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Heritage management - 07. authenticity

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Iolanda Pensa, Lessons "Heritage Management", Università di Bergamo, 2017.

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Heritage management - 07. authenticity

  1. 1. Concepts and As-is analysis Critical analysis Proposal 1.The Concept of Heritage 2. Stakeholders 3. Copyleft and Wikipedia 4. Interpretations and Services 5.Target Groups 6. Implications of Heritage 7.Authenticity 8. Structure of a Proposal 9. Strengths / Weaknesses 10.Threats / Opportunities Map a territory Identify Heritage/Stakeholders Identify Licenses/Sources Identify Services Analyze Target groups involved Analyse Message(s) promoted Identify Existing Gaps Show Concept/Message/Target Produce a SWOT Describe Services Lessons Assignment Competence Iolanda Pensa, Heritage Management, Università di Bergamo, 2017. iolanda.pensa@supsi.ch - http://iopensa.it
  2. 2. how authentic a representation of the past can be Source:Timothy & Boyd, Heritage Tourism, 2003, p. 237
  3. 3. visitor satisfaction Source:Timothy & Boyd, Heritage Tourism, 2003, p. 239
  4. 4. The “local community”
  5. 5. 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
  6. 6. 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
  7. 7. 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.
  8. 8. 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
  9. 9. ©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.
  10. 10. © Hala Elkoussy, (re)construction, 2003..
  11. 11. © Samuel Fosso, La Femme américaine libérée des années 70, Série Tati, autoportrait I-V, 1997, coloured photography. In Africa Remix, p. 124.
  12. 12. © Tsesler &Voichenko.
  13. 13. © Jane Alexander, Courtesy Africa Screams,Vienna, 2004.
  14. 14. © Lara Baladi.
  15. 15. © Iman Issa, Going Places, Cairo, 2003.
  16. 16. © Iman Issa, Going Places, Cairo, 2003.
  17. 17. © Basim Madgi.
  18. 18. © Maha Maamoun, Going Places:A Project for Public Busses, Le Caire, 2003-2004.
  19. 19. © Basim Magdy, SupermanWill Save Us All, Cairo, 2002, postcard.
  20. 20. © Mounir Fatmi, Sortir de l'histoire, 2005-2006, cassettesVHS, photos, sons et vidéo.
  21. 21. © Mounir Fatmi, G8 Les balais, 2004, installation.
  22. 22. © Calixte Dakpogan, Hounsa, 2007, 79x75x19 cm in Why Africa, p. 45.
  23. 23. Mobile A2K, photo Zetalab for lettera27, Dakar, 2010, cc by-sa.
  24. 24. 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.
  25. 25. Kinshasa, Belgium PavilionVenice Biennale of Architecture 2004 (Filip de Boeck and Marie-Françoise Plissart, Kinshasa: Tales of the Invisible City.

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