Promoting Intangible Cultural Heritage Through Universal Marketing Strategies for Tourist Regions

Timely, comprehensive, and continuous protection, as well as the use and presentation of authentic tangible and intangible cultural-historical heritage of a certain area can greatly contribute to the economic, ecological and social development of the community and the strengthening of the competitive position. Digitization should relax all previously known forms of cultural expression and enable access to the broadest audience and their participation in cultural life. This paper has the ambition to contribute to a more comprehensive appreciation of the digitization process, facilitate access to digital content and motivate new thinking about the continuous improvement of the availability of movable and immovable cultural assets, as well as intangible cultural heritage. A primary questionnaire was created in order to assess the views and opinions of the citizens of the Republic of Serbia on the importance of the digitization process for the promotion of cultural heritage. The research sample was an opportunistic, convenient sampling of residents of the Republic of Serbia from all 5 regions (n=138). The importance of the digitization process for the promotion and preservation of cultural heritage has been established. Modern technologies are insufficiently represented in the promotion and preservation of cultural heritage, while this attitude is supported by a slightly higher percentage of respondents with the highest level of education. The importance of the digitization process for the promotion and preservation of cultural heritage has been proven, and respondents with the highest level of education attach the highest degree of importance to it. The greatest contribution can be seen in the preservation of the national identity and cultural diversity of the national communities, of our region, with social networks being the media that can contribute the most to the promotion of cultural heritage.

Reconciling the Conservation of Cultural Heritage with Rural Development

This paper presents the main conceptual framework of the first stage of realization of the scientific project “Application of the mixed reality in the training and promotion of the cultural heritage in university information environment”. The aim of the project is to show the possibilities of the virtual and added reality through the so defined mixed reality in training and promotion of cultural and historical heritage for the benefits of the users. The presentation of the cultural and historical heritage based on the Augmented Reality (AR) technology will enable visitors to interact with the content in an intuitive and exciting way. It is a technology that expands the perceived reality at the expense of complementing the visible and tangible world with digital information in real-time. In the context of modern trends for socialization of cultural heritage, the role of information and communication technologies is emphasized because it creates new opportunities for access to cultural values in regards of national policy and the very point that is a priority for the European Union. This policy is part of the global doctrine of sustainable development, which is based on the three basic principles: economic development, social justice and environmental protection, including cultural heritage. As a result of the investments made for the socialization of the cultural heritage, the development of the regions is stimulated through economic activities related to the exploitation of cultural resources for cultural tourism, the development of the regions and the human resources. In this sense, the cultural heritage plays an increasingly important role in the regional development of Bulgaria. The process of socialization is also a consequence of the increased educational level of travelers. The data given by the European Commission, quoted by some experts from the European Commission, show that nearly 60% of Europeans are interested in the cultural aspect of tourism and especially in issues related to cultural heritage. This is what makes tourism a powerful tool of cultural exchange worldwide. By using cultural and natural assets of the environment, cultural tourism promotes and “maintains the collective memory of society”.

The recording, documentation and promotion of local cultural heritage has been the subject of significant research from scientists from various fields such as architecture, anthropology, history, folklore, ethnomusicology, and museology. This paper argues that digital technologies could have a catalytic role concerning the operational part of a holistic–interdisciplinary approach to the maintenance of cultural heritage. Simultaneous and bidirectional recording, documentation and promotion of human histories, material elements of space, personal and collective memories, music, dance, singing and other performances, customs, traditions etc. has the effect of improving the understanding of each place and, therefore, contributing to the establishment of sustainable living conditions and environmental balance. At the same time, it facilitates the process of presenting the place’s local identity as well as its tangible and intangible cultural heritage. The paper proposes the design, the creation and the pilot operation of a glocal hybrid (physical and digital) participatory system for monitoring cultural heritage, which consists of (a) spatial recording and projection constructions (open micro-labs); (b) research and documentation centers; and (c) digital databases and mobile applications for interconnection and diffusion of digital content. The system’s implementation domain is considered to be “historic urban landscapes”, i.e., geographical areas with particular cultural features such as traditional settlements, monuments and historical centers, regarded as exceptional universal heritage. In particular, the project’s prime exemplary pilot setup is considered to be operated in specific Greek areas of cultural importance.

This article uses traditional Chinese handicrafts' intangible cultural heritage culture as the research object, mainly studying the design and application of interactive cultural heritage gamification. This study first analyzes the reasons for the low learning efficiency of Chinese traditional handicraft intangible cultural heritage and summarizes the gamification theory and its application status. Secondly, the advantages of gamification in cultural heritage education were proposed. Finally, taking the blue calico pattern as an example, it was designed to display the interaction process and behaviour of the application program. A usability test was conducted on the design scheme, and the test results showed that the design scheme could meet user needs and achieve the display and dissemination of the blue calico pattern. This study has specific reference value for promoting cultural heritage education through gamification and is of great significance for promoting the inheritance and promotion of cultural heritage. Traditional cultural disseminators and artisans can benefit from it.

Making the cultural and historical heritage of countries available and attractive to a broad public, including in a digital way, is a key to making it survive and be acknowledged and well-maintained in time. Researches and practices show that cultural objects, which are digitalized and promoted, are much more known, visited and attract better investments. Digital tools are more and more used - tools like video presentation, 3D models, interactive photos and video with objects, interactive presentations and games, online tours and life events in social media. Especially, after COVID-19 anti-epidemic measures were imposed, such digital and marketing methods of presentation and promotion became a necessity for museums, cultural institutions, events, festivals and other forms of cultural heritage, in order to continue their existence, work and reach to the public. The paper explores good practices and examples and a variety of media and marketing approaches and methods, which can be used for digital presenting and promotion of cultural heritage, historical objects, places and intangible cultural heritage.

Morocco is endowed with an intangible cultural heritage of great interest at the global level, to which Moroccan craftsmanship, for which it is widely known internationally, makes a significant contribution. In today's, the notion of heritage is continuously expanding, experiencing an almost unlimited extension. The intangible heritage increasingly occupies a prominent place in the planning of several bodies, whose aim is to raise awareness among nations of the need to protect their cultural diversity and to help them to develop projects for the safeguarding and preservation of this category of heritage. The majority of marketing research has not addressed the issue of the relationship between social media communication and the promotion of intangible cultural heritage in the sense that there is an information deficit in addressing this issue. The concept of social media communication represents for professionals a lever of great importance since it has become indispensable to a good marketing strategy. It constitutes, in the context of research, a real tool for the promotion of intangible cultural heritage and the enhancement of territories. The main objective of this article is to explore the concept of intangible cultural heritage given the great importance it represents and its relationship with social media communication in the Moroccan context, especially in the promotion, transmission and even the safeguarding of this wealth. The study used a multidisciplinary exploratory in the fields of media communication and territorial marketing. Thus, the study focused on the two concepts: intangible cultural heritage and communication through social media, while analysing the nature of their interrelation in general and more specifically the relationship between communication through social media and the promotion of Marrakech handicrafts as part of Morocco's intangible cultural heritage. The results of this empirical study of an exploratory nature, conducted among 14 experts operating in the Moroccan handicrafts sector, demonstrated the existence of a strong relationship between the use of social media communication and the promotion of Moroccan intangible cultural heritage and more specifically the intangible cultural heritage of the city of Marrakech through the development and enhancement of its handicraft products. Keywords communication, intangible cultural heritage, Marrakech, Moroccan craftsmanship, social media.

Since a number of years, the link between human rights and cultural heritage, in particular intangible cultural heritage, has been firmly established. At the same time, it should be noted that the two topics are often discussed in different intergovernmental for a and cultural heritage and human rights have their own separate international legal instruments, which have commonalities, but also important differences. These differences make the connection between human rights and cultural heritage more complex than it may seem at first glance. This chapter compares several treaties on human rights and on cultural heritage and analyses their similarities and differences. Attention will be paid to the different nature of these treaties and the differences resulting therefrom in relation to several issues, such as the scope of application, rights and obligations, reciprocity, reservations, denunciation, and monitoring. The treaties and these issues are analyzed on the basis of the general principles of treaty law that are laid down in the Vienna Convention on the Law of Treaties. The main purpose of this chapter is to analyze and show the main similarities and differences between human rights treaties and cultural heritage treaties, seen from the perspective of several tenets of public international law. This analysis shows that although human rights and cultural heritage are clearly linked as concepts or values and that the protection of cultural heritage has important human rights components, the international legal underpinning of these concepts is different and the international legal instruments protecting one or the other are of a different character. This may explain the fact that their protection may not always run parallel but seems to operate in two different worlds.

The Roman Limes, the former natural border of the Roman Empire, has been recognized as a cultural landscape with exceptional universal values of international importance by the relevant organization for the protection of cultural and natural heritage - UNESCO. The Danube River is an integral part of the Roman Limes, a testimony to the culture and traditions of the peoples who lived on the banks of the Danube, as well as cultural heritage in general. Within the part of the Danube River that passes through the Republic of Serbia, the Djerdap segment stands out. It includes sites of different historical periods (prehistoric, ancient and medieval) and is significant cultural heritage on an international level. However, most of the sites are underwater as a result of the construction of the Djerdap Hydroelectric Power Plant. Consequently, insufficient access to its cultural heritage has led to its insufficient presentation and promotion, but also a lack of information about the existence of the cultural heritage. Therefore, the main goals of this paper are to spread knowledge about Djerdap's cultural and natural heritage, to promote its importance, to identify potential for integrating the cultural heritage into contemporary trends through the affirmation of cultural routes, and to establish sustainable development of the cultural landscape. The results of the research are presented through an urban architectural project that represents the sublimation of critical attitudes formed with regard to the protection, presentation and promotion of cultural heritage. The project draws from a literature analysis, case studies and examples of good practice relevant to the research. The expected results of the research include raising awareness of the importance of Djerdap's cultural heritage through promoting a cultural route and forming a potential model for the use of its cultural heritage in the process of establishing sustainable development of the cultural landscape.

In the context of the rapid development of digital technology, the Internet and other media are used to strengthen the promotion and protection of intangible cultural heritage, and strive to promote the inheritance and development of China’s intangible cultural heritage. In order to maximize the integration of intangible cultural network marketing models and intangible cultural heritage resources, the study will expand the intangible cultural heritage exchange channels through which intangible cultural heritage resources can create more economic and social benefits. Intangible cultural heritage is the quintessence of our traditional culture, the result of the efforts passed on from generation to generation, and the cultural heritage that our young people should inherit. Gan embroidery is the inheritance of Hakka culture. It is a festive costume in festivals. It is also a manifestation of the ingenuity of the Hakka people. It also interprets the profound connotation of Hakka culture with ancient production methods and beautiful patterns. This article summarizes the connotation of Gan embroidery culture, summarizes the development problems faced by the current development of Gan embroidery, and explores the feasibility of Gan embroidery art’s innovative ideas and digital redesign in the digital age. The integration and development of Gan embroidery art and modern digital products can awaken the new cultural energy of Gan embroidery and promote the transmission and digital development of Gan embroidery culture.KeywordsDigitizationIntangible cultural heritageGan embroideryTraditional culture

The European Union’s systemic engagement in the field of cultural heritage in the external relations is a relatively new and still emerging area. This is a complex action field that requires the Union to find systemic solutions that will enable it to act effectively and make full use of cultural heritage as an instrument of its foreign policy. The process of conceptualising and adopting political decisions in order to introduce the protection, preservation and promotion of cultural heritage as a field of EU action in external relations lasted from 2016 to 2022. Influenced by internal and external factors, the concept on EU Approach to Cultural Heritage in External Action evolved. A few months before the outbreak of full-scale war in Ukraine in 2022, the Council of the European Union adopted Conclusions on EU Approach to Cultural Heritage in Conflicts and Crises. The war in Ukraine and Russia's destruction and threat to Ukrainian tangible and intangible cultural heritage has become a significant test of the EU's capabilities in this field. The text is divided into two parts. The first is an analysis of the process of integrating cultural heritage into the EU's strategy in external relations, while the second attempts to answer the question of how the EU has activated the mechanisms and instruments adopted to protect Ukraine's endangered cultural heritage in the face of Russia's systemic destructive measures.

Intangible cultural heritage is the inheritance of a national traditional culture and a memory symbol of a national cultural spirit. It tells the timeless cultural journey of an ancient nation with an invisible spiritual force. Strengthening the publicity and promotion of intangible cultural heritage is of great significance to improving the national cultural atmosphere, enhancing the awareness of intangible cultural heritage protection, and increasing the inheritance of my country’s cultural heritage in culture. At present, intangible cultural heritage documentaries are of great significance. The creation of intangible cultural heritage has become the main means of inheritance. It can make intangible cultural heritage known and familiar to more people through multimedia, network, broadcasting, and other media forms and establish an excellent platform for the protection and inheritance of intangible cultural heritage. How to use the media of film and television art to inject the soul of intangible cultural heritage into it, so as to better inherit and develop it among the masses, is the focus of contemporary literature and art creators and art managers to discuss and study. Aiming at the problem that unstructured intangible cultural heritage video resources are difficult to store and manage, this paper proposes an application model of intangible cultural heritage dissemination. Semantic annotation, linked data construction and publishing, etc. make it a structured intangible cultural heritage video semantic unit, which can be better applied to the creation of film and television art.

Modern information and communication technologies as well as digitization are increasingly important for the research, preservation, presentation, sharing and promotion of cultural heritage. They expand the possibilities for information processing and data exchange, while also providing an opportunity to create a broad platform for knowledge sharing and transfer. In this sense, our goal is to develop a conceptual model for an integrated digital presentation of regional cultural heritage through the creation, organization and sharing of digital resources of sites and elements of tangible and intangible cultural heritage. The model is based on the example of the cultural heritage of Stara Zagora district and is a proposal for the presentation of regional cultural heritage in an online environment. It is organized in four blocks: an algorithm for creating digital resources for integrated digital presentation of regional cultural heritage; integrated digital presentation of regional cultural heritage; accompanying information block and management. They cover the processes of creating the digital resources, organizing the digital presentation through digital products on an online platform, creating a space for users and management. Digital resources and products designed for online presentation contribute to the promotion of systematic scientific information on cultural heritage and respond to the need to increase its accessibility, visibility and recognition.

For the time being, the promotion of Chinese intangible cultural heritage faces significant challenges. This study aims to explore how colleges and universities can assist in the promotion of local intangible cultural heritage. Using methods such as literature review, field research, and policy analysis, the study focuses on Nanchang Jiaotong Institute to analyze the advantages and strategies of colleges and universities in the promotion of intangible cultural heritage, and offers constructive recommendations.

Introduction. This study investigates what ideological themes are embodied in the official promotion of intangible cultural heritage (ICH) on short-form video (SFV) platforms, and further examines how these ideological themes are presented through various content creation elements. Method. Two trained researchers in information sciences conducted a multimodal content analysis of 532 SFVs downloaded from a nationally representative official Douyin (the Chinese version of TikTok) account promoting ICH. Findings. This study identified four primary ideological themes embodied in the official promotion of ICH: (1) cultural democratization, (2) tradition revivalism, (3) patriotism, and (4) multiculturalism. Moreover, we revealed the distribution of content creation elements across SFVs reflecting various ideological themes. Conclusion. In SFV platforms like Douyin, ICH promotion highlights grassroots-centered narratives and user-generated videography. Traditional and popular culture are integrated within this context. This fosters a relatively democratized discourse around ICH, creating a more inclusive and softened ideological expression.