Awareness Of Cultural Heritage Research Articles

The Cultural Heritage in the Postindustrial Waterfront: A Case Study of the South Bank of the Tagus Estuary, Portugal

In examining the process of waterfront revitalization of the South bank of the Tagus Estuary during the postindustrial era, it is possible to discern a commitment to appropriation and valorization of heritage and cultural identity inherited from preceding economic cycles. Using a qualitative approach, backed up by a detailed analysis of territorial planning instruments, strategic documents, and intervention projects, we identify three main ways of appropriation, aimed to add value to the heritage and cultural identity, considering them as follows: (a) resources for the promotion of various activities, (b) drivers in strengthening territorial identity, and (c) elements of territorial differentiation. Analyzing these aspects, the article presents a proposal for the classification of the actions proposed for their implementation, namely: conservation of cultural heritage, adaptation of heritage to new uses and functions, appropriation of symbolic elements, promotion of cultural events, and raising awareness of cultural heritage among local communities.

Thinking Like an Archaeologist: Raising Awareness of Cultural Heritage Through the Use of Archaeology and Artefacts in Education

This research is based on a qualitative descriptive study of students’ responses to an educational and archaeological project developed in a secondary school in Cartagena, Spain, from 2012 to the present. It aims to analyse instructional experiences that include secondary school students as active agents in the history teaching and learning process. To achieve that aim, an archaeological site was recreated in the schoolyard and a series of activities were designed to introduce teenagers to the interdisciplinary processes of archaeological methodology. The analysis of this experience showed that working with archaeological evidence promotes the construction of historical thinking and reasoning through the analysis of artefacts. Similarly, the development of an archaeological methodology leads students to launch inquiries and construct hypotheses based on them. This lets students gain knowledge about history and historical processes, as well as take part in its construction in an active and reflective way. Students also learn the importance of preserving archaeological heritage as they assess its value as a source of knowledge. The outcomes of the project are presented here, and compared with results from similar initiatives at different educational levels and contexts. It is argued that the introduction of archaeological methodology in educational settings proves to be a valuable and effective resource.

Economic Potential of Cultural Tourism In Terms of Tourism Marketing

The concept of tourism marketing includes all activities related to marketing of the tourism sector. In tourism marketing, all activities which are applied to ensure participation of the customer who is referred as “tourist” in the tourism movements and satisfaction of this customer constitute the basic element of the mentioned concept. As a result of the rapid development of tourism and the diversity within itself, cultural tourism has emerged as a different alternative. Travels and accommodations that tourists use to see and recognize different cultures belonging to societies are called as cultural tourism. It becomes possible to use all cultural values with cultural tourism in the best way and to provide tourism mobility in every region and all the yearlong. In addition, culture tourism raises the level of living of the local people by increasing the awareness of cultural heritage for the individuals and increases the economic viability by increasing the employment opportunities. In this study, the contribution of cultural tourism and national economy contributions shll be examined at a conceptual level.

Study on Spatial Cultural Heritage Integrated into the Core Curriculum

Abstract. These Many countries have put a lot of efforts, promoting education of cultural heritage, to raise the conservation awareness and increase people’s participation. However, the development of Taiwan's higher education about cultural heritage has not shown a significant growth, so it didn’t train talents with enough cultural heritage awareness. In the workplace, these professionals will inevitably lack of comprehensions and the appropriate professional assessments for cultural heritage. Hence, the main objective of this paper is to study and combine these concepts into the core curriculum of Department of Construction and Spatial Design at Tungnan University. It takes the local "Shenkeng historic cultural district" as a case study, and will gradually develop an proper interdisciplinary course in order to help local residents implement projects of conserving cultural heritage. This plan not only can increase schools’ engagements toward communities, with an ability of social civilization, but also it can encourage the conservation and maintenance of cultural heritages.

English

While there in an exhaustive list of literature produced by diasporic South Asian writers that voices a multitude of concerns for both men and women of this descent, the voice that speaks to the South Asian young adult needs to be highlighted and explored in detail. This is especially crucial as the majority of metropolitan young adult texts are largely Eurocentric in nature. Novels with themes that appeal to a young reader with subject matter consistent with the age, experiences and challenges of the young adult and with a young non-white protagonist are rare. This paper introduces a South Asian Diasporic Metropolitan Young Adult text to investigate how it can interpolate into the consciousness of the Metropolitan diasporic South Asian young reader as well as into the western narrative space. This is done by focusing on the ways in which South Asian elements of place, history, and allegory interpolate into the narrative space of Tanuja Desai Hidier’s young adult novel, Born Confused (2002). The ultimate aim of this paper is to show that South Asian Diasporic Metropolitan Young Adult Literature can play a role in interpolating transnational heritage by creating an awareness of cultural heritage on familiar young adult grounds and decenter Eurocentric narrative discourses. Keywords: transnationalism; interpolation; young adult; South Asian diaspora; Eurocentric; diasporic consciousness.

A Study of Awareness of Cultural Heritage among the Teachers at University Level

Cultural Heritage means to inherent and cultivate the cultural disinclinations from one generation to next generation. It is possible by education as well as following the traditional livelihood of ours; it is conducted formal/consciously or informal/unconsciously. One of the traits of education is to hand on the cultural values and behaviour pattern of the society to its young and potential members. By this, means society achieves a basic social conformity and ensures that traditional modes of life are preserved. This has been called the conservative function of education. Handing on tradition is bound at times to be in conflict with a desire to initiate change. When a society is changing slowly, the new elements of its culture can be more easily absorbed. However, the rapid changes in the industrial society in the changing scenario have led to much conflict between old and new habits of life and thought. Here there are two contradictory functions of education which are both necessary and it can be shown that there are conditions of society under which these can be reconciled. [9]Hence in order to emphasize the need to link education and cultural heritage, its inheritance, preservation and cultivation, I decided to have a study of awareness of cultural heritage among the teachers at university level, so that we may have come to know that our teachers, formulating the ‘Destiny of India' (as stated by Education Commission, 1964-66, ‘Destiny of India is being shaped into their classroom')are aware about the Indian culture, its heritage or not because teacher are at the core of education structure, policy, values and cultural heritage to inculcate these values among our educands. Heritage awareness is a crucial part of any heritage conservation and management. The creation of awareness is time-consuming and it requires commitment and local support. It is often the most recognizable component of a heritage management. One of the most effective ways to build and maintain respect for community's heritage is through a selection of activities that raise public awareness and increase appreciation. The success of heritage conservation initiatives depends on the understanding and participation of the local community.

Cultural heritage training in the US military.

Cultural competence is a vital component of many missions in today’s military. Cultural competence enables one to further a mission, save resources, and save lives. Conversely, a lack of cultural competence may bring about challenges to mission completion, requirement for more resources, waste of resources, and destruction of lives. Cultural competence involves many components. One particular component is cultural heritage awareness and protection of cultural property. This study sought to assess current understanding of cultural property protection and determine the effectiveness of a training aimed at increasing cultural property protection awareness, knowledge, and comfort within the military setting. It was hypothesized that participants would vary in their level of awareness, knowledge, and comfort of cultural property protection, and that all would show a significant improvement in knowledge scores post training. Factors such as deployment experience were examined for potential correlation with measures such as awareness. A 14 question pre-read survey was developed to assess participants’ demographics, awareness, knowledge, and comfort with cultural property protection. Awareness included value, laws, and procedures while knowledge examined “know how” such as how to bed down in a protected structure or communicate information about the structure. Comfort assessed one’s comfort with engaging in the knowledge based tasks. A 24 question post read survey was administered to assess awareness, knowledge, and comfort, and to solicit additional feedback on the manual itself. The survey utilized a 1–5 rating scale with 1 representing no awareness, knowledge, or comfort and 5 representing absolute awareness, knowledge, and comfort with different aspects of cultural property protection. Cultural property protection value was highest pre and post training while knowledge regarding recovery of property was rated lowest pre and post training. Results are encouraging for the pursuit of cultural property education. Further studies should include knowledge assessment versus self rating as well as tracking of incidents and outcomes in the field. Implications for mission readiness and success are discussed.

The Concept of “Sala de Fabrica”: On-Site Museums to Raise Awareness of Cultural Heritage After a Restoration Project

A conservation process usually generates new knowledge and an enormous amount of documentation during the inception and implementation of the project: the information collected from archives and other institutions; the information provided by the preliminary studies carried out prior to the intervention; the data provided in the field during the works and at the end of the process; and the final set of documentation delivered to the institution responsible for the maintenance and management of the monument. The challenge for conservation professionals and cultural heritage managers throughout this process once the works are over is to achieve and transmit this information to the public and specialists in order to raise awareness for better conservation of our built heritage. During the last few years, one of the actions that the Caja Madrid Foundation has activated with its restoration projects has been the opening of permanent on site museums or “Salas de Fábrica”, a place on site to understand the restoration works, to exhibit the remains that have being retrieved during the project and to permit the public to better understand the historical and artistic values of architectural and archaeological heritage as well as the importance of preserving our cultural legacy for the future.

Michael Seeger (1933-2009)

Michael Seeger (1933-2009) Neil V. Rosenberg Mike Seeger was born in 1933, the first of Ruth Crawford and Charles Seeger's four children. The Seegers, who were prominent avant-garde composers, had recently discovered folk music, and when Seeger was young, Saturday night folk singing had become a regular activity in their family. Raised in Maryland, near Washington, D.C., Seeger later spoke of learning "Barbara Allen" at the age of five. When his parents began transcribing music for John and Alan Lomax's Our Singing Country (1941), his home was filled with the sound of Library of Congress field recordings. Musical siblings Pete and Peggy shared in this journey. The Seeger housekeeper, Elizabeth "Libba" Cotton, gave him firsthand experience with what he would later call "Music from True Vine—the home music made by American southerners before the media age" (Seeger n.d.). In his late teens, Seeger taught himself to play string instruments and began meeting other young people who shared his musical interests. Some, like Hazel Dickens, came from families that had migrated from Appalachia to work in the capital region. Seeger and Dickens, who is now best known as a songwriter, were drawn to bluegrass, part of a group of young people who frequented country music parks, like New River Ranch in Rising Sun, Maryland, to hear shows by Bill Monroe and the Stanley Brothers. Seeger began taping these performances with a portable recorder, and he brought new friends like Ralph Rinzler, whom he met at the Swarthmore Folk Festival, to hear them. In 1956, Folkways Records' Moe Asch encouraged Seeger to record this music. The result, American Banjo Scruggs Style (1956), was the first of over twenty documentary albums, mainly field recordings, that Seeger produced for Asch in the next fifteen years. Many of these have been reissued by Smithsonian Folkways. In 1958, Seeger and a group of like-minded musicians founded The New Lost City Ramblers. Inspired by Harry Smith's 1952 Anthology of American Folk Music, this group re-created music recorded in the 1920s and 1930s. They performed widely in the 1960s, making over twenty albums. As Seeger located and began playing with master musicians like Doc Boggs, who had made those old recordings, the focus of the The New Lost City Ramblers opened to embrace a broad spectrum of southern rural musics. They became leading advocates for the American old-time music movement. The New Lost City Ramblers continued to perform, albeit less frequently, until 2009. In later years, Seeger usually recorded and performed on his own or with musician friends, including Elizabeth Cotton, Doc Boggs, and the many others whose work he documented. He was a three-time Grammy nominee. From the 1970s on, awards and grants from such organizations as the National Endowment for the Arts (NEA) and the Guggenheim Foundation supported Seeger's research, and he worked as a consultant and board member for a variety of cultural organizations, particularly festivals. Recognition for his work came from the Society for American Music, the Rex Foundation, and others. He was a visiting scholar at California State University (Fresno) and the Smithsonian. Shortly after his death, the NEA gave Seeger the 2009 Bess Lomax Hawes Award, a prize that "recognize[s] an individual who has made a significant contribution to the preservation and awareness of cultural heritage" (National Endowment for the Arts n.d.). Mike Seeger's metaphor of True Vine aptly describes his own Barbara Allen-like intertwining of study and performance. He inspired scholars and musicians alike (see, for example, Dylan 2004: 69-72). He used his keen intellect [End Page 329] and musical charisma to advocate generously for the understanding and preservation of the music cultures he knew and loved. Neil V. Rosenberg Memorial University Works Cited Dylan, Bob. 2004. Chronicles. Vol. 1. New York: Simon & Schuster. Google Scholar Lomax, John A., and Alan Lomax, eds. 1941. Our Singing Country: Folksongs and Ballads. New York: Macmillan. Google Scholar National Endowment for the Arts. n.d. National Endowment for the Arts Announces 2009 NEA National Heritage Fellowship Recipients. http://www.arts.gov/news/news09/2009-NEA-Heritage-Fellows-Announced.html, accessed October 17, 2009. Seeger, Michael. n...

KENTSEL KÜLTÜR VARLIKLARININ DEĞERLENDİRİLMESİNE VE TANITILMASINA YÖNELİK BİR ÖNERİ: BULDAN ÖRNEĞİ

The aim of this research is to raise cultural heritage awareness and to investigate how urban conservation and development can contribute to a sustainable future for the historic town of Buldan in Denizli. In other words, this study is a proposal for a re-valuation of urban cultural assets, by using the functionality of historic buildings, promoting a continuation of hand-weaving traditions and stimulating cultural interaction between local community and visitors. Cultural tourism, community-based tourism and sustainability are analyzed in conjunction with the preservation and re-valuation of cultural heritage. The research proposes that a re-valuation of urban cultural properties and improvements to the infrastructure will increase the tourism potential of the area and extend the average duration of visitor stays. Data have been collected through the Turkish Academy of Sciences-Turkey's Cultural Inventory (TUBA-TUKSEK) Pilot Region Studies, and plans, photographs and cultural heritage-related information has been gathered. The research describes selected cultural assets on a cultural route planned for visitors and proposes to establish a catalogue incorporating cultural route, plans, maps and related materials, as well as photographs of cultural assets taken during short visits to Buldan. The investigations shed light on how the architecture and the area can be promoted without loosing sight of their historical and cultural value. This research is expected to contribute to the local community by providing ways to achieve sustainability and raising the awareness of the importance to preserve and promote cultural assets.

Culture as an Expression of Ecological Diversity: Integrating Awareness of Cultural Heritage in Ethiopian Schools

Abstract Ethiopia has the largest mountainous land mass in Africa, with a diverse and complex environment. The peoples of Ethiopia reflect this diversity in their cultures. The integrity and traditional knowledge embedded in these cultures is being eroded through modern education and cultural globalization. Modern education divorces students from the traditional ecological knowledge of their communities, and makes it very difficult for them to reintegrate into their own societies. This process is being accelerated by urbanization. In 1998, the Institute for Sustainable Development (ISD) began working with school environmental clubs to facilitate interaction between teachers and students, and people in the local student communities who possessed traditional knowledge. We call this project “discovering the value of cultural biodiversity.”

Footsteps and memories: interpreting an Australian urban landscape through thematic walking tours

This article is concerned with the currently common deployment, under the rubric of cultural planning, of place‐making and local cultural heritage awareness projects. Such exercises sometimes seek to accommodate the impacts of de‐industrialisation and urban transformation by identifying and marking places of contemporary and historical significance, and interpreting them and their broader connections to people and to place. The article critically reflects upon a project conducted by the authors that developed two interpretive heritage walks in a large, working‐class suburb in Australia. This interpretive exercise afforded a valuable opportunity to investigate the contours of the place‐making process and its determinants. By tracing the development of the walks and their accompanying interpretive brochures, the article identifies and discusses a number of emergent key issues relating to social class, gender and ethnicity. In particular, it considers the interpretive opportunities and constraints presented by contracted cultural heritage research and its applications.

The poetic craft of Bella Akhmadulina

Sonia 1. Ketchian. The Poetic Craft of Bella Akhmadulina. University Park, PA: The Pennsylvania State University Press, 1993. viii, 248 pp. Illustrations. $32.50, cloth. To date this is the only book-length study on one of the most prominent and enigmatic poets in contemporary Russia. The origins of Akhmadulina's poetry are inextricably linked to the cultural mythology of the 1960s, a period of relative creative freedom known as the Thaw. Succeeding the years of Stalinist terror, this period witnessed a mighty revival of lyric poetry, unprecedented since the revolutionary years, and Akhmadulina, together with her brilliant peers and brothers-in-verse Evtushenko and Voznesensky, gave dramatic public readings before enormous audiences in packed stadiums and concert halls. With her striking appearance, foreign-sounding name, exotic Tartar-Italian genealogy, and complex, overtly apolitical verse, Akhmadulina exuded an aura of mystique and sophistication, and soon became an icon for her generation. Ketchian's personal acquaintance with the legendary poetess and her intimate knowledge of Russian literature make her a uniquely qualified interpreter of Akhmadulina's art. She guides the reader through intricate and esoteric imagery and linguistic nuances until all the pieces fit into a single coherent verbal picture. Although the book's main focus is the 1983 collection, The Secret, Ketchian also surveys Akhmadulina's earlier verse, demonstrating the organic continuity between different stages of her poetic development. As is the case with almost every postmodern poet (or, perhaps, any true poet), Akhmadulina's primary preoccupation in The Secret is with her own creative process. Ketchian provides us with a key to Akhmadulina's metapoetic secret, which consists essentially in a belief that verse arises from the beauty of nature. However, the twentieth-century poetess is worlds apart from the Romantics, who also regarded nature as the source of inspiration. As Ketchian's insightful analysis demonstrates, the traditional theme of the poet's communion with nature is complicated and transformed in Akhmadulina's verse by her postmodern sensibility, urban experience, nostalgic awareness of cultural heritage, and intense spiritual life. In Akhmadulina's poetry, nature is understood in very broad terms, not only as the beauty of fields and plants, but also as the dynamic of the seasons and times of day, and the vast spaces of the universe. Ketchian scrupulously unravels the paradigm of the persona's creative process, closely intertwined with the natural cycle. Summer is a period of intense travel, particularly to the bright and exotic region of the Caucasus, a time of accumulating impressions and emotions. …