Pub Date : 2021-01-02DOI: 10.1080/2159032X.2021.2021777
C. Cheong
ABSTRACT The synchronicity of urban decline and heritage in Global South historic cities presents significant challenges for public, private and third sector actors. Though development and planning communities increasingly recognize heritage’s role in creating sustainable cities and thriving communities, many lack the will, capacity or knowledge of how to capitalize upon this hybridity. In assessing the emergent literature around the particularities of urban conservation and regeneration in the Global South, this article interrogates conservation responses from the public, private and third sectors. Firstly, it problematizes development banks’ predominance in responding – and publishing their responses – to these challenges. The article further questions the efficacy of prevailing, material-centered conservation approaches favored by local governments, thereby prioritizing social outcomes over material ones. The article concludes by presenting new avenues of interdisciplinary and transnational inquiry that merge planners’ and heritage specialists’ expertise, paying particular attention to financial and policy tools that advance an equitable form of heritage-led regeneration.
{"title":"“No Time to Rearrange the Furniture in the Living Room”: Current Debates in Urban Conservation in the Global South","authors":"C. Cheong","doi":"10.1080/2159032X.2021.2021777","DOIUrl":"https://doi.org/10.1080/2159032X.2021.2021777","url":null,"abstract":"ABSTRACT The synchronicity of urban decline and heritage in Global South historic cities presents significant challenges for public, private and third sector actors. Though development and planning communities increasingly recognize heritage’s role in creating sustainable cities and thriving communities, many lack the will, capacity or knowledge of how to capitalize upon this hybridity. In assessing the emergent literature around the particularities of urban conservation and regeneration in the Global South, this article interrogates conservation responses from the public, private and third sectors. Firstly, it problematizes development banks’ predominance in responding – and publishing their responses – to these challenges. The article further questions the efficacy of prevailing, material-centered conservation approaches favored by local governments, thereby prioritizing social outcomes over material ones. The article concludes by presenting new avenues of interdisciplinary and transnational inquiry that merge planners’ and heritage specialists’ expertise, paying particular attention to financial and policy tools that advance an equitable form of heritage-led regeneration.","PeriodicalId":44088,"journal":{"name":"Heritage and Society","volume":"14 1","pages":"87 - 111"},"PeriodicalIF":0.9,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44616577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/2159032X.2021.2022070
P. Kisiel
ABSTRACT This paper examines new-ruins in a post-industrial urban landscape on the example of Łódź, Poland. It analyses which ruins are depicted (industrial vs. domestic) and how they are framed (within the wider urban context or on their own) and interpreted (social and political critiques, local history, and aesthetics). It argues that contrary to the suggestions in the academic literature, these sites are not seen as symbols of failing capitalism but are sites and sources of meditative reflection, akin to the role played by medieval ruins during the nineteenth century. Furthermore, heritage is virtually absent from these discussions because modern ruins are not understood to be part of the industrial heritage by the actors in the post-industrial city.
{"title":"When We Say Post-Industrial – We Mean Ruins","authors":"P. Kisiel","doi":"10.1080/2159032X.2021.2022070","DOIUrl":"https://doi.org/10.1080/2159032X.2021.2022070","url":null,"abstract":"ABSTRACT This paper examines new-ruins in a post-industrial urban landscape on the example of Łódź, Poland. It analyses which ruins are depicted (industrial vs. domestic) and how they are framed (within the wider urban context or on their own) and interpreted (social and political critiques, local history, and aesthetics). It argues that contrary to the suggestions in the academic literature, these sites are not seen as symbols of failing capitalism but are sites and sources of meditative reflection, akin to the role played by medieval ruins during the nineteenth century. Furthermore, heritage is virtually absent from these discussions because modern ruins are not understood to be part of the industrial heritage by the actors in the post-industrial city.","PeriodicalId":44088,"journal":{"name":"Heritage and Society","volume":"14 1","pages":"20 - 45"},"PeriodicalIF":0.9,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49298490","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/2159032X.2021.2016049
C. Sterling
ABSTRACT This essay explores the generative potential of a particular concept – Derrida’s notion of “hauntology” – across a wide range of heritage domains. In doing so it addresses one of the central concerns of critical heritage, namely what it means to practice criticality and what the social and political implications of this process might be. The paper begins by examining the broad points of intersection between heritage and hauntology, before moving on to consider three more defined areas of thematic overlap. These encompass the ghosts of place, spectral aesthetics, and recent ideas emerging from the environmental humanities around more-than-human hauntings. While there is considerable crossover between these fields, each builds upon a different set of texts and micro case studies to show the distinctive ways in which Derrida’s concept has been taken up and reconfigured in diverse disciplinary contexts. The paper concludes with a summary of the possible implications for adopting (and adapting) hauntology as a mode of doing critical heritage.
{"title":"Becoming Hauntologists: A New Model for Critical-Creative Heritage Practice","authors":"C. Sterling","doi":"10.1080/2159032X.2021.2016049","DOIUrl":"https://doi.org/10.1080/2159032X.2021.2016049","url":null,"abstract":"ABSTRACT This essay explores the generative potential of a particular concept – Derrida’s notion of “hauntology” – across a wide range of heritage domains. In doing so it addresses one of the central concerns of critical heritage, namely what it means to practice criticality and what the social and political implications of this process might be. The paper begins by examining the broad points of intersection between heritage and hauntology, before moving on to consider three more defined areas of thematic overlap. These encompass the ghosts of place, spectral aesthetics, and recent ideas emerging from the environmental humanities around more-than-human hauntings. While there is considerable crossover between these fields, each builds upon a different set of texts and micro case studies to show the distinctive ways in which Derrida’s concept has been taken up and reconfigured in diverse disciplinary contexts. The paper concludes with a summary of the possible implications for adopting (and adapting) hauntology as a mode of doing critical heritage.","PeriodicalId":44088,"journal":{"name":"Heritage and Society","volume":"14 1","pages":"67 - 86"},"PeriodicalIF":0.9,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47683261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.1080/2159032X.2021.1968220
Vendi Jukić Buča, Kristina Gwirtzman, Christina Maranci
ABSTRACT The article discusses selected Armenian ecclesiastical sites from the Kars Province in eastern Turkey, once a part of ancient Armenia, which are rapidly deteriorating. The authors focus on analyzing their present state in the context of their immediate environment, the measures taken by the local authorities to make them recognizable and accessible, as well as the possibilities of their re-evaluation and tourist potential.
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Pub Date : 2020-09-01DOI: 10.1080/2159032X.2021.1997372
Jeremy C. Wells
affirmation of the importance of studying people, performance and politics. The third section mobilizes the extensive array of data to explore the emotional work that is undertaken by individuals and groups within museums and heritage sites. It is the series of chapters within this section which firmly demonstrate the importance of affect within heritage studies. Smith draws attention to the way that people use emotional tools to align themselves or to feel distance from exhibitions to reiterate their own sense of self regardless of the content of the display. This enfranchisement of the individual is clearly demonstrated in the data as agents undertake complex negotiations of their own identity to interpret the histories they observe. This poses another challenge to the accepted traditions of heritage studies as Smith highlights the inability of sites to function as locales of education and learning because of the emotional and affective frames of reference we use to engage the world. In an era where emotional engagement and awareness are needed to address the enveloping crises we experience, this is a book that allows us to think differently about our work within heritage studies. This is not a study of the importance of making us feel. It is an astute assessment that these feelings matter. They serve as barriers and bridges to enable people to engage and are essential in our understanding of what people do when they visit museums and sites. Lastly, what stands out within this assessment is the awareness of how people respond. The examination is detailed, the statistical analysis and interpretation is sophisticated but it is the concern that people and their reactions should be the sole focus which marks this work. This allows us to take emotions seriously. This book is a significant development in the field of heritage studies because of its recognition that heritage is both political and emotive.
{"title":"Preservation and Social Inclusion","authors":"Jeremy C. Wells","doi":"10.1080/2159032X.2021.1997372","DOIUrl":"https://doi.org/10.1080/2159032X.2021.1997372","url":null,"abstract":"affirmation of the importance of studying people, performance and politics. The third section mobilizes the extensive array of data to explore the emotional work that is undertaken by individuals and groups within museums and heritage sites. It is the series of chapters within this section which firmly demonstrate the importance of affect within heritage studies. Smith draws attention to the way that people use emotional tools to align themselves or to feel distance from exhibitions to reiterate their own sense of self regardless of the content of the display. This enfranchisement of the individual is clearly demonstrated in the data as agents undertake complex negotiations of their own identity to interpret the histories they observe. This poses another challenge to the accepted traditions of heritage studies as Smith highlights the inability of sites to function as locales of education and learning because of the emotional and affective frames of reference we use to engage the world. In an era where emotional engagement and awareness are needed to address the enveloping crises we experience, this is a book that allows us to think differently about our work within heritage studies. This is not a study of the importance of making us feel. It is an astute assessment that these feelings matter. They serve as barriers and bridges to enable people to engage and are essential in our understanding of what people do when they visit museums and sites. Lastly, what stands out within this assessment is the awareness of how people respond. The examination is detailed, the statistical analysis and interpretation is sophisticated but it is the concern that people and their reactions should be the sole focus which marks this work. This allows us to take emotions seriously. This book is a significant development in the field of heritage studies because of its recognition that heritage is both political and emotive.","PeriodicalId":44088,"journal":{"name":"Heritage and Society","volume":"13 1","pages":"224 - 229"},"PeriodicalIF":0.9,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41561439","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.1080/2159032X.2021.1968227
J. Schofield, Ron Wright
ABSTRACT This paper examines the way pervasive influences within the built environment shape heritage and identity. With a focus on Sheffield, a northern English city strongly associated with a now largely defunct steel industry, the paper investigates how the city’s industrial past, its location and social fabric have shaped music-making, creating a distinctive scene that has become central to the city’s cultural identity. Using a combination of in-depth interviews and documentary analysis, Sheffield is presented from the mid-1970s as experiencing what can be referred to as a “sonic cycle” in which the city’s musicians refer to the sound of the drop-hammer in the steel forges being a backdrop to their childhood and a clear influence as they began their musical careers, and how the “industrial music” scene which they created has in turn shaped a new heritage identity. The paper concludes by promoting the idea that music created by local musicians forms a vital part of Sheffield’s character and is an essential ingredient for shaping alternative urban futures.
{"title":"Sonic Heritage, Identity and Music-making in Sheffield, “Steel City”","authors":"J. Schofield, Ron Wright","doi":"10.1080/2159032X.2021.1968227","DOIUrl":"https://doi.org/10.1080/2159032X.2021.1968227","url":null,"abstract":"ABSTRACT This paper examines the way pervasive influences within the built environment shape heritage and identity. With a focus on Sheffield, a northern English city strongly associated with a now largely defunct steel industry, the paper investigates how the city’s industrial past, its location and social fabric have shaped music-making, creating a distinctive scene that has become central to the city’s cultural identity. Using a combination of in-depth interviews and documentary analysis, Sheffield is presented from the mid-1970s as experiencing what can be referred to as a “sonic cycle” in which the city’s musicians refer to the sound of the drop-hammer in the steel forges being a backdrop to their childhood and a clear influence as they began their musical careers, and how the “industrial music” scene which they created has in turn shaped a new heritage identity. The paper concludes by promoting the idea that music created by local musicians forms a vital part of Sheffield’s character and is an essential ingredient for shaping alternative urban futures.","PeriodicalId":44088,"journal":{"name":"Heritage and Society","volume":"13 1","pages":"198 - 222"},"PeriodicalIF":0.9,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46117033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-03DOI: 10.1080/2159032X.2021.1914298
Marine Schütz
ABSTRACT In recent years, the issue of decolonizing heritage has emerged particularly strongly in cities that were historically at the heart of colonial entanglements. In Europe, sites associated with colonialism and slavery have become points of protest for a range of actors, including artists and the descendants of enslaved persons, and stemmed from British and French colonial histories. This article focuses on two cities, Bristol and Marseille, whose landscapes are imbued with residual traumatic memory, exploring how colonial/slave histories are rewritten in contemporary art practices as decolonial practices manifesting more inclusive commemorations of the past. The article analyzes how dynamic memorial activities in these cities entangle heritage and aesthetics with protest and draw attention to the capacity of artists to challenge existing civic narratives. It goes on to explore the methods used by artists – such as walking in the city, performance, and installation – to engage citizens located at the periphery in conversation and elicit their participation in the rewriting of civic histories.
{"title":"Rewriting Colonial Heritage in Bristol and Marseille: Contemporary Artworks as Decolonial Interventions","authors":"Marine Schütz","doi":"10.1080/2159032X.2021.1914298","DOIUrl":"https://doi.org/10.1080/2159032X.2021.1914298","url":null,"abstract":"ABSTRACT In recent years, the issue of decolonizing heritage has emerged particularly strongly in cities that were historically at the heart of colonial entanglements. In Europe, sites associated with colonialism and slavery have become points of protest for a range of actors, including artists and the descendants of enslaved persons, and stemmed from British and French colonial histories. This article focuses on two cities, Bristol and Marseille, whose landscapes are imbued with residual traumatic memory, exploring how colonial/slave histories are rewritten in contemporary art practices as decolonial practices manifesting more inclusive commemorations of the past. The article analyzes how dynamic memorial activities in these cities entangle heritage and aesthetics with protest and draw attention to the capacity of artists to challenge existing civic narratives. It goes on to explore the methods used by artists – such as walking in the city, performance, and installation – to engage citizens located at the periphery in conversation and elicit their participation in the rewriting of civic histories.","PeriodicalId":44088,"journal":{"name":"Heritage and Society","volume":"13 1","pages":"53 - 74"},"PeriodicalIF":0.9,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/2159032X.2021.1914298","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45563302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-03DOI: 10.1080/2159032X.2021.1901335
C. Ariese
ABSTRACT As the metropole and main harbor city of a colonial, maritime empire, much of Amsterdam's development has been the direct or indirect result of colonial activities. Yet, many aspects of colonialism and its lasting entanglements were not (widely) spoken about. In response, within the cultural sphere, de-colonial engagements have arisen across various institutions and related to multiple aspects of colonialism, most prominently the topic of slavery. This paper identifies and analyzes recent examples of such de-colonial engagements – e.g., the exhibition Afterlives of Slavery, the installation Blood Sugar, and the publication Words Matter – which have created or amplified conversations about colonial pasts. It seeks to show that artists and activists are often the initiators of these challenges to existing paradigms and perspectives, but that afterwards these voices are amplified by cultural and scientific institutions, before resonating within the public sphere. The recent (2019) controversy surrounding the use of the term “Golden Age” is a case in point. Yet, despite these amplifying de-colonial conversations, there are still significant silences and absences, revealing the borders of tolerance in terms of dealing with colonialism in the contemporary. The intention is therefore also to understand how these voices are not only amplified but also potentially altered or even limited as they move from activist arenas, through cultural institutions, into the wider public eye.
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