Introduction: what is participatory heritage?

Roued-Cunliffe, Henriette; Copelandis, Andrea

doi:10.29085/9781783301256.001

Cited by 19 publications

(15 citation statements)

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“…T he #iziTRAVELSicilia project has contributed to fostering knowledge about the application of ICTs in such areas as cultural heritage communication, sharing and promotion, and has brought about ways in which participatory and co-creation approaches can involve great networks of native stakeholders and share knowledge by democratising cultural content and languages. I t is also my contention that #iziTRAV-ELSicilia illustrates good practice in storytelling, which has revealed its role on a strategic and operational regional scale (Heskin et al 2016), and enhanced local culture and attractions, thus evidencing the role of community-based initiatives through user involvement and knowledge sharing (Valtolina 2016;Roued-Cunliffe and Copeland 2017). F inally, it should be pointed out that this process has already transformed the Sicilian cultural context.…”

Section: A Co-curation Projectmentioning

confidence: 94%

“…The role of a good storyteller is therefore to create a compelling story, with a resonance so true that it can transform a distracted passerby into a careful observer (Vaglio 2018). Today, the informational role of tourist apps and other storytelling platforms is significant, but more significant still is the role they play in inciting emotional and creative involvement through the co-creation of cultural content (Dragouni, Fouseki and Georgantzis 2018;Liew 2014;Owens 2013;Roued-Cunliffe and Copeland 2017). Participatory web platforms are innovative tools that allow for the dissemination of culture.…”

Section: Critical Overviewmentioning

confidence: 99%

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Heritage Communities, Participation and Co‐creation of Cultural Values: The #iziTRAVELSicilia Project

Bonacini¹

2018

Museum International

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The aim of this article is to present a large‐scale regional project conducted in Sicily, #iziTRAVELSicilia, which consists of an online platform and app. My point of departure is an overview of the literature on the use of digital storytelling and Information and Communication Technologies for heritage promotion. I will then delve into the project itself, whose primary purpose was to use digital communication in order to enhance Sicilian cultural heritage, by involving more than 3,000 native Sicilians, forming ‘heritage communities’, and by developing more than 180 audio guides. I will argue that this project is a good example of participation in the co‐creation of cultural values through the digital promotion and valorisation of heritage and territories, as articulated in the Faro Convention. The participatory co‐creation of cultural content provides greater visibility of Sicilian cultural heritage, demonstrating the cultural values of the #iziTRAVELSicilia project itself. Finally, I will delineate izi.TRAVEL's role in encouraging people to promote their heritage through emotional and creative storytelling.

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Section: A Co-curation Projectmentioning

confidence: 94%

Section: Critical Overviewmentioning

confidence: 99%

Heritage Communities, Participation and Co‐creation of Cultural Values: The #iziTRAVELSicilia Project

Bonacini¹

2018

Museum International

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“…For det tredje åbner digitaliseringen muligheder for, at brugerne selv kan skabe nyt indhold. Når arkiverne stiller åbne kulturarvsdata til rådighed for brugerne, åbner det ikke blot for øget brug, men også for at brugerne med dataene selv kan bygge applikationer, databaser og kort (Roued-Cunliffe & Copeland, 2017). I det følgende viser vi, hvordan kombinationen digitaliseringens muligheder for crowdsourcing er et eksempel på, hvordan Københavns stadsarkiv har ageret strategisk og selvstaendigt i tråd med NPG-regimet.…”

Section: Arkivernes Arbejde Med Crowdsourcingunclassified

Autonomiparadokset i ABM

Kann-Rasmussen¹,

Rasmussen²

2019

NKT

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“…Residents and tourists in rural areas, towns and large cities should be provided with opportunities to experience alternative ways of interacting with the places they live or are visiting [12]. More specifically, heritage education, in the broadest sense, and awareness of cultural assets is best fostered by directly involving audiences, as previously documented in the Italian and international literature [13,14]. In some cases, this will take the form of learning and discovery; in other cases, it will entail getting audiences to draw on their own capabilities and talents in engaging with a cultural heritage site; and in still others, it will mean asking visitors and consumers of heritage assets to become volunteers, guides, and interpreters.…”

Section: Introduction: Non-formal/informal Education and Heritagementioning

confidence: 99%

Mobartech, an Informal Education Project for Bringing People Closer to Cultural Heritage

Zuccoli¹

2020

EDULEARN Proceedings

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In this paper, I present a multidisciplinary research project entitled Mobartech, which was sponsored by the Lombardy Region as part of a broader initiative co-financed by the European Regional Development Fund (ERDF). The overall aim of this project was to develop an innovative method of engaging the general public in the study, conservation, and consumption of cultural heritage. It was jointly conducted by several partners, including four departments of the University of Milan Bicocca (UNIMIB). One of the project's concrete objectives was to set up a mobile van (a mini-laboratory) with the dual mission of conducting scientific research and disseminating cultural knowledge, while visiting small museums and works of art at different locations across the region. In the initial pilot phase of the project, three case studies were conducted, involving: 1) an individual painting, The Fourth Estate by Pellizza da Volpedo (1901); 2) frescoes from the Giotto period at the Palazzo dell'Arcivescovado in Milan; 3) the UNESCO world heritage site of Mantua and Sabbioneta. UNIMIB's Department of Human Sciences and Education was present at the UNESCO site with the role of raising locals' and tourists' awareness of the cultural/historical links between the two cities and enhancing their cultural knowledge about these towns. Specifically, we offered an informal education path that involved members of the public in acts of consumption, participation, and interpretation. The project phases included: initial familiarization with the local area by administering questionnaires; interviews with key informants (architects, restorers, guides, ceramists, photographers, ...); targeted observations; discovery and exploration of the site with a variety of audiences; and finally, the design of a guided discovery kit for the two cities. Participants in the project included groups of middle and high school students, including some on educational work placements, who worked with the researchers to devise a kit for enhancing visitors' consumption of the heritage site. First, a pilot version of the kit was developed and tested. It was then modified based on the pilot test outcomes. Being involved in the development of the kit helped the students to think critically about the cities where they lived and to select the most meaningful information about these sites to be communicated to others, whether fellow citizens or tourists. A key feature of the kit design phase was the balance offered between hands-on and digitally supported activities.

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Introduction: what is participatory heritage?

Cited by 19 publications

References 0 publications

Heritage Communities, Participation and Co‐creation of Cultural Values: The #iziTRAVELSicilia Project

Heritage Communities, Participation and Co‐creation of Cultural Values: The #iziTRAVELSicilia Project

Autonomiparadokset i ABM

Mobartech, an Informal Education Project for Bringing People Closer to Cultural Heritage

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