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10. Iolanda Pensa, Heritage Management 2018, Authenticity


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Iolanda Pensa, Heritage Management 2018, Università di Bergamo. Authenticity

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10. Iolanda Pensa, Heritage Management 2018, Authenticity

  1. 1. Critical analysis 1.The Concept of Heritage 2. Structure of a Proposal 3. Implications of Heritage 4. Legislation and Copyright 5. Critical Analysis 6. Context Analysis 7. Services and Interpretations 8. Stakeholders 9.Target Groups 10.Authenticity Map a territory (identify heritage) Context analysis proposal budget Analyse Message(s) promoted Identify legislation and rights SWOT References and Wikipedia Identify Services Identify Stakeholders Analyze Target groups involved Identify Existing Gaps Lessons Assignment Competence As-is analysis Critical analysis As-is analysis Critical analysis Estimated time 20 hours Concepts and proposal Iolanda Pensa, Heritage Management, Università di Bergamo, 2018. -
  2. 2. Authentic = positive or negative?
  3. 3. Authenticity is a trap
  4. 4. how authentic a representation of the past can be Source:Timothy & Boyd, Heritage Tourism, 2003, p. 237
  5. 5. visitor satisfaction Source:Timothy & Boyd, Heritage Tourism, 2003, p. 239
  6. 6. ©Yinka Shonibare, Scramble for Africa, 2000 in Looking BothWays:Art of the Contemporary African Diaspora, 2003. Commissioned by and courtesy Museum for African Art NY.
  7. 7. © Hala Elkoussy, (re)construction, 2003..
  8. 8. © Samuel Fosso, La Femme américaine libérée des années 70, Série Tati, autoportrait I-V, 1997, coloured photography. In Africa Remix, p. 124.
  9. 9. © Tsesler &Voichenko.
  10. 10. © Jane Alexander, Courtesy Africa Screams,Vienna, 2004.
  11. 11. © Lara Baladi.
  12. 12. © Iman Issa, Going Places, Cairo, 2003.
  13. 13. © Iman Issa, Going Places, Cairo, 2003.
  14. 14. © Basim Madgi.
  15. 15. © Maha Maamoun, Going Places:A Project for Public Busses, Le Caire, 2003-2004.
  16. 16. © Basim Magdy, SupermanWill Save Us All, Cairo, 2002, postcard.
  17. 17. © Mounir Fatmi, Sortir de l'histoire, 2005-2006, cassettesVHS, photos, sons et vidéo.
  18. 18. © Mounir Fatmi, G8 Les balais, 2004, installation.
  19. 19. © Calixte Dakpogan, Hounsa, 2007, 79x75x19 cm in Why Africa, p. 45.
  20. 20. Mobile A2K, photo Zetalab for lettera27, Dakar, 2010, cc by-sa.
  21. 21. Reconstruction of the sitting room of 221B Baker Street at The Sherlock Holmes themed public house in London. Photo by Jack1956, 2014, cc by-sa.
  22. 22. Territorial studies
  23. 23. Kinshasa, Belgium PavilionVenice Biennale of Architecture 2004 (Filip de Boeck and Marie-Françoise Plissart, Kinshasa: Tales of the Invisible City.
  24. 24. © LucaVitone (1964), Wider City, PAC, Milan, 2006
  25. 25. © FabioVanin, Maputo, città aperta: Indagini su una capitale africana, Ph.D. dissertation, Università IUAV diVenezia, 2009, n. 12. Comparative analysis of the porosity of a formal and informal settlement of Maputo.
  26. 26. The “local community”
  27. 27. Authenticity Source:Timothy & Boyd, Heritage Tourism, 2003, pp. 240-254 The search for authenticity 1. Staged authenticity and commodified heritage 2. Distorted pasts 3. Relative authenticity 4. Ethnic intruders 5. Sanitised and idealized pasts 6. The unknown past
  28. 28. Chris Wee, Uffizi Gallert, 2006, cc by-sa.
  29. 29. Grand Canyon,Tuxyso / Wikimedia Commons / CC BY-SA 3.0
  30. 30. Hawaii, sulfur dioxide emissions from the Halema`uma`u vent, Kīlauea, Brocken Inaglory, 2008, cc by-sa.
  31. 31. Rock face in Ruby Beach with hot springs in the Olympic National Park, Washington State, USA, Michael Gäbler, 1992, cc by-sa.
  32. 32. Grand Prismatic Spring and Midway Geyser Basin in Yellowstone National Park,Brocken Inaglory, 2008, cc by-sa.
  33. 33. Taj Mahal, Agra, India, south face.Yann Forget / Wikimedia Commons / 2010 / CC-BY-SA-3.0.
  34. 34. Bagrati Cathedral. Kutaisi, Imereti, Georgia., Photo: Marcin Konsek / Wikimedia Commons /, 2014, CC BY-SA 4.0
  35. 35. Buildings on the Malacca River. Malacca City, Malacca, Malaysia., Photo: Marcin Konsek / Wikimedia Commons, 2016, CC BY-SA 4.0
  36. 36. Vank Cathedral, Isfahan, Iran, Diego Delso, 2016, cc by-sa.
  37. 37. Authenticity Source:Timothy & Boyd, Heritage Tourism, 2003, p. 238- Typology of authenticity (Bruner 1994) 1. Authentic reproduction 2. Replication historically accurate 3. Original instead of copied 4. Authority of legal recognition NO!
  38. 38. Authenticity Source:Timothy & Boyd, Heritage Tourism, 2003, p. 241 Typology of authenticity - dynamic (Cohen 1979) 1. Truly authentic experiences (objectively real and accepted by the tourists as real) 2. Staged authenticity (staged or made up for the tourists but the tourists are unable to distinguish this from reality) - covert tourist space 3. Denial of authenticity: the scene is presented as genuine but the tourists question its authenticity. 4. Contrived authenticity. Overly inauthentic and preened as such by the tourist establishment and perceived as such by the tourist - overt tourist space. NO!
  39. 39. Authenticity Source:Timothy & Boyd, Heritage Tourism, 2003, p. 242- 1. Authentic people in authentic environments 2. Authentic people in inauthentic environments 3. Inauthentic people in inauthentic environments 4. Inauthentic people in authentic environments NO!
  40. 40. Authentic = positive or negative?
  41. 41. Authenticity is a trap
  42. 42. Do NOT use the word authentic and the concept of authenticity (unless you are analyzing it from a historiographic perspective) Iolanda Pensa, Heritage Management, 2018.
  43. 43. I'm no longer your bloody object in the British Museum. Rasheed Araeen Rasheed Araeen, From Primitivism to Ethnic Arts in "Third Text", n. 1, 1987, p. 18. La stessa frase è pubblicata anche in Primitivism andTwentieth- Century Art, (dir.) Jack Flam with Miriam Deutch, University of California Press, Barkeley et Los Angeles et London, 2003, p. 432.
  44. 44. Douala. Photo Emiliano Gandolfi, 2007, cc by-sa. Analyze the message and identify the gapsCritical analysis What is the common image of this place? How people think it is? What is the image sold to the tourists? It is based on what kind of heritage? What is its present situation? Are there other “richnesses”? Is there heritage which can document differently this place? Am I satisfied with the current image? What image of this place I want to highlight? Is there something I want to change? Is there something missing? Current situation Potentialities Critical analysis