Constructing New Terminology for Intangible Cultural Heritage (original) (raw)
Related papers
Intangible Cultural Heritage: The Living Culture of Peoples
European Journal of International Law, 2011
Intangible cultural heritage (ICH), made up of all immaterial manifestations of culture, represents the variety of living heritage of humanity as well as the most important vehicle of cultural diversity. The main 'constitutive factors' of ICH are represented by the 'selfidentification' of this heritage as an essential element of the cultural identity of its creators and bearers; by its constant recreation in response to the historical and social evolution of the communities and groups concerned; by its connection with the cultural identity of these communities and groups; by its authenticity; and by its indissoluble relationship with human rights. The international community has recently become conscious that ICH needs and deserves international safeguarding, triggering a legal process which culminated with the adoption in 2003 of the UNESCO Convention on the Safeguarding of the Intangible Cultural Heritage. This Convention correctly highlights the main elements of ICH and is based on the right philosophical rationale, but its operational part-structured on the model provided by the 1972 World Heritage Convention-appears to be inadequate to ensure appropriate safeguarding of the specificities of intangible heritage. This article argues that to correct such inadequacy, international safeguarding of ICH must rely on the concomitant application, even though in an indirect manner, of international human rights law, for the reason that ICH represents a component of cultural human rights and an essential prerequisite to ensure the actual realization and enjoyment of individual and collective rights of its creators and bearers.
The Role of Intangible Culture Heritage in Preserving Nations’ Heritage
The concept of cultural heritage has over the years changed content considerably owing to, partially the instruments developed by UNESCO and partially the increasing interest in research around this area driven by its economic potential in terms of tourism. In my article entitled 'The role of Traditional Communities in Cultural Tourism Development in Zambia' , I argued that cultural heritage tops the list of tourist attraction that are unique to each country. According UNESCO (2011) Cultural heritage does not end at monuments and collections of objects. It also includes traditions or living expressions inherited from our ancestors and passed on to our descendants, such as oral traditions, performing arts, social practices, rituals, festive events, knowledge and practices concerning nature and the universe or the knowledge and skills to produce traditional crafts. It is these traditions or living expressions that constitute mankind's intangible cultural heritage. In her article entitled 'Contextualising intangible cultural heritage in heritage studies and Museology ', Alivizatou (2008) argues that ICH 'is probably not only the most recent, but also the most popular, of the latest additions to the heritage lexicon'. In reality however, the concept of intangible cultural heritage (ICH) is not commonly used in our every day vocabulary and yet, in agreeing with Alivizatou, we make use of intangible cultural heritage knowledge to analyse and explain happenings around us or plan our activities everyday. This may be an indication that ICH has not been fully understood and appreciated by many particularly outside the heritage professional fraternity.
Department of Legal Studies Research Group - Unisalento
The research unit on the project "Culture as a good and as a medium. New categories of heritage and forms of its protection and enhancement" aims to reflect on the evolution of the concept of cultural heritage, taking as a reference the analyses developed in the humanistic and social disciplines together with the formal elaboration that has been developed in the legal field. The concept of heritage, in fact, has had a changing understanding over time which has led to an enrichment of the categories that compose it.
Culture or Heritage? The Problem of Intangibility
The author advocates the use of the phrase “intangible culture” instead of “intangible cultural heritage”. The word “heritage” implies a certain fixity and immutability, and assumes that authorities have identified and proclaimed heritage. Dealing with intangible culture would provide the opportunity for the deflection of the UNESCO model of preserving intangible cultural phenomena, whose application has brought some problems. The author illustrates this in practice with the example of bell-ringers, who are included on the UNESCO Representative List of Intangible Cultural Heritage of Humanity.
The Role of the Culture in making the World and emergence of the Cultural Landscapes
African and Mediterranean Journal of Architecture and Urbanism, 2021
Culture includes all those components through which a nation dialogues with other cultures. This is how Cultural Diplomacy was born. However, Culture in all its manifestations is an essential tool for understanding the identity of a people and represents the fundamental living heritage to constructively address the objectives of globalization and contemporaneity. It is essential to reflect on the ideological origins of the value of culture and start from these ideologies to reconstruct a methodological path that can support laws and treaties of international collaboration. In this context is inserted the reinterpretation of the critical ideology of many scholars who have made important contributions to understand the meaning and role of culture. Among these scholars, the German philosopher Ernst Cassirer was able to reread the concept critically and was able to put the value of culture at the center. This paper aims to address a rereading of some of Cassier's writings and bring readers closer to reflection on the value of culture as fundamental to a more inclusive and forward-looking world. The considerations analyzed in the contribution, are also supported in several contemporary bibliographical references which provide an excellent basis for future research developments on these specific topics. This topic introduces also important reflections in dialogue with the international congress MondiaCult 2022, promoted by UNESCO in Mexico City.
Reflections on Culture, Heritage and Preservation
Vibrant, 2013
Since culture is the subject of this seminar1 I would like to begin with a discussion of the commonsense notion of culture. As CONDEPHAAT is charged with formulating cultural policy, it is important to understand commonsense meanings of the term in order to be better able to reach the most diverse public possible. This is relatively easy to do because commonsense notions of culture are part of our own understandings of the concept. Could one of you please give me a commonsense definition of culture?
Culture in the Winds of Change
The International Journal of Environmental, Cultural, Economic, and Social Sustainability: Annual Review, 2010
In this day and age, one thing seems increasingly clear, at least in industrialized countries. Human beings have created cultures that are unsustainable. 1 From the uncertain implications of climate change, to the realities of a global economic meltdown and the growing gap between rich and poor, there are few indications that a human population of over 6.5 billion can continue to survive, let alone thrive, on planet Earth. As humanity proceeds down the path of globalization, pluralization and urbanization, there is a niggling question -can we create a global/local 'culture of sustainability'? If so, what might it look like? How do we move towards it? How do we know if we are getting closer, or drifting ever further from this goal? Culture, like sustainability, is a term that has come to mean different things to different people. Most would agree that history, art, language, food, music and clothing are all part of what we mean by the word 'culture' -especially when these attributes have a tradition that stretches back through the generations. Certain types of leisure-time organizations (like museums, galleries, theatres, etc) are commonly thought of as 'cultural' -because they specialize in selected aspects of human endeavour that are associated with culture (art, artifacts, music, dance, etc.). In our increasingly pluralistic world, culture is often linked to ethno-cultural countries of origin. Within all these approaches to culture, there is a tendency to point towards the past and 'the other', usually at the expense of seeing that culture envelops each of our communities, on a day-to-day basis. Culture may include traditions and the past, and it may even include trips to museums and other leisure-time edutainment organizations; however, first and foremost, culture is the living, changing dynamic of how we live our lives, individually and collectively, locally and globally, consciously and unconsciously.
2023
La France a approuvé le 11 juillet 2006 la Convention pour la sauvegarde du patrimoine culturel immatériel (PCI). Dix ans après, elle a introduit le PCI dans le Code du patrimoine. La mise en oeuvre de la Convention a été confiée au ministère de la Culture, plus particulièrement au Département de la recherche, de la valorisation et du patrimoine culturel immatériel (DRVPCI). Une des premières mesures prises par la France a été le lancement en 2008 de l'inventaire national du PCI. Il a été alimenté dans un premier temps par un appel à projets annuel, puis par des demandes spontanées qui parviennent directement au DRVPCI. Le Comité du patrimoine ethnologique et immatériel examine les projets de fiches et se prononce sur l'inclusion d' éléments à l'inventaire national du PCI. Il émet des avis sur les dossiers de candidature pour l'inscription sur les Listes de la Convention. Ces avis font l' objet d'une approbation par la ou le ministre de la Culture. L'inventaire national compte en 2023 plus de 500 éléments. L'inclusion à l'Inventaire ouvre depuis 2018 le droit d'utiliser l' emblème « PCI en France ». Outre l'Inventaire, l'action du ministère de la Culture se déploie autour de plusieurs axes : la formation, la recherche, la sensibilisation et la valorisation. Des formations sont organisées chaque année avec le soutien du ministère. La recherche est encouragée grâce au financement de programmes et à la Chaire UNESCO « PCI et développement durable ». La sensibilisation à la valeur du PCI passe, quant à elle, par les initiatives portées par les acteurs impliqués dans la sauvegarde du PCI (écomusées, réseau des Ethnopôles, associations, fédérations).
Questions of authenticity concerning different cultures and preservation
2017
A cultural expression is the result of human creativity, which is universal. Authenticity means truthfulness and credibility of the elements and connections that together define a cultural expression. According to the World Heritage Operational Guidelines, there is need to define the integrity of a property; this means identifying all the elements that together contribute to its significance. Particularly when dealing with transcultural expressions or works of art, it will be necessary to also identify the influences that have contributed to the resulting work. Authenticity has been a constant subject of debates even from the 19 th century. Considering the ravages of the built heritage in the early 21 st century, the question of reconstruction continues to be a burning issue. The question is not only relevant to individual monuments, but also to historic urban areas that are increasingly subject to abandonment and change in the globalised society. ABOUT CREATIVITY AND CULTURAL EXPRESSIONS The founding President of the International Committee on Intellectual Cooperation, Henri Bergson (1859-1941) explored the different aspects of human mind. In his Creative Evolution, 1 he wrote: 'Like the universe as a whole, like each conscious being taken separately, the organism which lives is a thing that endures. Its past, in its entirety, is prolonged into its present, and abides there, actual and acting.' (Bergson 1998: 15) He maintained that life in itself is a 'force', an 'original impetus', that causes 'unceasing creation' in the world. 'Life is like a current passing from germ to germ through the medium or a developed organism'. (Bergson, 1989: 27) This life force is expressed in the history of each individual, and it springs form every effort of a living being to adapt itself to the circumstances of its existence. By its nature as a creative force, life does 'not proceed by the association and addition of elements, but by dissociation and division'. (ibid. 88) There are many definitions of 'culture'. The anthropologist, Clifford Geertz has examined this question in his classic: The Interpretation of Cultures. 2 He writes about the human nervous