scholarly journals Experience of the cultural route in the space of the tourist landscape

2020 ◽  
Vol 3 (6) ◽  
pp. 69-81
Author(s):  
Natalie Moreno-Kamińska
Keyword(s):  
Cultural Heritage ◽  
Historical Memory ◽  
Cultural Tourism ◽  
Memory Protection ◽  
Intangible Heritage ◽  
Heritage Education ◽  
Cultural Routes

Cultural routes present the values or elements of cultural heritage. They have been permanently inscribed in the landscape of Poland and Europe, thanks to their potential, in the context of historical memory, protection of tangible and intangible heritage, education, and tourism. They are tools for popularizing and bringing out the ethos and identity of the inhabitants. In the context of the development of cultural tourism and the introduction of new trails to the tourist landscape, it is worth considering the role of the experiences acquired by travelers through overcoming the subsequent stages of the cultural route. Participation in activities prepared by trail organizers plays an important role in enabling visitors and natives to learn about the heritage of a given area or to take root in the traditions of a region or nation. The analysis is based on research concerning the tourist landscape, cultural routes, and the author’s own experiences.

scholarly journals The Vocational School of Sintra and Its Contribution to Heritage Education

Heritage ◽  
2021 ◽  
Vol 4 (1) ◽  
pp. 466-478
Author(s):  
Ana Mafalda Cardeira ◽  
Marta Frade
Keyword(s):  
Cultural Heritage ◽  
Educational System ◽  
Analytical Methods ◽  
Vocational School ◽  
Work Related ◽  
Heritage Education ◽  
12Th Grade ◽  
And Training

This paper aims to share the experience acquired with students of the 3rd year (namely the 12th grade of the Portuguese educational system) at the Vocational School for the Recovery of Heritage of Sintra in the Course of Studies for Conservation and Restoration Assistants in the field of Plaster Restoration, in the classes of Work-Related Training and Analytical Methods of Examination and Laboratory Analysis, by carrying out theoretical-practical work and training in a work context specifically focused on Portuguese heritage, demonstrating how practical classes motivate students and prepare them for future professional work. This vocational course helps students to reflect and question themselves on the role of “looking” at heritage. Thus, its cross information, both interdisciplinary and from the historical-artistic context of the monument, will provide a better perspective over its materiality and its use. In situ learning awakens students to the reality of work. The notion that they are helping to maintain the memory of ancestors credits them and gives them confidence in their work. After presenting their Final Year Projects, they look at heritage with a more awakened vision. With this, they have the perception that they have contributed to the reconstruction of memory, their cultural heritage.

Ch.1 Introduction

2020 ◽  
Author(s):  
Vrdoljak Ana Filipa ◽  
Francioni Francesco
Keyword(s):  
Cultural Heritage ◽  
International Law ◽  
Governmental Organizations ◽  
Intangible Heritage ◽  
Non Governmental Organizations ◽  
Key Stakeholders ◽  
Special Rules ◽  
Definition Of ◽  
International Instruments

This chapter provides an introductory overview to the Handbook. It outlines the definition of cultural heritage as covered by the key international instruments covering movable and immovable, tangible and intangible heritage. It outlines the role of key stakeholders including States, the international community, individuals, groups and communities (including Indigenous peoples), and experts and non-governmental organizations. Finally, the structure of the Handbook is explained. It outlines that there are special rules covering cultural heritage in most specialist areas of international law. It signposts how practice relating to cultural heritage is influencing the development of the rules of general public international law. Likewise, it notes that cultural heritage is influencing disputes resolution processes, integral to the interpretation and implementation of these rules. Finally, the role of regional practice in Africa, Asia, Oceania, the Americas, Europe, the Middle East, and North Africa is flagged.

Safeguarding the Art of Pizza Making: Parallel Use of the Traditional Specialities Guaranteed Scheme and the UNESCO Intangible Heritage Convention

2018 ◽  
Vol 25 (4) ◽  
pp. 515-542
Author(s):  
Harriet Deacon
Keyword(s):  
Cultural Heritage ◽  
Economic Effects ◽  
Intangible Cultural Heritage ◽  
Intangible Heritage ◽  
Unesco Convention ◽  
State Actors

Abstract:“Traditional” foodways are represented as an important part of cultural heritage in Europe. Two legal instruments aim to play a role in safeguarding them—namely, the Traditional Specialties Guaranteed (TSG) scheme and the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage. These instruments are sometimes used in parallel—for example, in the TSG registration for “Pizza Napoletana” and the nomination of “the art of Neapolitan ‘pizzaiuolo’” to one of the lists of the Convention. While recognizing the important role of state actors in this process, this article proposes going beyond a simple “misappropriation” thesis to look at the possible economic effects of registration and inscription.

scholarly journals The Role of Trust in Sustainable Heritage Management Networks. Case Study of Selected Cultural Routes in Poland

2019 ◽  
Vol 11 (10) ◽  
pp. 2844 ◽  
Author(s):  
Ewa Bogacz-Wojtanowska ◽  
Anna Góral ◽  
Marek Bugdol
Keyword(s):  
Cultural Heritage ◽  
Research Problem ◽  
Heritage Management ◽  
The Novel ◽  
Active Involvement ◽  
Mutual Relations ◽  
Cultural Routes ◽  
Original Concept

Currently, the most common way of managing cultural heritage in a sustainable manner takes the form of cultural routes. The phenomenon of cultural routes mainly results from their innovative organisation, different from the previously adopted institutionalised and formalised heritage management structure that did not align with the contemporary discourse around cultural heritage, which currently constitutes one of the bases of sustainable development. The novel idea focuses on the active involvement of many diverse entities in heritage management: not only public sector organisations with their statutory appointment for this purpose, but, first and foremost, entrepreneurs who create heritage products, tourists visiting sites on the route, or people who create this heritage. Thus, the cultural route acquires the characteristics of a network-points (nodes) that are shaped depending on the needs of the region and its inhabitants, their knowledge, experience, current ideas about a given place, and the way in which specific communities would like to be perceived. The undertaken research problem explores what features cultural route networks have and how they are managed, as well as what values, including trust, are manifested in the mutual relations of route-related entities. An original concept of shaping trust within the network of cultural routes has also been proposed based on the research results.

scholarly journals MAPPING SPATIAL QUALITY OF SLOW ROUTES WITH A GIS-BASED METHOD A COMPARATIVE ASSESSMENT OF ALTERNATIVE ROUTES

2019 ◽  
Vol XLII-2/W15 ◽  
pp. 1071-1076
Author(s):  
A. Scandiffio
Keyword(s):  
Cultural Heritage ◽  
Agricultural Landscape ◽  
Intangible Heritage ◽  
Spatial Features ◽  
Social And Economic Development ◽  
Spatial Quality ◽  
Gps Tracks ◽  
Mapping Techniques ◽  
Alternative Routes ◽  
Cultural Routes

<p><strong>Abstract.</strong> In the field of cultural tourism, slow routes, especially pedestrian and cycle routes, are considered important resources for sustainable, social and economic development of the territories. The cultural routes, defined by the Council of Europe, have extended the notion of conservation and valorization of cultural heritage to a wider territorial perspective, that allow to join tangible and intangible heritage dimensions, natural and built heritage, in a whole. In this framework, cultural routes, mainly used to rediscover the territory through slow-travel experience, need to be documented and ranked as a system of cultural heritage spread over the territory, by innovative and effective tools. The SQISR method (Spatial Quality Index of Slow Routes), at territorial level, allows to analyze the spatial features of slow routes through GIS-based mapping techniques, but also to compare alternative routes on the base of a set of heterogeneous indicators. The SQIRS method has been applied to evaluate two alternative itineraries of the Monks Route, that cross the agricultural landscape in southern Milan, with aim to document their spatial features and rank them in relation to their spatial quality. The SQISR method, that is based on a quantitative approach, allows to visualize the outcomes by different ways: graded GPS tracks, graphs, diagrams.</p>

scholarly journals Cultural tourism: topical issues in the context of cultural and historical memory

2021 ◽  
Vol 291 ◽  
pp. 05025
Author(s):  
Tatiana L. Kashchenko ◽  
Irina V. Polozhentseva
Keyword(s):  
Young People ◽  
Cultural Heritage ◽  
Identity Formation ◽  
Cultural Values ◽  
Historical Memory ◽  
Cultural Tourism ◽  
Training System ◽  
Expert Assessment ◽  
Opinion Poll ◽  
Historical Heritage

The authors follow up the issues of cultural tourism in their relationship with cultural and historical heritage in the context of education of young people. The methods of cultural and historical analysis, forecasting, method of expert assessment, sociological methods are used at the article. Emphasizing the importance of cultural heritage in the globalizing world, the authors consider it as a factor of collective identity formation, which is important for national stability and safety ensuring. In the authors’ opinion the absolute demand for the preservation of cultural and natural heritage for future generation with awareness of not only economic but social benefit of its preservation should be the long-term strategy of modern cultural policy in the Russian Federation. They focus on objects of city architecture and the urban environment as triggers of cultural memory and territorial (local) identity. Based on the opinion poll data among first-year students of K. G. Razumovsky Moscow State University of Technologies and Management (FCU) the authors highlight the main issues of updating cultural and historical heritage as a means of young people education: the formation of young people’s interest in the history of the culture of their region and the country as a whole; providing of the assess to cultural values; education of careful attitude towards cultural and natural monuments, respect for the authenticity and diversity of cultural values of Russia and mankind; training in anti-vandal non-destructive behavior; involving in active participation of protection of cultural heritage monuments; popularization of tourism culture among the younger generation including the development of a training system for organizers of youth tourism (volunteers).

scholarly journals The Cultural Tourism and Flamenco

2020 ◽  
pp. 32-39
Author(s):  
Lucía García-García ◽  
Guzmán Antonio Muñoz-Fernández ◽  
José Miguel Valverde-Roda ◽  
Antonio Menor-Campos
Keyword(s):  
Cultural Heritage ◽  
Web Of Science ◽  
Cultural Tourism ◽  
Google Scholar ◽  
Tourist Destination ◽  
Intangible Heritage ◽  
Tourism Management ◽  
The World ◽  
Tourism Motivation ◽  
Motivating Factor

Flamenco is a living art that excites and awakens the senses of those who witness such a dance, singing and guitar show. It is a way of expressing feelings. Flamenco was considered a world intangible heritage of humanity by UNESCO and is a part of the identity and culture of Andalucía, place where it originated. Flamenco is a symbol of Spanish culture around the world. In addition, it has been discovered that there is a typology of flamenco tourists whose motivation is related to the search of experience and authenticity in the tourist destination. A search of published scientific articles on emotional tourism, motivation and flamenco has been conducted using three databases: Web of Science, Scopus and Google Scholar. Flamenco is an art that transmits passion in each of its three components: song, dance and music. Therefore, tourism management of the sites where flamenco is part of its identity must bet on its development and potential as a motivating factor to travel, bringing the emotion to the tourist, which consists not only in perceiving it, but also in experiencing it, living it. We conclude that Flamenco as a living art forms an essential part of Spain’s cultural heritage and becomes an important tourist factor to cover the experiential needs of tourists.

scholarly journals The Cultural Tourism and Flamenco

2020 ◽  
pp. 32-39
Author(s):  
Lucía García-García ◽  
Guzmán Antonio Muñoz-Fernández ◽  
José Miguel Valverde-Roda ◽  
Antonio Menor-Campos
Keyword(s):  
Cultural Heritage ◽  
Web Of Science ◽  
Cultural Tourism ◽  
Google Scholar ◽  
Tourist Destination ◽  
Intangible Heritage ◽  
Tourism Management ◽  
The World ◽  
Tourism Motivation ◽  
Motivating Factor

Flamenco is a living art that excites and awakens the senses of those who witness such a dance, singing and guitar show. It is a way of expressing feelings. Flamenco was considered a world intangible heritage of humanity by UNESCO and is a part of the identity and culture of Andalucía, place where it originated. Flamenco is a symbol of Spanish culture around the world. In addition, it has been discovered that there is a typology of flamenco tourists whose motivation is related to the search of experience and authenticity in the tourist destination. A search of published scientific articles on emotional tourism, motivation and flamenco has been conducted using three databases: Web of Science, Scopus and Google Scholar. Flamenco is an art that transmits passion in each of its three components: song, dance and music. Therefore, tourism management of the sites where flamenco is part of its identity must bet on its development and potential as a motivating factor to travel, bringing the emotion to the tourist, which consists not only in perceiving it, but also in experiencing it, living it. We conclude that Flamenco as a living art forms an essential part of Spain’s cultural heritage and becomes an important tourist factor to cover the experiential needs of tourists.

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