This article discusses a range of pragmatic issues associated with curating intangible cultural heritage, including collection, preservation, interpretation, presentation and representation. It uses as a case study work undertaken with Lough Neagh eel fishermen in preparation for and at the Smithsonian Folklife Festival in 2007, setting this in a much wider curatorial context.
The Challenge for Europe
Máiréad Nic Craith
Heritage has traditionally been associated with material objects, but recent conventions have emphasized the significance of intangible culture heritage. This article advocates a holistic approach towards the concept and considers key challenges for Europe's heritage at the beginning of the twenty-first century. Reflecting on the notion of 'European', it considers the question of how one defines European heritage and which European heritage is to be protected. It explores links between national and European conceptions of identity and heritage and queries issues of ownership, language and representation. A number of ethical issues are raised - such as the role of women in the transmission of heritage and the implications of information technology for copywriting traditional practices. The author also asks how one ensures that the process of globalisation facilitates rather than eliminates local cultural heritages? How does one enhance the local so that it becomes glocal and not obsolete?
Intangible Cultural Heritage and the Role of the Museum
Heritage has a dual character whereby it can, at the same time, be celebrated for its outstanding universal value while having a special meaning and value for local and, in particular, bearer communities. Basing protection on the former notion of heritage as a universal, global value has been the dominant approach in international law-making since the second half of the twentieth century. More recently, the significance of heritage to local actors has become much better understood and recognised. The tensions associated with this duality have in recent times become evident with the adoption by UNESCO in 2003 of the International Convention for the Safeguarding of the Intangible Cultural Heritage. In this treaty, international cultural heritage law-making has shifted from a paradigm that gives value predominantly to the material heritage – monuments, sites, artefacts and other objects – to one that celebrates a living heritage that is primarily located in the skills, knowledge and know-how of contemporary human beings. This article examines the aforementioned shift from an emphasis on global to local heritage and the role museums can play in this with regard to safeguarding intangible aspects of heritage.
The Impact of Processes of Policy Formulation and New
In post-apartheid South Africa, the traditional understandings of museums and heritage have been challenged in terms of how meaning making, heritage construction, and knowledge production were conducted in the colonial past. In a series of processes of transformation, new approaches to museum action and heritage management have begun to take shape and develop in South Africa. Central to all of this have been the processes of policy formulation and new legislation that have provided the impetus for change. The aim of this article is to briefly chart some of these processes and the subsequent legislation that have begun to affect the ways in which South African heritage and museums are being reconfigured in a postcolonial and post-apartheid era. This policy formulation and the new legislation have focused on extending what is considered to be heritage by including intangible cultural heritage. It has also looked at empowering local communities, with an emphasis on sustainable development.
Memory and Music Video in Post-Soviet Armenia
’s List of the Intangible Cultural Heritage of Humanity. In light of the current global proliferation of public memory practices, 4 in which mass mediated conceptions of national history circulate and compete for recognition with the mnemonic production
Cultural Heritages and Their Transmission
Elizabeth C. Macknight
, cultural institutions, artifacts, digital resources, and intangible cultural heritage. It highlighted educational initiatives to raise awareness of multiple, diverse cultural heritages within communities and to promote intercultural dialogue. It pushed
Francisco Martínez, Eva-Maria Walther, Anita Agostini, José Muñoz-Albaladejo, Máiréad Nic Craith, Agata Rejowska, and Tobias Köllner
the Story of Intangible Cultural Heritage, 30 min., available online: http://flightofthecondorfilm.com (accessed 22 July 2019). Valdimar Hafstein's Making Intangible Heritage starts from a critical conception of heritage in line with the
Setting the Context
Máiréad Nic Craith and Bernadette O'Rourke
Within the field of anthropology, there is a comprehensive linguistic sub-discipline which deals with issues from semiotics and linguistics to identity and intangible cultural heritage. This special volume of AJEC emerged from our desire to explore that sub-discipline in a European context. From our perspective, it appears that many anthropologists in and of Europe engage with a variety of questions within the sub-discipline. However, these anthropologists are not necessarily located in anthropology departments. Furthermore, their expertise is not necessarily profiled in anthropological journals. This is in sharp contrast with the U.S.A. where the significance of language in the field of anthropology is more clearly defined and profiled.
Paolo Bocci and Katharine Dow
Visions: Gender, Race, and Nature in the World of Modern Science ( New York : Routledge ). Labadi , S. ( 2013 ), UNESCO, Cultural Heritage, and Outstanding Universal Value: Value-based Analyses of the World Heritage and Intangible Cultural Heritage
Tuuli Lähdesmäki, Sigrid Kaasik-Krogerus, and Katja Mäkinen
data reflects the generalization of these concepts in academic and heritage policy discourses during the 2000s. The demarcation has its foundation particularly in the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003