, inspired by the successfuldevelopment and popularity of the mu-seum in Sirogojno, guided by their ownimagina on, freely and without thenecessary educa on or collabora onwith experts, viola ng the principles ofthe profession, par cularly conserva-

on, create their own ethnic sec onslled mostly with lucra ve catering fa-

cili es and incorrectly interpreted his-torical truths..


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, - -, , -, , -

. , - - , - - , - , - . -, , - (- , 1988), - - 33 . ,

33 , : - , : - . 28, 2004, . 105-111

, , 2004. , - , - , -

-

.

s tu ons - museums, all these werenot reasonable enough to establisha valid legal framework for properprotec on. An isolated example ofsuccessfully achieved open air mu-seum, a er three decades of con-struc on and design of the present-ed content and two decades of suc-cessful work of a quite peculiar ins-tu on, despite the doubts and an c-ipa on that the future, with newmuseums, will bring new methods of protec on to suit these new mes (Pesic-Maksimovic 1988), is s ll

alive, developing its se ng and fa-cili es33. Losing its founders in turbu-lent social and poli cal changes, ap-propria on of interests, privileges,powers and incompetent manage-ment34, fundamentally based, de-spite the occasional bouts of trou-ble, it has preserved its projectedgoals. In modern condi ons, unique,it tries to survive, burdened by un-

certainty of wai ng for Republic ofSerbia, through the competent ins-tu ons, to take its founders rightsacquired long me ago.

33 B. Krstanovi, Atlas of Serbian Na onalConstruc on , Serbian Journal of theConserva on Society 28 (2004) 105-111. In planning eld research to deter-mine the status of the remaining ethno-graphic monuments and making pro-posals for their protec on, it is stated,though only in 2004, thatethno-parks ,among other possible forms of protec-

on,represent the op mal way of stor -ing and presen ng na onal architectur -al heritage

34 The company Sirogojno, in the priva-za on of 1998, lost its founders

rights, while the municipali es of Uicein 2003 and aje na in 2005 waived the

same rights, but Republic of Serbia hasnot taken them up to today.


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, , - ,34 , , -

. - , - , - , .

, - , - , - , , ,, , -, , , , , - , , - .

34 - 1998.

, 2003. 2005.

, .

Browsing the collected writ-ings, photographs and publica onsevokes memories to, equally impor-tant, famous historical values thatare made by people, creators andarchitects, cra smen, ar sts, re-searchers, kni ers and weavers, sto-ry tellers, ar sans and benefactorswho by their presence, ideas, cre-a ve roles and ac ons, all of themwith their strength and in di erentways, have shaped the unique Zla-bor Old Village.


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/ References

, . 1988. , - 12 : 121-122., . 1963. . - 26: 295-298. , . 2002. . - , 26 : 50-54. , . 2004. - , : . ( 72)Zippelius, Adelhart. 1984. 25 Years of ICOM A Declara on obout Open Air Musse-

ums A empt at a Balance, :Report of the Conference Hungary 1982 , Szentandre,86-90., . . 1991. - . , 15 : 98-101., . 1984. - , : , - : 123-126., . 1974. - ? XXIV : 19.Pei-Maksimovi, Nadeda. 1971. Ensembles douvrages darchitecture populaire muss vivants de plein air, Actes du premier congres interna onal d-ethnologie eu -ropenne, Paris : 174-175.-, . 1984. - . : - ,

: 9-26. :-, . 1988-89. - . XX-XXI : 265-274.-, . 1984. - . : , : 175-179., . 1981. -

. 5 : 33-36., . 1982. , XIV : 143-162.


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, . 1984. , . - ., . 1983. - , 7 : 61-64.

, . 1984. - . : , - : 157-168., . 1985. - , 9 : 80-84.Findrik, Ranko. 1985. Muzeum Budownictwa Ludowego w Sirogojno,Yugoslawia, Ac-ta scansenologica 3 : 211-224., .1987. , : - Inex , 24., . 1987. y , 11 : 88-92.


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Aurelia Tudor

Graduated the Bucharest University, Faculty ofHistory - Filosofy, in 1981. Worked as an ar-chaeologist at the Dunrea de Jos Museum inClrai, and also teached for 15 years atpreuniversity level. For 3 years she was coun-sellor at the Ministry of Culture, and then sheapplied at the Na onal Village Museum, in1993, where now she works as a researcherand is also head of the Folk Costumes Muse-um department.

A UTOPIA IN THE MIDDLE OF THE20TH CENTURY?THE SOCIAL MUSEUM VERSUSTHE OPEN-AIR ETHNOGRAPHICMUSEUM

I reckon that the plan was not en relyutopian and, by careful analysis, wecan consider it full of inspira on forboth sociologists and museologist eth -nographers, even today.

H. H. Stahl

The end of the 19th century and the

beginning of the following one meant thefall of the empires that dominated Centraland Eastern Europe from a geo-poli calpoint of view and the beginning of a pro-cess inscribed in the wider frame of stateforming based on the na onal criterion,instead of the old mul na onal empires.For Romanians, it meant crowning the as-pira on towards the crea on of the unit-ed na onal state.

- 1981.,

. 15 . - , 1993. - - , .

?

, - , -, .

. .

IXX , , - - - , -.

- .


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The economical and social new-creat-ed situa on nds also an echo with sociol-ogists who, trained in pres gious Europe-an ins tu ons, analyse the possibility of

sociology contribu on for solving thegreat problems at global and na onal lev-el. The Romanian sociology is undergoingan unprecedented development, beingtheorised and perceived as a science inthe cause of na on, from the perspec veof crea ng a wide program of social trans-forma ons through na onal culture andscience. It is the most ourishing period ofits evolu on, a er a long Romanian tradi-

on of research in the area that lead to theforma on of a sociology school that wasvery well thought of at na onal and inter-na onal level: The Sociological School ofBucharest. Its ini ator was Professor Dim-itrie Gus 1, a scien st with an excellent

1 Dimitrie Gus (1880, Iai - 1955, Bucharest),philosopher, sociologist, aesthe cian, poli -cian; member of the Romanian Academy(1919); president of the Romanian Academy(1944-1946); Educa on Minister (1932-1933);professor (Iai, Bucharest); he ini ated andlead the monographic research of Romanianvillages (1925-1948); he founded and managedthe Associa on for Social Reforma on and Sci-ence (1919-1921), the Romanian Social Ins-

tute (1921-1939, 1944-1948), the Romanian In-s tute for Social Sciences (1939-1944), the Na-onal Council of Scien c Research (1947-

1948); he created, together with Victor IonPopa and H. H. Stahl, the Village Museum(1936); he founded and was head ofThe Ar -chive for social reforma on and science (1919-1934) andRomanian sociology (1936-1944) pa-pers; he founded the Sociological School of Bu-charest; he founded the monographic method;

he wrote remarkable works in rural sociology,na on sociology and war sociology elds; he

- - , -, . - , -

. -

- - , - . - 1 (Gusti,

1 Dimitrie Gusti (1880, Iai - 1955,Bucharest), , , -, ; - (1919); (1944-1946); (1932-1933); (Iai, Bucharest); (1925-1948); - (1919-1921),

(1921-1939, 1944-1948), (1939-1944), - - (1947-1948); , Victor Ion Popa H. H. Stahl, (1936); - (1919-1934) (1936-1944); ; - ;

, -


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encyclopaedic educa on, formed in pres-gious European schools.

In a cycle of lectures called An Ap-proach to the Study of Social Reality, held

between 1946 and 1947 in Universi esfrom France (Sorbonne) and USA (Har-vard, Wisconsin, Yale), he characterizedthe Sociological School, a er almost 30years of existence, by the following traits:1. sociologist - monographer; 2. social re-ality - social frames and manifesta ons2; 3.admits the principle of social units prima-cy (the society cannot be found as such;it appears as well-de ned socie es - socialunits - families, villages, ci es, regions,states, na ons) (Gus , Opere, t. III, p.431); 4. the access method adequate forapproaching social units - the monograph-ic method; 5. the knowledge agent is notthe isolated individual, the cabinet intel-lectual, but the mul disciplinary team, theresearch loca on is not only the library,but also the eld study; 6. the social reali-ty study must be followed by a social andcultural work in community centres, in cul-ture houses and rural schools; 7. the tar-get of the research ac vity - forming a so-ciology of the na on3; 8. the law of the so-

ini ated the publica on (1938-1943) of the Ro-manian Encyclopedia; he was the manager ofPeoples Culture House and The Royal CulturalFounda on Prince Carol; curator of the Uni-versal Exhibits in Paris (1937) and New York(1939).

2 Frames : cosmological, biological, historical;manifesta ons : economical, spiritual, legal, po-li cal.

3 As an instance of the level reached by the mon-

ographic teams, Gus presents a sta s cs ofthe research done by that moment: 626 villag-

1968-1970), - , -.

- - , - 1946. 1947. (-

) (, ,), - , 30 - , -: 1) = ; 2) = 2; 3) - - : ; - - ,, , , , (, 1970, . 431); 4) -

= - ; 5) - , - , , - -

;6) - -

, ; 7)

; (1938-1943) - ;

- ; - (1937) - (1939).

2 : , ,

; : - , , , .


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cial services4; 9. a new University young,prepared for a construc ve work, accord-ing to a exible plan, based on the directstudy of the social reality and the founda-

on of a mandatory social service for allhigher educa on graduates; 10. the So-cial Ins tutes (4, one for each large histor-ic province); the founda on of a perma-nent publica on for monographic re-search:The archive for social reforma onand science ; 11. the Village Museum as

an e ec ve method for comparing thevillage and the city, for all country re-gions; 12. the model village or the new

es, ci es and regions, the organisa on of 5000culture houses and more than 500 ruralschools.

4 It ins tu onalised, for the rst me in theworld, the sociological research, combined

with the prac cal social ac on and the socialpedagogy (promulgated in 1939).

= 3,8) 4; 9) - , - ; 10) - (, - ); - : ;11) - - , ; 12) 5; 13) 6 . - , -

, 7.

3 , - :626 , , - 5000 500 .

4 -

- ( 1939).

5 , - -, .

6 - - .

7 (4 , 1938) Constan n Bri-

loiu (1893, Bucharest - 1958, Geneva, ;

King Carol II and Dimitrie Gus on the VillageMuseum construc on site, 1936

II 1936.


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village5; 12. the sociological movie6. Gusdoes not men on here: the social atlas,the social encyclopaedia, the ethnomusi-cology7.

Since 1920, when he started the rstRomanian sociological school, he ex-pressed his beliefs: the sociology will ei-ther be monographic, or it will not be atall. He began to theorize the method bycri cal analysis of previous works in the

eld8 - the sociological monograph tech-nique used by the School of Le Play, the

5 This village kept the architectural traits speci cto the area, but was modernised with regard tothe habita on comfort, plants cul va on andanimal husbandry.

6 Considers movie and photography not only anew method of taking notes, but also an inves-

ga on method.7 Now appear the rst great Romanian encyclo-

paedia (4 volumes, 1938) and the rst studies

in ethnomusicology ini ated by Constan nBriloiu (1893, Bucharest - 1958, Geneva, Ro-manian composer, musicologist; he created, in1944,The Interna onal Folkloric Archive , a project for The Ethnography Museum (Musedethnographie de Genve, coordinator forLes Archives Interna onales de musique populaire (AIMP) in Paris).

8 The monograph as such is not a Romanian dis-covery, but there are numerous ways of carry-

ing on monographs. The basic concep on orsociology system closely determines their type.Some are content with only the study of thefamily, preferring, for example, the budget;others are content with the sta s cal study,others with the descrip on of the social rela-

ons etc. We tried, from the beginning, the so-ciological research of all the aspects (thereforeof the whole) and not only in a descrip vemanner, but also in an explica ve one, for a

fundamental form of the social life, such as thevillage. (D. Gus ,Temeiurile teore ce ale cer-

1920. , - , -: - .

- 8 - - Le Play - - -, - - - . (Rostas,2000, . 44)

, , ,

, , - -, -

1944. , (Muse d'ethnographie de Ge-nve, koordinatorLes Archives Interna -

onales de musique populaire (AIMP) ).

8 - .

-

. , , , ; - , , . - -

( ) , - - . (Gusti,D: Temeiurile teoretice ale cercetrii

monografice , Sociologie Romneas-c, an I, nr. 7 9, 1936)


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Romanian contribu on star ng withframes and manifesta ons, crea ng hisown sociological theory to make a socio-logical synthesis of all par cular social dis-ciplines (Rosts, 1985-87, p. 44).

The Gus type monograph, on oneside, was perceived as a sociological sys-tem, based on a corpus of theories, con-cepts and theses, and as a working instru-ment that allows the systema c confron-ta on between theory and reality, a sim-ple way of unabridged and detailed know-

ing of the reality without which sociologyis not possible as science (Costea (coord.)1998, p. 292) and, on the other side, wasconsidered as a cultural current, its orig-inality being the mul disciplinarity (Stahl1975, p. 11). The aim of monograph cam-paigns organisa on was to make a radio-graph of the Romanian peasant status, to

elevate the villages. The monographicteams were formed from young studentsfrom the University in Bucharest, the Fac-ul es of Sociology, Philosophy, Literature,Medicine, Veterinary Medicine, Agrono-my, Theology, supported by pres giousnames of the Romanian science and cul-ture. With them, a large number of youngintellectuals were seduced by the mono-graph: musicians, architects, ar sts, cho-reographers.

The Gus School was usually under-stood in a simple way, as a school of ruralmonographs. Its originality lies in some-thing else: is the rst school of sociologythat created a methodology for compari-

cetrii monogra ce , in Sociologie Romnea-sc, an I, nr. 7-9, 1936)

-

(Costea, 1998, . 292) , , - -. (Stahl, 1975, . 11) - - - - , . - -, , -

, , -, , -, - -. , : , - , , .

,

. - : - - - - , - , - - - - - , . - -

membra-disjecta -


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son-progressive research of thesocialunits , from family and village associalunits , to the supra-village communi es and from these to thena onal socie es and the interna onal units made fromgroups of na ons, or the ones a ested bythe Balkan ethno-sociology, from which a

leap can be made to the science of the so-cial unit called humanity. The method is a progressive sociological integrism and themeans to integrate thesemembra-disjec -ta that are the disparate pieces of knowl-edge about social units are:social unitmonograph, regional studies method, so -cial and ethnopoli cal encyclopaedia, sco -

ciological movie, sociological exhibit (or-ganised according to a sociological con-

: , , - , , (-

) -. (Badescu,

2009, . 55-62)

: ,

- ., - ,

C. Briloiu - ethnomusicological research, Drgu, Transylvania, 1929 , , , 1929.


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cept) andthe sociological museum like theVillage Museum (Bdescu, coala Gus2009, p. 55-62).

The sociological research was per-formed under the patronage of three largeforums: the University, through the sociol-ogy seminar coordinated by Professor D.Gus , the Romanian Social Ins tute whichgathered personali es from Romanian cul-ture and science areas, as well as invitedforeign personali es, and the Royal Cultur-al Founda ons Prince Carol, under thepoli cs umbrella, of King Carol II.

We must men on the fact that theSchool went through two major periods:

rst, the one of monographs (1925-1933),dedicated to the conceptual accumula on

, - II.

- : , (1925-1933), - , (1934-1948), - - - -.

,

, - , -

-. -. , - , -

, - .

-.

- - - -

- - (1929), (1931), (1937) (1939).

- . . -

1928. - , -

The New Village Museum, the Village Museum,1938

, , 1938.


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and clari ca on, and the second (1934-1948) meant for ac on, for transformingthe accumulated complex materials intoper nent solu ons for the development

of the Romanian society.From the rst campaigns, based onthe materials gathered from the re-searched villages, small exhibits were al-ready organised, and they were more thansimple displays of beau ful or interes ngitems, they were sociological exhibits.Usually organised inside schools, they alsopresented to the villagers syntheses of theeconomical, medical, demographical andpsychological research done in the village.At the me, they were inaccurately namedmuseums.

This type of exhibits were con nuedat a larger scale, within the Universityfrom Bucharest, or when Romania par ci-pated to the Interna onal Exhibits from

Barcelona (1929), Tokyo (1931), Paris(1937) or New York (1939).The research system conceived by

Gus was an open, permanently perfect-ible system. This trait appears also on theused methods. Since the rst sociologicalexhibit made in 1928 in Bucovina, in theprofessors mind an idea starts to form: tocreate a sociological museum as a synthe-sis of our villages. The viable formula tocreate it was the open-air museum9. There

9 In order to be be er understood, the objectsshould be placed in the museum as they are inreality, not between sheets, but in a real house;not in stands, but in the barnyard of the manshousehold. We absolutely need an open-airmuseum, in which the stands should be en re

peasant houses, museum items by themselves,and the houses should be placed so that they

- . - 9. , - , Le Play, , - , 19. .

- - . -

, - - , , -

- - . - - - .

9 , - : , - ; , - .

, - , .

Gus , D:Muzeul satului romnesc , So-ciologie romneasc 5. 1936, .5


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were meritorious experiences in Europe,the one of the social museum, which wasput into e ect in France by Frdric LePlay, and the one of the Skansen, created

by Artur Hazelius in Stockholm, since the19th century.The Village Museum in Bucharest had

to be something else. In order to under-stand why the sociologists were the onesto create this museum, we have to knowthat Professor Gus had the belief that thesociology had no jus ca on and no fu-ture, as a science, unless it was focused onthe direct research of the actual social re-ali es, made by a network of complex in-terdisciplinary teams, and only if the re-search results had an immediate appliedsocial e ciency. For this, the results of re-search and the envisioned solu ons had tobe made public as soon as possible.

One of the main resorts that could beused for this aim was the Museum, con-ceived as a social pedagogy tool. The eldresearch, started in 1925, was doubled, asfar back as 1928, by a series of experimen-tal exhibits, and the network of researchteams comprised more than a hundred ofnuclei, covering the whole country andhaving a reach experience. This explains

how a Museum could be created in such ashort me, less than two months10.We have to men on the fact that this

museum was only the beginning of a wid-er museologic achievement. Professor

imagine a real village, D. Gus ,Muzeul satuluiromnesc , Sociologie romneasc, 5, 1936, p.5.

10 The Museum opened its gates on 17th

of May,1936

, . , 1925, 1928. - - - ,

. , - 10. - - - . 11. -- - , , - 12.

-

- - : -, , , -, , -.

- , -, -

10 17. 1936.11 -

. , H. H. Stahl (1901-1991, , -), - Muzeul Satului. Oper acolii de Sociologie romneasc , Revista de etnografie i folclor, t. 32.Bucureti, 1987, . 86-87.

12 Cluj, Transylvania, 1929.

RomulusaVuia (1887-1963).


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Gus di eren ates several forms of thismuseum type11.Thus, the Museum Park was con-

ceived as a public garden, for peoples re-laxa on, also equipped with educa vemuseum items12.

The open-air museum was meant tosystema cally display a museum item col-lec on, based on text, which could havebeen extremely diverse: museums of art,

11 One of the closest co-worker of D. Gus , H. H.Stahl (1901-1991, sociologist, jurist and histori-an) analyses this ins tu on type in his work,Muzeul Satului. Oper a colii de Sociologieromneasc , in Revista de etnogra e i folclor,t. 32, Bucure , 1987, 1, p. 86-87;

12 Such a museum was already created in Cluj,

Transylvania, organised in 1929 by the ethnol-ogist Romulus Vuia (1887-1963).

, - , , -, - .

, ,

. , 1936. ,

- . , 13. -

13 , -. .

The village of Dio , Oltenia, south of Romania, the City Hall, 2011 , , , , 2011.


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handicra s, economics, technology, histo-ry, vernacular architecture etc.

The village museum was, in his con-cep on, a special open-air museum type

that presented, as a synthesis, a village,meaning a human se lement in which themarket places, the alleys, the courtyards,the houses and the planta ons shouldgive the image of a real village, actually in-habited by locals.

Ini ally named The Museum of Roma-nian Villages, it was intended as a synthe-sis. But according to its crea on in 1936, itwas only a fragment of a vaster museumplan. Professor Gus thought it was neces-sary to create a second Village Museum,the one of the village of tomorrow13. Wecan only recognize some ethnographicaltraits for the rst Village Museum, but notfor the second one. Using also the tech-nique of open-air exhibi on, this was nota miniature village, but a systema c col-lec on of proposed models for the urbansystema sa on, the development and thetechnical equipping of the rural space. Inthe centre of this New Village Museum,one should have found the city hall, theschool, the community centre, the dispen-sary, the library and the economic public

buildings. The focus should have been onthe didac cal value of the exhibited mate-

13 The Model Village Museum was not created,but in the country some model villages wereconceived. Some of the most famous was thevillage of Dio , in Oltenia. Although a ectedby the homogeniza on trend imposed by thecommunist regime, it can be s ll studied now-adays as an example of a modern rural se le-

ment that keeps the main traits of the local ver-nacular architecture.

- , . , , - -, - . - , - , , , -, , - . , -

-

, -

- .

Welcome to the Village Museum,2011

,2011.


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rial, which should have been directly usedfor prac cal lessons taught in a specialbuilding of this open-air museum in whichfuture leaders of the rural schools andcommunity centres were to be trained.S ll, the crea on of these two open-air museums would have not en rely cov-ered the school inten ons regarding thedissemina on of the knowledge neededto raise the material and cultural level. Thetwo twin museums were therefore con-ceived so that they could have been in-cluded in a Social Museum, in which thein-door exhibit techniques would havebeen also used. The project and model ofsuch a Social Museum were exhibited in1938, in the pavilions of Exposi on Uni-verselle de lhabita on rurale from PorteMaillot in Paris14.

Such a social museum should have in-cluded the following: rst, the two villagemuseums, the tradi onal ethnographicalone and the one of the model village, in-cluding the school.

An open-air and in-door museum, fo-cused on the idea of the peasant cra sand industries, including also a handicraschool.

A central pavilion to include the docu-

menta on for great social problems: eco-nomic geography, history, demographyand public health, economy, old and newproduc on techniques, old and new pro-duc on rela onships, peoples culture is-sues etc.

14 On a larger scale, such a museum project wasprepared in Bucharest, for the Interna onal So-

ciology Congress that was to be held in 1940,but that was delayed due to the War.

- - - .

, - - - - . - , - -.

- 1938., Universelle de lhabitation Rurale Porte Maillot 14.

- : , , -

, . ,

- , - .

: , , , -

, , , , , - , .

14 - - -

1940. , .


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, -

, - - - .

- .

-

- , - .

, -.

- - , - - , -

, , - .

. , , - - 1948. . , - -

.

This sociological museum would havebeen doubled by a documenta on centrefor the large public and would have includ-ed conference rooms, a library and an ar-chive, workshops for technical processingof works coming from researchers not in-cluded in the network.

A central storage facility would haveallowed storing the objects that were notsupposed to burden, in an unlikely man-ner, the houses and exhibit rooms of theVillage Museum.

From this storage facility, the itemsneeded for temporary exhibits could beextracted, according to the proposedthemes.

This museum was to be kept up todate, through direct contact with the Soci-ological Research Ins tutes.

Made by mul ple museum methods,

that were coherently put together, the so-cial museum would have had the shape ofa Popular University or an Ins tute, as apowerful way to culturally advancementof the country, with the great advantage ofbeing placed inside the city, for a be eraccessibility.

The imminent break out of the war

froze the said plans. But a er the war, thenew power marginalised the importanceof the sociological studies, forbidding in1948 any type of sociological teaching.From that moment on, the Village Muse-um was permanently endangered: liqui-dated or transferred outside the city.

Its salva on came from dele ng anytrace of sociological exhibit and trans-forming it in an ethnographic museum.


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.

- , - Sten Rentzhog, , , , -, - . (Sten,1975, . 103-105)

By studying the historical e

Documents

zbornik SIROGOJNO 2012.pdf