From the ground up: cultural heritage practices as tools for empowerment in the Homeless Heritage project

Abstract

The Homeless Heritage project took place across two English cities (Bristol and York) between 2010 and 2014. The project sought to use a range of participatory heritage practices to engage contemporary homeless people in documenting their perspectives on each city. Drawing on data gathered over three and a half years this paper reflects on how collaborative cultural heritage practices can be useful in recording diverse stakeholder perspectives which can become catalysts for social change. It is further argued that two interactive exhibitions that resulted from the Homeless Heritage project contributed to the democratisation of knowledge, aiding negotiation of the complicated politics of contemporary homelessness in valuable ways.     

Folklore without a folk: questions in the preservation of the Marinduque Moriones heritage

Since the 1870s, the Moriones festival has been part of the Lenten celebrations in Marinduque, located at the heart of the Philippines. Inventoried by the Philippine government, the National Commission for Culture and Arts (NCCA) and the Intangible Cultural Heritage in the Asia-Pacific Region (ICHCAP) as one of the Philippines’ intangible cultural heritage, the Moriones festival has exhibited various problems regarding a decreasing historical value, political intervention and increasing detachment from the Marinduque community. This study raises questions on regional inventorying of ICH, especially in light of what needs to be tackled before, during and after the incorporation of traditions and practices as ICH.     

Digitisation,digital interaction and social media: embedded barriers to democratic heritage

Abstract

The democratisation of heritage through digital access is a well-documented aspiration. It has included innovative ways to manage interpretation, express heritage values, and create experiences through the ‘decoding’ of heritage. This decoding of heritage becomes democratised, more polyvocal than didactic exhibitions, and less dependent on experts. However, the decision of what ‘heritage’ is and what is commissioned for digitisation (the encoding) is not necessarily a part of this democratisation. This paper will consider how digitisation reinforces the Authorised Heritage Discourse through the lens of Stephen Lukes’ three (increasingly subtle) dimensions of power: conflict resolution, control of expression and shaping of preferences. All three dimensions have an impact on how public values are represented in heritage contexts, but the introduction of digitisation requires more resources, expertise and training within established professional discourse. Social media may have a positive impact on the first two dimensions, but can reinforce hegemony. Alternatives are subject to epistemic populism. The role of digitisation and social media in the democratisation of heritage needs to be better understood. Questions regarding the nature and process of digital interaction, in terms of whose heritage is accessible, affect the very issues of democratisation digitisation appears to promote.     

Assembling nostalgia: devices for affective captation on the re:heritage market

This article builds on the current rethinking of nostalgia in heritage studies and an increasing amount of research that explores the formatting of customer – producer relationships in terms of ’market attachments’ to analyse how nostalgia is performative on the market for retro, vintage and second hand, what we call the re:heritage market. Based on a multi-sited study including offline and online ethnographic observations, photography and qualitative interviews with shop owners and staff at a selection of central streets in Gothenburg, Sweden, the article explores the way shop owners work with nostalgia in order to attract, or ‘captate’, the public, through engaging affective market devices. Our particular contribution is to show how the re:heritage market contribute to our understanding of an alternative of cultural heritage, through configuring exchange and value, and details how ‘affective captation’ adds conceptual strength for understanding the emotive and sensate pull of certain market-based heritage practices. Staging nostalgic encounters involves practices of selecting, collecting, displaying and preserving for the future: practices that are vital for all heritage-making. A variety of actors are involved in this unconventional of heritage at safe a distance from traditional heritage practices.     

Intangible heritage embodied and Intangible heritage

Over the past decade, intangible cultural heritage (hereafter, ICH), the significance which it possesses and the continuation of its myriad manifestations have reached unprecedented levels of recognition and attention on international and national policy agendas. Traditional Medicine (hereafter, TM) has long been included under the vast umbrella of ICH, yet there have been few attempts to explore that relationship. This paper examines the practical implications of applying the UNESCO Convention for the Safeguarding of Intangible Heritage to TM, alongside the relationship of traditional medicine to the fields of human rights, public health and development. It considers, and reaches the conclusion that the cultural significance of traditional medicine combined with the fundamental principles of the Convention render the Convention significant in safeguarding traditional medicine for the future.     

Global heritage: perspectives from the Northern Territory,Australia

This article examines the way in which selected cultural institutions, government and non‐government organisations and individuals in Australia’s Northern Territory have responded to globalising influences on the preservation, interpretation and public face of its history and heritage. It draws upon a number of interviews with local practitioners and professionals in the field to explore the multiple understandings of cultural heritage, history and identity in the Territory, to investigate how competing interests and expectations are managed at the state and local level, and to address issues of sovereignty in the context of global heritage. Respondents indicate that, despite a strong resurgence of local cultural identities, without people on the ground who care about their heritage, efforts by international bodies will have little effect. There has been increasing concern about the protection of local cultures in the face of globalisation, and research such as this is critical in providing feedback to international heritage organisations. Without strong local support for cultural heritage and identities, they can become increasingly vulnerable in a rapidly globalising world. In Australia’s Northern Territory, however, there seems little indication of this happening.     

21世纪前20年非物质文化遗产保护的中国理念、实践与经验

现代非物质文化遗产保护运动的兴起,是人类珍贵的文化自觉和重要的行为选择。中国21世纪前20年的非物质文化遗产保护,既秉持了《保护非物质文化遗产公约》的理念与精神,亦进行了独具特色的创造性实践,构建了文化多样、整体、科学、人本、文化再生产等理念,进行了涵盖面较广、涉及人数较多、影响意义较大、成效卓著的实践与探索,形成了系统完备、富有活力的措施体系,积累了独特、宝贵的经验,走在了世界非物质文化遗产保护的前列,并为之提供了智慧启迪。     

Public folklore dialogism and critical heritage studies

Abstract

Public folklore’s dialogic engagement with communities incorporates methodologies for sharing representational and interpretive authority, collaborative programme development, mutually constructed modes of presentation and stakeholder participation in policy-making. While recognising that heritage interventions inevitably involve power asymmetries, public folklore seeks to mitigate and diminish these imbalances as it develops approaches to enable communities to present their culture on their own terms. This paper explores dialogic public folklore practice through community self-documentation projects, folklife festivals, government folk arts funding programmes and a project promoting places of local cultural significance. It provides examples of the integration of multiple roles of public folklorists as scholars, administrators, producers of folklore presentations and government heritage officers. Public folklore praxis achieved through the integration of these roles is seen as a potential model for critical heritage studies praxis for scholars who are advisors and researchers in intangible cultural heritage (ICH) initiatives. Critical heritage scholars involved with ICH can learn from how public folklorists engage with communities and foster cultural self-determination. For public folklorists, collaboration and increased dialogue with critical heritage scholars could foster greater awareness of hegemonic discourses, reconceptualisation of the social base of ICH and recognition of the pitfalls of fostering economic development through heritage.     

Debating heritage authenticity: kastom and development at the Vanuatu Cultural Centre

In October 2003, 28 cultural expressions from around the world were proclaimed Masterpieces of the Oral and Intangible Heritage of Humanity, complementing the adoption of the Convention for the Safeguarding of the Intangible Cultural Heritage by UNESCO. This proclamation has been part of the broader remit of the international organisation to protect the world’s cultural diversity from modernity and globalisation. Inherent in this is an underlying notion of cultural authenticity, implying that certain expressions, which are considered to be endangered and therefore in need of institutional protection, constitute ‘original’ and ‘pure’ manifestations of cultural identity. Taking forward debates on the safeguarding of intangible heritage, this paper examines cultural authenticity in the context of the Vanuatu Cultural Centre, the principal cultural organisation, museum and research institution of the Melanesian archipelago. The proclamation of the practice of sandroing (sand drawing) as a masterpiece of intangible heritage, and other heritage interventions taking place in Vanuatu and recorded during fieldwork in 2007, provide an interesting perspective for examining how global cultural initiatives are negotiated by local constituencies. Here, heritage preservation is coupled with calls for development, which invites new ways for thinking about authenticity not according to predefined criteria, but with respect to local understandings.     

A cultural justice approach to popular music heritage in deindustrialising cities

ABSTRACT

Deindustrialisation contributes to significant transformations for local communities, including rising unemployment, poverty and urban decay. Following the ‘creative city’ phenomenon in cultural policy, deindustrialising cities across the globe have increasingly turned to arts, culture and heritage as strategies for economic diversification and urban renewal. This article considers the potential role that popular music heritage might play in revitalising cities grappling with industrial decline. Specifically, we outline how a ‘cultural justice approach’ can be used within critical heritage studies to assess the benefits and drawbacks of such heritage initiatives. Reflecting on examples from three deindustrialising cities – Wollongong, Australia; Detroit, USA; and Birmingham, UK – we analyse how popular music heritage can produce cultural justice outcomes in three key ways: practices of collection, preservation and archiving; curation, storytelling and heritage interpretation; and mobilising communities for collective action.     

Intangible cultural heritage and the better angels of folklore’s nature

Abstract

Folklore research in the United States typically is completed either through academic departments or in organisations designed to create public presentations of traditional expressive culture. These two approaches are termed ‘academic folklore’ and ‘public folklore’. The intellectual history of both approaches has recently been critiqued. One result of this deconstruction is an ambivalence over the historical legacy of key concepts in the study of folklore. Assessing elements of the critical study of folklore’s history – in both academe and the public sector – suggests opportunities for reconstituting the study of traditional culture to establish a more socially responsive approach that is relevant to ways that heritage professionals assess folklore as intangible culture heritage.     

International intangible cultural heritage policy in the neighbourhood: an assessment and case study of Indonesia

UNESCO’s heritage policies are one of the most extensive global drivers of landscape and cultural transformation and investment. In response to complaints about Western and object-focussed bias in World Heritage, a push within UNESCO generated a new convention and a new category of heritage: intangible cultural heritage (ICH). Maligned by academic critics, it has nonetheless been an incredibly widespread program internationally with over 170 states signed up to its convention and subject to its obligations. This article provides an assessment of the geographical reach and impact of UNESCO’s ICH program, and, through a case study in Indonesia, analysis of its most successful (according to the Indonesian Directorate of Culture) program for the production of batik cloth. Through the case study, I assess the impact of the ICH policy in Indonesia at different levels and for different groups, the scales it has enabled, and its impact on historical batik landscapes.     

Politics of tangibility,intangibility, and place in the making of a European cultural heritage in EU heritage policy

The EU has recently launched several initiatives that aim to foster the idea of a common European cultural heritage. The notion of a European cultural heritage in EU policy discourse is extremely abstract, referring to various ideas and values detached from physical locations or places. Nevertheless the EU initiatives put the abstract policy discourse into practice and concretize its notions about a European cultural heritage. A common strategy in this practice is ‘placing heritage’ – affixing the idea of a European cultural heritage to certain places in order to turn them into specific European heritage sites. The materialisation of a European cultural heritage and the production of physical European heritage sites are crucial elements in the policy through which the EU seeks to govern both the actors and the meanings of heritage. On the basis of a qualitative content analysis of diverse policy documents and informational and promotional material, this article presents five strategies of ‘placing heritage’ used in the EU initiatives. In addition, the article presents a theoretical model of circulation of the tangible and intangible dimensions of heritage in the EU heritage policy discourse and discusses the EU’s political intents included in the practices of ‘placing heritage’.     

Endangered musical heritage as a wicked problem

The issue of the widespread decline and loss of musical heritage has recently found increasing prominence in ethnomusicological discourse, and many applied projects from grassroots to international levels strive to support genres perceived to be under threat. Much recent literature on the subject features rhetoric that draws on metaphors from ecology, including, for example, the ideas of music ‘ecosystems’, ‘endangerment’ and ‘sustainability’. Offering an alternative (though not contradictory) perspective, I here characterise the widespread loss of musical heritage as a ‘wicked problem’– one with complex interdependencies, uncertainties and conflicting stakeholder perspectives, which defies resolution more than some of the ecological metaphors arguably imply. By drawing on theoretical notions of ‘wickedness’ from social policy planning and other areas, I aim to bring interdisciplinary insights to the discussion of strategies to mitigate the global threat to music as intangible cultural heritage. Offering three ‘stories’ about the problem of music genres ‘at risk’ and critiquing each of these stories against the theory of wicked problems, I explore the implications of this conceptualisation for heritage scholars, music researchers, policy-makers and other cultural stakeholders, in terms of moving us closer to realising effective, resilient and innovative approaches to the problem at hand.     

Degraded towns in Poland as cultural heritage

This paper discusses how the concept of cultural heritage is currently used in relation to the so-called degraded towns (i.e. deprived of their urban status) in Poland. It shows the role of heritagisation in the process of restitution of urban status, and addresses the effects of the ongoing revitalisation of degraded towns in order to restore their lost urban glory. I argue that the Polish understanding of urbanity is ambiguous, muddling formality with cultural connotations. I address how such convolution both rewrites history and affects modernity by the imposition of values and foreclosures. I also discuss how alterations to the built environment made in the name of cultural heritage (revitalisation) are often conducted with disregard to identity, authenticity and historical hybridity, and how the introduction of ‘history’ into a modern arena affects the local society. I conclude that considering degraded towns as a special form of cultural heritage is a new construction, where coupling of the disconnected dimensions of the Polish understanding of urbanity becomes even more apparent. I stress that this field is neither sufficiently differentiated nor problematised, and that cultural heritage relating to degraded towns is often taken for granted.     

Including people with learning difficulties in cultural and heritage sites

This paper examines the processes involved in a participatory inclusive research project in Liverpool and Merseyside, UK. The project involved 25 people with learning difficulties – the Heritage Forum – visiting 13 cultural and heritage sites on more than 50 occasions across a 15‐month period. The research provides a much needed resource at a time when there is a lack of provision for, and research into, the intellectual accessibility of cultural and heritage sites in the UK and globally. This paper details the research approach taken by the Heritage Forum, providing a flexible protocol about ways of working with groups and individuals with learning difficulties. It also reports on the Heritage Forum’s general findings about the cultural and heritage sites, providing some initial guidance about how to best include this diverse population.     

‘The Pathos of Conservation’: Raphael Samuel and the politics of heritage

When Raphael Samuel’s Theatres of Memory: Past and Present in Contemporary Culture was published in 1994, it was critically received. Yet, the book has not had the impact of other key works such as Lowenthal’s The Past is a Foreign Country (1985) or Hewison’s The Heritage Industry (1987). A number of factors have contributed to this, such as Theatres essentially being an unfinished project, and ‘heritage’ in the book having multiple personas – the net result being that Samuel’s arguments can at times be hard to pin down. Yet with interest in his approach to heritage now growing, this article seeks to unravel Samuel’s core ideas and arguments pertaining to heritage, and to give an historical background to their evolution. With the central tenets of Samuel’s argument essentially being a case for the democratisation of heritage; the validity of what we might today call ‘unofficial’ narratives and discourses; and to challenge the dominant view that heritage was ultimately history’s poor cousin, I argue that Samuel’s ideas have much to offer contemporary research agendas in heritage.     

An overview of Caribbean and Latin-American cultural heritage studies

Abstract

This review analyzes, through three recently published books that talk about cultural heritage in Latin America, how the Cultural Heritage Studies have allowed us to understand the current situation in the region characterized by the growing tendency to promote declarations of heritage as part of a plan for the use of culture as a resource for sustainable development. Likewise, those books analyze how responses from local communities are generated to hegemonic definitions of heritage, which indicates that cultural heritage in Latin America is not something given but something in constant construction and dispute.     

博物馆文化遗产的数字展示与实体展示

文化遗产分为有形(物质)和无形(非物质)两大类,数字展示和实体展示则可视为展示的两大系统。针对文化遗产的展示系统应基于观众对展示对象(即文化遗产)的"原真性"体验的需求。数字展示不仅对无形(非物质)文化遗产传播尤其重要,也是文化遗产教育推广和公众获得文化遗产相关知识的较佳途径。但毕竟数字展示是虚拟现实,对观众的"原真性"体验而言存在着缺憾,因此数字展示宜结合实体展览,以满足观众的需求并进一步促进各地区之间人们的社会交往和文化交流。