Global Heritage, Religion, and Secularism

Religion and spirituality have been scarcely addressed in heritage preservation history, discourse, and practice. More recently, increased interest in the intersections between the study of religion and heritage preservation in both academic studies and institutional initiatives highlight obstacles that the field has yet to overcome theoretically and methodologically. This Element surveys the convergences of religious and heritage traditions. It argues that the critical heritage turn has not adequately considered the legacy of secularism that underpins the history and contemporary practices of heritage preservation. This omission is what has left the field of heritage studies ill-equipped to support the study and management of a heritage of religion broadly construed.

Digesting the Finnish Nature and Past: Food, Pastness, and the Naturalness of the National in the Wiki-Inventory for Living Heritage

This article examines the inventorying of Finnish intangible cultural heritage with regard to UNESCO’s Convention for the Safeguarding of the Intangible Cultural Heritage. I analyse the participatory Wiki-inventory for Living Heritage, concentrating on entries that discuss food and foodways to study how food, materiality, and the national intertwine with practices of producing intangible cultural heritage. The article’s theoretical background draws from the fields of banal nationalism and critical heritage studies. Food is eminently important in narratives of Finnishness: by using the concepts of naturalness and pastness, I show how Finnish food becomes interpreted as ‘authentic’ Finnish heritage. The concepts illuminate the complex processes in which the materiality of food, the Finnish terroir and landscape, narratives of the past, and the consumer who prepares, eats, and digests the heritagised food are tied to each other. These processes reinforce the banality of Finnishness, although the practices of inventorying paradoxically strive for the ideal of cultural diversity that UNESCO promotes.

Natural monuments: rethinking arboreal heritage for twenty-first-century Aotearoa New Zealand

<p>The twenty-first century is imposing significant challenges on nature in general with the arrival of climate change, and on arboreal heritage in particular through pressures for building expansion. This thesis examines the notion of tree heritage in Aotearoa New Zealand at this current point in time and questions what it is, how it comes about, and what values, meanings and understandings and human and non-human forces are at its heart. While the acknowledgement of arboreal heritage can be regarded as the duty of all New Zealanders, its maintenance and protection are most often perceived to be the responsibility of local authorities and heritage practitioners. This study questions the validity of the evaluation methods currently employed in the tree heritage listing process, tree listing itself, and the efficacy of tree protection provisions. The thesis presents a multiple case study of discrete sites of arboreal heritage that are all associated with a single native tree species—karaka (Corynocarpus laevigatus). The focus of the case studies is not on the trees themselves, however, but on the ways in which the tree sites fill the heritage roles required of them entailing an examination of the complicated networks of trees, people, events, organisations, policies and politics situated within the case studies, and within arboreal heritage itself. Accordingly, the thesis adopts a critical theoretical perspective, informed by various interpretations of Actor Network Theory and Assemblage Theory, and takes a ‘counter-’approach to the authorised heritage discourse introducing a new notion of an ‘unauthorised arboreal heritage discourse’. The thesis introduces alternative examples of arboreal heritage to the contemporary heritage canon paving the way for other forms of heritage that may remain mired in the expectations of the twentieth century’s authorised heritage discourse. In doing so it elevates arboreal heritage as a valid part of physical heritage and a worthy topic for further critical heritage study. The research findings show that in contemporary Aotearoa New Zealand trees have been active in forging links between the past, the present and the future in new and powerful ways transcending the received evaluation methods and establishing a new rhetoric of arboreal indigeneity. Through the lens of tree registers, the research contributes to a better understanding of both natural heritage and heritage in general and, while firmly placed in the New Zealand context, provides a basis for critical heritage studies of related subjects elsewhere. 2 Little has been written about arboreal heritage in Aotearoa New Zealand. As the first academic study of the topic, the thesis fills gaps in academic and professional knowledge of the tree heritage process. It introduces interdisciplinary ideas, from both the sciences and the humanities, and draws attention to tree heritage as a significant historical, social, economic, cultural and environmental contributor to the well-being of New Zealanders. The case studies demonstrate that effective, contemporary stewardship requires a revised ‘tree sense’ that acknowledges that arboreal heritage is founded on complex and various values, meanings and understandings, and is manifest in many different forms. Drawing on the archival, documentary and empirical research undertaken, the thesis proposes a democratisation of arboreal heritage decision-making, and contributes a set of principles to facilitate the negotiation of arboreal heritage acknowledgement and protection by communities, local authorities and heritage practitioners.</p>

Natural monuments: rethinking arboreal heritage for twenty-first-century Aotearoa New Zealand

<p>The twenty-first century is imposing significant challenges on nature in general with the arrival of climate change, and on arboreal heritage in particular through pressures for building expansion. This thesis examines the notion of tree heritage in Aotearoa New Zealand at this current point in time and questions what it is, how it comes about, and what values, meanings and understandings and human and non-human forces are at its heart. While the acknowledgement of arboreal heritage can be regarded as the duty of all New Zealanders, its maintenance and protection are most often perceived to be the responsibility of local authorities and heritage practitioners. This study questions the validity of the evaluation methods currently employed in the tree heritage listing process, tree listing itself, and the efficacy of tree protection provisions. The thesis presents a multiple case study of discrete sites of arboreal heritage that are all associated with a single native tree species—karaka (Corynocarpus laevigatus). The focus of the case studies is not on the trees themselves, however, but on the ways in which the tree sites fill the heritage roles required of them entailing an examination of the complicated networks of trees, people, events, organisations, policies and politics situated within the case studies, and within arboreal heritage itself. Accordingly, the thesis adopts a critical theoretical perspective, informed by various interpretations of Actor Network Theory and Assemblage Theory, and takes a ‘counter-’approach to the authorised heritage discourse introducing a new notion of an ‘unauthorised arboreal heritage discourse’. The thesis introduces alternative examples of arboreal heritage to the contemporary heritage canon paving the way for other forms of heritage that may remain mired in the expectations of the twentieth century’s authorised heritage discourse. In doing so it elevates arboreal heritage as a valid part of physical heritage and a worthy topic for further critical heritage study. The research findings show that in contemporary Aotearoa New Zealand trees have been active in forging links between the past, the present and the future in new and powerful ways transcending the received evaluation methods and establishing a new rhetoric of arboreal indigeneity. Through the lens of tree registers, the research contributes to a better understanding of both natural heritage and heritage in general and, while firmly placed in the New Zealand context, provides a basis for critical heritage studies of related subjects elsewhere. 2 Little has been written about arboreal heritage in Aotearoa New Zealand. As the first academic study of the topic, the thesis fills gaps in academic and professional knowledge of the tree heritage process. It introduces interdisciplinary ideas, from both the sciences and the humanities, and draws attention to tree heritage as a significant historical, social, economic, cultural and environmental contributor to the well-being of New Zealanders. The case studies demonstrate that effective, contemporary stewardship requires a revised ‘tree sense’ that acknowledges that arboreal heritage is founded on complex and various values, meanings and understandings, and is manifest in many different forms. Drawing on the archival, documentary and empirical research undertaken, the thesis proposes a democratisation of arboreal heritage decision-making, and contributes a set of principles to facilitate the negotiation of arboreal heritage acknowledgement and protection by communities, local authorities and heritage practitioners.</p>

A useful accessory: The use of lightweight replica ornament to manage the cultural heritage values of earthquake-prone buildings

<p>In NZ, some earthquake-prone heritage buildings have, historically, been restored with lightweight replica ornament to reconstruct decorative features that have been damaged or removed over time. But restoration has traditionally been a contested approach to conservation, particularly when heritage values and authenticity are considered to be intrinsic only to original or historic built fabric. This problem leads to the central research question addressed in this dissertation: ‘Can lightweight replica ornament be used to manage the heritage value of earthquake-prone heritage buildings?’ The research draws on Critical Heritage Studies which challenges the conventional stress on the intrinsic value of tangible heritage objects, and argues that heritage value is found in the intangible cultural processes that surround things. Consequently, authenticity is seen as pluralised and dependent on the cultural concerns, and aspirations, of local stakeholder communities. Using the theoretical framework of critical heritage and material culture studies, this dissertation therefore examines a technical aspect of conservation practice by re-theorising the concept of 'restoration'. The research methodology employs an adapted model of Action Research to investigate current professional practice. After analysing the historical context of earthquake-prone heritage buildings in the first chapter, in chapter two qualitative interviews are conducted with professionals who have an interest in the management of earthquake-prone buildings. Through the analysis and discussion of this data, a new actor network model is developed which shows the wider context of the resolution of the earthquake-prone status of heritage buildings. The findings suggest that professionals believe that heritage value is intrinsic to built fabric, and that the repair of existing built fabric is generally achievable. This means that replica ornament should only be considered for situations where reparability is unfeasible, and that lightweight substitute materials should only be used where traditional materials and technologies can longer be reproduced. Within these constraints it is possible to use lightweight replica ornament where it can be justified as a contributor to cultural heritage values. Furthermore, where professionals can reconcile the varying concerns of stakeholder communities in terms of safety and heritage value then lightweight replica ornament has the potential to add meaning to buildings and to become part of the narrative of place.</p>

A useful accessory: The use of lightweight replica ornament to manage the cultural heritage values of earthquake-prone buildings

<p>In NZ, some earthquake-prone heritage buildings have, historically, been restored with lightweight replica ornament to reconstruct decorative features that have been damaged or removed over time. But restoration has traditionally been a contested approach to conservation, particularly when heritage values and authenticity are considered to be intrinsic only to original or historic built fabric. This problem leads to the central research question addressed in this dissertation: ‘Can lightweight replica ornament be used to manage the heritage value of earthquake-prone heritage buildings?’ The research draws on Critical Heritage Studies which challenges the conventional stress on the intrinsic value of tangible heritage objects, and argues that heritage value is found in the intangible cultural processes that surround things. Consequently, authenticity is seen as pluralised and dependent on the cultural concerns, and aspirations, of local stakeholder communities. Using the theoretical framework of critical heritage and material culture studies, this dissertation therefore examines a technical aspect of conservation practice by re-theorising the concept of 'restoration'. The research methodology employs an adapted model of Action Research to investigate current professional practice. After analysing the historical context of earthquake-prone heritage buildings in the first chapter, in chapter two qualitative interviews are conducted with professionals who have an interest in the management of earthquake-prone buildings. Through the analysis and discussion of this data, a new actor network model is developed which shows the wider context of the resolution of the earthquake-prone status of heritage buildings. The findings suggest that professionals believe that heritage value is intrinsic to built fabric, and that the repair of existing built fabric is generally achievable. This means that replica ornament should only be considered for situations where reparability is unfeasible, and that lightweight substitute materials should only be used where traditional materials and technologies can longer be reproduced. Within these constraints it is possible to use lightweight replica ornament where it can be justified as a contributor to cultural heritage values. Furthermore, where professionals can reconcile the varying concerns of stakeholder communities in terms of safety and heritage value then lightweight replica ornament has the potential to add meaning to buildings and to become part of the narrative of place.</p>

Critical Architectural Heritage: Constructing heritage with(out) the Wanganui Native Land Court Building

<p>Critical heritage is a theory and practice where heritage is defined as the active engagement of the past in the present. In critical heritage, building, sites, and places are not objects of heritage in themselves but are cultural tools that facilitate the performance of heritage. If heritage, particularly architectural heritage, is not considered to be a tangible object or building, then the discipline is opened to a wide variety of differing groups and identities, some of whom are currently disadvantaged by conventional practices of heritage. This thesis examines how the arguments of architectural heritage were performed in a case study of New Zealand heritage practice: the 2013 Environment Court hearing regarding the Wanganui Native Land Court Building. A quantitative content analysis of the hearing revealed the heritage arguments to be composed in five main patterns which emphasised: the significance of identity, built fabric, context, a combination of identity and context, and a combination of the built fabric and context. The patterns show that the significance, and use, of the built form varied in different heritage arguments. If the performative context of the Environment Court is acknowledged via critical heritage, then the patterns show how arguments of heritage were composed, particularly in relation to the built form. Reference to the Wanganui Native Land Court building was not a significant quantitative component in many of these patterns and, as such, the use of the building was primarily conceptual, rather than material. The Court’s decision privileges the built form as a physical resource which is scarce and irreplaceable. The decision is, in some ways, at odds with the lack of reliance on built form in the patterns.</p>

Critical Architectural Heritage: Constructing heritage with(out) the Wanganui Native Land Court Building

<p>Critical heritage is a theory and practice where heritage is defined as the active engagement of the past in the present. In critical heritage, building, sites, and places are not objects of heritage in themselves but are cultural tools that facilitate the performance of heritage. If heritage, particularly architectural heritage, is not considered to be a tangible object or building, then the discipline is opened to a wide variety of differing groups and identities, some of whom are currently disadvantaged by conventional practices of heritage. This thesis examines how the arguments of architectural heritage were performed in a case study of New Zealand heritage practice: the 2013 Environment Court hearing regarding the Wanganui Native Land Court Building. A quantitative content analysis of the hearing revealed the heritage arguments to be composed in five main patterns which emphasised: the significance of identity, built fabric, context, a combination of identity and context, and a combination of the built fabric and context. The patterns show that the significance, and use, of the built form varied in different heritage arguments. If the performative context of the Environment Court is acknowledged via critical heritage, then the patterns show how arguments of heritage were composed, particularly in relation to the built form. Reference to the Wanganui Native Land Court building was not a significant quantitative component in many of these patterns and, as such, the use of the building was primarily conceptual, rather than material. The Court’s decision privileges the built form as a physical resource which is scarce and irreplaceable. The decision is, in some ways, at odds with the lack of reliance on built form in the patterns.</p>

“Everybody criticizes police, but nobody criticizes museums”: Police Headquarters and Museums as Public Culture

Museums are increasingly placed front-and-centre in police headquarters. Based on interviews, field notes, and observations, we examine the significance of placing museums in the foyers of new police headquarters for public culture and police legitimacy. Drawing from critical heritage, cultural and policing studies literature, we argue the trend represents a strategic means of softening the image of police and creating myths central to reinforcing their legitimacy. We show that studying the representations inside police museums is crucial to comprehend how these entities depict social reality and provide frames through which the public make sense of policing and carcerality more broadly. Conceptualizing police museums as a form of public relations management that has material impacts on urban life and public culture, we reflect on what our findings mean for literature on cultural representations of “criminal justice.”

The Deaf Heritage Collective: Collaboration with Critical Intent

The paper reflects upon the Deaf Heritage Collective, a collaborative project led by Edinburgh Napier University’s Design for Heritage team and Heriot Watt’s Centre for Translation And Interpreting Studies. The project aimed to advance discussion around the British Sign Language Act (Scottish Government 2015) and bring into being a network of Deaf communities and cultural heritage organisations committed to promoting BSL in public life. The aim of this paper is to contextualise the project and its creative approach within the distinctly Scottish context, and the ideals of critical heritage, critical design and the museum activist movement. This paper presents the context and creative processes by which we engaged participants in debate and the struggles we encountered. We describe these processes and the primacy of collaborative making as a mode of inquiry. We argue that by curating a workshop space where different types of knowledge were valorised and where participants were encouraged to “think with” materials (Rockwell and Mactavish 2004) we were able to challenge the balance of power between heritage professionals and members of the Deaf community. By harnessing the explanatory power of collaborative making we debated the assemblages of epistemic inequality, and the imagined futures of Deaf heritage in Scotland.