From Counterculture to Intangible Heritage and Tourism Supply: Artistic Expressions in Ibiza, Spain

Until the beginning of the 20th century, Ibiza was rural, developmentally lagging, and separate from the modern world. These characteristics made it attractive as a refuge for European intellectuals and artists as soon as communications with the outside world began to develop. The first significant presence of artists occurred in the 1930s, just before the Spanish Civil War. After years of war and isolation, artists returned in a larger volume and variety than before. Other regions also had artistic and countercultural communities, but Ibiza decided to use them as an element of its tourist promotions, making the hippie movement a part of its culture and history and the most internationally known element. The objective of this paper is to expose the importance of art and artists, a direct inheritance of that time, in Ibizan promotion and tourism. The authorities and entrepreneurs of the island realized the media interest they received and the importance of this media impact on developing the tourism sector. The result was that they supported artistic avant-garde and various activities derived from the hippie movement to differentiate Ibiza and make it known in Spain and abroad, creating the myth of Ibiza as an island of freedom, harmony, and nightlife (the current image of the island).

The sanctity of goddesses: an insight into the worship of Bà Tổ Cô in Northern Vietnam

In Vietnam, a country where religious expression is widespread, many gods and goddesses are commonly worshipped. Among those, Bà Tổ Cô (Family Goddess) is widely worshipped in the North of Vietnam due to her exceptional background as unmarried, young, and having spiritual roots, unlike other national and heroic figures. This article examines the sanctity of the Family Goddess by decoding the terms, worshippers, beliefs and practices, sacred encounters and supports. The research is a final result of decade-long field trips, archival study, and in-depth interviews with various stakeholders. The research findings show that the veneration of the Family Goddess in Northern Vietnam is a continuity of a long-standing tradition of worshipping female deities in Asia and thus emphasising the need to maintain this unique intangible heritage as a crucial part of Vietnamese cultural diversity.

National Music Promotion and Inheritance Strategies Based on the Perspective of Intangible Cultural Heritage

Folk music is a heavy cultural carrier. Today, when culture is flourishing, it still has a unique charm and appeal. The intangible heritage of national music requires modern Chinese to continue to carry forward and inherit it, so that the spirit and characteristic culture contained in it can be smoothly transformed into the fruits of education. For this reason, it will be a feasible idea to promote and inherit national music from the perspective of intangible cultural heritage with academies education as the central medium. The article combines the understanding of intangible cultural heritage and the thinking on the promotion and inheritance of ethnic music from the perspective of intangible heritage, and further explores the significance and strategy of the promotion and inheritance of ethnic music centered on vocal music teaching in colleges and universities, hoping to provide valuable reference for relevant research.

Porto, Gaia, and the Sant'Ana Arch

This study aims to analyse the novel O Arco de Sant'Ana, by Almeida Garrett, one of the most important Portuguese writers of the 19th century. O Arco de Sant'Ana is a historical novel that describes a medieval narrative that is used as a context and emphasis for the presentation of the author's liberal ideas of his time. Using geographical information system as a methodological tool, a literary cartographic analysis will be conducted by identifying places, streets as well as tangible and intangible heritage, described in the novel. Several analyses will be performed to pinpoint the places where the medieval narrative occurs, transposing them to the current urban map. In this way, it should be possible to overlay the literary landscape onto the present map of Porto to offer the tourist a new product based on a journey through time based on the writer's literary work.

Evaluating the Use of Digital Cartography to Showcase the Intangible Heritage

New narratives are essential for ensuring the sustainability of tourist destinations and improving visitor experience. One key resource destination that can be drawn on is intangible heritage, which digital cartography can help visitors to interpret. The overall objective of this chapter is to analyze—from a multidisciplinary perspective—the opportunities digital cartography offers for the exploitation of literary heritage. The authors present an evaluation tool (validated by experts), whose aim is to analyze the different dimensions and elements that should be incorporated in digital maps. The intention is to enable the analysis of existing digital literary tourism maps and to encourage the future use of the many options offered by digital cartography in maps of this nature.

THE SOUND DIMENSION IN THE UPPER BASIN OF THE MIÑO RIVER (GALICIA, NW IBERIAN PENINSULA)

The sound spectrum of water configures representative marks of various environments, which define a sound heritage with scientific, cultural, emotional, sensorial and educational value. From this perspective, river environments comprise a wide spectrum of sonic resonances. This study, contextualized within the field of geo-sonority research, considers the recording and analysis of water through several samples from the upper basin of the Miño River. The objectives are to advocate for the role of sonority as part of the intangible heritage, to explore its character in the fluvial environment of inland Galicia, and to contribute to the preservation of the sonic marks of water as sounds inherent to the identity of an area. The methodology applied consists of phases of field recording, the creation of databases and of phonic analysis. Water in its sound form, from the drop rhythmically repeating to the roar of a waterfall, fills an audible sound spectrum that characterizes soundscapes. By registering, documenting, and analyzing the sounds of the water, we advance in the knowledge of the diversity of the sound environments in the river basin of the Miño River.

Holiday as an element of the intangible cultural heritage

The purpose of the article is to analyze the main parameters according to which the holiday is classified as an intangible cultural heritage. Research methodology. General scientific and special methods of research analysis, synthesis, generalization, comparison are used. The use of scientific approaches integrated with culturology, history, and ethnography testifies to the interdisciplinarity of the research. The scientific novelty is to determine the main characteristics of the holidays as intangible cultural heritage and analyze the experience of their inclusion in the UNESCO Intangible Heritage List. Conclusions. Intangible cultural heritage is an intangible element of culture, mostly traditional, all that can be considered the spiritual and intellectual achievements of the people. Intangible cultural heritage includes holidays embodied in relevant cultural practices, which may have the most stable and unconditional parameters, enshrined in the minds of people as carriers of historical experience, ethnocultural identity, and various socio-cultural practices that allow distinguishing cultures from each other. The main significance of the holidays, which are already included in the UNESCO List of Intangible Cultural Heritage, is the preservation of traditions, communication, uniting communities around common rituals and values, passing on the relevant experience to the next generation. Key words: holiday, intangible cultural heritage, Convention for the Safeguarding of the Intangible Cultural Heritage, communicativeness, traditions.

Intorno alla musica d’arte (muqam) degli uiguri

Despite the recent nomination of the muqam as Intangible Heritage of China, the term refers in itself to the Art music traditions of the vast Arab-Persian and Central Asian world called, with an Arab term, maqām. After a geo-cultural and musicological analysis of the Uyghur muqam, the article takes into exam some of its distinctive components, beginning with the subtle commonalities between the world of muqam and Chinese art music; it moves, then, to the key figure of Uyghur queen Āmānnisā Khān Nāfisi (1526-1560) and to the cultural and musical route connecting Herat-Bukhara-Samarkand-Kashgar in sixteenth century. Finally, the paper focuses on a particular convivial meeting with music called mashrab, possibly influenced by Sufism.

Funerary heritage tourism: definitions and principles

En muchas grandes ciudades, el ‘primer’ cementerio decimonónico es cada vez más el núcleo del turismo de cementerios. El texto considera el ‘patrimonio funerario’ como un desarrollo relacionado pero diferente. Señala la posible relación incómoda entre el turismo de cemen- terios y patrimonio funerario, en parte debido a la falta de voluntad de asociar directamente las visitas a los cementerios con la muerte. Un turismo de cementerios mal planteado puede socavar el patrimonio tangible e intangible de los cementerios. Muchos cementerios siguen en uso y, por lo tanto, deben considerase como ‘patrimonio vivo’. En estas circunstancias, la interpretación debe reconocer a los afectados como partes interesadas relevantes, mientras que los sistemas de interpretación deben comunicar con más firmeza los diversos aspectos de la mortalidad. Poner de relieve las dinámicas de ‘funcionamiento’ del cementerio es un marco narrativo poco explorado y es necesario ser consciente de que las formas de interpre- tación pueden sesgar el esfuerzo de conservación. Asimismo, se pueden plantear cuestiones éticas. En el texto sugerimos que, como mínimo, esa interpretación debería demostrar cómo la humanidad, en todas las épocas y culturas, se ha esforzado por aceptar la muerte. In many major cities, the ‘first’ nineteenth-century cemetery is increasingly the focus of cemetery tourism. This paper recognises ‘funerary heritage’ as an associated but separate development. It indicates that there can be an uneasy relationship between cemetery tourism and funerary heritage, in part resting on unwillingness directly to associate cemetery visits with death. Poorly framed cemetery tourism can actively undermine both the tangible and intangible heritage of cemeteries. Many cemeteries are still in use, and this paper regards these sites as ‘living heritage’. In these circumstances, interpretation should acknowledge the bereaved as relevant stakeholders; interpretation needs to be more confident in the ways in which it talks about the various aspects of mortality; foregrounding how the cemetery ‘works’ presents an under-explored narrative frame; and there is a need to be aware of the ways that interpretation can skew conservation effort. Ethical issues also pertain. Here it is suggested that, at the very least, that interpretation should demonstrate how –across all times and cultures– humanity has striven to come to terms with mortality.

‘They call ‘im Crowie’: An investigation of the Aboriginal significance attributed to a wrecked River Murray barge in South Australia

The Indigenous intangible heritage related to wrecked vessels has been poorly studied and documented. This article provides a counter to dominant maritime archaeology discourses via the investigation of the Aboriginal significance attributed to a wrecked and submerged River Murray barge (Crowie) in South Australia. There are numerous layers of Aboriginal significance that may be attributed to Crowie including the relationship of the community with their ‘underwater country’, Indigenous contributions to the riverboat industry, and the use of Aboriginal terms in vessel-naming practices. Geophysical data from multibeam and sidescan sonar surveys allowed for confirmation of the proposed location of the wreck and through comparison with historical descriptions and photographs provided evidence to substantiate the assignation of the wreck as the Crowie barge.