This thesis aims to explore the use of Costumed interpreters at museums. Firstly the thesis examines how extensivethe use of historical Costumes is in Sweden, along with some international comparisons. Later on the differentways that the clothes are used is examined, and the Costume as a resource for learning is discussed. In the lastpart of the thesis the ?function? of the Costume is examined.

This thesis aims to explore the use of Costumed interpreters at museums. Firstly the thesis examines how extensivethe use of historical Costumes is in Sweden, along with some international comparisons. Later on the differentways that the clothes are used is examined, and the Costume as a resource for learning is discussed. In the lastpart of the thesis the ?function? of the Costume is examined.

This thesis aims to explore the use of Costumed interpreters at museums. Firstly the thesis examines how extensivethe use of historical Costumes is in Sweden, along with some international comparisons. Later on the differentways that the clothes are used is examined, and the Costume as a resource for learning is discussed. In the lastpart of the thesis the ?function? of the Costume is examined.

This thesis aims to explore the use of Costumed interpreters at museums. Firstly the thesis examines how extensivethe use of historical Costumes is in Sweden, along with some international comparisons. Later on the differentways that the clothes are used is examined, and the Costume as a resource for learning is discussed. In the lastpart of the thesis the ?function? of the Costume is examined.

In this paper five different commonly used methods of making a mount for a Costume in along term display was investigated: The shaping of a mannequin and a polystyrene dressstand, the making of a gypsum torso, support made out of plexiglas and polycarbonte and athree dimensional mount on a board. The materials of the mounts were thoroughly takeninto consideration and described in the paper. One of the methods was put into practice in acase study of a Russian uniform dress coat. A gypsum torso was considered to be the mostappropriate mount in this case. The dress coat was to be displayed at the Garnisons- ochluftvärns museum in Halmstad.

The kimono is a simply cut Costume with a very advanced tradition of the wearer, which Ihope to communicate through this essay. The long historical bakground of the kimono cangive a better understanding of its construction and its contexts as well as its individualconditions, all is to be taken in consideration before exhibiting the kimono. Relevantstudies in litterature has been applyed within these subjects, which are accounted forprimarily in the second and third chapter of this essay. The essay contains a study of thekimono with a strict delimitation towards four symbolic wearers, the subject is thenfurther discussed in relation to the different kind of installations at exhibits. In the fourthpart of the essay two educational study visits will function as a supplementary study forthe litterature studies meantioned earlier.

This study focuses on Costume as a source of information. By making a case study of an 1880's dress itaims to explore the conservators potential as an investigator and conveyor of the information containedin a Costume. Further explanation of this role is made by reference to several statements made by wellknown textile conservators. The paper also explores the different words used to make a new version ofa preserved or inexistant garment, gives an extensive presentation of taking patterns and an insight tothe other methods used for analysing Costumes. The case study consists of an investigation of the dressconstruction, during which a pattern is taken, and a literature study of the contemporary fashion, theowner of the dress and the maker of the dress.

I denna studie har Costume play (förkortat cosplay) analyserats i förhållande till identitet. Fortsättningsvis kommer förkortningen cosplay att användas i den här studien. Andra böjningar av ordet kommer också att förekomma som exempelvis cosplayare, som är en person som håller på med cosplay.Idag är det ett medielandskap med deltagarkultur och konsumenten kan även vara producenten. En person som väljer att klä ut sig till en karaktär (vanligtvis från en manga eller anime) kallas det för cosplayare. Deras medierade fantasier har fått blivit verklighet genom cosplaying.Syftet med den här undersökningen är att ta reda på varför personer väljer att tillfälligt bli någon annan genom att cosplaya och hur det påverkar deras individuella identitetsskapande.

Uppsats för avläggande av filosofie kandidatexamen iKulturvård, Konservatorprogrammet15 hpInstitutionen för kulturvårdGöteborgs universitet2014:06.

The artist Pehr Hilleström has been credited as the founder of the Swedish genre painting. In the second half of the 18th century he began painting everyday subjects of the different social stratums. Today his paintings are noted for their way of showing us the culture of the time since the photograph still had still not been introduced.   Hilleström was a court painter for King Gustav III who wanted him to depict the Swedish people and their different Costumes. The king thought the Costumes were of great significance for their psychological impact on people and therefore used them as a way to unite the nation psychologically, both by the genre paintings and also by making a national Costume. The Costumes were used as a symbol of an unbroken tradition and national heritage.

Uppsats för avläggande av filosofie kandidatexamen iKulturvård, Ledarskap i slöjd och kulturhantverk15 hpInstitutionen för kulturvårdGöteborgs universitet2014:33.

This is the project of making a stage design for Batboy ? the musical, a cooporation with a network of musical artists. The aim of the project was to create a space on stage that strengthens and expands the experience of the story told, and find design solutions that give an extra dimension to the story. The prerequisites for my work were partly defined from the produc¬tion, as were my limitations. In the cast of ten artists some were to play more than one role, often one of the opposite sex.

Cultural objects may become wet by deliberate water cleaning, water disaster or watersoaked for other reasons. Air drying textile objects and even other organic materials from awater wet state, involves many problems depending on the strong capillarity action of water.Damages and changes such as bleeding of dyes, stains or lines of impurities from watermovement, shrinking or stiffness can occur. Freeze-drying as an alternative drying methodhas often been used for wet archaeological and marine objects, but more seldom for historicalmaterials.This bachelor thesis addresses the issue of whether freeze-drying can be an alternative controlleddrying method for historic Costumes. Costumes and related objects are often compositeobjects, consisting of multiple materials, as well as being three dimensional, all of whichwill complicate drying. The purpose of this study was to investigate whether it is possible tohandle Costume objects after wet cleaning for drying by freeze-drying, and if damages due tosurface tension of water, can be avoided in this way.

The essay is an effort to examine and define three examples of liminal dance performances through an aesthetic, hermeneutic and semiotic analysis. The examples are three dance or liminal performances, made by three different choreographers and performed at ?Moderna Dansteatern? and ?Dansens Hus? in Stockholm during September and October 2005. In the effort to determine the liminal and cross-over in the performances, the analysis focus on aspects such as: the character of the work, choreography, the use of scenery, stage light, requisites, conception of place and interior room, the use of Costume and mask, the use of different media as text, pictures, film, and music or not using any these, and the interaction with the audience. The analysis depends on a historical background and the use of literature in the subject.

The essay is an effort to examine and define three examples of liminal dance performances through an aesthetic, hermeneutic and semiotic analysis. The examples are three dance or liminal performances, made by three different choreographers and performed at ?Moderna Dansteatern? and ?Dansens Hus? in Stockholm during September and October 2005. In the effort to determine the liminal and cross-over in the performances, the analysis focus on aspects such as: the character of the work, choreography, the use of scenery, stage light, requisites, conception of place and interior room, the use of Costume and mask, the use of different media as text, pictures, film, and music or not using any these, and the interaction with the audience. The analysis depends on a historical background and the use of literature in the subject.