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UNESCO aims to tackle Africa's under-representation on its World
Heritage List by inscribing instances of nineteenth- and
twentieth-century modern architecture and urban planning there.
But, what is one to make of the utopias of progress and development
for which these buildings and sites stand? After all, concern for
'modern heritage' invariably-and paradoxically it seems-has to
reckon with those utopias as problematic futures of the past, a
circumstance complicating intentions to preserve a recent 'culture'
of modernization on the African continent. This book, a new title
in Routledge's Studies in Culture and Development series,
introduces the concept of 'global heritage assemblages' to analyse
that problem. Based on extensive anthropological fieldwork, it
describes how various governmental, intergovernmental, and
non-governmental actors engage with colonial and post-colonial
built heritage found in Eritrea, Tanzania, Niger, and the Republic
of the Congo. Rausch argues that the global heritage assemblages
emerging from those examples produce problematizations of the
modern', which ultimately indicate a contemporary need to rescue
modernity from its dominant conception as an all-encompassing,
epochal, and spatial culture.
UNESCO aims to tackle Africa's under-representation on its World
Heritage List by inscribing instances of nineteenth- and
twentieth-century modern architecture and urban planning there.
But, what is one to make of the utopias of progress and development
for which these buildings and sites stand? After all, concern for
'modern heritage' invariably-and paradoxically it seems-has to
reckon with those utopias as problematic futures of the past, a
circumstance complicating intentions to preserve a recent 'culture'
of modernization on the African continent. This book, a new title
in Routledge's Studies in Culture and Development series,
introduces the concept of 'global heritage assemblages' to analyse
that problem. Based on extensive anthropological fieldwork, it
describes how various governmental, intergovernmental, and
non-governmental actors engage with colonial and post-colonial
built heritage found in Eritrea, Tanzania, Niger, and the Republic
of the Congo. Rausch argues that the global heritage assemblages
emerging from those examples produce problematizations of the
modern', which ultimately indicate a contemporary need to rescue
modernity from its dominant conception as an all-encompassing,
epochal, and spatial culture.
This edited volume analyzes participatory practices in art and
cultural heritage in order to determine what can be learned through
and from collaboration across disciplinary borders. Following
recent developments in museology, museum policies and practices
have tended to prioritize community engagement over a traditional
focus on collecting and preserving museal objects. At many museal
institutions, a shift from a focus on objects to a focus on
audiences has taken place. Artistic practices in the visual arts,
music, and theater are also increasingly taking on participatory
forms. The world of cultural heritage has seen an upsurge in
participatory governance models favoring the expertise of local
communities over that of trained professionals. While museal
institutions, artists, and policy makers consider participation as
a tool for implementing diversity policy, a solution to social
disjunction, and a form of cultural activism, such participation
has also sparked a debate on definitions, and on issues concerning
the distribution of authority, power, expertise, agency, and
representation. While new forms of audience and community
engagement and corresponding models for "co-creation" are
flourishing, fundamental but paralyzing critique abounds and the
formulation of ethical frameworks and practical guidelines, not to
mention theoretical reflection and critical assessment of
practices, are lagging. This book offers a space for critically
reflecting on participatory practices with the aim of asking and
answering the question: How can we learn to better participate? To
do so, it focuses on the emergence of new norms and forms of
collaboration as participation, and on actual lessons learned from
participatory practices. If collaboration is the interdependent
formulation of problems and entails the common definition of a
shared problem space, how can we best learn to collaborate across
disciplinary borders and what exactly can be learned from such
collaboration?
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