Heritage Production Research Articles

The Contribution of the Turkish Historical Society to the First Stage of the Governmental Program for the Protection of Monuments in Edirne (1933-1941): Preservation Policies and Ideology in the Representation of Architectural Heritage

The beginning of restoration works on a scientific base in Turkey dates back on 1933 when a specific committee for the protection of monuments (Anıtları Koruma Komisyonu) was officially appointed by the Ministry of Education. The preliminary working phase, carried on under the direction of this committee, was soon distinguished by the clear attempt to visualize the results in order to cast the monuments as national icons. The present paper's aim is to discuss this process of visualization focusing on the case study of a series of works realized in Edime from 1933 to 1944. Apart from the historical value of monuments included in the protection program, the study explores the ideological side of these works stressing their value as a pioneering enterprise of a modem nation that celebrated its emerging culture in the protection and preservation of monuments as a sign of progress and civilization. Edirne's restoration works in fact arouse a great deal of interest in the national press, becoming the best show-case for the effort of the Ministry. By this point of view the study focuses on the key-role played by the Turkish Historical Society in the construction of a visual narrative in the attempt to disseminate the result of these works. In particular the efforts of the Turkish Historical Society in advertising the scheduled interventions found their outlet in the editing of a set of postcards displaying Edirne's historical buildings. The result is a series of powerful images in which a number of buildings are re-casted as the first cultural-historical assets of the Turkish nation. The construction of this visual material was set according to a powerful aesthetic format, clear and instantly recognizable, in order to assure an immediate public reception of the historical heritage of the country. The collection of these images stands as a prime contribution in the construction of the national identity of the country thanks to the production of a collective visual heritage, that, on the ground of an effective popular aesthetics, was able to feature the idea of nation as a landscape of monuments.

MICHAEL WALZER'S SECULAR JEWISH THOUGHT

Although he has never assumed the mantle of a “Jewish thinker,” Michael Walzer has over a period of several decades articulated a comprehensive teaching rooted in philosophical reflection on the sources of Judaism and focused on the most important issues facing both Israel and the diaspora. At the core of his teaching lies a reiteration of what he takes to be the Jewish idea of justice, which he derives from the Bible and other ancient and medieval texts. He also places strong emphasis on liberalism, which he sees not as a product of the Jews' ancient heritage but as “a product of emancipation,” yet no less authentically Jewish for that. On a practical level, his writings are concerned with the implementation of justice and liberal values in both Jewish communities and the Jewish state, in their internal affairs as well as in their relations with others. He has devoted special efforts to showing that a Jewish state is, as such, fully compatible with the promotion of both justice and liberalism, properly understood.

Jewish Voices in American Jewish History

LILA CORWIN BERMAN. Speaking of Jew. Rabbia, IntellectuaL·, and Creation of an American Public ation of an American Public Identity. Berkeley: University of California Press, 2009. Pp. xii + 266.BETH S. WENGER, History LAMO/U: The Creation of American Jew'uh Heritage. Princeton, N.J.: Princeton University Press, 2010. Pp. xiv + 282.IT IS A GREAT PLEASURE to read historical works by historians who excel at their craft, who can construct nuanced historical narrative that is both assertive and careful. History is not there to discover but to recovered, and that constructive process requires sifting through of mounds of primary sources, and essential selection of evidencechoices that dramatize, assert, or legitimate claims that our storyteller seeks to make transparent. Recovering those sources presumes that historian knows what to look for, where to find it, and then what to do with material once located. I do not pretend to fully comprehend historian's craft, but I still recognize and appreciate judgments each must make to recover source as historical one and then to draw it within meaningful narrative.What both Beth Wenger and Lila Corwin Berman do for their readers is to showcase historian's craft in its most reflective form. By this I mean that Wenger and Berman are self-conscious of historical construction; they each weave tale stitched together by choices they willingly reveal and justify- I find this refreshing and mature, for they confront their readers with sources that, in my reading, do not fully support their narrative constariais of American Jewish history. They both strenuously defend their interpretive work, and they each are skillful in culling historical sources. But they also help their readers to learn how to read those sources and so empower them to argue back. The stories each tells are compelling, and so too their decisions about how to best read historical record. Being attuned to those choices enables readers to better assess what is most persuasive, and perhaps what is still missing, in two transformative works in American Jewish history.Beth Wenger's History Leeone: The Creation of American Jewiah Heritage (henceforth HL) and Lila Corwin Berman's Speaking of Jew. Rabbia, IntellectuaL·, and Creation of an American Public Identity (henceforth SJ) share number of themes that subtend American Jewish experience. Both emphasize Jewish concerns about survival, about belonging and ethnic identity, about stigma of Jewishness in America, and anxieties provoked by idealized visions of America. Yet even with this common set of issues, their differences are more apparent, and one can sense this in subtitles to their works. Wenger seeks to recover renditions of from late nineteenth through mid-twentieth century, and she appropriates term to thematize various modes by which Jewish Americans made sense of their experiences. To Wenger, heritage production offers a clear window into selective and creative process of American Jewish self-definition and reveals the meanings that Jews assigned to their still evolving encounter with America as well as their expectations for Jewish life in United States (HL, 19). Unlike many of her peers who distinguish heritage from history, Wenger understands this to tenuous dualism, and she is more comfortable thinking of heritage as broader category that need not be measured by standards of professional history (HL, 20). Her focus is squarely on popular narratives, and Wenger brilliantly recovers how these texts foster sense of belonging and continuity with American nation. To sure, as her subtitle suggests, these narratives create that sense of belonging and continuity, but in doing so they also have something to teach us- and so clever title of book, Hittory LeBerman's Speaking of Jew, on other hand, focuses on elite texts from rabbis and Jewish lay leaders, and sociological discourse they adopt to explain American Jewish identity to non-Jewish public. …

Global Tourism Practices as Living Heritage: Viewing the Norwegian Tourist Route Project

This article discusses the Norwegian Tourist Route Project (TRP) in relation to questions of heritage. It frames the TRP as a case of production of heritage, and as a practice that accordingly problematizes the concept of authenticity —all in the light of the global tourism industry. It explores the practices that structure the installations in the TRP and suggests that they perform an unwitting form of intangible heritage preservation by encouraging tourists to reenact viewing practices that are deeply founded in a nineteenth-century Norwegian—and European—tradition for viewing landscape. Thus the main dynamic of the project is the construction of space and experience. The TRP reveals a quite random blend of practices, where considerations of local heritage are mostly left to designers' choice and intuition. Still, it taps into historically defined social practices and a globalized design language.

The social production of ‘attractive authenticity’ at the World Heritage Site of Røros, Norway

This paper examines how authenticity and its use as a way of conceptualising the past participates in processes of heritage production, which are here defined as both the social construction of heritage sites and the uses of heritage sites as resources to achieve social goals. We argue that the social production of place and the social values generated by place are linked by a common approach based on the use of ‘place attraction’ as a unifying social concept. The World Heritage Site of Røros has as an attractive place become a resource for the production of cultural capital among various stakeholders, taking the form of a large body of ‘heritage knowledges’. However, a symbolic capital production of ‘attractive authenticity’ has today generated an idealised past and a purified iconic image of Røros as World Heritage. The discourse of ‘attractive authenticity’ reveals a conflict of interests where symbolic capital unfolds and makes power relations evident. This exposes a discussion about cultural heritage management practices at World Heritage Sites.

CREATIVE INDUSTRIES: CLASSIFICATION SYSTEMS AND MODELS IN THE CONTEXT OF A CREATIVE ECONOMY OF THE 21ST CENTURY / KŪRYBINĖS INDUSTRIJOS: KLASIFIKAVIMO SISTEMOS IR MODELIAI XXI A. KŪRYBOS EKONOMIKOS KONTEKSTE

The article discusses a concept of creative industries, looks at its definition varying in different countries and presents a phenomenon of a creative economy. In the context of the creative economy of the 21st century, the paper deals with classification systems and models of creative industries. Theoretical principals are based on the UNCTAD analysis of the creative economy. Creative industries are based on the production cycles of creative content that applies to creativity and intellectual property which is knowledge based activities covering both tangible products and an intangible creation of intellectual or creative services. According to the UNCTAD classification system, four groups of creative industries, including heritage, arts, media, and functional production can be distinguished and subdivided into subgroups. Research on worldwide creative industries refers to four models: UK DCMS model, symbolic text model, concentric circle model and WIPO copyright model. While appealing to the above mentioned models, classification systems with the output of complex interdisciplinary research might be designed.

Heritage Production and Urban Locational Policy in Lijiang, China

Despite the fact that much literature has focused on the centrality of heritage to urban regeneration and economic restructuring in Western cities, heritage production has remained largely absent from accounts of urban studies in the context of China. This article addresses this neglect by examining the process of constructing an invented heritage (Mu Palace) in Lijiang Old Town in China, and how town residents have responded to this invented heritage. Drawing on a framework situated in urban political economy and the cultural politics of heritage, this article analyzes the local government's role as the principal actor in integrating Mu Palace into locational policies aimed at achieving urban competitiveness and reaping economic returns. Simultaneously, the article asserts the dissonance in which local residents contest the state's efforts. It sheds light on local ruling elites' entrepreneurship in mobilizing urban heritage for economic growth and political control, and on how locational policies of place-making are contested by ordinary people in China. Résumé Même si de nombreuses publications ont souligné l'importance du patrimoine dans la régénération urbaine et la restructuration économique des villes occidentales, les contributions des études urbaines concernant la Chine abordent rarement la production de patrimoine. Cet article revient sur cette négligence en examinant le processus de construction d'un patrimoine fictif (le palais des Mu) dans la vieille ville de Lijiang, ainsi que les réactions de la population locale à son égard. Partant d'un cadre défini en économie politique urbaine et en politique culturelle du patrimoine, une analyse éclaire le rôle primordial du gouvernement local pour inscrire le palais des Mu dans des politiques territoriales ciblant la compétitivité urbaine et la rentabilitééconomique. Parallèlement, l'article expose les modalités de la contestation des habitants face aux tentatives de l'État. Il montre, d'une part, l'initiative des élites dirigeantes locales pour mobiliser le patrimoine urbain au service de la croissance économique et du contrôle politique et, d'autre part, l'opposition de la population ordinaire chinoise vis-à-vis des politiques territoriales de fabrication de lieux.

The Riverdance phenomenon and the development of Irish identity in the global era

Irish dance production Riverdance appeared on the global theatre scene in 1995, and has since become synonymous with Irish culture. Riverdance's influence as a cultural product for Ireland positioned step dance as a major cultural signifier of Ireland. Premiering during the rise of Ireland's Celtic Tiger economy, the show revealed a nation in transition, establishing a new global identity to match their new economic prowess. Riverdance reimagined the economic and cultural possibility inherent in heritage products in the global market. This article examines how this performance of national identity branded Ireland as a distinctive cultural product in the globalized marketplace of the mid-1990s. Riverdance is contextualized by defining Ireland's role within the larger economy of the European Union (EU) and the ways in which national identity within a globalized perspective emerges during this period. The article also considers the ways in which the EU and European regionalism inform the performance of national identity.

Alcohol and injury in Atlantic Canada: creating a culture of safer consumption

Alcohol places individuals at increased risk of intentional and unintentional injuries, including suicide, violence, motor vehicle collisions and falls. The culture of alcohol consumption in Atlantic Canada contributes to the...

Place narratives and heritage management: the modernist legacy in Manchester

The built heritage of most cities is heterogeneous, hybrid and multiple. However, certain heritage objects and meanings are invariably privileged over others in place-making strategies. In this paper we are interested in the production of local heritage and design discourses and their impact on the regulation of conservation and change in the built environment. Using the example of the legacy of post-war (i.e. 1950s and 1960s) modernist development in Manchester, England, the paper explores the performative work of place narratives in conservation policy. The contested heritage value of post-war modernist development in the UK is particularly relevant, given the difficulties posed by aspects of 1950s and 1960s design set against increased pressures for conservation. Accordingly, the conservation of aspects of 1950s/1960s urbanism can be fiercely resisted by urban leaders. Empirically, we examine the ways in which post-war heritage has been selectively incorporated into the dominant design and heritage narratives of the city of Manchester. Looking beyond Manchester, the paper contributes to conceptual debates about the situated politics of heritage and the institutional work performed by heritage discourse.

PERFORMING VOTIANNESS Heritage Production, the Votian Museum and Village feasts

This article* investigates how Votian identity has been staged and performed in the context of the Votian Museum and in the course of the Luzhicy village feast. Our analysis concentrates on performative aspects of cultural heritage and ethnic identity related to the creation of specific cultural spaces. The Votian Museum is examined as the setting of the village feast, reflecting the display aspect of heritage and identity production. We focus on the key elements - the opening ceremony, the communal meal, and carnivalesque aspects - of the feast, which involve various embodied practices and articulate the manifestations of traditional culture chosen by the organisers of the festival, as well as contemporary enactments of village life.

Hon‐ouring the past: play‐publics and gender at Baltimore’s HonFest

Baltimore, Maryland’s annual HonFest, has been criticized for its caricatured portrayal of the Baltimore Hon, a white working‐class woman from the mid‐twentieth century. Created to promote local businesses, the event seeks to draw tourists to a gentrifying neighbourhood. However, for a core group of Hon re‐enactors a shared definition of working‐class femininity allows them to subvert the individualised consumption spurred by the event by creating ‘play‐publics’ in which groups of strangers interact in a public environment through play and then begin to discuss shared aspects of common histories due to that interaction. Often these personal memories about working‐class families and post‐war neighbourhoods express nostalgia for a time of community cohesiveness, while ignoring the racism that insured the homogeneity of such neighbourhoods. As a white icon, the Hon also erases the heritage of Baltimore’s African‐American majority. Nonetheless, this research demonstrates how an understanding of the relationship between gender and play can illuminate the subversive possibilities — and limitations— within the post‐industrial heritage production.

Uninherited heritage: tradition and heritage production in Shetland, Åland and Svalbard

Heritage implies inheritance, a community‐negotiated concept defying easy historical determinism. Utilising Ronström's distinction between tradition and heritage, this paper uses case studies from the islands of Shetland, Åland, and Svalbard to analyse how the uninherited nature of some heritage can influence its reception by the local community. These receptions vary and influence attempts to develop heritage under the world heritage ideal or for tourism, which is so vital to many island communities. Local governments and tourism professionals often interpret heritage objects differently than do local communities. Although heritage can be created without community consent, local support cannot be taken for granted. This paper argues that heritage‐promotion initiatives should take into account the special issues surrounding uninherited heritage.

Consuming Nature–Producing Heritage: Aspects on Conservation, Economical Growth and Community Participation in a Forested, Sparsely Populated Area in Sweden

The nature conservation and heritage management policies of Sweden are moving towards integration. They are also promoting the increased public use of natural and heritage resources, and greater participation by local citizens in their management. In forested, sparsely populated areas, authorities are promoting tourism, especially nature and heritage tourism, to create growth and replace jobs lost in industrial closures and in the heavily mechanised forestry industry. In the area discussed in this article, northern Värmland, Sweden, the local population did not find it attractive to work in touristic jobs. Most of the small‐scale tourist entrepreneurs are also ‘immigrants’ who often found it hard to achieve success in business. Heritage productions, however, have emerged as meeting places for local citizens, and as sources of community pride. To achieve development in forested, sparsely populated areas, there is a need for a broader approach, which relies less on tourism, and is more in harmony with the lifestyles of the local population.

Residents' perceptions of Transatlantic Slave Trade attractions for heritage tourism in Danish-Osu, Ghana

Against the background of lingering controversy over the use of Transatlantic Slave Trade (TAST) relics for tourism ends, this paper sought to examine residents' perceptions towards proposed promotion of heritage tourism based on TAST relics in Danish-Osu, a former slave site in Accra, capital of Ghana. A combination of both qualitative and quantitative research methods were employed during the fieldwork towards the end of 2007. A questionnaire survey captured 200 household heads in six communities while interviews and focus group discussions were conducted with other key stakeholders in the Danish-Osu community. Frequencies and percentages were used to demonstrate residents' lay concepts of tourism, whereas the mean, t-test and one-way ANOVA were used to measure residents' attitude towards heritage tourism. A major finding of the study is that residents' perceive tourism from a cultural perspective because of the numerous TAST resources in the community. However, residents' support for heritage tourism is influenced by place of residence. This suggested that irrespective of the place of residence, residents of Danish-Osu were found to be supportive of heritage products and activities. Implications were discussed in the context of how residents' perceptions will affect preservation efforts at various stages of tourism planning.

WHO OWNS OUR SONGS? Authority of Heritage and Resources for Restitution

This article analyses property relations in cultural expression in the ambivalent process of heritage production, and considers the implementation of intangible heritage by communities and individuals in the framework of cultural policy making. Ownership reflects an entanglement of interests, grounded in the established social and political domains. There appear moments that sustain or contest agency in property ownership, while modern cultural politics may dictate conflicts between individual or communal property rights in the context of claiming significance to heritage. My discussion of the predicaments of collective or individual ownership, contested restitution or celebration observable in the policies of intangible cultural heritage is based on the experience of the Seto community in Estonia.

Moving Milan towards Expo 2015: designing culture into a city brand

PurposeTo create a competitive edge in today's tourism marketplace, cities seek to differentiate themselves and create a positive image. Yet, there is little consensus about city branding processes and few case studies. This paper aims to explore Milan's brand image and personality, focusing on the extent to which its image is dominated by business and fashion or culture and heritage and the implications of this positioning for Milan's re‐branding in preparation for Expo 2015.Design/methodology/approachThe paper combines quantitative and qualitative primary research. It reports the findings of a questionnaire survey, a web survey, desk research and focus group research. It analyses actual and potential tourists' perceptions, Milan's heritage product, current brand personality and the brand fingerprint.FindingsBusiness tourism is central to Milan's prosperity; in contrast, its significant cultural attractions remain marginal to its tourism offer. This results in a narrow range of tourist perceptions of the destination and highly seasonal tourist activity.Research limitations/implicationsThis paper represents the discovery phase research for a new city brand and further longitudinal and qualitative work is required.Practical implicationsThe paper includes implications for the development of a consistent destination branding strategy analyzing the first steps of the definition of the Milan's brand.Originality/valueThe paper makes practical recommendations to tourism and place marketing practitioners for broadening Milan's brand to build on the city's strong architectural and cultural heritage. It also has value for tourism academics since it makes a methodological contribution to the place branding literature through its use of projective techniques.

Emerging Issues for Cultural Tourism in Macau

Recent research on achieving sustainable heritage tourism in Macau advocates a greater collaboration between tourism and heritage management authorities and the local community on reaching sustainable tourism goals. A key theme for Macau in the last ten years has been how the tension between the proponents for greater casino development versus those for cultural heritage product development has played out in government policies for heritage management, private sector tourism development and host community concerns about heritage protection and achieving quality tourism. The indirect influence of the central government on Macau Special Administrative Region's (SAR's) policy development in relation to these topics in the last ten years will be discussed in this context using findings from three recent studies by the Institute For Tourism Studies (IFT) and background information collected on government policy and community views. This paper will outline emerging issues regarding demand, supply, and impacts of cultural tourism with reference to findings from four recent research projects. Special reference will be made to over-use and under-use issues, authenticity, and the management of tourism impacts while enhancing visitor experience. Strategic planning and management of cultural tourism products will also be touched upon.

Semiotic knowledge toward heritage product in tourism industry: A case of Terengganu

Semiotic knowledge toward heritage product in tourism industry: A case of Terengganu

The Legal Protection of Indigenous Souvenir Products

The indigenous products that tourists purchase as souvenirs are often actually imitations of the original products that are both mass produced and sold by non-indigenous people without authorization from an indigenous group. This practice entails outsiders appropriating and imitating cultural heritage products in an inauthentic manner. It also limits the economic benefits indigenous groups can gain from products of their culture. This paper explores the possibility of using intellectual property laws to protect the production of such souvenirs for indigenous groups. The paper focuses on three different indigenous groups: the Kunas of Panama, the Aborigines of Australia, and the Atayals of Taiwan, to show that each group's situation is unique and protection efforts consequently must be adaptable rather than universal. Traditional intellectual property laws offer little potential for indigenous groups to establish legal rights over the production of their products, but unique sui generis laws can be established to achieve this goal. The paper explores numerous underlying questions that must be addressed if protective legislation is to be truly beneficial. Also, the protection of indigenous intellectual property is closely linked to other indigenous rights issues.