2. •WHAT DO YOU CONSIDER AS YOUR
HERITAGE?
•IS IT :
•FOOD ?
•CLOTHING?
•MONEY ?
•LANDFORMS?
3. “heritage is an axis of identity, power and society production
and reproduction.” MUJERI (2000)
4.
5.
6.
7. DEFINITIONS
• HERITAGE CAN BE THOUGHT OF AS THE CULTURAL
EXPRESSIONS OF HUMANITY, THAT IS, TANGIBLE OR
INTANGIBLE, MOVABLE OR IMMOVABLE AND ALSO NEW OR
OLD (APLIN 2002)
• HERITAGE CAN BE SEEN AS SOMETHING(S) THAT A
SET OF PEOPLE ARE WILLING TO PRESERVE FOR
DIFFERENT REASONS WHICH MAY BE EITHER
PERSONAL OR IN THE INTEREST OF THE WHOLE
GROUP (HOWARD 2003)
8. • BOTH TANGIBLE AND INTANGIBLE WORKS
THROUGH WHICH THE CREATIVITY OF
PEOPLE FINDS EXPRESSION
• HERITAGE IS FOUND IN 2 FORMS
i. NATURAL
ii. CULTURAL
10. NATURAL HERITAGE
• Natural heritage refers to natural features, geological and physiographical
formations and delineated areas that constitute the habitat of threatened species of
animals and plants and natural sites of value from the point of view of science,
conservation or natural beauty. It includes private and publicly protected natural
areas, zoos, aquaria and botanical gardens, natural habitat, marine ecosystems,
sanctuaries, reservoirs (UNESCO, 2009).
• Natural features consisting of physical and biological formations or groups of such
formations, which are of outstanding universal value from the aesthetic or scientific
point of view; geological and physiographical formations and precisely delineated
areas which constitute the habitat of threatened species of animals and plants of
outstanding universal value from the point of view of science or conservation;
natural sites or precisely delineated natural areas of outstanding universal value
from the point of view of science, conservation or natural beauty.
14. CONT’
• NATURAL HERITAGE IN ZIMBABWE MANIFESTS IN
THE FORM OF FLORA AND FAUNA, THAT IS :
• FORESTS –NYANGANI MOUNTAINS
• AQUATIC BODIES – RIVERS, WATERFALLS-
VICTORIA FALLS, UNDERWATER HERITAGE
• WILDLIFE- HWANGE NATIONAL PARK,
GONAREZHOU, VIC FALLS PARK
• GEOLOGICAL HERITAGE – ROCKS, MINERAL
RESOURCES, VALLEYS ETC
15. CULTURAL HERITAGE
• LEGACY OF PHYSICAL ARTIFACTS AND INTANGIBLE
ATTRIBUTES OF A GROUP OR SOCIETY THAT IS
INHERITED FROM PAST GENERATIONS. THIS
HERITAGE HAS A TOUCH OF HUMAN MODIFICATION
(HUMAN FINGERPRINT)
• PHYSICAL FEATURES ASSOCIATED WITH PAST
HUMAN ACTIVITIES
•
16. CONT’
• CULTURAL HERITAGE IS FOUND IN THE FORM OF
TANGIBLE AND INTANGIBLE.
• BOTH TANGIBLE AND INTANGIBLE HERITAGE ARE
WORKS THROUGH WHICH THE CREATIVITY OF
PEOPLE FINDS EXPRESSION
• CH IS A PRODUCT OF SELECTION/CHOICES BY THE
SOCIETY
17. TANGIBLE CULTURAL HERITAGE
• THIS IS HERITAGE THAT IS PHYSICAL (TOUCHABLE,
VIEWABLE, MOVABLE OR IMMOVABLE).
• MOVABLE CULTURAL HERITAGE IS HERITAGE THAT
CAN BE MOVED FROM ONE PLACE TO THE OTHER.
• COMES IN THE FORM OF ARTEFACTS, OBJECTS EG
THE ZIMBABWE BIRDS, TSVIMBO YAMUKWATI,
POTTERY, IRON OBJECTS (ARROW/SPEARHEADS,
HOES, BANGLES), STONE TOOLS (HAND AXE,
CLEVERS, SCRAPPERS)
18. • IMMOVABLE CULTURAL HERITAGE IS CULTURAL HERITAGE IS
HUMAN CREATED/MODIFIED HERITAGE THAT CANNOT BE
MOVED FROM PLACE TO PLACE.
• MOVING THIS KIND OF HERITAGE IS TATAMOUNT TO
DESTROYING BOTH ITS PHYSICAL AND INTANGIBLE
ATTRIBUTES.
• EXAMPLES OF IMMOVABLE CULTURAL HERITAGE ARE
• ARCHAEOLOGICAL SITES SUCH AS GREAT ZIMBABWE, KHAMI
RUINS, PYRAMIDS (EGYPT), STONE HENGE (ENGLAND),
STERKFONTAIN (SOUTH AFRICA), MACHU PICHU (AMERICA)
• CULTURAL LANDSCAPES- THESE ARE NATURAL
LANDSCAPES (FORMATIONS) WHICH HAVE BEEN MODIFIED
BY HUMAN ACTIVITIES. THESE HABOR A MULTITUDE OF
CULTURAL HERITAGE REPRESENTATIONS EG MATOPOS
CULTURAL LANDSCAPE, MAPUNGUBWE CULTURAL
LANDSCAPE, UPPER MAZOE VALLEY CULTURAL LANDSCAPE
19. INTANGIBLE CULTURAL
HERITAGE
• INTANGIBLE CULTURAL HERITAGE IS A PRACTICE, REPRESENTATION,
EXPRESSION, KNOWLEDGE, OR SKILL CONSIDERED BY UNESCO TO
BE PART OF A PLACE'S CULTURAL HERITAGE; IT COMPRISES
"NONPHYSICAL INTELLECTUAL PROPERTY, SUCH AS FOLKLORE,
CUSTOMS, BELIEFS, TRADITIONS, KNOWLEDGE, AND LANGUAGE" IN
CONTRAST TO TANGIBLE HERITAGE (I.E., "PHYSICAL OBJECTS AND
ARTIFACTS BELONGING TO A CULTURE").(SULLIVAN 2005)
• THIS THE INTANGIBLE DIMENTION OF THE PHUSICALHERITAGE, THAT
IS, ALL THE IMATERIAL MANIFESTATIONS OF CULTURE.
• INTANGIBLE CULTURAL HERITAGE IS SOMETIMES KNOWN AS LIVING
HERITAGE, IT CANNOT BE TOUCHED
20. • THESE ARE PRACTICES, REPRESENTATIONS,
EXPRESSIONS, AS WELL AS THE KNOWLEDGE AND SKILLS
(INCLUDING INSTRUMENTS, OBJECTS, ARTIFACTS,
CULTURAL SPACES), THAT COMMUNITIES, GROUPS AND, IN
SOME CASES, INDIVIDUALS RECOGNISE AS PART OF THEIR
CULTURAL HERITAGE(CONVENTION FOR THE
SAFEGUARDING OF THE INTANGIBLE CULTURAL
HERITAGE).
• IT ICLUDES SPIRITUAL VALUES THAT ARE ATTACHED TO
ARCHAEOLOGICAL HERITAGE SITES , OBJECTS,
MOUNTAINS.
• UNESCO PROTECTS AND PROMOTES THIS TYPE OF
HERITAGE THROUGH THE 2003 CONVENTION FOR THE
PROTECTION OF INTANGIBLE HERITAGE
21. ICH DOMAINS
• ORAL TRADITIONS AND EXPRESSIONS, INCLUDING LANGUAGE AS A
VEHICLE OF THE INTANGIBLE CULTURAL HERITAGE;
• PERFORMING ARTS; INCLUDES DANCE EG MBAKUMBA,RUMBA
• SOCIAL PRACTICES, RITUALS AND FESTIVE EVENTS
• KNOWLEDGE AND PRACTICES CONCERNING NATURE AND THE
UNIVERSE
• TRADITIONAL CRAFTSMANSHIP-STONE CARVING,BASKET WEAVING
• FOOD HERITAGE- MADE UP OF PERCULIA TRADITIONAL FOODS THAT
ARE PROMINENT FROM PLAC TO PLACE MEXICAN SUISINE,
WOSHOKU, MUBOORA, HARURWA
22. IMPORTANCE OF CONSERVING
INTANGIBLE HERITAGE
• Intangible heritage gives meaning to tangible heritage, the tangible can only be
interpreted through the intangible (Munjeri 2000).
• All meanings associated with tangible heritage (objects and places) are intangible
• The category of ICH encourages formerly marginalized forms of heritage to be
recognized
• Investigating ICH helps us review and expand the notion of heritage as a whole
• It improves existing management practices for tangible heritage by developing new
strategies
23. WHY STUDY HERITAGE
• HERIATGE SHOULD BE STUDIED BEACAUSE IIT HAS A
BEARING ON OUR EVEYDAY LIFE. HERITAGE HAS VALUES
ATTECHED TO IT AND THESE VALUES MAKE HERITAGE
WORTH CONSERVING.
• HISTORIC VALUE – KNOWING YOUR PAST IN ORDER TO
INFORM THE FUTURE BASING ON PAST EXPERIENCES. ‘…A
PEOPLE WITH NO PAST HAS NO FUTURE….’ . CH REPRESENTS ERAS
IN CIVILISATIONS THAT HAS PASSED. HERITAGE SYMBOLISES
STAGES WHEN CIVILISATIONS FLOURSHED BUT WERE NOT
DOCUMENTED BECAUSE THE SOCIETIES WERE NON-LITERATE. THIS
IS EVIDENT MAINLY IN AFRICA AND AUSTRALIA.
• “…AFRICA IS A DARK CONTINENT AND HAS NO HISTORY…” THIS STATEMENT WAS
REVERSED BY HERITAGE WHICH STANDS AS A SIGN OF AFRICA’S ANCIENT GLORY
24. SOCIAL /SPIRITUAL/RELIGIOUS
VALUE
• PEOPLE DERIVE THEIR IDENTITY FROM THEIR HERITAGE EG
NEMAMWA AND MUGABE CLAN ASSOCIATION WITH GREAT
ZIMBABWE; THE EGYPTIANS ARE ASSOCIATED WITH POWER AND
WEALTH THROUGH THEIR PYRAMIDS.
• LANGUAGE- IS A MEDIUM OF REINFORCING IDENTITY AND CULTURE
• MOST HERITAGE SITES ARE ASSOCIATED WITH CONNECTION WITH A
HIGHER BEING (GOD/MWARI). MATOPOS CULTURAL LANDSCAPE
ASSOCIATED WITH RAIN ASKING (NJELELE SHRINE)
• AFRICAN KNOWLEDGE BASE IS SPIRITUAL/RELIGIOUS- THIS IS
EXAMPLIFIED BY MYTHS, TABOOS, SACREDNESS
25. SCIENTIFIC/EDUCATIONAL
VALUE-
• SCIENTIFIC/EDUCATIONAL VALUE- THERE ARE MANY ASPECTS THAT
A COMMUNITY CAN LEARN FROM HERITAGE EG ARCHITECTURAL
AND ENGINEERING VALUE AT GZ
• HERITAGE SITES ARE A HUB OF EDUCATIONAL INFORMATION SUCH
AS EVOLUTION AND GEOLOGICAL FORMATIONS (VICTORIA FALLS).
26. AESTHETIC VALUE
• AESTHETICS REFERS TO THE VISUAL QUALITIES OF
HERITAGE-BEAUTY WITHIN THE SITE EG DESIGNS.
• AESTHTICS INCORPORATES ALL THE SENSES, THAT IS,
SMELL, SOUNDS, FEELING. A HERITAGE SITE CAN BE SEEN
S VALUABLE FOR THE SENSORY EXPERIENCE IT OFFERS.
• DENOTES VALUE ACCRUED BECAUSE OF THE MEANING
THAT A SITE HOLDS TO PEOPLE SUCH AS
BEAUTY,ARTISTRY.
27. ECONIMICA VALUE
• THIS RELATES TO HOW A HERITAGE SITE CAN IMPROVE THE WELFARE OF A
SOCIETY BY THE GENERATION OF FUNDS AND THE INFRASTRUCTURAL
DEVELOPMENT THAT IS BROUHT TO AN AREA BECAUSE OF THE EXISTANCE
OF A HEITAGE SITE.
• THROUGH TOURISM, LOCAL COMMUNITIES CAN BENEFIT FROM SEELING
OF CULTURAL OBJECTS (CURIOS) AND ALSO THE CREATION OF
EMLOYMENT AT THE HERITAGE SITE.
• ECONOMIC VALUE CAN BE SEEN AT HERITAGE SITES SUCH AS VICTORIA
FALLS AND GREAT ZIMBABWE.
• NATURAL HERITAGE SUCH AS MINERALS AND RAW MATERIALS ALSO
GENERATE REVENUE WHEN THEY ARE HARNESSED, PROCESSED AND
SOLD.
28. SIGNIFICANCE
• these values act as a marker on the significance of heritage from
personal, family, national, regional and world significance.
• heritage might be of value to a small portion of the society, but
may be also importnt to the whole world because of its qualities
and perculiarities.
• some heritage has 'outstanding universal value' because its
worth is recognised by the whole world thus labelling it world
heritage.
29. OUTSTANDING UNIVERSAL VALUE
• WORLD HERITAGE CONVENTION (ONE WORLD ONE HERITAGE)
• THE PRIMARY MISSION OF THE CONVENTION IS TO IDENTIFY AND PROTECT
THE WORLD'S NATURAL AND CULTURAL HERITAGE CONSIDERED TO BE OF
OUTSTANDING UNIVERSAL VALUE.
• THEORIZES THAT SOME PLACES ARE SO IMPORTANT THAT THEIR
PROTECTION IS NOT ONLY THE RESPONSIBILITY OF A SINGLE NATION, BUT
IS ALSO THE DUTY OF THE INTERNATIONAL COMMUNITY AS A WHOLE; AND
NOT ONLY FOR THIS GENERATION, BUT FOR ALL THOSE TO COME.
• THIS LED TO THE CREATION OF A WORLD HERITAGE LIST AND LAYING OUT
OF PROCEDURES TO BE TAKEN WHEN NOMINATING HERITAGE OF THIS
KIND.
• TEN OPTIONS WERE SET AND IF A HERITAGE SITE MEETS ONE OF THE
CRITERIA THEN IT WOULD BE INSCRIPTED ON THE LIST
30. CRITERIA FOR OUV
• to represent a masterpiece of human creative genius
• to exhibit an important interchange of human values, over a span of time or within a cultural area of the
world, on developments in architecture or technology, monumental arts, town-planning or landscape
design;
• to bear a unique or at least exceptional testimony to a cultural tradition or to a civilization which is living
or which has disappeared;
• to be an outstanding example of a type of building, architectural or technological ensemble or
landscape which illustrates (a) significant stage(s) in human history;
• to be an outstanding example of a traditional human settlement, land-use, or sea-use which is
representative of a culture (or cultures), or human interaction with the environment especially when it
has become vulnerable under the impact of irreversible change;
• to be directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with
artistic and literary works of outstanding universal significance. (The Committee considers that this
criterion should preferably be used in conjunction with other criteria);
31. CONT’ CRITERIA
• to contain superlative natural phenomena or areas of exceptional natural beauty and
aesthetic importance;
• to be outstanding examples representing major stages of earth's history, including the record
of life, significant on-going geological processes in the development of landforms, or
significant geomorphic or physiographic features;
• to be outstanding examples representing significant on-going ecological and biological
processes in the evolution and development of terrestrial, fresh water, coastal and marine
ecosystems and communities of plants and animals;
• to contain the most important and significant natural habitats for in-situ conservation of biological
diversity, including those containing threatened species of outstanding universal value from the
point of view of science or conservation.
