The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage came into force in 2006, framing the international and national practices and policies associated with intangible cultural heritage. This volume critically and reflexively examines these practices and policies, providing an accessible account of the different ways in which intangible cultural heritage has been defined and managed in both national and international contexts. As Safeguarding Intangible Heritage reveals, the concept and practices of safeguarding are complicated and often contested, and there is a need for international debate about the meaning, nature and value of heritage and what it means to 'safeguard' it. Safeguarding Intangible Heritage presents a significant cross section of ideas and practices from some of the key academics and practitioners working in the area, whose areas of expertise span anthropology, law, heritage studies, linguistics, archaeology, museum studies, folklore, architecture, Indigenous studies and history. The chapters in this volume give an overarching analysis of international policy and practice and critically frame case studies that analyze practices from a range of countries, including Australia, Canada, China, Indonesia, Japan, Korea, Kyrgyzstan, New Zealand, Taiwan, the UK and Zimbabwe. With a focus on conceptual and theoretical issues, this follow-up to Intangible Heritage, by the same editors, will be of great interest to students, scholars and professionals working in the fields of heritage and museum studies, heritage conservation, heritage tourism, global history, international relations, art and architectural history, and linguists.

This book focuses on the theoretical, policy and practice linkages and disjunctures between tourism and the creative industries. There are clear and strong intersections between the sectors, for example in the development and application of new and emerging media in tourism; festivals and cultural events showcasing the creative identity of place; tours and place identities associated with film, TV, music and arts tourism; as well as particular destinations being promoted on the basis of their 'creative' endowments such as theatre breaks, art exhibitions and fashion shows. Tourism and the Creative Industries explores a variety of relationships in one volume and offers innovative and critical insights into how creative industries and tourism together contribute to place identity, tourist experience, destination marketing and management. The book is aligned with the sectors that have been demarcated by the UK Government Department of Culture, Media and Sport as comprising the creative industries: advertising and marketing; architecture; design and designer fashion; film, TV, video, radio and photography; IT, software and computer services; publishing and music; performing and visual arts. The title of this volume demonstrates how the exclusion of tourism from the creative industries is arguably perverse, given that much of the work by destination managers and of private sector tourism is characterised by creativity and innovation. Interdisciplinary research and international context bring a broader perspective on how the creative industries operate in varying cultural and policy contexts in relation to tourism. This book brings together the parallel and disparate inter-disciplinary fields of tourism and the creative industries and will be of interest to students, academics and researchers interested in tourism, creative industries, marketing and management.

Heritage Sites in Contemporary China: Cultural Policies and Management Practices focuses on cultural heritage policies in China emerging in the period of the 11th and 12th Five Year Plans. Various important Chinese sites across China are investigated, including Luoyang Sui, Daming Gong, Niuheliang, Xinjiang, and Nanyuewang through the dual perspective of archaeological debate and as a case study of policy making. It explores the relationship between policy and the institutional and administrative conditions, such as budgeting and land concerns, which affect it. Building on the research project implemented by the China Academy for Cultural Heritage (CACH) from 2012-2014, which focused on the impact of the Dayizhi Policy for Great Archaeological Sites, the book provides an interdisciplinary insider's approach to viewing archaeological discoveries; policies and emerging practices in site and archaeological management; and public administration in China. Featuring contributions from experts within CACH and from the Chinese community of archaeologists, and including numerous tables, data and maps, it will appeal to researchers and scholars in disciplines such as archaeology, heritage management, public administration, and policy making.

This book offers an interdisciplinary analysis of the social practice of taste in the wake of Pierre Bourdieu's sociology of taste. For the first time, this book unites sociologists and other social scientists with artists and curators, art theorists and art educators, and art, design and cultural historians who engage with the practice of taste as it relates to encounters with art, cultural institutions and the practices of everyday life, in national and transnational contexts. The volume is divided into four sections. The first section on 'Taste and art', shows how art practice was drawn into the sphere of 'good taste', contrasting this with a post-conceptualist critique that offers a challenge to the social functions of good taste through an encounter with art. The next section on 'Taste making and the museum' examines the challenges and changing social, political and organisational dynamics propelling museums beyond the terms of a supposedly universal institution and language of taste. The third section of the book, 'Taste after Bourdieu in Japan' offers a case study of the challenges to the cross-cultural transmission and local reproduction of 'good taste', exemplified by the complex cultural context of Japan. The final section on 'Taste, the home and everyday life' juxtaposes the analysis of the reproduction of inequality and alienation through taste, with arguments on how the legacy of ideas of 'good taste' have extended the possibilities of experience and sharpened our consciousness of identity. As the first book to bring together arts practitioners and theorists with sociologists and other social scientists to examine the legacy and continuing validity of Pierre Bourdieu's sociology of taste, this publication engages with the opportunities and problems involved in understanding the social value and the cultural dispositions of taste 'after Bourdieu'. It does so at a moment when the practice of taste is being radically changed by the global expansion of cultural choices, and the emergence of deploying impersonal algorithms as solutions to cultural and creative decision-making.

1. The book examines the challenges that environmental change, both sudden and long-term, poses to the preservation of cultural material. 2. There is very little direct competition from recent publications on this topic in book format - and anything that has been published on a similar or related topic has been published by Routledge! 3. Considering how local knowledge can have international application, the book should be of interest to those engaged in the study of heritage, conservation, archaeology, archives, anthropology, climate change and the environment. It will be also useful to practitioners around the globe.

Explore the Cotwolds off road with this laminated, waterproof Cotswolds map. With 10 clearly-marked routes this easy-to-use map will help you discover the best of the Cotswolds on your bike and off the road. From the gorgeous, honey-coloured stone villages to the dramatic rolling hills, the Cotswolds are a visual feast and perfect for exploring by bike. The Cotswolds are ideal for the touring cyclist and day-tripper. They represent England at her very best. Long, winding lanes connect beautiful villages with excellent pubs and friendly tearooms. The landscape you cycle through is rich in imagery with some of the tracks being prehistoric in origin. For the cross-country rider who wants long green lanes criss-crossing some of England's most beautiful landscapes, and linking some of the most beautiful villages, and all 100% rideable - then this is for you. 10 fantastic routes are included, from the Bibury Circuit and the Northleach Circuit to the Stow Slaughters Trail.

Since the 1990s, artists and art writers around the world have increasingly undermined the essentialism associated with notions of "critical practice." We can see this manifesting in the renewed relevance of what were previously considered "outsider" art practices, the emphasis on first-person accounts of identity over critical theory, and the proliferation of exhibitions that refuse to distinguish between art and the productions of culture more generally. How Folklore Shaped Modern Art: A Post-Critical History of Aesthetics underscores how the cultural traditions, belief systems and performed exchanges that were once integral to the folklore discipline are now central to contemporary art's "post-critical turn." This shift is considered here as less a direct confrontation of critical procedures than a symptom of art's inclusive ideals, overturning the historical separation of fine art from those "uncritical" forms located in material and commercial culture. In a global context, aesthetics is now just one of numerous traditions informing our encounters with visual culture today, symptomatic of the pull towards an impossibly pluralistic image of art that reflects the irreducible conditions of identity.

This volume explores the process of heritage making and its relation to the production of touristic places, examining several case studies around the world. Most existing literature on heritage and tourism centers either on its managerial aspects, the tourist experience, or issues related to inequality and identity politics. This volume instead establishes theoretical links between analyses of heritage and the production and reproduction of places in the context of the global tourist trade. The approach adopted here is to explore the production of heritage as a complex process shaped by local and global discourses that can have a deep impact on several policies and legislations. Heritage itself has now become not only a global discourse, but also a global practice, which may eventually lead to the use of heritage as a field for hegemony. From these perspectives, heritage making may be incorporated in the world economy, mainly through the global tourism trade. The chapters in this book stress the need for identifying the intrinsic political implications of these processes, relocating their study in political, economic and social settings. Combined with a diversified set of theoretical approaches and research methods, guided by a common thematic rationale, The Making of Heritage is at the forefront of current debates about heritage.

How have cultural policies created new occupations and shaped professions? This book explores an often unacknowledged dimension of cultural policy analysis: the professional identity of cultural agents. It analyses the relationship between cultural policy, identity and professionalism and draws from a variety of cultural policies around the world to provide insights on the identity construction processes that are at play in cultural institutions. This book reappraises the important question of professional identities in cultural policy studies, museum studies and heritage studies. The authors address the relationship between cultural policy, work and identity by focusing on three levels of analysis. The first considers the state, the creativity of the power relationship established in cultural policies and the power which structures the symbolic order of cultural work. The second presents community in the cultural policy process, society and collective action, whether it is through the creation of institutions for arts and heritage profession or through resistance to state cultural policies. The third examines the experience of cultural policy by the professional. It illustrates how cultural policy is both a set of contingencies that shape possibilities for professionals, as much as it is a basis for identification and identity construction. The eleven authors in this unique book draw on their experience as artists and researchers from a range of countries, including France, Canada, United Kingdom, United States, and Sweden.

Staging Indigenous Heritage examines the cultural politics of four Indigenous cultural villages in Malaysia. Demonstrating that such villages are often beset with the politics of brokerage and representation, the book shows that this reinforces a culture of dependency on the brokers. By critically examining the relationship between Indigenous tourism and development through the establishment of Indigenous cultural villages, the book addresses the complexities of adopting the 'culture for development' paradigm as a developmental strategy. Demonstrating that the opportunities for self-representation and self-determination can become entwined with the politics of brokerage and the contradictory dualism of culture, it becomes clear that this can both facilitate and compromise their intended outcomes. Challenging the simplistic conceptualisation of Indigenous communities as harmonious and unified wholes, the book shows how Indigenous cultures are actively forged, struggled over, and negotiated in contemporary Malaysia. Confronting the largely positive rhetoric in current discourses on the benefits of community-based cultural projects, Staging Indigenous Heritage should be essential reading for academics and students in the fields of museum studies, cultural heritage studies, Indigenous studies, development studies, tourism, anthropology, and geography. The book should also be of interest to museum and heritage professionals around the world.

Described by GEM* as 'a very informative and practical book ... worth having on any museum shelf', the Museum Educator's Handbook is a thorough and practical guide to setting up and running education services in all types of museum, even the smallest, in any geographical setting. This third edition has been comprehensively updated to reflect the increased emphasis on the role of museums at all levels of education, from schools to further and higher education. There are new sections which deal with the importance of risk management and quality assurance, as well as guidance on the prevalent use of policy documents and new marketing methods. *Group for Education in Museums

The Routledge Companion to Art and Disability explores disability in visual culture to uncover the ways in which bodily and cognitive differences are articulated physically and theoretically, and to demonstrate the ways in which disability is culturally constructed. This companion is organized thematically and includes artists from across historical periods and cultures in order to demonstrate the ways in which disability is historically and culturally contingent. The book engages with questions such as: How are people with disabilities represented in art? How are notions of disability articulated in relation to ideas of normality, hybridity, and anomaly? How do artists use visual culture to affirm or subvert notions of the normative body? Contributors consider the changing role of disability in visual culture, the place of representations in society, and the ways in which disability studies engages with and critiques intersectional notions of gender, race, ethnicity, class, and sexuality. This book will be particularly useful for scholars in art history, disability studies, visual culture, and museum studies.

Current discourse on Indigenous engagement in museum studies is often dominated by curatorial and academic perspectives, in which community voice, viewpoints, and reflections on their collaborations can be under-represented. This book provides a unique look at Indigenous perspectives on museum community engagement and the process of self-representation, specifically how the First Nations Elders of the Blackfoot Confederacy have worked with museums and heritage sites in Alberta, Canada, to represent their own culture and history. Situated in a post-colonial context, the case-study sites are places of contention, a politicized environment that highlights commonly hidden issues and naturalized inequalities built into current approaches to community engagement. Data from participant observation, archives, and in-depth interviewing with participants brings Blackfoot community voice into the text and provides an alternative understanding of self and cross-cultural representation. Focusing on the experiences of museum professionals and Blackfoot Elders who have worked with a number of museums and heritage sites, Indigenous Voices in Cultural Institutions unpicks the power and politics of engagement on a micro level and how it can be applied more broadly, by exposing the limits and challenges of cross-cultural engagement and community self-representation. The result is a volume that provides readers with an in-depth understanding of the nuances of self-representation and decolonization.

This book examines the complex and conflicting relationships between LGBT people and our cultural and heritage organisations including libraries, museums and archives. In this unique book established author John Vincent draws together current good practice, and also highlights issues which urgently still need to be addressed. To set the work of libraries, museums and archives in context, Vincent traces the development of LGBT rights in the UK. He goes on to examine some of the reasons for hostility and hatred against this minority group and critically explores provision that has been made by cultural and heritage organisations. He offers examples of good practice - not only from the UK, but from across the world - and draws up an essential 'charter' for future development. This compelling, practical book should be read by managers and staff in libraries, museums and archives around the world looking for guidance on this important issue.

This book challenges traditional approaches to heritage interpretation and offers an alternative theoretical architecture to the current research and practice. Russell Staiff suggests that the dialogue between visitors and heritage places has been too focused on learning outcomes, and so heritage interpretation has become dominated by psychology and educational theory, and over-reliant on outdated thinking. Using his background as an art historian and experience teaching heritage and tourism courses, Russell Staiff weaves personal observation with theory in an engaging and lively way. He recognizes that the 'digital revolution' has changed forever the way that people interact with their environment and that a new approach is needed.

Drawing on love studies and research in material cultures, this book seeks to re-examine love through materiality studies, especially their recent incarnations, new materialism and object-oriented philosophy, to spark a debate on the relationship between love, objects and forms of materializing affection. It focuses on love as a material form and traces connections between feelings and materiality, especially in relation to the changing notion of the material as marked by digital culture, as well as the developments in understanding the nature of non-human affect. It provides insight into how materiality, in its broadest sense, impacts the understanding of the meanings and practices of love today and reversely, how love contributes to the production and transformation of the material world.

This is the first history of the harp in Scotland to be published. It sets out to trace the development of the instrument from its earliest appearance on the Pictish stones of the 8th century, to the present day. Describing the different harps played in the Highlands and the Lowlands of Scotland, the authors examine the literary and physical evidence for their use within the Royal Courts and "big houses" by professional harpers and aristocratic amateurs. They vividly follow the decline of the wire-strung clarsach from its links with the hereditary bards of the Highland chieftains to its disappearance in the 18th century, and the subsequent attempts at the revival of the small harp during the 19th and 20th centuries. The music played on the harp, and its links with the great families of Scotland are described. The authors present, in this book, material which has never before been brought to light, from unpublished documents, family papers and original manuscripts. They also make suggestions, based on their research, about the development and dissemination of the early Celtic harps and their music. This book, therefore, should be of great interest, not only to harp players but to historians, to all musicians in the fields of traditional and early music, and to any reader who recognises the importance of these beautiful instruments, and their music, throughout a thousand years of Scottish culture.

-Focuses on what actually works in development practice, in order to inform and inspire practitioners and students -Impressive global reach, with a wide range of case studies drawn from across Algeria, Sri Lanka, Thailand, Ethiopia, Guatemala, Mexico, Peru, India, Kosovo, Taiwan, USA, South Africa, Malawi, and China -Highlights development projects at the small and large scale and across a range of visual and performing arts

Video art emerged as an art form that from the 1960s and onwards challenged the concept of art - hence, art historical practices. From the perspective of artists, critics, and scholars engaged with this new medium, art was seen as too limiting a notion. Important issues were to re-think art as a means for critical investigations and a demand for visual reconsiderations. Likewise, art history was argued to be in crisis and in need of adapting its theories and methods in order to produce interpretations and thereby establish historical sense for moving images as fine art. Yet, as this book argues, video art history has evolved into a discourse clinging to traditional concepts, ideologies, and narrative structures - manifested in an increasing body of texts. Video Art Historicized provides a novel, insightful and also challenging re-interpretation of this field by examining the discourse and its own premises. It takes a firm conceptual approach to the material, examining the conceptual, theoretical, and methodological implications that are simultaneously contested by both artists and authors, yet intertwined in both the legitimizing and the historicizing processes of video as art. By engaging art history's most debated concepts (canon, art, and history) this study provides an in-depth investigation of the mechanisms of the historiography of video art. Scrutinizing various narratives on video art, the book emphasizes the profound and widespread hesitations towards, but also the efforts to negotiate, traditional concepts and practices. By focusing on the politics of this discourse, theoretical issues of gender, nationality, and particular themes in video art, Malin Hedlin Hayden contests the presumptions that inform video art and its history.

The concept of 'natural heritage' has become increasingly significant with the threat of dwindling resources, environmental degradation and climatic change. As humanity's impact on the condition of life on earth has become more prominent, a discernible shift in the relationship between western society and the environment has taken place. This is reflective of wider historical processes which reveal a constantly changing association between humanity's definition and perception of what 'nature' constitutes or what can be defined as 'natural'. From the ornate collections of specimens which formed the basis of a distinct concept of 'nature' emerging during the Enlightenment, this definition and the wider relationship between humanity and natural history have reflected issues of identity, place and politics in the modern era. This book examines this process and focuses on the ideas, values and agendas that have defined the representation and reception of the history of the natural world, including geology and palaeontology, within contemporary society, addressing how the heritage of natural history, whether through museums, parks, tourist sites or popular culture is used to shape social, political, cultural and moral identities. It will be of interest to scholars and practitioners within heritage studies, public history, ecology, environmental studies and geography.

Natural history museums are changing, both because of their own internal development and in response to changes in context. Historically, the aim of collecting from nature was to develop encyclopedic assemblages to satisfy human curiosity and build a basis for taxonomic information. Today, with global biodiversity in rapid decline, there are new reasons to build and maintain collections, while audiences are more diverse, numerous, and technically savvy. Institutions must learn to embrace new technology while retaining the authenticity of their stories and the value placed on their objects. The Future of Natural History Museums begins to develop a cohesive discourse that balances the disparate issues that our institutions will face over the next decades. It disassembles the topic into various key elements and, through commentary and synthesis, explores a cohesive picture of the trajectory of the natural history museum sector. This book contributes to the study of collections, teaching and learning, ethics, and running non-profit businesses and will be of interest to museum and heritage professionals and academics and senior students in Biological Sciences and Museum Studies.

Public art is produced and 'lived' within multiple, interlaced and contested political, economic, social and cultural-symbolic spheres. This lively collection is a mix of academic and practice-based writings that scrutinise conventional claims on the inclusiveness of public art practice. Contributions examine how various social differences, across class, ethnicity, age, gender, religion, ability and literacy, shape encounters with public art within the ambits of the design, regeneration and everyday experiences of public spaces. The chapters richly draw on case studies from the Global North and South, providing comprehensive insights into the experiences of encountering public art via a variety of scales and realms. This book advances critical insights of how socially practised public arts articulate and cultivate geographies of social difference through the themes of power (the politics of encountering), affect (the embodied ways of encountering), and diversity (the inclusiveness of encountering). It will appeal to scholars, students and practitioners of cultural geography, the visual arts, urban studies, political studies and anthropology.

This title was first published in 1988: In this book the author has translated five postwar experimental Japanese plays and recreated the artistic, social and spiritual milieu in which they were created. He describes the turning point in Japanese thinking about the nature and limitations of a Western-oriented modern culture, and the creation of "underground" theatres which in which evolved a new mythology of history. Professor Goodman sees these developments as an interplay between personal and political (ie revolutionary) salvation.

Antiquarianism and the Visual Histories of Louis XIV: Artifacts for a Future Past provides a new interpretation of objects and images commissioned by Louis XIV (1638-1715) to document his reign for posterity. The Sun King's image-makers based their prediction of how future historians would interpret the material remains of their culture on contemporary antiquarian methods, creating new works of art as artifacts for a future time. The need for such items to function as historical evidence led to many pictorial developments, and medals played a central role in this. Coin-like in form but not currency, the medal was the consummate antiquarian object, made in imitation of ancient coins used to study the past. Yet medals are often elided from the narrative of the arts of ancient regime France, their neglect wholly disproportionate to the cultural status that they once held. This revisionary study uncovers a numismatic sensibility throughout the iconography of Louis XIV, and in the defining monuments of his age. It looks beyond the standard political reading of the works of art made to document Louis XIV's history, to argue that they are the results of a creative process wedded to antiquarianism, an intellectual culture that provided a model for the production of history in the grand siecle.

The Routledge Handbook of Cultural Tourism explores and critically evaluates the debates and controversies in this field of Tourism. It brings together leading specialists from a range of disciplinary backgrounds and geographical regions, to provide state-of-the-art theoretical reflection and empirical research on this significant stream of tourism and its future direction. The book is divided into 7 inter-related sections. Section 1 looks at the historical, philosophical and theoretical framework for cultural tourism. This section debates tourist autonomy role play, authenticity, imaginaries, cross-cultural issues and inter-disciplinarity Section 2 analyses the role that politics takes in cultural tourism. This section also looks at ways in which cultural tourism is used as a policy instrument for economic development. Section 3 focuses on social patterns and trends, such as the mobilities paradigm, performativity, reflexivity and traditional hospitality, as well as considering sensitive social issues such as dark tourism. Section 4 analyses community and development, exploring adaptive forms of cultural tourism, as well as more sustainble models for indigenous tourism development. Section 5 discusses Landscapes and Destinations, including the transformation of space into place, issues of authenticity in landscape, the transformation of urban and rural landscapes into tourism products and conservation versus development dilemmas. Section 6 refers to Regeneration and Planning, especially the creative turn in cultural tourism, which can be used to avoid problems of serial reproduction, standardisation and homogenisation. Section 7 deals with The Tourist and Visitor Experience, emphasising the desire of tourists to be more actively and interactively engaged in cultural tourism. This significant volume offers the reader a comprehensive synthesis of this field, conveying the latest thinking and research. The text is international in focus, encouraging dialogue across disciplinary boundaries and areas of study and will be an invaluable resource for all those with an interest in Cultural Tourism. This is essential reading for students, researchers and academics of Tourism as well as those of related studies in particular Cultural Studies, Leisure, Geography, Sociology, Politics and Economics.