03 - Heritage, Creativity and the Public
-
Upload
ian-alden-russell -
Category
Documents
-
view
215 -
download
0
Transcript of 03 - Heritage, Creativity and the Public
-
8/3/2019 03 - Heritage, Creativity and the Public
1/40
Cultural heritage, curation & creatiWeek 03 - Heritage, creativity & the public
-
8/3/2019 03 - Heritage, Creativity and the Public
2/40
-
8/3/2019 03 - Heritage, Creativity and the Public
3/40
if its our heritage, who are the we?
-
8/3/2019 03 - Heritage, Creativity and the Public
4/40
1937 Bunreacht na hEireann
Act 2 - It is the entitlement and birthright of ev
person born in the island of Ireland, which inclu
its islands and seas, to be part of the Irish Nat
That is also the entitlement of all persons otherwqualified in accordance with law to be citizens
Ireland. Furthermore, the Irish nation cherishes
special affinity with people of Irish ancestry liv
abroad who share its cultural identity and heritage
-
8/3/2019 03 - Heritage, Creativity and the Public
5/40
1999 heritage awareness survey
The term heritage is generally associated in
public mind with the past, history and the hist
built environment, as well as the cultural dimenssuch as music and language. It is far less rea
associated with the natural environment
landscape, and the wildlife that inhabits it.
-
8/3/2019 03 - Heritage, Creativity and the Public
6/40
demographic changes
immigration apprx. 10% non-Irish born (419,733)
integration & racial tensions 2004 citizenship referendum
with Europe coming together, its important to keep your owimage.
35-45 year old, Dublin
-
8/3/2019 03 - Heritage, Creativity and the Public
7/40
2005 Wicklow Heritage
Survey
When it comes to defining heritage, the vast majority of peo
in Wicklow (71%) equate protecting Wicklow's heritage with
protecting our identity" and this is closely associated with'protecting our roots', with almost eight out of every ten peo
expressing pride in their heritage.
-
8/3/2019 03 - Heritage, Creativity and the Public
8/40
2007 heritage awareness survey
Its from our past, its dead.12-14 year old, Dublin.
Its our ancestors and what they did years and years ago, the way they lived
45-55 year old, Sligo.
The language, history, knowing where weve come from or what has made Irish
people what they are. 35-45 year old, Dublin
When people ask you about your heritage, you automatically think of where you c
from yourself
18-25, female, Tralee.
If you just say heritage you think locally, if you say Irish heritage, you think nation
50+ year old, Co. Galway
What makes us different from other countries.
-
8/3/2019 03 - Heritage, Creativity and the Public
9/40
2007 heritage awareness survey
Development has caused increased concern over preservation of
heritage
Increased awareness corresponding to increased threat (same as
defensive stance found in 1999) (lack of strategic plan)
Preserving the true essence vs. overly commercialising
Exposure to heritage engenders national pride and teaches us ab
our ancestors
One in 4 Irish people vs. the public
-
8/3/2019 03 - Heritage, Creativity and the Public
10/40
Changing attitudes
1999 Survey
Identity (what it means to be Irish)
Conservative/conservationist
Wicklow 2005
Identity / roots
2007 Survey
National pride (who we are - one in four Irish people)
Conservative/conservationist
Social change - no mention of demographics of immigration, foreign nationals, asylum seekers or stat
peoples
Academic texts of Irish heritage or heritage in Ireland
lack of engagement with immigration or multi-culturalism
-
8/3/2019 03 - Heritage, Creativity and the Public
11/40
Heritage and social power
Owernership/Responsibility
the people in power 15-16 year old school girl, Galway
Its their responsibility and not really mine directly. 35-45 year old, Du
The national heritage (HC 2007)
The countrys inheritance (Heritage of Ireland 2000)
Authority for the genesis of the idea of the Irish state
Self-evident autocratic heritage (vs. democratic heritage)
-
8/3/2019 03 - Heritage, Creativity and the Public
12/40
Integration?
Spatial and Temporal Axis
although people be neighbours spatially, it does not follow that
they will constitute a community over time (Luke Gibbons 2007
1999 Recommendation 6
Participation and involvement by the public in heritage activitie
should be more actively encouraged through funding of loca
events and community heritage projects
Whose locality? Whose community? Whose state?
-
8/3/2019 03 - Heritage, Creativity and the Public
13/40
emerging/ignored heritages
Anna Lo - first ethnic minority politician elected at a nation
level in Northern Ireland, and the first politician born in Eas
Asia elected to any national parliament or assembly in the
United Kingdom/EU?
1962 first Chinese restaurant in N.Ireland
Rotimi Adebari - Nigerian asylum seeker elected Portlaoise
mayor (2007)
1602 - Jewish mayor of Cork
-
8/3/2019 03 - Heritage, Creativity and the Public
14/40
Implications
An emerging multi-cultural Ireland may result in heightening
awareness of the past and our changing traditions/cultures.
(HC 2007)
Who are the we? (Lentin/McVeigh)
Can racism (exclusion) support and strengthen the heritage
sector?
-
8/3/2019 03 - Heritage, Creativity and the Public
15/40
Emotions made manifest
Top down integration (assimilation)
you can be here if you fit into our self-project
desire for our lifestyle (food stores, shops - service industry)
But anxiety if it threatens sense of self/group identity
Fear for legacy (I want my kids to look/act like me)
NIMBYism - Not in my back yard
Not in my biological yard.
-
8/3/2019 03 - Heritage, Creativity and the Public
16/40
Cultural heritage & identity
Cultural heritage is widely recognised across Europe as a
vehicle of cultural identity. How much people know about
cultural heritage depends both on what is done to promote iand also on the capacity of Europeans to become familiar w
and appreciate their own culture and those of the other EU
Member States.
-
8/3/2019 03 - Heritage, Creativity and the Public
17/40
Constitutional racism
Racism without race (Lentin/McVeigh)
Absorbed into liberal structures of the state
Jure sanguinis
Biological/genetic essentialism - conflated with heritage/
community - for ownership of spaces and objects
Naturalising/reifying hierarchies
-
8/3/2019 03 - Heritage, Creativity and the Public
18/40
Heritages of constitutionalracism2004 Citizenship Referendum
2004 National Monuments Amendment
1995 Heritage Act
Heritage Council Policies
naturalising/sociailising objects as basis for racial prejudice
Potential for Minister to destroy heritage as needed in the public interest
What constitutes the public interest?
What is to protect inner city/marginalised immigrant heritage?
What rights do these peoples have?
-
8/3/2019 03 - Heritage, Creativity and the Public
19/40
UNESCO and diversity
Diversity constitutes the very essence of the different types o
heritage - be they monumental, movable, intangible or world
heritage. As symbolic spaces for sharing, they provide the msuitable common ground for the promotion of mutual
understanding and enrichment between cultures. (UNESCO
2007)
-
8/3/2019 03 - Heritage, Creativity and the Public
20/40
Conservation and
conservatism
What kind of state are we integrating into / participating in?
What is the civic constitution of the state?
What is the civic constitution of heritage?
-
8/3/2019 03 - Heritage, Creativity and the Public
21/40
PROJECT
DATE 2008-2009 WWW.PLACINGVOICES.COM
PLACING VOICES - VOICING PLACESTHE MONTO & CLANBRASSIL ST, DUBLIN
http://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/ -
8/3/2019 03 - Heritage, Creativity and the Public
22/40
PLACING VOICES - VOICING PLACESTHE MONTO, DUBLIN
-
8/3/2019 03 - Heritage, Creativity and the Public
23/40
PLACING VOICES - VOICING PLACESTHE MONTO, DUBLIN
-
8/3/2019 03 - Heritage, Creativity and the Public
24/40
PLACING VOICES - VOICING PLACESTHE MONTO, DUBLIN - WWW.PLACINGVOICES.COM
http://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/ -
8/3/2019 03 - Heritage, Creativity and the Public
25/40
PROJECT
DATE 2008-2009 WWW.PLACINGVOICES.COM
PLACING VOICES - VOICING PLACES
THE MONTO, DUBLIN
http://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/ -
8/3/2019 03 - Heritage, Creativity and the Public
26/40
PROJECT
DATE 2008-2009 WWW.PLACINGVOICES.COM
PLACING VOICES - VOICING PLACES
THE MONTO, DUBLIN
http://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/ -
8/3/2019 03 - Heritage, Creativity and the Public
27/40
PROJECT
DATE 2008-2009 WWW.PLACINGVOICES.COM
PLACING VOICES - VOICING PLACES
THE MONTO, DUBLIN
http://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/ -
8/3/2019 03 - Heritage, Creativity and the Public
28/40
PLACING VOICES - VOICING PLACESTHE MONTO, DUBLIN
-
8/3/2019 03 - Heritage, Creativity and the Public
29/40
PROJECT
DATE 2009 WWW.PLACINGVOICES.COM
CLANBRASSIL ST
http://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/ -
8/3/2019 03 - Heritage, Creativity and the Public
30/40
PROJECT
DATE 2009 WWW.PLACINGVOICES.COM
CLANBRASSIL ST ZINESSEAN LYNCH
http://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/ -
8/3/2019 03 - Heritage, Creativity and the Public
31/40
PROJECT
DATE 2009 WWW.PLACINGVOICES.COM
CLANBRASSIL ST ZINESSEAN LYNCH
http://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/ -
8/3/2019 03 - Heritage, Creativity and the Public
32/40
PROJECT
DATE 2009 WWW.PLACINGVOICES.COM
CLANBRASSIL ST ZINESSEAN LYNCH
http://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/ -
8/3/2019 03 - Heritage, Creativity and the Public
33/40
PROJECT
DATE 2009 WWW.PLACINGVOICES.COM
CLANBRASSIL ST ZINESSEAN LYNCH
http://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/ -
8/3/2019 03 - Heritage, Creativity and the Public
34/40
THE HOME PROJECT - URSULA RANI SARMA - CLANBRASSIL STREET, DWWW.IARCHITECTURES.COM/THEHOMEPROJECT.HTML - WWW.PLACINGVOICES.COM
http://www.iarchitectures.com/thehomeproject.htmlhttp://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/http://www.iarchitectures.com/thehomeproject.htmlhttp://www.iarchitectures.com/thehomeproject.html -
8/3/2019 03 - Heritage, Creativity and the Public
35/40
THE HOME PROJECT - URSULA RANI SARMA - CLANBRASSIL STREET, DWWW.IARCHITECTURES.COM/THEHOMEPROJECT.HTML - WWW.PLACINGVOICES.COM
http://www.iarchitectures.com/thehomeproject.htmlhttp://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/http://www.iarchitectures.com/thehomeproject.htmlhttp://www.iarchitectures.com/thehomeproject.html -
8/3/2019 03 - Heritage, Creativity and the Public
36/40
THE HOME PROJECT - URSULA RANI SARMA - CLANBRASSIL STREET, DWWW.IARCHITECTURES.COM/THEHOMEPROJECT.HTML - WWW.PLACINGVOICES.COM
http://www.iarchitectures.com/thehomeproject.htmlhttp://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/http://www.iarchitectures.com/thehomeproject.htmlhttp://www.iarchitectures.com/thehomeproject.html -
8/3/2019 03 - Heritage, Creativity and the Public
37/40
THE HOME PROJECT - URSULA RANI SARMA - CLANBRASSIL STREET, DWWW.IARCHITECTURES.COM/THEHOMEPROJECT.HTML - WWW.PLACINGVOICES.COM
http://www.iarchitectures.com/thehomeproject.htmlhttp://www.placingvoices.com/http://www.placingvoices.com/http://www.placingvoices.com/http://www.iarchitectures.com/thehomeproject.htmlhttp://www.iarchitectures.com/thehomeproject.html -
8/3/2019 03 - Heritage, Creativity and the Public
38/40
diversity does not equal
dissonance
-
8/3/2019 03 - Heritage, Creativity and the Public
39/40
HIPNOSAXIS BALLYMUN, DUBLIN, 2009
-
8/3/2019 03 - Heritage, Creativity and the Public
40/40
LUNITICAXIS BALLYMUN, DUBLIN, 2009