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Historic site botox rzes gdansk are looking towards intangible cultural heritage to include it in the interpretation of sites and collections of objects in order to give more meaning, value, emotion and mystery to heritage.

Rather than set apart the tangible from the intangible and consider them as opposed to each other, they are attempting to integrate them and demonstrate the many ways in which the two interact and mutually construct one another in a relational process. Traditional knowledge and memory of place constructs a sense of belonging to place.

It is not only the creators architects, city plannersbut the actual users of place residents, visitorswhich play a vital role in developing the living meaning of place, for example, by getting residents to narrate their experiences of important historical events. Turgeon Intangible cultural heritage is also opening up new and exciting perspectives in the realm of museology. Further, they want the museum experience to enable them to access the intangibility of heritage, to feel the force of its affects.

They wish to observe real people and live performances in a state of heightened reality, to feel the emotions they convey. Fabre ; Poulot, this volume More than to understand the sense of objects, they want objects and people to awaken the full gamut of their senses: the sense of sight, of course, but also of hearing, of taste, of smell and of touch. Classen and Howes ; Auzas and Tran, ; Herzfeld and Turgeon, this volume They expect museums to be shapers of sensibility rather than simply mediators of a discourse.

Intangible heritage can modify the relationship to the object, turning it into a site of communication rather than simply of contemplation. It brings the object to life and reactivates its social and identity-related functions. Jackson and Kidd It focuses on speech and actions and, more generally, on bodies, as the performative hub of heritage. Intangible heritage also favors the involvement of individuals and social groups in the curatorial and expositional aspects of museology.

It encourages the safeguarding of object-producing cultural practices and their preservation through transmission, rather than simply through the physical protection of the objects produced. Local communities are turning to intangible cultural heritage as a resource for their sustainable development.

They are devising ways of marketing local food products, of valorizing popular arts and crafts, of encouraging the performances of local storytellers and musicians, and of organizing festivals as a means of developing a sense of pride and of belonging to place, of reinforcing the social cohesion of the group and of stimulating regional economies.

The approach to intangible heritage advocated by the Convention views it as a process of social construction rather than a product or a property. Aikawa-Faure; Silberman, this volume The recommended management model operates from the bottom up, which implies the participation of concerned groups at every stage of the heritage valorization process, from the choice of the practices to be presented through to their interpretation and dissemination.

Rather than fossilizing heritage by striving to ensure its survival at all costs, the Convention emphasizes its transmission, its constant transformation and its power to revitalize groups and communities with the aim of ensuring their sustainable development. Blake ; Duvelle and Geuvremont, this volume. Tourists, too, are increasingly drawn to intangible cultural heritage. Tourism has become today one of the fastest growing industries in the world.

Lazzarotti ; Richards and Wilson, No longer satisfied with guided bus tours that take them from one historical building to the next, they want to wander through the streets, immerse themselves in the local culture, understand its traditions, observe its spectacles, sample its cuisine — enjoy, in fact, a sensorial experience. Robinson and Picard ; Smith and Robinson ; Turgeon, this volume Intangible heritage, because it is lived and live, offers tourists access to living cultures and new possibilities for the communities to participate directly in the interpretation of their heritage and make tourism a sustainable economic and social activity.

Intangible cultural heritage policies are also a source of new problems and new politics. Although they are a powerful means of developing a sense of belonging and of revitalizing communities, they can also contribute to destabilization, if not managed properly with the active participation of the local populations involved.

For example, the practice of listing elements on the Representative List and the List for Urgent Safeguarding of ICH has had positive but also negative effects. The practice consists of encouraging countries to submit proposals at an annual competition to have their most cherished and fragile living traditions recognized at the international level.

By creating this new international distinction, UNESCO has succeeded in alerting the international community to the importance of taking intangible cultural heritage into consideration and protecting it. But, the practice of listing has also led some national governments to appropriate the living traditions of minority groups and to use them as icons of the identity of the entire nation or as commodities sold to international tourists.

Generally, heritage is considered a transformative experience aimed at making the participant a better person and the world a better place, sometimes even expressed as a sort of conversion, a ritual of transcendence, that reinforces the self and enhances its participation in contemporary cultural politics.

Herzfeld, Littler and Munz, this volume Indeed, the ethics of heritage often conceal more than they reveal. For example, the current aestheticization of native ritual performances in museums has helped to valorize Amerindian, Inuit and African religious expressions as forms of art, long considered primitive, but, at the same time, it has done away with the colonial context and with history altogether. Duvelle, this volume Although a new and noble approach, it does not always help determine what should be valorized and why, nor who in the community should be permitted to decide what should be recognized.

Local communities too have their hierarchies, their hidden agendas, and their own problems with gender, class and race. In other words, policies need to be explored alongside process and practice to fully understand the politics of intangible cultural heritage at all levels.

His pioneering work has been a great source of inspiration for the development of ICH studies, and more generally the renewal of folklore studies. He is sadly missed, even though his work will follow us for a long time. Ils visent aussi à mieux comprendre les interactions complexes et capricieuses entre les politiques, les processus et les pratiques du patrimoine culturel immatériel, souvent qualifié comme le domaine le moins étudié des études postcoloniales.

Il me semblait que le patrimoine culturel immatériel traditions orales, connaissances et savoir-faire traditionnels, rituels et fêtes, arts du spectacle pouvait enrichir le sens du patrimoine matériel sites, paysages, bâtiments, objets et ainsi fournir une vision et une pratique plus riches, complètes, inclusives et dynamiques du patrimoine.

Tous ces efforts ont contribué à faire intégrer le patrimoine culturel immatériel dans la nouvelle Loi sur le patrimoine culturel du Québec entrée en vigueur en Le Québec a ainsi été la première province du Canada à intégrer le patrimoine culturel immatériel dans sa législation Bergeron Je souhaite remercier du fond du coeur les auteurs de ce numéro pour leur collaboration précieuse et leur patience.

En effet, le patrimoine culturel immatériel suscite un engouement chez les intellectuels, les décideurs politiques, les conservateurs de musées et les dirigeants communautaires qui se préoccupent de plus en plus de la conservation et de la promotion du patrimoine culturel vivant des peuples, en tant que moyen de promouvoir le développement régional durable, la revitalisation des communautés, la diversité culturelle, de nouvelles pratiques muséales et le tourisme culturel.

En ouvrant le champ du patrimoine aux traditions vivantes, la Convention a contribué à redéfinir le patrimoine comme un processus ouvert et dynamique, façonné par les gens et se modifiant à travers les rencontres et les échanges, plutôt que comme une entité immuable ancrée dans des objets matériels.

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