Ukradena Bastina Stolen Heritage (original) (raw)
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Folklore, 2018
The article critically engages with the articulations and manifestations of a UNESCO initiative for the safeguarding of so-called intangible cultural heritage in Croatian context in the first years of the active Croatian implementation of the Convention for the Safeguarding of the Intangible Cultural Heritage (2009–2013). It presents the intersections of a UNESCO initiative with past and present thnology and folklore research in Croatia. Though one might get the impression (not entirely unfounded) that the project of protecting or safeguarding intangible heritage within the Croatian context first and foremost constitutes a global, imported product, the notion of protecting or safeguarding intangible cultural heritage can also be traced in the history of Croatian ethnology, folkloristics, art conservation, legislation, and folklore festivals production. A strong tendency to transform culture into a slick product can be seen as the main or only ‘innovative’ aspect of transmitting the old concepts into the contemporary framework of the UNESCO initiative. It seems like this aspect makes it easier for everyone involved – state administration and experts and those to whom a given cultural practice ‘belongs’ – to ignore ‘the side effects’ of the UNESCO initiative and the processes of its implementation that are discussed in the article. These side effects, perhaps not so visibly, concern society as a whole, and more directly local communities, as well as our specific professions and disciplines: ethnology and folkloristics. A somewhat different variant of this article was originally published in Croatian, as an introduction to Proizvodnja baštine: kritičke studije o nematerijalnoj kulturi (The Production of Heritage: Critical Studies on Intangible Culture) (edited by Marijana Hameršak, Iva Pleše, and Ana-Marija Vukušić), a collection of essays published in 2013 by the Institute of Ethnology and Folklore Research in Zagreb.
Heritage Users Research Croatia 2015
Preface This book might have been created out of somewhat prosaic reasons since its inception was planned far ahead in a form of final report on the Heritage Users Research project which was approved for funding by the Ministry of Science, Education and Sport in 2006. However, its chapters are formed not only by useful but interesting texts which resulted from various types of research, or maybe merely notes and analyses of experiences in the most propulsive museological field that deals with visitor or more broadly, user research, as well as investigations into the issues related to the contemporary paradigm of museums and similar institutions, most prominently the functions of communication and education. Possible problems regarding the term user, which we insisted on having as part of the research title, made themselves manifest in the form of a phone call placed by an owner of a cultural property who recognized herself as a heritage user. Regardless of potential misunderstandings, the term has been far from unknown in Croatian museum environment. It seems it was frequently used in the early 1980s, that is, in the beginning stages of introducing computers in the museum practice, which can be attested by the titles of unpublished texts by Dr. A. Bauer during the same period (Museologija no 31, 1994). Following that, in addition to the concept of museum information users, we believe the term heritage users today, in the 21 st century, can be used as having a much broader meaning than the term museum visitors, which entails either those of permanent and temporary exhibitions, workshops and lectures or visitors to museums' internet pages and other virtual content. Attention paid to both visitors and users has in the last several decades marked a shift in the understanding of museums, but also of museology as a scientific discipline whose research domain includes museums as institutional caretakers of heritage. The focal point of museum practice has most certainly changed its direction from museum or heritage objects to information about the objects whose importance was especially emphasized in the early phases of informatisation, and, finally, to the users/visitors/participants in heritage experience. It would be hard not to notice that the shift coincided with the growth of neo-liberal capitalism which made European and other western museums face limited financial resources and the pressure of ...
ICOM Voices, 2023
Article available at: https://icom.museum/en/news/preserving-the-past-engaging-with-the-future-the-importance-of-small-local-museums-and-collections/?fbclid=IwAR0EsyxEzSMqhBsE7WzQ3\_5JKwuIyXNIYsb2jGDNexw11Qy\_PBS8urUliVI While traveling the world, we are frequently struck by the grandeur of museums that display the history and cultural legacy of entire nations. These establishments feature collections of invaluable artefacts and treasures that narrate the tales of our ancestors. In the midst of these imposing museums, it is easy to overlook the importance and wealth of small local museums and collections. These museums act as portals into the exclusive and varied cultural heritage of communities. The Heritage Collection of the City of Novska, Croatia (cro. Muzejska zavičajna zbirka Grada Novske) is one of these museums. It showcases the importance of preserving cultural heritage for future generations and the impact it can have on a community.
Futures and foresight of Croatian cultural heritage
Portal, 2022
In today's challenging time of political instability and climate change, the question of what to expect from the future is asked more frequently than ever. This question occurs in all segments of society, including those segments related to cultural heritage. When we mention the term 'cultural heritage', the first thing that we associate with it relates to the past, our identity, to legacies or to something we have inherited. We identify it mostly with something valuable and something that we must protect. In this paper the protection of cultural heritage will be moved to the future. The main question asked is whether current views on heritage preservation/protection will be valid in the future. This paper is primarily about anticipating the future, and not predicting it, by showing the methods and techniques that identify processes that could affect the future of heritage protection and management in the Republic of Croatia. Research and definition of trends have been carried out, in accordance with which this paper anticipates possible changes in the approach of people towards cultural heritage conditioned by social, economic, technical, ecological and political trends. Based on established trends, several scenarios are developed with certainties and uncertainties. Scenarios lead us to a consensus about what kind of future we want, and they point out the possible problems facing the modern world and their impact on heritage.
Muzeologia a kulturne dedicstvo / Museology and Cultural Heritage 2/2023
Muzeologia a kulturne dedicstvo / Museology and Cultural Heritage 2/2023, 2023
Practices of using Rapid Response Collecting by Ukrainian museums in wartime Social activity and public involvement in participatory practices, and the creation of civic spaces on the basis of the museum have become relevant for the formation of the concept of a modern museum. Such practices are especially important in times of crisis, when history is being documented online and the Rapid Response Collecting (RRC) method is becoming widespread. Modern war discourse requires the newest forms of archiving and description, because the recording of history is complicated by the volatility of the military situation, the movement of large flows of displaced persons and the departure of citizens abroad. The Ukrainian experience of documenting the war is examined in the article taking the example of the ATO Museum (an acronym for anti-terrorist operation) in Dnipro and the online Museum of Civilian Voices. It is important for us to pay attention to the national peculiarities of the codification of collective memory through individual experience and life stories during the full-scale military aggression against Ukraine, and to show the newest forms of presenting the evidence of war. Keywords: rapid response collecting, oral history, Russian-Ukrainian war 2022, ATO Museum, Museum of Civilian Voices. 1 Quantitative indicators are updated daily on the website of the Prosecutor General's office (https://www.gp.gov. ua/). As of December 9, 2022 there have been registered: 52,157 crimes of aggression and war crimes; 18,542 crimes against national security; 443 children killed; and 855 children injured. According to the Ministry of Culture and Information Policy, since the beginning of the war, 492 episodes of war crimes have been recorded by Russian troops against Ukrainian cultural heritage sites and cultural institutions. The active position of the International Council of Museums (ICOM) was manifested in the condemnation of the deliberate destruction of Ukrainian cultural heritage by Russia. In addition, ICOM will publish an emergency Red List of Cultural Objects at Risk for Ukraine to combat illicit trafficking after the invasion (ICOM will establish a protocol on respecting the ICOM code of ethics during conflicts; August 19, 2022). 2 MILLARD, Alice. Rapid response collecting: Social and political change, accessed December 7, 2022, https://museum-id. com/rapid-response-collecting-social-and-political-change-by-alice-millard/.
Center for Conservation of the Intangible Cultural Heritage in Slavonia, Baranya and Syrmia
Economy of eastern Croatia – yesterday, today, tommorow, 2015
This paper aims to define the Centre for intangible cultural heritage of Slavonia, Baranya and Syrmia in the context of the safeguarding of speeches, customs and historical and traditional cultural resources. Intangible cultural heritage of the Republic of Croatia is endangered and it is becoming extinct due to the influence of a number of factors. Since the formulation of the 1999 Act on the Protection and Preservation of Cultural Objects, intangible cultural heritage has been under special protection as objects of interest to the Republic of Croatia. Today, intangible cultural heritage is the subject of expert and scientific research, but it also concerns economic activities. Therefore, the establishment of the Centre for the conservation of intangible cultural heritage is extremely important for Eastern Croatia. The goal of the Centre is to document as many immaterial objects in one place, and through its marketing activities (for example quality promotion) also increase interest...
Wherein lies the spirit of Banska Stiavnica - World Heritage site: Threats and safeguarding
2008
Our world comprises material "phenomena" and feelings invoked by places, spaces, works of art... Banská _tiavnica developed in a complex environment since 12 th century including its urban spaces and houses, which we conserve. But there also is the genius loci that we sometimes fail to restore. Why? The town attracts settlers, not anymore because of golden-silver mines. People seek its spirit. What is it? The energy of our ancestors, authenticity…? The spirit usually vanishes with the use of modern materials and replicas. To counteract that we organise workshops in traditional methods, but question is what keeps original architecture alive and whether we can make new purpose and keep the original genius? Can we succeed? We are currently finding revival of the endangered unique Baroque Calvary Complex-the place filled with energy, inhabited by spirit… Will our activities diminish or reinforce the genius that makes our historical town so unique? The life we live every day is made up of tangible "phenomena". Nature, landscape, settlements, people and their activity transforming and forming the phenomena... However, there is something else that also belongs here, something less tangible-such as sensations. In connection with architecture, and natural or urban environment and space we usually hear about the tangible, measurable, and visible phenomena. We tend to deal less with the sensations that places, spaces, or works of art invoke. In the cultural conditions present in