Intangible Heritage as Metacultural Production1

Kirshenblatt–Gimblett, Barbara

doi:10.1111/j.1350-0775.2004.00458.x

Cited by 378 publications

(78 citation statements)

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“…Monuments and Sites (ICOMOS) have, over the years, issued various recommendations, charters and resolutions on the topic of heritage, some of which include definitions (Kirshenblatt-Gimblett 2004;Ahmad, 2006). However, for the scope of this article, we have focused on the two main UNESCO conventions (which define rules to which member states have to comply as law [UNESCO n.d.]) on cultural heritage.…”

Section: Unesco and Other International Organisations Such As The Inmentioning

confidence: 99%

“…However, Howard (2010, 4) struggles with the idea of intangible cultural heritage, so much so that he prefers 'the concept of activities, as food and drink, for example, are quite tangible, though not easy to conserve, and in this case it is the continuance of the activity that is sought.' Kirshenblatt-Gimblett (2004), like Naguib, is also wary of neat separations between tangibility and intangibility. She points out that there is increasing awareness of the 'arbitrariness' of the distinction between UNESCO's natural, tangible and intangible lists, as these do not reflect the 'real world' overlap between the tangible, intangible and natural elements of heritage.…”

Section: Unesco and Other International Organisations Such As The Inmentioning

confidence: 99%

“…Lastly, Giddens' (1984) Structuration theory collapses distinctions between structure/agency. Each of these are important as they place people at the heart of society, its processes and structures which resonates with Kirshenblatt-Gimblett's (2004) The alternative model and definition of living heritage, which we propose, seeks to collapse the tangible/intangible dualism and to integrate embodied human beings with heritage.…”

Section: Unesco and Other International Organisations Such As The Inmentioning

confidence: 99%

“…Instead, building on insights from Kirshenblatt-Gimblett (2004) and Ruggles and Silverman (2009), we argue that practices and the artefacts that surround them are embodied heritage, internal to all human beings and affecting us at physical and emotional levels. Therefore, the intangible and 3 tangible are indissolubly linked and a preferred definition might be developed around the idea of "living cultural heritage.…”

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confidence: 99%

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Beyond Binarism: Exploring a Model of Living Cultural Heritage for Dance

Iacono

Brown

2016

Dance Research

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UNESCO's effort to include many different types of human expression on its lists is commendable and an important attempt to safeguard aspects of the world's cultural heritage.However, we agree with Naguib (2008) that the use and interpretation of the term intangible is problematic to describe the complexity of human practices, because of the polarities implied by the notions of tangible/intangible, which insert a false distinction, in the form of a binary opposition, between the material and immaterial elements of culture. Instead, building on insights from Kirshenblatt-Gimblett (2004) and Ruggles and Silverman (2009), we argue that practices and the artefacts that surround them are embodied heritage, internal to all human beings and affecting us at physical and emotional levels. Therefore, the intangible and 3 tangible are indissolubly linked and a preferred definition might be developed around the idea of "living cultural heritage."The label of intangible is particularly problematic when considering dance as heritage, given the central role that the human body has in the practice of dance, and because the phenomenon of dance is simultaneously emergent from, and constitutive of culture and society. Buckland (2001, 1) confirms the increased social science interest in the body and performance has 'helped to raise the profile of dance as a significant academic site for cultural investigation'. This development has opened up channels for dialogue with other disciplines in the humanities and social sciences. In recent years, embodiment has been explored sociologically through dance in a range of ways including: cultural theory and everyday life (Thomas 2003(Thomas , 2013 bodylore and bodily knowledge (Sklar, 1994(Sklar, , 2001, bodywork (BraceGovan, 2002), embodied identity (Dyck & Archetti, 2003) and ageing, injury and identity (Wainwright & Turner, 2006). There are some notable early exceptions, Novak (1988) for example, incorporated dance as a key exemplar in her work on culture. One reason for this, Buckland argues, drawing on Connerton's (1989) distinction between incorporated and inscribed practices, is that dance 'has a particular propensity to foreground cultural memory as embodied practice by virtue of its predominantly somatic modes of transmission', thus making dance strongly relevant to discussions of cultural heritage through the incorporation of specific cultural elements (such as artefacts and movement vocabularies) into its practice.Dance is also an inscribed practice as Blacking (1983, 97) illustrates, 'the bodily experience of performance can also stimulate the imagination and help to bring new coherence to the sensuous life, which in turn could affect motivation, commitment and decision-making in other spheres of social life.' Therefore, while culture is incorporated within dance, such dances are also inscribed with layers of shared meanings (which may be symbolic, narrative, 4 emotional, aesthetic depending on the genre) making it not only a site of cultural reception but also a site of cultura...

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Section: Unesco and Other International Organisations Such As The Inmentioning

confidence: 99%

Section: Unesco and Other International Organisations Such As The Inmentioning

confidence: 99%

Section: Unesco and Other International Organisations Such As The Inmentioning

confidence: 99%

mentioning

confidence: 99%

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Beyond Binarism: Exploring a Model of Living Cultural Heritage for Dance

Iacono

Brown

2016

Dance Research

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“…Hoy, el patrimonio, como fetiche metacultural (Kirshenblatt-Gimblett 2004) es un constructo que se expande con intensidad, desde mediados del siglo XX (Polout 2006;Choay 1996), coincidiendo con la eclosión de la industria del turismo global (MacCannell 1999), reconfigurando mercados, en creciente aumento, articulados alrededor de la autenticidad (Davallon 2010;Frigolé 2014;Santamarina y Moncusí 2015). La última adquisición del patrimonio institucionalizado ha sido la aparición de lo inmaterial en el seno de la UNESCO (Convención para la Salvaguardia del Patrimonio Cultural Inmaterial, París, 2003) contribuyendo a la colonización semántica del término.…”

Section: Introductionunclassified

Ciudades creativas y pueblos con encanto: los nuevos procesos patrimoniales del siglo XXI

Campos

Mármol

2017

Rev. Dialectol. Trad. Popul.

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RESUMENDurante las últimas décadas hemos asistido a un crecimiento espectacular del fenómeno patrimonial. La eclosión patrimonial, entre otras cosas, puede ser leída como una cara más del tercer espíritu del capitalismo. El desembarco de la economía de los intangibles y el acento en la producción del valor de lo inmaterial ha cambiado las reglas del juego de la economía mundial. Nuestra hipótesis de partida es que hemos asistido a una importante transformación en las activaciones patrimoniales: del nacionalismo político, que impulsó el patrimonio colectivo en el XIX, hemos pasado al nacionalismo de consumo en el siglo XXI. En este contexto, este artículo analiza el distinto impacto que tienen los procesos patrimoniales en función de la posición que ocupan sus territorios en los mercados globales. Dicha posición incidirá en su carta de presentación apareciendo las ciudades creativas o los pueblos con encanto. Ambas formas son, en realidad, caras de un mismo proceso.

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Intangible Heritage and Embodiment

Akagawa¹

2015

A Companion to Heritage Studies

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Intangible Heritage as Metacultural Production1

Cited by 378 publications

References 0 publications

Beyond Binarism: Exploring a Model of Living Cultural Heritage for Dance

Beyond Binarism: Exploring a Model of Living Cultural Heritage for Dance

Ciudades creativas y pueblos con encanto: los nuevos procesos patrimoniales del siglo XXI

Intangible Heritage and Embodiment

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