The aim of this essay is to summarise, analyse, and evaluate two articles - “Safeguarding Intangible Cultural Heritage in the 2003 UNESCO Convention: a critical appraisal” and “Safeguarding Intangible Cultural Heritage: Key Factors in Implementing the 2003 Convention” by Richard Kurin.
Richard Kurin, an American cultural anthropologist and museum official, is the Smithsonian’s Under Secretary for History, Art, and Culture, former member of U.S. Commission for UNESCO. Currently he is an advisor of that organization and of the U.S. Department of State. He was engaged in the creation and establishment of the Convention for the Safeguarding of the Intangible Cultural Heritage.
In the discussed articles he attempts to address scholars, leaders and experts in the field of Intangible Cultural Heritage. He uses a critical approach towards the Convention and analyses its main regulations.
In these articles the author is dealing with the definition of intangible cultural heritage, effects and possible outcomes, obstacles and opportunities as well as efficiency, all regarded to the Convention.
First, the nature of intangible cultural heritage is ‘the dynamic social processes of creativity, of identity-making, of taking and respecting the historically received and
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The two international lists – Representative List of the Intangible Cultural Heritage of Humanity and List of Intangible Cultural Heritage in Need of Urgent Safeguarding – assign ‘prestige, honour, recognition and attention’ to the bearers of the given heritage and ‘energise their own efforts to continue, transmit, and even extend their traditions’. For instance, he mentions the Folklife Festival, even if it is not registered in any of the lists. Meanwhile, there is a lack of strategies which are or can be used worldwide to reach the goals of the
...otion to the cause of maintaining knowledge is strong, and unhampered by personal ambition or pride. They possess a sensitivity and reverence for the Memorabilia, and knowledge in general, that allowed them to maintain and protect the sacred documents. However, it is their sense of responsibility towards the products of this knowledge, and their understanding of the dangers such knowledge could present, that makes them the ideal protectors and regulators of knowledge. While they welcome anyone who wishes to study the Memorabilia with open arms, for they love knowledge too, they also hope to imbue knowledge-seekers with foresight and an ethical obligation to the products of that knowledge, in hopes that scientists with a conscience might avoid another Flame Deluge.
In the article of “Exhibiting Intention: Some Preconditions of the Visual Display of Culturally Purposeful Objects”, the author, Michael Baxandall mainly discussed interrelationship within the group of three agents upon their influence and reflect of the artifacts in the museum, and the understanding of culture elements behind the display. In the first part of this paper, I will identify the points of view of the author. In the second part, I will analyze the layout of the gallery, “Imagining the Underground” in Earth Matters in Fowler Museum in UCLA. Several discussion related to the settings of the museum and the article will be discussed interactively. In general, this paper tries to show the robustness and the weakness of Baxandall’s model, which will specified.
The article “The Life of An Artifact” by Michael Shanks discusses archaeological points of view and how the presence of the artifact relates to the social issues. An artifact may undergo through aging, decay or physical changes, but it should not be forgotten with the past. Similarly, Japanese artist Takashi Murakami created a new life-cycle for the 727 painting by combining different art styles and cultures. The painting follows the “Superflat” movement and applies the techniques learned from both American and Japanese art. The 727 painting became a unique art style that creates a new
For years on end, countries have been fighting with big museums from other countries for ancient artifacts that belong to the original countries. The argument of whether or not the museums should be able to keep them still remains. It is the right of the country to have their own artifacts. It is imperative for countries to be able showcase their historical artifacts, therefor museums should return them to their rightful owners.
To begin, the exploitation and dismemberment of ancient architecture is seen as an insult to the historic civilization, which is evident due to Hichens’ use of historical references in
Five, six, seven, eight, turn in cultural artifacts to their rightful place. One does not want their possessions in someone else's hands, so museums and people should give artifacts back to their rightful owners or descendents of that person or country. One needs to give back all of the artifacts that isn’t theirs and return them to the rightful country or person; it’s stealing from that person or country when one has one of their artifacts that isn’t theirs.
A kouros purchased by the J. Paul Getty museum brings about skepticism of its legitimacy. According to Dr. Richard Serros the legitimacy of ancient works of art is often overlooked, as explained in the chapter titled, “Art and the Truth: The Getty Kouros and Provenance”. This is a notion worth noting as many priceless pieces of art may be seen as legitimate by several museums when in fact they are forgeries. These forgeries lack a true origin and may prove that many museums are indifferent as to where or from whom they receive ancient works of art.
Looting has been a major issue in the art market since archeological discoveries have been uncovered in the 1800s, and has continued to be a problem to the modern day. It is widely disputed whether or not these looted artifacts should be valid documentation of the past which causes problems to arise in the archaeological world. When looted goods are found, there is a discussion amongst archaeologists about the validity of the artifacts and the next steps to be taken. Looting and the art market are problematic because it encourages forgery and the fact the artifacts are stripped of their cultural background however, even with new laws limiting the market, is unavoidable; but to discredit them as artifacts disregards the information that they
So this museum was built by the local resident’s memory piece by the piece. Moreover, those materials contain the haptic feeling and the past time would be collected and preserved.
In “Whose Culture Is It, Anyway? ”, Kwame Anthony Appiah begins by pointing out that some of the museums of the world, particularly in the West, have large collections of artefacts and objects which were robbed from developing and poor countries. He then raises a question: who owns these cultural patrimony and properties? Our first answer may be that since they make up the cultural heritage of a people, they belong to the people and culture from whom they were taken. Appiah has doubt about this and argues that if some cultural artefacts are potentially valuable to all human beings, they should belong to all of humanity. He thinks that when they make contribution to world culture, they should be protected by being made available to those who would benefit from experiencing them and put into trusteeship of humanity.
UNESCO Islamabad Office in collaboration with Government of Pakistan and other local partners works to safeguard the country's rich heritage with an aim to contribute to promote cultural diversity , peace and sustainable development as well as reducing poverty . Through a number of conservation projects , the sector has been complementing Government efforts to safeguard the World Heritage and other sites of national importance and contribute to protect the Outstanding Universal . 2003 Convention on safeguarding the Intangible Cultural Heritage and acknowledging the role of culture in promoting peace , creativity and development
Approximately 1.5 million guests visit this museum annually. It has numerous numbers of collections and variations. The exhibition is really very good and the creativity is also very pretty. It is exhibited very well and the differences among the different places are being clearly understood. Artifacts, sculptures, and paintings are alluring and admirable.
will help acquire a better understanding of the authors’ opinions and ideas, which they aimed to present in their work to convince the reader of the correctness of their thinking. After paying readers’ attention to the importance of relationship between archaeology and ethics, the authors argue that ethical issues related to archaeology are not regulated by law only, and their role in preserving and respecting cultural diversity should not be diminished. Indeed, they believe that archaeology must be used as an efficient tool of enhancing ethical behavior in research, protecting
Museum defines as an institution housing collections of objects of artistic, historic, or scientific interest conserved and displayed for the educational and enjoyment of the public. Museums are places of memory that provides the link of distant past to the present generation which also help the society to know the path their forebears trod. The main purpose of museum is neither to educate nor entertain but rather creates a memory bank would remind us of the past. No wonder most societies in different parts of the world traced their origin through the works of arts history. There are many types of museum includes museum of Antiquities-in which are housed ancient pieces of furniture or objects of art such as sculptures, paintings, ceramics, textiles and other crafts. Public record office museum serving as collection centre for famous documents, War museum containing relics of national wars, Maritime museum for maritime history, museum for architecture, with types, structures and styles of building, etc., Museum for Local/Indigenous Technologies, Science Museum, with objects depicting history of science and engineering and Natural History Museum. However, all types of these have their own roles of information institutions in national development. The main roles are to identify, acquire, preserve, and exhibit unique, collectible, or representative objects. The role of museum in the life of a nation involves conducting research into the vast natural history heritage and biodiversity of the country, serving as a repository, of natural objects, source materials and taxonomists in that country, creating scientific awareness, on natural history resources of the nation through annotated exhibitions for public enlightenment in display ga...
According to the Sinhala language,”Sanskruthika Urumayan” word reflects the translated form of the English word cultural heritage. The word “Sanskruthiya” means culture and “Urumayan” means both tangible and intangible remaining forms from the past to the present. Considering the legislation definition I have chosen to define cultural heritage according to laws of Sri Lanka, it is important to see the period of its origin. Sri Lanka, which named as Ceylon was colonized by British throne, from early of 1830s to 1945 February 4th Independence Day (citation). Therefore, the following legislation document of Sri Lanka was developed in 1940 under the colonial ruling before the independence and the word referred to cultural heritage is antiquities. According to the 1940 Antiquities Ordinance of Ceylon, it recognize any monuments that lying, being or found in the (Ceylon) Sri Lanka as the ancient monuments if they are dated before 1815. Also, it had defined a monument as,”temple, church, monument, other structure or erecti...