This document provides an overview of concepts and an as-is analysis for a heritage management proposal. It lists 10 topics to cover, including stakeholders, licenses/sources of information, target groups, and a SWOT analysis. It also lists lessons on assignment competence from Iolanda Pensa's 2017 heritage management course at Università di Bergamo. The document provides sources and summaries on the concepts of authenticity and how it relates to heritage tourism.

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. how authentic a representation of the past can be
Source:Timothy & Boyd, Heritage Tourism, 2003, p. 237

3. visitor satisfaction
Source:Timothy & Boyd, Heritage Tourism, 2003, p. 239

4. The “local community”

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. 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. 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. 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. ©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. © Hala Elkoussy, (re)construction, 2003..

11. © Samuel Fosso, La Femme américaine libérée des années 70, Série Tati, autoportrait I-V, 1997, coloured photography. In Africa Remix, p. 124.

12. © Tsesler &Voichenko.

13. © Jane Alexander, Courtesy Africa Screams,Vienna, 2004.

14. © Lara Baladi.

15. © Iman Issa, Going Places, Cairo, 2003.

16. © Iman Issa, Going Places, Cairo, 2003.

17. © Basim Madgi.

18. © Maha Maamoun, Going Places:A Project for Public Busses, Le Caire, 2003-2004.

19. © Basim Magdy, SupermanWill Save Us All, Cairo, 2002, postcard.

21. © Mounir Fatmi, Sortir de l'histoire, 2005-2006, cassettesVHS, photos, sons et vidéo.

22. © Mounir Fatmi, G8 Les balais, 2004, installation.

23. © Calixte Dakpogan, Hounsa, 2007, 79x75x19 cm in Why Africa, p. 45.

24. Mobile A2K, photo Zetalab for lettera27, Dakar, 2010, cc by-sa.

25. 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.

26. Kinshasa, Belgium PavilionVenice Biennale of Architecture 2004 (Filip de Boeck and Marie-Françoise Plissart, Kinshasa: Tales of the Invisible City.