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.     

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’.     

Authenticity and heritage conservation: seeking common complexities beyond the ‘Eastern’ and ‘Western’ dichotomy

ABSTRACT

This article challenges the claimed gulf between ‘Eastern’ and ‘Western’ concepts and approaches to heritage conservation through an analysis of the common complexities surrounding authenticity. The past few decades have witnessed an important critique of ‘Eurocentric’ notions of heritage conservation, drawing on ‘non-Western’, particularly Asian, contexts. Authenticity has been a core principle and defining element in this development. Endorsed by a series of charters and documents, a relativistic approach emphasising the cultural specificity of authenticity has been introduced alongside the European-originated materialist approach in international policy and conservation philosophy. However, the promotion of Asian difference has also contributed to an increasingly entrenched and unproductive dichotomy between ‘Eastern’ and ‘Western’ approaches to heritage. This article reveals common complexities surrounding authenticity in two countries crosscutting this dualism – China and Scotland. Drawing on a number of ethnographic projects, our analysis identifies themes that characterise the experience of authenticity across different cultural contexts. It contributes to a more nuanced understanding of the evolving relationships between heritage conservation and contemporary societies with important implications for global heritage discourses and collaborative ventures crosscutting ‘Eastern’ and ‘Western’ contexts.     

Between universal spaces and unique places: heritage in Universal Studios Singapore

ABSTRACT

This paper presents a case of Singapore's latest theme park, the Universal Studios Singapore (USS). While theme parks are commonly perceived as money-making entities providing entertainment to the masses, the study argues that heritage is an equally important dimension of a commercial theme park's development, identity and profile. As a heritage-rich environment, the USS is a tourism landscape shaped simultaneously by the forces of corporate heritage and local cultural considerations. ‘Glocalization’ – the interaction of global and local forces – offers a conceptual insight into understanding how themed environments are created and marketed as tourism destinations welcoming to all and yet distinctive to its community and locality. Caution, however, is also sounded as to whether an international attraction can or should ever be ‘too local’ at the risk of diluting its global brand name and broad-based appeal.     

Heteroglossic heritage and the first-place of the Kalahari

Abstract

Using Bakhtin’s concept of ‘heteroglossia,’ this article examines the layering and intersections of multiple claims to heritage places that form dialogics about heritage truths. Social groups derive their collective-self, in part, through association with a place, or places, to which they attribute their origin, described here as a ‘first-place.’ Identity maintenance can occur through the praxis of heritage tourism in which group members exhibit emotional performances during their visits to a first-place. Through the extended example of the Tsodilo Hills in Botswana and the various social groups – local ethnic communities, national citizens, and segments of the global community – who each form a collective-self using Tsodilo as a first-place, this article addresses the roles of science (archaeology) and tourism, and their interplay, in enabling several languages or dialects of belonging to coexist without dissonance. The argument is that heteroglossic heritage is possible because visitors’ affect-mediated encounters with heritage places facilitate the reaffirmation of their shared group identity. While all heritage discourse is heteroglossic, the article focuses on claims to a first-place set within a postcolonial context of nation building and modernising that involves the politicisation and re-spatialization of heritage places through tourism development.     

Changing tides of industrial democracy: Red Clydeside and the UCS work-in as political heritage

ABSTRACT

Drawing on labour history, critical heritage studies and sociological literature on the entrepreneurial city, this article focuses on the cultural legacy of the famous 1971/72 Upper Clyde Shipbuilders (UCS) work-in apropos Glasgow’s historical reputation as ‘Red Clydeside’. In doing so, the article considers the dispute’s continuing importance as a political resource for present-day debates about workers’ rights, Glasgow’s post-industrial identity, the rise of populist demagoguery and the future of Britain’s industry more generally.     

Crafting heritage: artisans and the making of Indigenous heritage in contemporary Taiwan

Since the 1990s, Indigenous groups in Taiwan have been increasingly engaged in retrieving and reviving cultural practices that are considered ‘traditional’ and markers of Indigenous identities. This article takes such recent and ongoing revival of cultural practices and connected material culture amongst Taiwanese Indigenous groups as the departure point to argue that the idea of a ‘contemporary Indigenous heritage’ is constructed (notably by Indigenous artists and artisans) through the conflation of ‘tradition’, ‘value’, ‘authenticity’ and ‘indigeneity’, as well as creativity and innovation. In the article, I endeavour to explain this process. To this end, I identify and illustrate a set of strategies and discourses through which Indigenous artists and artisans in Taiwan construct their work as both ‘Indigenous’ and ‘heritage’. I suggest that such strategies and discourses revolve around the following: (i) materiality, (ii) visual display and performance, (iii) Indigenous cultural research and (iv) knowledge transmission. Building on the Taiwanese case study, this article furthers scholarly enquiries into the making of heritage by generating an enhanced understanding of the role of artists and artisans in the creation, renewal, authentication and transmission of ‘Indigenous heritage’.     

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.     

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.     

Towards a holistic approach to heritage values: a multidisciplinary and cosmopolitan approach

ABSTRACT

In this paper, we explore the ‘Preservation/Heritage Values/Management’ triptych, and we propose a new method for addressing the values attributed to cultural heritage sites. Combining multidisciplinary and cosmopolitan approaches, we propose a way of moving beyond the traditional lens of assessing significance within the imposed categorical framework of ‘aesthetic, historic, scientific, social or spiritual values’. We provide an example of our new approach through a worked case study in the Maloti-Drakensberg Park World Heritage Site (South African section). Our case study concerns the values associated with the world famous San (Bushman) rock art of this mountain area. Through a thematic analysis of data collected in this area from 2009 to 2017, six cross-cultural interest points are identified and are discussed. Building upon the history of values-based heritage management, we argue that our multidisciplinary and cosmopolitan method is transferable and can be applied to heritage sites around the world. It can facilitate the construction of heritage management plans that are more in tune with local actors and that will therefore prove to be more effective and sustainable.     

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.     

The long shadow of apartheid: a critical assessment of heritage transformation in South Africa 25 years on

ABSTRACT

Based on insights gained from two decades of research on South African heritage and monuments, this paper critically reflects on the status quo of heritage transformation in South Africa 25 years after the end of apartheid. It assesses new directions in national heritage policy and government strategy in relation to recent developments around post-apartheid heritage and the popular demand for a removal of ‘colonial statues’, which gained impetus from the #Rhodes Must Fall campaign. It is argued that the government’s approach to heritage transformation and most notably its treatment of white minority heritage, dominated by the ‘juxtaposition model’, has had limited success. The paper illustrates how heritage and the memory of the past are entangled with socio-political and economic realities in the present, which in turn is overshadowed by the long-term effects of apartheid and impacted by global or transnational considerations, such as foreign investment and tourism.     

Soft power and dark heritage: multiple potentialities

Abstract

While positively connoted tangible cultural heritage is widely recognized as an asset to states in their exercise of soft power, the value of sites of ‘dark heritage’ in the context of soft power strategies has not yet been fully explored. This article offers a theoretical framework for the analysis of the multiple soft power potentialities inherent in the management and presentation of sites of past violence and atrocity, demonstrating how the value of these sites can be developed in terms of place branding, cultural diplomacy and state-level diplomacy. The relationship between dark heritage, soft power and the search for ‘ontological security’ is also explored, highlighting how difficult pasts can be mobilized in order to frame positive contemporary roles for states in the international system. Drawing on this theoretical framework, the article offers an analysis of the case of the So?a valley in Slovenia and the presentation of the site of the First World War battle of Kobarid in a dedicated museum. Through this case study, the article underlines the particular role of dark heritage for the national self-projection of a new and small state in the context of European integration.     

White noise: sound,materiality and the crowd in contemporary heritage practice

Sounds of our Shores was a joint venture between the National Trust and the British Library that employed a crowdsourcing methodology to create a permanent archive of British coastal sounds. In this paper I pursue a critical analysis of that project in order to problematise the recent emergence of practices aimed at capturing and preserving everyday sounds as ‘sonic heritage’. More broadly, I use the case study to think through two trends in contemporary heritage practice. These are, first, a turn towards crowdsourcing as a means of democratising representation, and, second, a current trend towards the accumulation and preservation of an ever-broader range and mass of materials as heritage. The framework for my analysis is provided by a dual reading of the term ‘white noise’. Thus, for my purposes, ‘white noise’ describes both an acoustic phenomenon (the product of every possible frequency sounding simultaneously; a sonic expression of perfect equality and perfect chaos), and a particular mode of racialised sound production and audition, modulated and constrained by whiteness. White noise displaces and silences its Others. The white ‘listening ear’, to borrow Jennifer Stoever-Ackerman's terminology, is either deaf to, or appalled by, the sounds those Others make.     

An irreconcilable first-place: the precarious life of tourism and heritage in a southern European historic centre

Abstract

This article discusses the ambiguous relationship between heritage tourism and everyday life in the historic centre of Naples. This area, long characterised by a lower-class residential population and intermittently considered off-limits to tourists, has over the last two decades become the focus of a burgeoning heritage tourism industry. The article adopts the idea of precariousness – understood contra conventional formulations as a condition that elicits both anxiety and emancipatory release – in order to make sense of the allure and repulsion that the historic centre exerts in tourist encounters with the city. Through three examples – a bus sightseeing tour, online responses to a New York Times article about Naples and local people’s perceptions of a pedestrianised piazza as a tourist contact zone – the article illustrates how the historic centre as a tourist destination is constituted by a mix of foreboding and excitement; where affective experience tends to trump the monumental gaze. Thinking in terms of precariousness not only underlines the contradictory role that this area plays in the local production of cultural heritage but also poses a challenge to those accounts that see in the advent of a visitor economy the inevitable ‘museumification’ and gentrification of historic centres.     

Conserving by aesthetics,conserving by development: the rescaling and worlding of global south heritage

ABSTRACT

This study investigates the genealogy of rescaling the cultural armature of heritage in the Global South rooted within the colonial culture and postcolonial aid programs. Taking the case of historic Cairo, it explores how policies have developed through experimental practices of conservation to scale up authority, control, and power over residents and neighborhoods from the 19^th century to the present. The paper theorizes two paradigmatic approaches of conservation practices – by aesthetics and development – which have expanded Cairo’s inventory of monuments. The infatuation of heritage experts (the Comité de Conservation des Monuments de l’Art Arabe and Aga Khan Trust for Culture) with old neighborhoods has fostered accumulation by dispossession, disrupting people’s environments to generate a worlding image of heritage. The paper concludes with the metaphor of conservation practices as re-construction sites, as they repurpose the relationships between heritage, people, and their means of governmentality.     

Plotting Jane Austen: heritage sites as fictional worlds in the literary tourist’s imagination

Fans seeking engagement with Jane Austen and her fictional creations seek out heritage locations linked both temporally and geographically to her life and works. This article adopts a multidisciplinary framework that triangulates fan studies, literary criticism, and heritage studies to analyse three Austen-linked fan spaces: Chawton Cottage (Austen’s former home and now a museum), Lyme Park (‘Pemberley’ in B.B.C.’s 1995 adaptation of Pride and Prejudice), and two Austen-themed literary walks. I argue that the fan’s desire for connection is by no means an organic or natural quality of the heritage site itself. Rather, creating connections between the revered object (Austen) and the physical spaces that purport to contain her necessitates imaginative work on the part of the literary tourist. That such performative work is necessary in both the ‘real’ (Chawton) and ‘fictional’ (Lyme Park) locations demonstrates the problematic nature of previous critical emphases on the authenticity – or lack thereof – of such spaces. The significance of the fan’s pilgrimage to Austen-linked heritage sites lies not in the author to be ‘found’ there but in how the tourist actively constructs ‘their’ Jane by inscribing her presence – and those of her characters – onto these spaces.     

Middle of nowhere: contesting rural heritage at the World Famous Gopher Hole Museum

Abstract

The World Famous Gopher Hole Museum in Torrington, Alberta, Canada, is a rural museum located in a relatively isolated hamlet of less than 200 people. Inside the museum, small diorama boxes feature taxidermied gophers dressed in tiny clothing and posed as townspeople dining in restaurants, shooting pool and chatting at a beauty parlour, among other activities. Drawing on methods stemming from critical museum theory, critical rural studies and critical heritage studies, this article analyzes the ways in which both local residents and visitors from outside the region understand the museum, considering why it is indeed world famous, attracting over 5000 international tourists each year. It argues that the Gopher Hole Museum succeeds in part because its organisers are active agents who take pride in the museum without attempting to refute the sometimes negative responses to it, or control the ways in which outsiders interpret it. The museum in Torrington is a complex ‘open text’ that both employs and critiques the conventional methods used in natural history and heritage museums to offer multiple narratives about childhood, heritage and rural life, addressing local people as well as tourists.     

Communism and cultural heritage: the quest for continuity

The purpose of this paper is to discuss the theoretical genealogy and main uses of heritage in actually existing communist countries. This is performed by carrying out a critical review of Èleazar Aleksandrovi? Baller’s Communism and Cultural Heritage, (1984, Progress, Moscow). The analysis of Baller’s work reveals that the logics of heritage in communist countries differed in various ways from capitalist countries, mainly because of the almost total state control over the heritage apparatus and the subordination of heritage policies to Marxist–Leninist ideology. Heritage was fundamental in dealing with the problem of change and continuity with the traditions, narratives and identities of previous society, and in the process of transforming citizens into ‘new men’ through the cultural revolution and the inculcation of ideology through museums and monuments.     

Heritage destruction and cultural rights: insights from Bagan in Myanmar

Recently, the UN Special Rapporteur in the field of cultural rights has stated that the intentional destruction of cultural heritage is a violation of cultural rights. The Rapporteur examines a timely issue but bases her statement on narrow understandings ‘heritage’ as irreplaceable and ‘destruction’ as ideologically motivated and aggressive. This reinforces hegemonic ideas about heritage and what constitutes its destruction. In this article, I discuss the case of Bagan in Myanmar to illustrate the limitations of the Rapporteur’s statement. In Bagan, whether and how ‘heritage’ should be protected has been the topic of controversy. By implication what is – or is not – considered intentional destruction is contested. Ambiguity about the meaning of cultural rights, the dissonant nature of heritage, the subjectivity of destruction, and complex multi-layered motivations behind ‘destructive’ practices make overarching statement about the destruction of cultural heritage and cultural rights violations too bold and call for more nuance and contextualised research.