scholarly journals Narrative-Based Nature of Heritage: Between Myth and Discourses: Case of Šiluva Place-Making in Progress

Land ◽  
2021 ◽  
Vol 11 (1) ◽  
pp. 47
Author(s):  
Kastytis Rudokas ◽  
Silvija Čižaitė-Rudokienė
Keyword(s):  
Cultural Heritage ◽  
Linear Time ◽  
Narrative Discourse ◽  
Oral Traditions ◽  
Place Making ◽  
Decision Making Processes ◽  
Alteration Processes ◽  
Explicit And Implicit Knowledge ◽  
Promising Source ◽  
Unlimited Amount

The article focuses on the phenomenon of myth, which cannot be seen and may not even exist based on empirical evidence, although it can function as a long-lasting wave inceptor, as demonstrated in numerous cases in history. The singular presence of myth has no linear time, and the way to approach the concealed mythic meaning that is beyond tales, oral traditions or ritual practices is based on language and narrative. Narrative is how myth manifests itself in the temporal layers of discourse through collective decision-making processes within cultures and in places. The urban cultural heritage seems to be a promising source of understanding of what sort of narrative history has been telling. We emphasize that the closest possible approach to the permanence of myth lies in this subtle between-epoch or between-generational moment wherein the discourse alters. The hermeneutics of repetition within alteration processes is what could be called the narrative of cultural heritage in towns and cities. Development of the physical heritage properties has been touched by a variety of agents, and therefore it must have gathered a nearly unlimited amount of explicit and implicit knowledge. The research further demonstrates how the myth–narrative–discourse interaction affects our understanding of the authenticity of heritage objects, shifting towards a permanent pervading authenticity which could be intensive or extensive in the tangible realm. The case of Šiluva is discussed in order to explain how myth can be used practically in placemaking.

scholarly journals A Cultural Heritage Low Entropy Enhancement Approach: An Ex Post Evaluation of Creative Practices

2021 ◽  
Vol 13 (5) ◽  
pp. 2765
Author(s):  
Maria Cerreta ◽  
Gaia Daldanise ◽  
Eleonora Giovene di Girasole ◽  
Carmelo Maria Torre
Keyword(s):  
Cultural Heritage ◽  
Urban Transformation ◽  
Italian Case ◽  
Post Evaluation ◽  
Ex Post ◽  
Innovative Management ◽  
Decision Making Processes ◽  
Landscape Heritage ◽  
Low Entropy ◽  
New Strategies

According to the current European and Italian scenario related to urban regeneration, cultural and landscape heritage valorization is being enhanced by the activation of innovative processes and new emerging approaches. These involve the development of methodologies and tools that can address decision-making processes based on creative practices consistent with a concept named “low-entropy economy” in this paper. The low-entropy economy represents an economic approach based on the minimization of physical urban transformation and the enhancement of the existing heritage. In this perspective, the research aims to develop the Cultural Heritage Low Entropy Enhancement (CHLEE) approach by exploring how some frugal experiences have promoted cultural heritage enhancement and related complex values through a program of temporary uses and activities able to produce new values, where the human experience is essential. A crucial role is represented by the heterogeneity of creative practices that contribute to identifying and implementing innovative management and governance models. The analysis of creative practices, based upon the ex post evaluation of some Italian case studies across the PROMETHEE-GAIA multicriteria method, is able to show how these experiences build innovation ecosystems and improve the ex ante evaluation for new strategies and policies, underlining strengths, weaknesses, and milestones that shape creative experiences as drivers of urban competitiveness.

Indigenous Knowledge & Intellectual Property: Negotiating the Spaces

2008 ◽  
Vol 37 (S1) ◽  
pp. 14-24
Author(s):  
Terri Janke
Keyword(s):  
Intellectual Property ◽  
Cultural Heritage ◽  
Indigenous Knowledge ◽  
Indigenous People ◽  
Indigenous Communities ◽  
Oral Traditions ◽  
Intangible Cultural Heritage ◽  
Communal Identity ◽  
Sound Recordings ◽  
Policy Initiatives

Abstract Indigenous knowledge is an integral part of Indigenous cultural heritage. Knowledge about land, seas, places and associated songs, stories, social practices, and oral traditions are important assets for Indigenous communities. Transmitted from generation to generation, Indigenous knowledge is constantly reinterpreted by Indigenous people. Through the existence and transmission of this intangible cultural heritage, Indigenous people are able to associate with a communal identity. The recording and fixing of Indigenous knowledge creates intellectual property (IP), rights of ownership to the material which the written or recorded in documents, sound recordings or films. Intellectual property rights allow the rights owners to control reproductions of the fixed form. IP laws are individual based and economic in nature. A concern for Indigenous people is that the ownership of the intellectual property which is generated from such processes, if often, not owned by them. The IP laws impact on the rights of traditional and Indigenous communities to their cultural heritage. This paper will explore the international developments, case studies, published protocols and policy initiatives concerning the recording, dissemination, digitisation, and commercial use of Indigenous knowledge.

scholarly journals From Public Participation to Co-Creation in the Cultural Heritage Management Decision-Making Process

2021 ◽  
Vol 13 (16) ◽  
pp. 9321
Author(s):  
Olgica Grcheva ◽  
Beser Oktay Vehbi
Keyword(s):  
Decision Making ◽  
Cultural Heritage ◽  
Public Participation ◽  
Heritage Management ◽  
Management Decision ◽  
Decision Making Process ◽  
Cultural Heritage Management ◽  
Participation Decision ◽  
Wide Range ◽  
Decision Making Processes

According to the ongoing discussions of researchers, practitioners, and international legislation, the prioritization of top-down decision-making processes in public participation is questionable due to their ambiguous outcomes in various contexts associated with the management of cultural heritage. The main aim of this paper is to highlight and identify co-creation as a sustainable and significant bottom-up methodology that has a wide range of applications, especially in the domain of Cultural Heritage Management (CHM). It is presented as an alternative to the already existing, less democratic, and passive public participation decision-making processes. Examining the evolution of the terms and the processes, together with the common aspects and differences between public participation and co-creation is another goal of this paper. Based on these aims and goals, after conducting case study analyses in various contexts and comprehensive theoretical reviews of the international charters and ongoing practices associated with both key terms, “public participation” and “co-creation”, this paper introduces results that have the potential to solve the existing problems in public participation models and frameworks and successfully integrate communities into the CHM decision-making process through the implementation of the co-creation methodology.

Part II Substantive Aspects, Ch.16 Language as Cultural Heritage

2020 ◽  
Author(s):  
Witte Bruno De
Keyword(s):  
Cultural Identity ◽  
Cultural Heritage ◽  
International Law ◽  
Oral Traditions ◽  
Intangible Cultural Heritage ◽  
Functional Communication ◽  
The Public ◽  
Intangible Heritage ◽  
Limited Role

This chapter addresses linguistic heritage as part of cultural heritage. The use of a language not only serves as a means of functional communication but also expresses the speaker’s cultural identity as well as the cultural heritage developed by all previous users of that language. One can say that legal measures that allow for the public use of a particular language, or that impose the use of that language in certain contexts, contribute to the preservation of the cultural heritage of a country. However, UNESCO’s Intangible Heritage Convention includes within its scope the oral traditions and forms of expressions that use language as their tool. In other words, language is protected because, and to the extent that, it gives expression to an element of a community’s intangible cultural heritage other than the language itself. Therefore, international law plays only a limited role in protecting language-as-heritage.

The sociocultural impact of adaptive reuse of immovable cultural heritage from the perspective of direct users and the local community

2020 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Zdzisława Elżbieta Niemczewska
Keyword(s):  
Cultural Heritage ◽  
Design Methodology ◽  
Local Community ◽  
Local Development ◽  
Direct Access ◽  
Content Type ◽  
Decision Making Processes ◽  
The Impact ◽  
Depth Interviews ◽  
Practical Implications

PurposeThe purpose is to show the results of research on sociocultural impact – as one of the pillars of sustainable local development which can be stimulated among others by immovable cultural heritage. The research concerned two groups of respondents: the local community, which does not directly use heritage re-adopted to commercial functions and the community using the heritage in a direct way.Design/methodology/approachSurveys and in-depth interviews were used for the study. Two groups of respondents were surveyed: direct users of immovable re-adopted heritage who have the possibility to use it directly by buying services offered in the studied heritage and the local community representatives for which access to the re-adopted heritage is limited.FindingsIn the case of heritage re-adopted to commercial functions, there are differences in sociocultural impact. The very presence of heritage and only awareness of its existence in a given area is not enough for creating a sociocultural function by it in some aspects. Such heritage does not use its potential fully.Practical implicationsResults of the study may be taken into account by some stakeholders in the case of giving heritage resources contemporary functions especially commercial ones (owners of re-used cultural heritage resources, representatives of local authorities as well as entities responsible for the protection, appropriate use of cultural heritage resources and decision-making processes) to eliminate negative or insufficient effects in creating the sociocultural function of heritage in sustainable local development.Social implicationsSuggested actions undertaken on the basis of this research can increase the impact of immovable cultural heritage adapted for commercial purposes on a larger range of beneficiaries especially the local community. Hence, the extent of such heritage's impact on the sociocultural pillar of sustainable development would increase.Originality/valueSo far, studies on the differences in the sociocultural impact of immovable cultural heritage adapted to commercial, contemporary functions on direct users and no-direct users have not been conducted. Results obtained by this study supplement a certain gap regarding the sociocultural impact of heritage resources on this two groups of stakeholders: groups that have direct access to the heritage resource and groups that have no access to them or this access is limited.

The Contemporary Significance of What Has Been. Three Approaches to Remembering the Past: Lineage, Gada, and Oral Tradition

2006 ◽  
Vol 33 ◽  
pp. 53-84 ◽  
Author(s):  
Hermann Amborn
Keyword(s):  
Oral Tradition ◽  
Linear Time ◽  
Oral Traditions ◽  
The Past ◽  
Word Memory ◽  
System Generation ◽  
The Common ◽  
Hill Farming ◽  
The Moment ◽  
Common Memory

For current discourse in the southwest Ethiopian hill farming populations of the Burji, Konso, and D'iraaša, the present time constitutes a spatiotemporal system of coordinates in which modern attitudes to the past and tradition intersect or are knotted with group “memories.”What do we mean by memory? Who remembers? And how? The word “memory” is used here to refer to the common memory of a local group of people, in other words the cultural processing of memory.In the course of time such memories have manifested themselves in different ways. This paper examines why certain events are remembered and how their transmission is expressed. Linked to this is the question of the meaning (Sinngehalt) of memory. The question of the relationship between memory and so-called real historical events is thus only secondary. Three types of possible approach are discussed in this paper: mythical time, referring to mytho-historical traditions of origin; cyclical time, as seen in the Gada system (generation grading system); and linear time, as shown in the genealogical lines of specific lineages.In their traditions, all three population groups refer to a common original settlement area in Liban, to the east of the areas they occupy today. References to Liban, with varying geographical locations, are also found in the oral traditions of many Oromo-speaking groups. Oromo nationalists claim Liban as the common original home of all Oromo. In this paper, however, Oromo-speaking groups are not discussed, since we are mainly concerned with the Burji, Konso, and D'iraaša, for whom, according to their Liban traditions, the exodus was the moment of their separation from the Oromo-speaking Borana, who lived in Liban together with them up to that point.

scholarly journals Historytelling: Designing Validated Heritage Narratives for Non-captive Audiences. Evidence from EU Funded Projects in the Programming Period 2014-2020

2020 ◽  
Author(s):  
Dorothea Papathanasiou-Zuhrt ◽  
Keyword(s):  
Cultural Heritage ◽  
Narrative Discourse ◽  
Supply Side ◽  
Cultural Significance ◽  
Cultural Backgrounds ◽  
The Public ◽  
Material Substance ◽  
Programming Period ◽  
Different Origins

Much too often a temporospatial gap arises between monuments and non-captive audiences at places of cultural significance. It emerges as the missing link between the tangible and the intangible form of cultural heritage. While material substance or architecture of a monument are perceived by the eye, values and inherent meanings remain inaccessible. This particular condition is further modified for the better or worse by the skills of the audience, which has different origins, mentalities and cultural backgrounds that hinder or enhance the perception and appreciation of cultural heritage. Following the philosophy of hermeneutics, this paper suggests that the temporo-spatial gap between monuments and audiences is principally of cognitive nature: to understand and embrace heritage values and effectively bridge the gap, we need to connect the tangible form of the object to its intangible dimensions, symbols, meanings and values. As much of the supply side offers remain codified in the language of experts, while the public, especially the youth, is looking for compelling stories and multisensory experiences, we need to look for a new narrative discourse. This paper examines evidence from 260 heritage narratives produced through EU funded projects in the Programming Period 2014-2020, in an attempt to evaluate the knowledge acquisition pattern developed and the role of AV technology plays in the development of a validated heritage narrative.

scholarly journals BE PROUD OF INDONESIAN CULTURAL HERITAGE RICHNESS AND BE ALERT OF ITS PRESERVATION EFFORTS IN THE GLOBAL WORLD

Humanus ◽  
2017 ◽  
Vol 15 (2) ◽  
pp. 195 ◽  
Author(s):  
Risda Asfina ◽  
Ririn Ovilia
Keyword(s):  
Cultural Identity ◽  
Cultural Heritage ◽  
Performing Arts ◽  
Oral Traditions ◽  
Transfer Of Knowledge ◽  
Cultural Issues ◽  
Heritage Preservation ◽  
Global World ◽  
The Universe ◽  
Cultural Heritage Preservation

 BANGGA DENGAN KEKAYAAN WARISAN BUDAYA INDONESIA DAN WASPADA DENGAN USAHA PELESTARIANNYA DI DUNIA GLOBALAbstractIndonesia as an archipelago country has a lot of cultural heritage that it is decently called as a multicultural country. The richness of Indonesian culture is not only in tangible cultural heritage but also in intangible one. It includes artifacts, inscriptions, traditional food, clothes, music instruments, oral traditions and expressions, performing arts, rituals and festive events, knowledge and practices concerning nature and the universe, and traditional craftsmanship. However, there have been a number of issues concerning the sustainability of Indonesian cultural heritage. Some of which are the difficulty of connecting culture with societies, the struggle to maintain inter-generational transfer of knowledge, lack of recognition, stylistic and thematic imitation, misappropriation by unauthorized reproduction or distribution, and foreign claims to Indonesian cultural heritage. Those issues are influenced by the globalization era in which the development of life style and technology increases rapidly. Due to the crucial value of the culture as the identity of a nation, therefore Indonesia surely needs to preserve it. This paper aims to discuss the richness of Indonesian culture, several cultural issues in global world, and the cultural heritage preservation efforts. The significance of this paper is to give a better understanding about these issues and to create awareness about the importance of maintaining cultural identity of the nation in global world. Keywords: Indonesian cultural heritage; preservation efforts; global worldAbstractIndonesia sebagai negara kepulauan memiliki banyak warisan budaya yang biasa dikenal sebagai negara multikultural. Kekayaan budaya Indonesia tidak hanya dalam warisan benda budaya tetapi juga dalam bentuk tak benda. Ini termasuk artefak, prasasti, makanan tradisional, pakaian, alat musik, tradisi dan ekspresi lisan, seni pertunjukan, ritual dan festival, pengetahuan dan praktek mengenai alam dan semesta, dan kriya tradisional. Namun, ada sejumlah isu mengenai keberlanjutan warisan budaya Indonesia. Beberapa di antaranya adalah kesulitan menghubungkan budaya dengan masyarakat, perjuangan untuk mempertahankan transfer pengetahun antar-generasi, kurangnya pengakuan, peniruan gaya dan tematik, penyalahgunaan reproduksi dan distribusi oleh pihak yang tidak sah, dan klaim asing untuk warisan budaya Indonesia. Isu-isu tersebut dipengaruhi oleh era globalisasi ketika perkembangan gaya hidup dan teknologi meningkat pesat. Mengingat pentingnya nilai budaya sebagai identitas suatu bangsa, bangsa Indonesia tentu perlu untuk melestarikannya. Tulisan ini bertujuan untuk membahas kekayaan budaya Indonesia, beberapa isu budaya di dunia global, dan upaya pelestarian warisan budaya. Signifikansi dari makalah ini adalah untuk memberikan pemahaman yang lebih baik tentang masalah ini dan untuk menciptakan kesadaran tentang pentingnya menjaga identitas budaya bangsa di dunia global.Keywords: warisan budaya Indonesia; usaha pelestraian; dunia global

scholarly journals THE RELATIONSHIP BETWEEN TSHIVENDA LINGUISTIC VOCABULARY AND MUSICAL TRAJECTORIES AS ENCAPSULATED IN MIRERO, MAAMBELE AND DZITHAI

2016 ◽  
Vol 24 (1) ◽  
pp. 65-77
Author(s):  
N G Mugovhani
Keyword(s):  
Cultural Heritage ◽  
Indigenous Knowledge ◽  
Knowledge System ◽  
Oral Traditions ◽  
Close Connection ◽  
Indigenous Music ◽  
Indigenous Knowledge System ◽  
Musical Practices ◽  
The Relationship

African societies have always had-well established oral traditions. Vhavenḓa have a great wealth of folklore, such as mirero (proverbs), maambele (idioms) and dzithai (riddles) which help portray myriad aspects of their cultural heritage. As part of indigenous knowledge system, folkloric elements such as mirero, maambele and dzithai are used as vehicles for advising, correcting, reprimanding or rebuking. They are also used in providing direction, support and guidance. Through these folkloric elements, Vhavenḓa have always had their way of expressing how they perceive the significance of their different musical practices and styles. In their general day-to-day language, they have their own musical terminology to explain a particular perception. There is always a close connection between indigenous music and the day-to-day lives of people in traditional African societies.

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