Making Japanese Heritage

Brumann, Christoph; Cox, Rupert

doi:10.4324/9780203874110

Cited by 8 publications

(5 citation statements)

References 8 publications

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“…They fear that consequences of urbanization will spread to the countryside in the form of increased regional prices, waste, traffic, and even criminal activities during festival peaks. While forms of "orientalising" the countryside can make economic sense by providing sources of income for communities, critics argue that the festivals are benefitting tourist industries more than locals (Brumann and Cox, 2011). Communities fear that there are too many stakeholdersthat equal collaboration of all parties is too difficult to maintain, and that the values and agendas of stakeholders with the most power will be take priority (Klien, 2010).…”

Section: Resistancementioning

confidence: 99%

Contemporary Japanese art: between globalization and localization

Tagore-Erwin

2018

AAM

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Purpose The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years. Design/methodology/approach Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016. Findings The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein. Research limitations/implications Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics. Practical implications The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field. Originality/value This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.

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Section: Resistancementioning

confidence: 99%

Contemporary Japanese art: between globalization and localization

Tagore-Erwin

2018

AAM

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“…Globalization may contribute to new legislation or renewed interest in heritage in order to promote cultural diversity (Labadi and Long 2010). At the same time, it challenges local cultures through homogenisation, hegemonic expressions and asymmetries of power (Brumann and Cox 2009). Globalization has thus been described as exerting a substantial influence on preserving living culture while hindering the true processual nature of it (Kirshenblatt-Gimblett 2004).…”

Section: Design Heritage and Globalizationmentioning

confidence: 99%

Design and the Evolving Tradition of Sanganer Hand Block Printing: Formation and Negotiation of Artisanal Knowledge and Identities Against the Backdrop of Intangible Cultural Heritage

Greru¹,

Kalkreuter²

2017

The Journal of Modern Craft

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This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher's website (a subscription may be required.) 'Design' and the evolving tradition of Sanganer hand block printing: Formation and negotiation of artisanal knowledge and identities against the backdrop of Intangible Cultural Heritage

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“…This is clearly a lacuna. The influence of, say, the Japanese Agency of Cultural Affairs (Bunkachô) or the Mexican Instituto Nacional de Antropología e Historia (INAH) can readily be gleaned from the case studies of sites under their governance (Breglia ; Brumann and Cox ; Ehrentraut , ; Siegenthaler ; Thornbury ), so their internal workings should be of interest too. In their study of conservation curators, architects and craftspeople in a cathedral workshop, Jones and Yarrow show that it is through the interaction and mutual challenging of different professional viewpoints (curators, architects, stone masons) that shared but abstract principles (such as that of minimum intervention) are translated into concrete conservation measures (), and such an uneven distribution of understandings will most likely also be found elsewhere.…”

Section: The Heritage Churchmentioning

confidence: 99%

Heritage agnosticism: a third path for the study of cultural heritage

Brumann

2014

Social Anthropology/Anthropologie Sociale

102

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Avoiding the pitfalls of both the reverential approach of ‘heritage belief’ and the overly critical one of ‘heritage atheism’, ‘heritage agnosticism’ is proposed as a theoretical middle path for the burgeoning field of heritage studies. The cases of Kyoto and the UNESCO World Heritage arena demonstrate the limits of a purely deconstructive analysis. The popular demand for historical veracity and authenticity, lay historicities, the ethnographic study of heritage institutions, and personal attachments to heritage are research topics that will benefit from heritage agnosticism, particularly if it accounts for the full variety of both professional and lay positions and voices.

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Making Japanese Heritage

Cited by 8 publications

References 8 publications

Contemporary Japanese art: between globalization and localization

Contemporary Japanese art: between globalization and localization

Design and the Evolving Tradition of Sanganer Hand Block Printing: Formation and Negotiation of Artisanal Knowledge and Identities Against the Backdrop of Intangible Cultural Heritage

Heritage agnosticism: a third path for the study of cultural heritage

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