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.     

全景技术在文化遗产传播领域的应用前景展望

全景摄影的虚拟现实技术在奥运、世博传播工作中得到了成功应用,该技术的发展为文化遗产的虚拟展示开辟了新的平台。结合数字奥运、掌上世博项目实例,详细叙述了工作流程和成果,对全景技术的应用价值有了逐步的估量,进而对该技术在文化遗产传播领域尤其是"数字博物馆"项目的应用进行了可行性分析,并对潜在问题提出了新的思路。     

Protection of underwater cultural heritage in China: new developments

As a crucial part of the Maritime Silk Road, underwater cultural heritage plays a role in promoting development of One Belt and One Road in China due to its historical, archaeological and cultural value. The Chinese government has taken effective and reasonable measures to safeguard underwater cultural heritage, with numerous achievements. This paper addresses recent developments in the preservation of underwater cultural heritage with regard to legislation and policy.     

The Groningen museum: Urban heritage in fragments

Abstract

Changes in West European cities are discussed by many writers in many different ways with the intention of questioning the aim of post‐modern theories. The new perspective has much influence on social, economic and political forms, and on activities in the city centre: Renewed views of the changes in, and the attention to, the roles that heritage plays or could play in the urban area may be helpful in finding adapted forms of post‐modern management of heritage. Heritage has many intrinsically post‐modern aspects such as its eclecticism, its non‐linearity in time and its fragmentation. To explore some post‐modern aspects of urban heritage, the three main points in the post‐modern discussion: the discussion about reproduction, hyper‐realities and legitimacy, are illustrated and examined on the basis of the Groningen Museum, a local museum built a few years, ago in a medium‐sized city in the northern Netherlands.     

Natural and cultural heritage

We receive communal legacies from two sources—the natural environment and the creations of human beings. To be sure, these inheritances everywhere commingle; no aspect of nature is unimpacted by human agency, no artefact devoid of environmental impress. Yet we have traditionally dealt quite differently with these two kinds of legacy. Though management of both heritages has many features in common, and both realms often share similar, if not the same, leaders and spokesmen, relations between the two are marked less by cooperative amity than by envy and rivalry. This essay discusses the reasons for our dissimilar approaches to nature and culture, and shows how they bear on the campaigns to protect and preserve each. In some important ways, the history, politics, and rhetoric of conservation and destruction are shown to have converged, in others to have diverged, over the last half century.     

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.     

Post-conflict heritage: symbolic healing and cultural renewal

Heritage is invoked for post-conflict development by international organisations, governments, and sub-national groups to provide emotional and cultural, including economic, healing for individuals and societies. However, academic critiques of healing-heritage typically cite the failure of heritage to heal, either because it cannot, or because it is managed incorrectly. Thus, an anomalous situation exists between expectations and critiques, which this study describes and explores through international policies and national and sub-national post-conflict healing-heritage initiatives from Rwanda and Uganda. Drawing on concepts of heritage as a cultural process, cultural trauma, and symbolic healing, this study proposes that heritage is neither an essentially positive nor negative post-conflict development strategy to select or avoid respectively. Instead, heritage is better understood as a common element of post-conflict renewal, which becomes intensified as the past is aggressively negotiated to provide healing related to conflict traumas. By moving beyond the ‘does heritage heal or hurt?’ distraction the meaning and function of heritage in post-conflict contexts as a common element of post-conflict healing complexes is elucidated. The implication for those who wish to manage post-conflict development through heritage is that they are just the latest in a long history of symbolic healers, from whom they have a lot to learn.     

Digitally Mediated Iconoclasm: the Islamic State and the war on cultural heritage

This paper puts forward the new analytical framework of ‘Digitally Mediated Iconoclasm’ (DMI) to analyse and interpret iconoclastic acts that are experienced through the propaganda (videos, social media, photographs, and other media) that the actor perpetrating the destruction makes available in global information networks for its consumption, duplication, and distribution. DMI captures three stages of the destruction (before, during and after the event) as both evidence of that destruction and as a perdurable digital archive. To demonstrate the relevance of DMI, we focus on an analysis of the videos and photographs depicting heritage destruction at pre-monotheistic sites targeted by the Islamic State (IS), such as Palmyra in Syria, the Mosul Cultural Museum, Nineveh and Nimrud in Iraq. The analysis focuses on the three stages that DMI comprises, showing the different photographic and audio-visual production techniques that the IS uses to enhance the tension that is built up leading to the destruction of cultural heritage while allocating material and human resources to produce digital propaganda. This analysis demonstrates how the analytical framework of DMI can be used to advance important work in heritage and media studies.     

Protecting contemporary cultural soundscapes as intangible cultural heritage: sounds of Istanbul

This paper aims to evaluate culture and traditions of everyday life from a sonic perspective and to suggest ways for protecting characteristic sounds and soundscapes. This multidisciplinary research, having roots in such fields as soundscape studies, intangible cultural heritage (ICH), museum studies and sensory studies, explores the larger contemporary cultural soundscape of Istanbul. This paper also draws on the project The Soundscape of Istanbul (https://soundscapeofistanbul.ku.edu.tr/), which is archiving the contemporary elements of the cultural soundscape of Istanbul that were determined by public contribution, and outlines examples from this collection. Sounds constitute an inevitable part of daily life and are therefore very important as ICH. Thus, they deserve to be protected to strengthen cultural memory. However, sonic culture is twice endangered due to the physical characteristics of sound itself and the dynamic structure of intangible culture. Therefore, urgent protection of contemporary cultural soundscapes in the context of ICH is crucial for transferring the present sonic environments to following generations in order to maintain cultural identity.