The role of activity of scansens of Ukraine in the development of cultural tourism of the region

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The role of activity of scansens of Ukraine in the development of cultural tourism of the region

Stepan Dychkovskyy,

Sergiy Ivanov

Summary

The article examines the study of skansens (open-air museums) in the system of intangible cultural heritage of the country. 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 tourist activities of skansens in the system of intangible cultural heritage of different countries.

Peculiarities of tourism development in the post-industrial society influenced the conceptual approaches to the museum topos, which initially transmitted a chronological meaning, but with the distribution of museums - skansens was outside the phenomenological boundaries of time and space. The spreading of skansens as interactive open-air expositions became a reflection of changes in the cultural and socio-economic life of modern society. Trends in the development of active consumerism in the social and economic spheres, globalization, growth of cultural and creative industries have identified new areas of museums - skansens, which were transformed from the museums, that show ethnographic collections in the space of new cultural being.

Introduction

Relevance of the research topic

The growing role of cultural tourism has given impetus to the preservation and revival of intangible heritage, cultural traditions and national spiritual practices. The development of cultural tourism through the use of tools for positioning the national product in the world market of tourist services affects the promotion of intangible assets, which in comparison with the tangible heritage, are more durable. In the modern cultural situation, which is associated with the processes of the final transition of civilization to the information society and the post-industrial stage of tourism, it is obviously, 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 cultural heritage and its protection, especially among the younger generations; the leading role of indigenous communities, groups and individuals in the creation, protection, preservation and reproduction of intangible cultural heritage, which, thus, enriches cultural diversity and promotes human creativity; close interdependence between intangible cultural heritage, tangible cultural and natural heritage; emphasizes that the process of globalization, 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 latest 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 attention 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 "alive heritage" or "alive culture" [2]. museums intangible cultural heritag

Museums - skansens are the complexes, unique by content and innovative by gist, where it is possible to recreate the architecture and everyday life of the people in the most figurative and historically authentic way, to demonstrate the economic activity of people, who lived, worked and created in different historical and ethnographic regions and periods of life. The museum - skansen, despite the undoubtedly positive significance of the exhibition of investigated or restored objects or products, can also perform the function of reconstruction of life models in ancient societies; can not only demonstrate a certain society in a certain period of its historical development, but also perform a series of investigating tasks. Thus, having been developed in this direction, the museum exposition won't be static - it will be cultivated and constantly renewed. The museum - skansen may be envolved in the realization of the state scientific programs, based on the study of material culture of any particular town and a country, may be also used as promising tourist object with an interactive exposition and also for cultural, educational programs.

Analysis of research and publications

The diversity of elements of cultural heritage contributes to the identification of the local population through the formation of a set of values becomes a determining factor in the tourist magnetism of the territory and the growth of attractiveness of regions and is manifested through the formation of brand images. However, the processes of modernization of customs, rituals and holidays, not only create new event resources in the sphere of cultural tourism for local population and tourists, but can distort folk traditions in favor of commercialization of culture and the creation of new attractions, according to numerous foreign and domestic researches. Traditional cultural structures, norms, values, created over the centuries and ensuring the uniqueness of individual communities, as a result of commodification acquire the form of a tourist product, namely, they're converted into objects of exchange value, becoming goods for tourist consumption [3]. Under the influence of changes, associated with mass tourism, there is a threat of irreversible loss of socio-cultural practices of both local and national cultures, including folklore, folk festivals, etc. The negative impact is also manifested in the leveling of national and cultural identity, when tourists from developed countries involuntarily impose their cultural values on the inhabitants of the tourist destination, which is perceived as "cultural imperialism" [4]. With the constant development of the tourism industry transformations of the traditional way 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 heritage, with the expansion of the number of consumers of the tourist products, the authors also mention on many sites of world heritage and traditional culture the establishment of unified cultural practices, which appear under the influence of new consumer preferences. Any object of cultural environment, interesting and attractive for tourists, may be sold as a commodity, which 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 national specificity, is one of the ways to promote the development of cultural diversity and support the cultural sector [7]. Forming a database for the Living Tradition contest, studying statistics and filling the site with information, the Ukrainian Center of Cultural Studies found out, 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 transfer their main idea, transforming into global brands and prominent images of particular countries and territories.

In scientific works the use of intangible cultural heritage in the sphere of tourism is considered from the point of view of sustainable development of tourism, emphasizing the fact, that intangible cultural heritage is a tourist asset [8]. Depending 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 be different. It should be emphasized that intangible cultural heritage is the basis for such types of tourism as cultural, ethnic, religious, gastronomic and other [9]. Due to the purposeful policy in the field of tourism, which is associated with the promotion of regional and local cultural identity of the country through intangible heritage sites, East Asian countries have managed to make a significant progress in increasing tourist flows in short time. And such countries as Great Britain, Germany, and the United States, which have been implementing measures for the protection of intangible heritage at the national and local levels for a long time, remain the leaders in the international tourism market thanks to these measures. For Ukraine the above factors are quite relevant, so it is necessary to move actively 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 characterized by negative demographic changes: low birth rates, aging society, migration processes leading to the emptying of rural areas and the concentration of urban residents. In this context, for Ukraine, as a country with a transitional economy, and destroyed traditions of preserving elements of intangible cultural heritage (folk crafts and crafts, wedding and calendar ceremonies, family and Cossack songs, traditional folk costumes, etc.), the Latvian experience in intangible cultural heritage is useful, because it illustrates the successful results of the implementation of programs and activities aimed at increasing tourist flows, museum visitors, cultural expenditures [11]. The problems of the state of preservation of folklore heritage, development of decorative and applied arts, traditional folk crafts in the villages and small towns of Ukraine are also emphasized by Z.O. Bosyk. In particular, it is noted, that young people have no interest in participating in folk groups and are dominated by the elderly. Almost no local schools of folk artists have remained, which are carriers of local alive traditions and promote them at festivals, competitions, 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 promotes international cultural exchange and may become one of the main promoters of tourist resources of cultural nature [13]. Considering the low awareness of the population with the elements of intangible cultural heritage, it is necessary 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 Intangible Cultural Heritage of Ukraine and provides coverage of areas and elements, in which the intangible cultural heritage is manifested [14]. The Ukrainian Center of Cultural Studies has formed the National list of elements of intangible cultural heritage by local centers of residence, which include the following elements of intangible cultural heritage: "Cossack songs of Dnipropetrovschyna" and Petrykivka painting - Ukrainian decorative and ornamental painting of the XIX - XXI centuries (Dnipropetrovsk Region Ukraine); white-on-white embroidery technology and the tradition of plant carpet, weaving in the village of Reshetylivka, Opishnya pottery (Poltava Region, Ukraine); the tradition of Kosovar painted pottery, the tradition of Hutsul pysanka (Ivano-Frankivsk region, Ukraine); the tradition of Krolevets weaving (Sumy Region, Ukraine); song tradition of Luka village of Kyiv-Sviatoshynsky district (Kyiv Region, Ukraine); "Ornek" - Crimean Tatar ornament and knowledge about it (Crimean peninsula, Ukraine, places of compact residence of Crimean Tatars on the territory of mainland Ukraine); tradition of ornamental painting of Bubnov ceramics (Vinnytsia Region, Ukraine); tradition of cooking etaiaklak (Karaite meat pie) (experience of Karaites in the city of Melitopol, Zaporizhia Region, Ukraine); the tradition of the ritual "Driving the Bush" in the village of Svarytsevychi, Dubrovytsia district, as well as boarding (Rivne, Ukraine) [15].

The popularization of intangible cultural heritage of the Ukrainian people, should be most effectively carried out by the development of the tourist portfolio, an element of the intangible cultural heritage of a certain territorial - administrative unit; namely 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 "alive" culture, which is being constantly updating in the process of interaction with nature, ethnic groups and historical conditions of existence [16].

Some communities today actively use the elements of intangible cultural heritage, such as Petrykivka painting, Kosiv painted pottery, Krolevets weaving, as visual identifiers of the territory and have their images on the official web resources. The most local communities do not use the elements of intangible cultural heritage as territorial brands and thus deprive tourists of the opportunity to identify the area, where a certain alive tradition is widely spread. The use of 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.

Now the intangible cultural heritage has become an original resource for the development of territories, that need appropriate promotion and development of strategies for the formation of national tourist product, and main role in the process of implementation of which, according to the principles of historical continuity, ethnocultural and sustainable development, belongs to local communities. Besides, the tourist demand for cultural heritage contributes to the financing of local traditional folk crafts and arts, stimulates the creation of new tourist destinations.

The analysis of the scientific literature revealed the commitment of Ukrainian and European researchers to the ideas of popularization of intangible cultural heritage and the development of tourist activities of skansens in different countries.

Skansens play an important role in the promotion of intangible cultural heritage of the relevant region of the country.

Materials and methods

The purpose of the work

Study the activities of skansens in the system of the intangible cultural heritage and development of tourist infrastructure of the region.

Presentation of the main material

The most important element of the tourist infrastructure, ensuring the preservation and actualization of intangible cultural heritage, is the "open-air museums" or skansens, which have become a place of producing new senses. Their creation began in the late XIX century and until the beginning of the XX century there were more than two thousand museums of this profile [17]. The term "skansen" appeared in Sweden with the appearance of the first museum of architectural - ethnographic exposition in the open air and mini-museums in separate buildings on the island of Djurgarden in Stockholm. The founder of the Skansen, Arthur Gezelius, forming the exposition of the Museum, first of all wanted not just to capture the historical past, but to awaken patriotic feelings with the help of a collection of "alive paintings" [18]. Ukrainian culturologist О.М. Honcharova believes that Gezelius has initiated a symbiotic genre of Park Museum and Museum Topos, as an organized space in the open air [19]. Later, the name "skansen" became common for a new museum trend - "Skansenology" which began to develop particularly rapidly in the conditions of fast development of the tourism industry.

The environment of the museums - skansens through ethnographic festivals, folklore festivals and religious ceremonies, historical and ethnographic reconstructions updates the intangible cultural heritage, and with the help of interactive programs allows not only to get acquainted face to face with modern life, but also to plunge into the "living" culture. In such a museum all the "exhibits" are available and functional, which, in the context of the trend of skans, can be used also for other art institutions [20]. For example, in the context of open-air exhibitions, curatorial projects, which are based on the involvement of visitors in interaction and co-creation, may be carried out.

The processes of intensification of mass tourist trips put on the agenda the need to preserve endangered cultural heritage sites and contributed to the intensive creation of open-air museums. Significant successes in the creation of the museums- skansens in the postwar years were achieved by Poland, Bulgaria, Hungary, and Romania, in Europe, Japan, South Korea, and Indonesia, on the Asian continent and in the United States. In different countries this type of museum has its own name: the British call it "open-air museum', the Americans and Australians - "opendoor museum', the Germans - "open-world museum', the French - "eco-museum" the Czechs - "museum in nature". In Ukraine most of such museums are called museums of folk architecture and life, museums - reserves, "open-air museums" or "outdoor museums". The stages of development of various models of open-air museums as a new type of museum activity are reflected in details in the monograph of M.E. Kaulen [21].

There are two approaches to creating open-air museums: "park type", when the buildings are located without interconnection, and "collection type", when the buildings are a part of rural or urban ensembles. Russian researcher V.V. Tikhonov identifies 10 types of objects that may be called by one unifying term "open-air museums": archaeological complexes; museified historical environment of cities; palace and palace and park complexes; defensive historical and architectural complexes; religious historical and architectural complexes; memorial complexes of manor-type; military-historical complexes; industrial complexes; ethnographic complexes; mixed type museums. In his opinion, the most effective form of preservation and promotion of cultural heritage are helpful for the transition from a collection approach in the creation of the exhibition space of open-air museums to ethnographic, which is formed by reconstructing the cultural space on the basis of detailed historical and cultural zoning. The collection approach, which consists in the placement of unique objects-monuments of history and architecture in a separate species series, is observed nowadays in some museums-skansens, but in the modern exposition space there is a place both for newly created environmental objects and for natural landscapes with ethnographic compositions, according to the scientist's opinion [22].

Ukrainian researchers agree with him. Applying the approaches of the collection museum to objects of immovable and intangible heritage, the model of skansen - museums only simulates a "dead" environment, separated from modern real life [23]. Trying to integrate the open-air museums into the modern sociocultural environment, not only objects of tangible and intangible cultural heritage, the natural environment, but also bearers of cultural tradition are included in the sphere of museum activity. So, museums-skansens go beyond the traditional limits of storage of subject collections and are transformed into environmental museums that are able to provide research and demonstration of the cultural landscape with all the interconnections between its constituent elements.

According to O.E. Afanasiev's opinion, the classification of objects, used as modern socio-cultural centers, should include a few more categories that clarify or detail the previous classifications of "open-air museums": museums, that have exhibition sections and departments under the open sky; expositions and parks of military equipment, military complexes; parks of sculptures, modern art, open-air art space; amusement and leisure parks created on a historical basis; museified industrial, industrial, engineering facilities representing a certain period of industrial development [24]. The exposition of Kreller-Muller park-museum near the town of Otterlow in the Netherlands has the territory of 25 hectares and includes works of the best sculptors of the XX and XXI centuries: 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 collector and founder Helen Kreller-Muller's idea about the symbiosis of art, nature and architecture. And the 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 cultural tourism, which is based on heritage resources, should contribute to the development of the socio-economic sphere of the local community [26]. Cooperation between museum and tourism organizations, from the point of view of cultural tourism development, should be based on equal distribution of income from tourism services, while planning cultural projects should take into account marketing 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 from which they come from... and, thus, can be closely connected with national, regional, local, ethnic, religious or political identity".

The main goals and objectives of the creation and operation of the open-air museums are connected with the necessity of creation a model of the cultural landscape by means of showing household items, tools, applied arts in a complex of national folk culture and architecture and promotion of the tourism industry, which allows to revive forgotten traditions, crafts, folk festivals.

Dmytro Kadnichansky notes that one of the effective ways to preserve both valuable examples of Ukrainian wooden architecture and old residential and commercial buildings is to transfer them to museums of folk architecture and life (open-air museums), where they are reproduced in their original form [27]. At present there are fifteen large skansens in Ukraine: one of them is national - the State Museum of Folk Architecture and Life of the National Academy of Sciences of Ukraine (Kyiv), two regional - Lviv Museum of Folk Architecture and Rural Life, "Shevchenkivski Hai" and Pereyaslav - Khmelnytski Museum of Folk Architecture and Life, the other twelve skansens are regional. On the territory of Ivano-Frankivsk Region of Ukraine several projects of the creation of skansens are being implemented: the open-air museum of Hutsul culture in the "Hutsulshchyna" National Nature Park; skansen monastery of twelve churches-monuments in the village of Uhornyky, Kolomyia district, Ukraine (Figure 1).

Figure 1. Skansens National Museums Ukraine

The largest in the world by its area (150 hectares) and by the number of buildings of folk wooden architecture of the XVI - beginning of XX 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 Pyrohiv village [28]. The museum buildings are grouped into estates by ethnographic zones of Ukraine, such as "Middle Dnieper region', "Poltava and Slobozhanshchyna" "Polissia", "Podillia" "Carpathians', "Souh of Ukraine". Skansen is a favorite place for folk and religious holidays for Kyivans and tourists from other regions, various exhibitions and fairs, where folk craftsmen demonstrate products of traditional crafts and handicrafts. Interactive programs for children and youth, shooting of TV shows and clips, excursions and presentations of new routes of rural green tourism in Ukraine are held there (Figure 2).

Figure 2. Skansen National Museum of Folk Architecture and Life of Ukraine in Pirogovo

The experience of creating and operating open-air museums shows, that in addition to their main task - the preservation and promotion of cultural heritage, museums-skansens play a significant role in the development of tourist and recreational activities for local population and tourists. Open-air museums allow people to organize mass folklore-ethnographic and cultural-historical festivals, thematic festivals, exhibition projects, and theatrical tours, concert programs of folk groups on the background of unique museified objects in harmony with typical landscapes of different historical and geographical regions of Ukraine. The examples of well-known 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 the festivals of Ukraine: International Folklore Festival "Bukovynian Meetings", International Literary and Art Festival "Krolevets 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 other [29].

However, there are a number of problems due to which it is impossible to use skansens effectively in tourism: the number of museums of this type is insufficient for full recreation, especially in large industrial cities; poverty in the presented expositions of buildings of different types (many areas are not used at all or a significant number of objects are closed); insufficient equipment of the territory with infrastructural elements of recreation; the 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 number of cultural sites and landscapes, clumsily use their unique potential. This is evidenced by monitoring data conducted by international institutions and indicators of modern use of cultural heritage in tourism development [31].

The inclusion of intangible cultural heritage in museum activities allows the formation of new conceptual museum technologies, which increase the attractiveness of museum expositions and destinations in general. Therefore, an important task deals with active involvement of intangible cultural heritage in the activity of museums for the formation of new animation and innovative tourist products [32]. For example, the new Beacon app, launched in 2015, allows museum visitors to use a digital guide, which sends information about the works they see during the tour in the form of audio and video materials, articles and reviews. Also, this technology helps to navigate in large museum complexes and galleries, upload photos to social networks [33].

The current state of the museum affairs is focused on the integrativeness, involvement, complexity, interdependence of the museum itself and its preserved objects. All this is harmoniously combined in the museums-skansens, which particularly reproduce national values through combination of tangible and intangible heritage.

Thanks to museums - skansens, first of all, both preschool children and schoolchildren are envolved in the national traditions. In these museums they may feel themselves to be in touch with the ancient crafts personally or get acquaint with the different curiosities from the past.

At present the use of modern information technologies, including augmented reality technologies or QR-codes, is becoming increasingly important in the activity of museums - skansens. 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 computer (sounds, video, graphics, GPS data).

The implementation of the method of "augmented reality" nowadays may be possible thanks to creation of three-dimensional models of objects on the screens of smartphones, tablets, as well as a series of perspective devices (Google glasses, Smart vision). These technologies give possibilities to organize an interactive environment inside the museum area.

Besides, new information technologies facilitate public resonance campaigns, PR-events, which help attract as many visitors' and volunteers' attention as possible and involve them in visiting museums.

Recently the Google team in Ukraine under the patronage of the Ministry of Culture of Ukraine has presented a virtual tour in Ukrainian open-air museums.

Seven museums in different regions of Ukraine are now open for a virtual tour, mainly: National Museum of Folk Architecture and Life of Ukraine in Pirogovo, Museum of Folk Architecture and Life of the Middle Dnieper in Pereyaslav- Khmelnytsky, Museum of Folk Architecture and Life in Lviv, Transcarpathian Museum of Folk Architecture and life in Uzhgorod, "Mamaeva Sloboda" Zaporozhye Sich and Bohdan Khmelnytsky in Chyhyryn (Figure 3).

Thanks to this project, those people, who are unable to visit the open-air museum personally, have a good possibility to learn more about folk architecture and life of our ancestors online.

Actually, the new information technologies allow us to expand the boundaries of the exhibition, to show a huge amount of additional information and to increase the emotional impact on the visitor. At the same time the latest technologies are only a supplement to the museums' exposition.

Young visitors take part in the master classes in traditional cooking, pottery, weaving, etc. Every Ukrainian museum - skansen is characterized by a variety of such activities for both children and adults. Families enjoy attending holidays and festivals regularly, organized by skansen - museum staff. This is really proved by the reviews on social networks, by the museums and travel agencies data base, which open more and more new tours to the museums-skansens.

Figure 3. Virtual tour Skansens National Museums Ukraine

Thus, the appeal to the intangible heritage and its inclusion into the content of museum activity can be considered as a process, that makes the model of the museum - skansen more "alive". At the same time the institutional features of the museum are preserved, but it becomes less conservative and more often meets the demands and desires of modern man.

Results

The activity of the world's leading museums in the context of cultural tourism development is characterized by the transition from a social-service model to a market-service model, because in the system of museum work tourism becomes not as an indirect but as a structure - forming activity: as an object of cultural tourism a museum may become the main element of the tourist route, and as a subject - 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 experience" and may become a new ideology of every Ukrainian museum.

There is an expansion of the museum, which leads to its transformation: collection - ensemble - skansen (and other forms of open-air museums) - eco-museum - environmental museum. Thus, environmental museums embody the synthesis of the characteristic features of previous museum forms in order to preserve the environment in the complex, which can give environmental museums the features of several museum forms simultaneously.

The interactivity of the scientific and educational work of the museum is manifested in a differentiated approach to different categories of visitors, in the introduction of traditional tour game and theatrical elements, in opportunities for visitors to tactile access to the exhibits.

Among the innovative forms, which national art museums offer to their visitors, there may be theatrical tours, "happenings', night tours, in which spectators not only participate directly, but also show personal activity - form the course of action, improvise. Art performances, fashion shows, music concerts and spectacles are held on the basis of exhibition and exposition work.

The scientific research, which is analyzed in the article, was discussed at the international conferences in various European countries. A new model of tourist activity of skansens of intangible cultural heritage at the Department of Art Management and Event Technologies of the National Academy of Culture and Arts Management of Ukraine has been developed and introduced into the educational process.

The museum - skansen is a cultural phenomenon that undergoes constant transformations under the influence of the external environment, which inevitably affects its work. At the beginning of the XXI century museums - skansens function in new conditions, caused by the rapid development of the cultural economy. At the same time, museums-skansens in the context of globalization, on the one hand, remain as the centers of preservation and actualization of traditional culture and, on the other hand, are increasingly included into the socio-cultural sphere as a part of the cultural industry and cultural recreation.

Thus, one of the directions in development of the museum-skansen as a socio-cultural center is reorientation of the museum from the archive of historical and cultural monuments to an additional educational center with leisure and entertainment function. The modern museum as a component of cultural industries faces a series of tasks that need to be solved.

We distinguish here such main tasks as: organization of cultural recreation of museum visitors, presentation of historical and cultural heritage as a unique peculiarity, ability to form a brand, sustainable development of territories. The vast majority of tasks are solved thanks to transformation of museums into tourist attractions. It should be noted, that a combination of the museum business with the tourism industry, one of the most profitable industries in the world, creates a demand for the opening of full-fledged museum and tourist products with the unique content and infrastructure. 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 has been increased up to 4-5 % before the COVID-19 epidemic. Most countries of the world, after the economic decline, understood the necessity of investments in new museums - skansens, as it became clear, that the cultural economy depends on the 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 objects - museums, libraries, theaters, etc. The state as an institution, which performs its cultural policy, that reflects its main ideological principles, has an important influence on the cultural economy. Cultural policy must be based on clear understanding of culture as a concept and understanding its potential force for the formation of national identity, tourism development, business attraction.

The main focus of tourist's attention is in historical and cultural heritage - a set of objects and traditions, preserved by mankind from the past generations, which is represented in museums as historical and cultural monuments, intangible assets, as well as natural heritage, which is about 80 % from the total amount of all tourist attractions. Actually, the most interesting for museum visitors are museumtourist products, presented by the museum - skansen. This is primarily due to the fact, that the museums-skansens have the highest degree (in comparison with the collection and ensemble museums) of attracting museum visitors to the environment or action, which takes place on the basis of the museum. Involvement in the environment takes place thanks to implementation of innovative technologies and various forms of communication with the museum visitors through various sensory channels (sight, hearing, smell, taste, touch). Involvement of the museum visitors into the environment can be passive or active, giving visitors a role: partnerparticipant, partner-carrier of tradition, etc. The passive involvement happens through observation, and active - through the conscious participation of museum visitors in the spectacles and events, that take place on the territory of the museum. One of the main approaches in the activity of modern museums with visitors, which is unofficially called as "edutainment" (from education and entertainment) may be realized on the basis of one museum. The term "edutainment" foresees the active use of interactive game methods to attract visitors to the recreational and educational process. Museums-skansens, which have a recreational and educational direction in their activity, determine such their peculiarities as: originality of the concept, which makes the museum competitive in the leisure industry; 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; relatively short duration of each individual form, which is determined by the increasing of the flow of information; the focus on cooperation with visitors, sponsors, professionals from other spheres of activity: actors, musicians, etc. - all this gives an opportunity to attract as many visitors as possible to the museums.

When creating museums - skansens the main thing is the idea itself and for its implementation a whole complex of museum objects is selected (already existing or specially created with the aim of entertainment and cognitive function). In addition, museums - skansens at present are one of the most "open" to man museum forms, which corresponds to the concept of museums in the direction of new museology.

From the second half of the XX century the changes of museum studies in the world have launched the process of transforming the museum institutions from the "storage of museum valuables" into a socio-cultural center, one of the leading functions of which is the organizing of cultural recreation for visitors, during which the educational process may take place. As a result, the main forms of presentation of museum information (visual, verbal) are undergoing transformations.

In the museums-skansens in contrast to collection and ensemble museums, visual communication with museum visitors is carried out by visualizing the environment rather than displaying museum collections or individual monuments. Verbal communication is carried out by sounding the environment (speech of actors- imitators, sounds of folk instruments, noise of nature, animals, etc.), transmitting information through the "natural noise of the environment', and not by the narration of the lecturer-guide. In its turn, the emotional impact, which is determined by aesthetic satisfaction or sense of historical involvement in ordinary museums, in the museums- skansens reaches its maximum, because the creation of means of emotional influence on the museum visitors is one of the priorities of the museum - skansen.

Promotion of the educational process through the emotional impact on museum visitors in the museum-skansen enhances the importance of other ways of museum communication, including tactile (the possibility to contact by touching objects, etc.), taste (the possibility to taste dishes of different historical periods) and others.

The European museums-skansens demonstrate great diversity today. In most cases this happens thanks to the fact, that they have much more opportunities in the modern information world, because they contain not only individual monuments with their exposition, but also the spatial environment, that can be transformed depending on the design decisions of scientists, architects and museum staff. Museum handicraft workshops present samples of their products for imitation and real use. In the sphere of school and higher education, museums offer their territories as a platform for history lessons with possible involvement of theatrical performances. Monuments and their surroundings, cultural landscapes and traditions of local people (rituals, cooking, clothing, song creativity, etc.) are studied there. Such museums become not only centers of tourism for rural and urban areas, but also an epicenter of information, where you can work on a computer, if necessary, use the library. Thus, it can be confirmed, that the museums-skansens, with the right organization, professional approach and effective management, have the great future in the sphere of museum business.

A comprehensive analysis of the activities of the museums-skansens in Europe allows us to formulate recommendations for a series of measures, which will help solve the problems of functioning of such museums inside the country. In particular, in order to preserve the authenticity of constructions and materials of wooden architectural monuments during reconstructions, it is necessary to create schools at museum institutions to train professionals, who know the traditions of public construction.

It is advisable to promote items of intangible cultural heritage, which include traditions, rituals, etc., This, in its turn, contributes to the implementation of the concept of the museum. Financing of the museum projects can be particularly provided by partial commercialization of services they present. If the experience and achievements of Europe are taken into consideration, the activity of skansens in Ukraine will be undoubtedly improved and their tourist attractiveness at the national and international levels will be increased too.

The scientific novelty of the article is in substantiation of expediency and application of the new model of skansens tourism in the system of intangible cultural heritage of the country and in introduction of the material into the educational process for teaching master's students the discipline "Urban Production and Cultural Tourism".

Conclusion

Peculiarities of tourism development in the post-industrial society influenced the conceptual approaches to the museum topos, which initially transmitted chronological meaning, but with the spreading of museums - skansens found itself outside the phenomenological boundaries of time and space. Visitors were asked to abandon the role of passive spectators and produce new meanings, demonstrate their own skills, change perceptions of the past. The spreading of skansens as interactive open-air expositions provoked the reflection of changes in cultural and socio-economic life of modern society. Tendencies in the development of active consumerism in social and economic spheres, globalization, growth of cultural and creative industries identified new activities of museums - skansens, which were transformed from museums, that showed ethnographic collections in the world of creation of new cultural being.

During the research it can be noted, that the museum institutions of skansen type are specific institutions, which clearly exhibit objects representing the traditions, types and kinds of nature management, that have been developing in certain regions of the Ukrainian ethnic group for centuries. And today, in the conditions of active processes of standardization and globalization of life, the preservation and reproduction, at least in the format of skansen exhibition of authentic forms of management, is an important and extremely necessary task. And in this process, the elements of folk life of absolutely 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" during a lot of centuries. It may be reasonably stated, that skansens belong to the relatively new direction of the museum tourism, which is now at its stage of formation, they're socio-cultural complexes, directed towards the realization of recreational, developmental, aesthetic potential of leisure time, the formation of spiritual personality, strengthening of the family values and traditions. The main mission of skansens is to demonstrate the future generations the uniqueness of architecture, life, traditions of nature management of our ancestors in conditions, which are very close to authentic.

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