Intangible Heritage as Metacultural Production

Kirshenblatt–Gimblett, Barbara

doi:10.1111/muse.12070

Cited by 181 publications

(134 citation statements)

References 2 publications

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“…Of central importance and continuing influence internationally is the Convention for the Safeguarding of Intangible Cultural Heritage, convened by UNESCO in 2003. While global heritage conservation efforts in earlier decades often focused on tangible elements -cultural sites, monuments and objects -the inclusive consideration of intangible heritage over the past decade has not been merely a realignment of attention but a realisation of the interconnectedness of both the tangible and the intangible in the lifeways of communities (Kirshenblatt-Gimblett 2004). Recent essays in music have examined extinction and endangerment (Marett 2010), musical safeguarding from linguistic perspectives (Grant 2012(Grant , 2014 and cultural rights (Weintraub and Yung 2009).…”

Section: Historical Preservation and Colonial Heritage Management In mentioning

confidence: 98%

Performing arts as cultural heritage in the Federated States of Micronesia

Diettrich

2014

International Journal of Heritage Studies

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This article explores the performing arts as cultural heritage in the Federated States of Micronesia (FSM) in the western Pacific. It examines policies for and ideas about the support, management and safeguarding of the performing arts, first through the colonial lens of historical preservation, then through intangible cultural heritage and finally from recent theorising in music ecology. In presenting an overview of cultural heritage policy in the FSM with regard to the performing arts, this paper discusses the relationship between heritage practices and colonialism, and it reviews the place of music and dance in the cultural management of Micronesia. Drawing on recent work in ethnomusicology, the article argues for considerations of the holistic space of the performing arts and the facilitation of participatory practices to address concerns of cultural demise and to reframe approaches to music and dance as cultural heritage in the Pacific.The FSM is blessed with its own indigenous cultures and traditions even in the face of globalization. We have retained much of our cultural identity through the process of assimilation, and we will continue to withstand continuing foreign influences into the future. (FSM Standing Committee Report 16-71 2010) In the FSM, culture is the identity and inner being that sustains people, their relationships and their surroundings … we need to know the past in order to understand the present and to build the future. (Kim 2011, 26)

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Section: Historical Preservation and Colonial Heritage Management In mentioning

confidence: 98%

Performing arts as cultural heritage in the Federated States of Micronesia

Diettrich

2014

International Journal of Heritage Studies

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“…Kirshenblatt-Gimblett (2004) asserts that natural heritage is an inappropriate label. By virtue of human interaction and interpretation, all natural landscapes are culturally inscribed, understood and valued (Latour, 1999).…”

Section: Safeguarding the Past/futurementioning

confidence: 98%

The Palgrave Handbook of Contemporary Heritage Research

2015

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“…Not so much because 'intangible' can be equated with 'immaterial', but rather because this heritage connects with the broader framework of post-industrial capitalism. In fact, the distinction between tangible and intangible heritage is flawed: it reproduces the Western modern dualism of soul/matter and disregards the fact that heritage is always both a tangible and intangible process (Kirshenblatt-Gimblett 2004). Similarly, there is a misunderstanding about the cognitive economy as a virtual field of immaterial value while, in reality, the material cannot be replaced by the immaterial.…”

Section: Cognitive Economies and The New Rents On The Commonsmentioning

confidence: 99%

“…Heritage is a present-centred phenomenon and a discourse with material consequences (Smith 2006). It is a social construction and a metacultural process of selection, as there is no 'heritage' before somebody starts to preserve, remember, reclaim, enhance or celebrate something (Kirshenblatt-Gimblett 2004). Clearly, people have always used 'retrospective memories as resources of the past to convey a fabricated sense of destiny for the future.…”

Section: The Heritage Conundrummentioning

confidence: 99%

From a Given to a Construct

González¹

2013

Cultural Studies

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Intangible Heritage as Metacultural Production

Cited by 181 publications

References 2 publications

Performing arts as cultural heritage in the Federated States of Micronesia

Performing arts as cultural heritage in the Federated States of Micronesia

The Palgrave Handbook of Contemporary Heritage Research

From a Given to a Construct

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