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Cultural heritage & its importance


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A presentation to learn about cultural heritage and its importance in relevance to primary education, curricula and social entrepreneurship

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Cultural heritage & its importance

  1. 1. CULTURAL HERITAGE & ITS IMPORTANCEAnastasia Kapari October 2018
  2. 2. INTRODUCTION ◦ Heritage is anything that is considered important enough to be passed on to the future generations , including customs, practices, places, objects, artistic expressions and values. Heritage is broadly categorized into two main divisions:-
  3. 3. Cultural Heritage gives people a connection to certain social values,beliefs,religions and customs. It allows them to identify with others of similar mindsets and backgrounds. Cultural heritage can provide an automatic sense of unity and belonging within a group and allows us to better understand previous generations and the history of where we come from.
  4. 4. CULTURAL HERITAGE Cultural Heritage can be further divided into two main groups. ◦ Tangible Heritage which refers to those significant places that advocate the country’s history and culture. For example monuments, mosques, shrines, monasteries etc ◦ Intangible Heritage which refers to those aspects of a country that cannot be touched or seen. For example traditional music, folklore, language etc
  5. 5. Furthermore Cultural Heritage can be distinguished in: •Built Environment (Buildings, Townscapes, Archaeological remains) •Natural Environment (Rural landscapes, Coasts and shorelines, Agricultural heritage) •Artefacts (Books & Documents, Objects, Pictures)
  6. 6. It is necessary to improve awareness of Cultural Heritage and the ethics of its care in study curriculum and to identify tools that can be developed to help communities to better understand and conserve their heritage. Heritage education needs to be developed in schools and through informal education. The best way to preserve our cultural heritage, whatever it may be, is to share it with others. It is our responsibility to keep world history intact for the coming generation so that they may have the same opportunities to learn about the past and their own roots as we have. CULTURAL HERITAGE EDUCATION
  7. 7. Heritage Cycle ◦ The Heritage Cycle diagram gives us an idea how we can make the past part of our future (Simon Thurley, 2005). In a clockwise direction the wedges and arrows read: ◦
  8. 8. Now the main question arises that what contribution can we make for the preservation of our cultural heritage? Here is the answer: (i)we can teach our own children to practice the traditions and beliefs of our ancestors and tell them to continue to pass it on to future generations. Teach them to be proud of their roots especially if they know very few other children of the same cultural heritage. (ii) we can also donate to or participate in associations that fund workshops and museums that help to educate others about our cultural heritage. These organizations will be around for many years to come and are probably one of the best ways to educate others about the history of our ancestors.
  9. 9. "We live in the age of globalization. Cultural heritage helps us to remember our diversity. It develops mutual respect, it is here, waiting to explore it, to share it with others and to protect it for the benefit of all. " Kornélia Lohyňová The eTwinning eTwinning Team "Entrepreneurship in Education" has created activities for its members on video creation by inviting teachers to use their creative and business skills to explore this year's cultural heritage theme. The "Entrepreneurship in Education" team addresses teachers who are interested in integrating entrepreneurial skills in their teaching. Business training is about giving young people opportunities to develop the skills they need for life and work. These important skills are instructive and should be incorporated into educational subjects at all levels of education. The eTwinning Coordinator, Kornélia Lohyňová, has decided this year to link Europe's cultural heritage to entrepreneurial skills. According to EntreComp, the Business Competence Framework of the European Commission, entrepreneurship arises when we capitalize on our opportunities and ideas and turn them into value for others. eTwinning 03.09.2018 Combining Entrepreneurship with Europe's Cultural Heritage
  10. 10. The indirect effects of cultural production (and participation) • Innovation • Welfare • Sustainability • Social cohesion* • New entrepreneurship* • Soft power • Local identity* • Knowledge economy
  11. 11. The cultural and creative field may be a powerful incubator of new forms of entrepreneurship ◦ Τhe rapid growth of the online content industries is creating the stage for a new entrepreneurial cultural with a strong generational basis ◦ Τhe development of creative entrepreneurship still lags behind substantially if compared to the attention and resources devoted to development and support of entrepreneurship in other sectors of the economy ◦ Τhese new forms of entrepreneurship could improve significantly the employability of graduates from the humanities sectors, which are commonly considered to have a weaker employability potential than the graduates from quantitative and technology areas.
  12. 12. Cultural heritage enhances social cohesion Certain types of cultural projects may produce strong and significant effects in terms of juvenile crime prevention, pro- social vocational orientation, or conflict. These projects are generally focused on active cultural participation, as it is made possible for instance by programs of music education. The indirect effect of cultural participation on social cohesion is the overcoming of self- and others-stereotyping as provoked by social prejudices, often linked to ethnicity factors.
  13. 13. Cultural heritage enhances learning ◦ The association between active cultural participation and lifelong learning is a pretty natural one, and unlike others is not particularly surprising. One might even think of active cultural participation as a specific form of lifelong learning ◦ As lifelong learning is well targeted by structural funds programming and takes a central place in EU long-term strategies, it could be of interest to launch and pursue innovative programs and actions that exploit the strategic complementarities between the former and culturally and creatively based communities of practice as instances of advanced platforms of cultural and creative production.
  14. 14. Cultural heritage develops local identity ◦ Considerable emphasis has been put on the role of the installment of new, spectacular cultural facilities in the catering for global visibility. ◦ The developmental potential of a culturally-rebuilt local identity lies in the capacity to stimulate new dynamics of production of cultural content and new modes of cultural access by the local community.
  15. 15. Culture-innovation clusters ◦ Top innovation + culture: Sweden, Denmark, Netherlands, UK, Ireland, Luxembourg, France, Germany ◦ Top innovation + culture lagging: Finland, Belgium, Austria ◦ Top culture + innovation lagging: Spain, Estonia ◦ Lagging innovation + culture: Slovenia, Malta, Croatia, Italy, Czech Republic ◦ Bottom innovation + lagging culture: Lithuania, Latvia, Bulgaria, Romania, Poland ◦ Bottom culture + lagging innovation: Cyprus, Portugal, Greece, Slovakia, Hungary * Clusters of Innovations (COI) have been defined in 2015 as "global economic hot spots where new technologies germinate at an astounding rate and where pools of capital, expertise, and talent foster the development of new industries and new ways of doing business."
  16. 16. Cyprus curricula references to culture and tradition ◦ 1st& 2nd grades ◦ Theme: Cultural Heritage ◦ Students get in touch with the cultural heritage of Cyprus and explore materials and ideas in relation to the local cultural heritage The cultural heritage of Cyprus: ◦ spaces in the immediate vicinity (eg buildings, monuments, religious sites, museums) ◦ tradition and history (eg handicraft items, archaeological finds, customs, myths) ◦ Sustainable practices used by people of tradition. (eg use of raw material - reeds and baskets, clay - pottery) 1.8. To use in their visual work elements related to tradition (their own and other children) 1.8.1. The Cypriot tradition and interconnections with other cultures (children belonging to the school community): - the use of specific materials and techniques (eg clay, reeds, yarn, stones, natural paints) customs, myths and narratives - objects of delivery and their use - morphological and structural elements such as lines, shapes, patterns in representations related to tradition - the protection and preservation of tradition, tradition as an element of the identity of each child
  17. 17. 4th & 5th grades Theme: Cultural Heritage 1.7. To distinguish the cultural heritage of Cyprus and its relations with other cultures, linking the past with the present ◦ 1.7.1. Common and different features related to local cultural heritage and / or other cultures in relation to: ◦ authentic spaces (eg buildings, monuments, religious sites, museums, galleries) ◦ objects, works of art / images / films ◦ ancient Cypriot art (eg artifacts from archaeological finds, pottery, etc.) ◦ myths, narratives and customs ◦ Sustainable practices using people of tradition in different regions of Cyprus (eg in crafts, architecture) 1.8. To express evidence concerning the local and global cultural heritage ◦ 1.8.1. The Cypriot, European and global cultural heritage in relation to the following: shape, colors and shapes - depiction of emotions, the absurd, the strange and the random, historical persons (eg queens and kings, knights) - Greek mythology ◦ 1.8.2. The importance of protecting and preserving the cultural heritage of a place Cyprus curricula references to culture and tradition
  18. 18. ◦ 6th grade (Primary School) – 2nd grade (Secondary School) Theme: Cultural Heritage Interculturality-acceptance and diversity management ◦ Accept and appreciate the cultural values embedded in the various arts and cultures ◦ To recognize the importance of Cyprus Folk Art and Tradition and to justify the necessity of its preservation and exploitation ◦ Emphasis on popular culture (eg common cultural elements among the peoples, peculiarities of peoples that determine the diversity and diversity of cultures) ◦ 3.3.3- Definitions of Folk Art and Tradition ◦ - Importance of Folk Art and Produced ◦ To distinguish the types of traditional arts and professions in Cyprus and to describe their evolutionary course in time ◦ Knowing bodies responsible for the preservation of Cypriot folk art and tradition ◦ To develop individual and collective actions that contribute to the promotion and preservation of folk art and tradition within the cultural school and / or the cultural community ◦ Familiar with Cypriot Folk Art and Tradition: Traditional arts (pottery, weaving, embroidery, metalworking, wood carving, basketry, hairdressing) ◦ Traditional costume, Traditional professions, Traditional house Cyprus curricula references to culture and tradition
  19. 19. Cyprus curricula references to culture and tradition ◦ 4th Grade (Secondary School) ◦ To meet representatives responsible for the preservation of Cypriot folk art and tradition ◦ To develop individual and collaborative actions that contribute to the promotion and preservation of popular art and paradigms within the framework of the cultural school and / or the cultural community
  20. 20. Bodies related to the preservation of Cypriot folk art and tradition The Cyprus Handicrafts Center, located in Nicosia, houses the Cyprus Handicraft Service. The main purpose of this Service is the revival of our traditional folk art and its gradual development into modern craftsmanship. The store hosts fine handicrafts that cover all of the individual handicraft sectors and are produced by the Handicraft Service and the private sector. The products that the Service has in its stores in all cities are characterized by quality superiority, aesthetic beauty, Cypriot character, functionality and commercial acceptance. Inside the Center there is a wide range of tasks carried out by the responsible officers and craftsmen: ◦ research and study of traditional objects of folk art ◦ design, design and creation of new objects ◦ improving products already in production ◦ experimental work on raw materials and techniques ◦ training young craftsmen and craftsmen ◦ production.
  21. 21. The Cyprus Tourism Organisation (CTO) is a semi-governmental organisation under the responsibility of the Ministry of Commerce, Industry and Tourism. One of its aims is to advertise and promote culture. Bodies related to the preservation of Cypriot folk art and tradition
  22. 22. Bodies related to the preservation of Cypriot folk art and tradition ◦ Cyprus Agrotourism Company “Holidays in the Cyprus Countryside guided by nature and culture” In 1996 the villagers have started, through governmental subsidies and incentives, to renovate their old houses (100-300 years old), and convert them into traditional lodgings. This led to the establishment of the Cyprus Agrotourism Company, a body dealing exclusively with holidays in the Cyprus countryside offering suggestions for traditional Accommodation and activities in the countryside. By staying in one of the villages one has the opportunity to explore the beautiful nature of Cyprus, meet the locals and listen to their stories, visit the wineries and follow the wine routes, dine in the local taverns and taste the delicious Cyprus food, walk and discover, bike and discover. We also provide information about all these activities, like climbing, riding, cycling, bird watching, skiing and diving and the places where you can find some traditional products (sweets, crafts etc). The 10 Unesco’s world heritage churches in the Troodos Mountains and the archeological sites are also worth a visit.
  24. 24. In the context of the European Capital of Culture event "Paphos 2017", we organized a Folklore Exhibition at our school. This cultural action aimed to exploit the cultural wealth of Cyprus and Europe and to highlight the common elements and the diversity of European cultures. At the end of the lessons in the exhibition area, the students were able to come in contact with the basic attributes of a Museum / Folk exhibition and had acquired the necessary skills to make a forthcoming visit a multifaceted recreational and teaching experience.
  25. 25. OBJECTIVES Students were able : ◦ to raise awareness of the issue of culture, knowing the cultural wealth of our homeland and, in particular, Paphos, in order to highlight the importance of its choice as the European Capital of Culture for 2017 ◦ to be informed of the possibilities offered by a folklore exhibition ◦ learn to observe, look, listen and discuss elements of life in the past. ◦ to recognize, accept and apply rules while visiting museums and exhibitions self-expression by exposing their creations by developing elements of creativity through experiential learning ◦ to familiarize with traditional Cypriot costumes, embroidery, tools, household utensils and objects, drinks and food, learn morals and customs, traditional professions and agricultural occupations of Cypriots ◦ to come into contact with traditional Cypriot music and dances to play traditional games of European countries and to get acquainted with well-known works of art of foreign artists
  26. 26. ACTIVITY 1: LOGO GREATION Interactive game: The children were asked to match pictures of Pafos sights with the logos. They described the attraction and reported historical events, legends and information they knew.
  27. 27. Διαδραστικό παιγνίδι: Τα παιδιά καλούνται ACTIVITY 2: LEARNING ABOUT CULTURAL TRADITIONS BY STUDYING KASHIALOS PAINTINGS Interactive game: 1) Students studied paintings inspired by Cyprus tradition by Michalis Kashialos a Cypriot artist. They were asked to match the title with each painting and then describe it. 2) Pantomime: students imitated the scene portrayed.
  28. 28. ACTIVITY 3: TRADITIONAL TOOLS AND HOUSEHOLD ITEMS Interactive game: 1)Students had to match the name of the item and describe it (material, use) 2) Pantomime: they demonstrated its use
  29. 29. embroidery from the folk art and tradition of Cyprus ACTIVITY 4-EMBROIDERY FROM THE FOLK ART AND TRADITION OF CYPRUS Students described embroidery items (material, colours, method) and compared them Interactive game (pantomime): The teacher demonstrates the gestures performed during weaving, knitting, embroidery and crochet. Students are asked to use the gestures according to the embroidery shown.
  30. 30. Students recreated great works of art and decorated them with collage details of Cyprus embroidery. ACTIVITY 6– GREAT WORKS OF ART WITH A TOUCH OF CYPRUS EMBROIDERY
  32. 32. The students studied traditional Cyprus embroideries and pottery and designed their own. They visited a pottery workshop and made clay pots decorated with folk art patterns which they attached on wooden bases. ACTIVITY 5: TRADITIONAL CLAY CREATIONS
  33. 33. Interactive game: Students were asked to recognize embroidery patterns and name them. ACTIVITY 5: TRADITIONAL CLAY CREATIONS
  34. 34. ACTIVITY 8: TRADITIONAL CLOTHES Interactive game: Students named the parts of clothes and describe its use.
  35. 35. ACTIVITY 9– TRADITIONAL FOOD AND DRINKS Interactive game: Students named and state the materials used to make each food and drink. They watched videos of the production procedure.
  36. 36. ACTIVITY 10: TRADITIONAL PROFESSIONS Interactive games: 1) Students created works of art depicting traditional profession. Then they are asked to pick up a card with the title and description of each profession and match it to the painting. 2)Pantomime: students in groups of 2-3 immitated the characteristic movements of each profession and the rest guessed which profession it was.
  37. 37. ACTIVITY 11: TRADITIONAL MUSIC AND DANCE Interactive game: Students watch videos with traditional music and dance and they learn how to perform them.
  38. 38. HOW TRADITION HAS BECOME AN INSPIRATION FOR NEW ARTISTS IN CYPRUS Re-discovery of cultural tradition through contamination with contemporary culture and creativity
  39. 39. Legendary printmaker Hambis Tsangaris loves stories. His enchanting illustrated tales of heroes and dragons, fairies and nocturnal demons, have delighted readers and earned him critical acclaim. Hambis demonstrates remarkable creativity in drawing from folk tales and in doing so generates new ideas and techniques in printmaking. In 2008 Hambis finally realised a long term dream of establishing a national printmaking centre and museum to share his skills and promote the art form in Cyprus, “It was my need to make this museum, to teach people about what I have learned about printmaking,” he says passionately.
  40. 40. A gift for you….
  41. 41. Ploumisto Psomi (Decorated Bread) Museum “Ploumisto Psomi” is a pioneering Museum of traditional bread brewers and a Bread Workshop in Limassol. It is the culmination of many efforts and efforts and it is the responsibility of managing a unique collection of traditional brewers of breads in Cyprus, created by the researcher / author Dorita Voskaridou. Within the framework of the operation of the site, many events and activities are organized on a continuous basis, with an important contribution to the cultural activities of the city, which have the main purpose of preserving and promoting the tradition. Lectures, seminars, on tradition, bread, art, literature, reading evenings, poetry nights, children's workshop, reading fairy tales, cooking lessons, tasting.
  42. 42. retrovi A WORLD OF CREATION REDISCOVERED Just as its name suggests, Retrovi (meaning ‘rediscover’ in the Esperanto language) experiments with the traditional designs of Lefkaritiko lace and Fythkiotiko weaving, introducing new applications, while always respecting craft and tradition. The great importance of this embroidery as our island’s cultural heritage simply has to be displayed. For this reason, the Retrovi project ensures the continuation of this tradition, putting forward the freshest ideas with brand new applications of this exquisite craftwork. All Retrovi pieces are handmade, some of them embroidered with fine needlework and some of them entirely woven on the loom. Only the best materials are used to provide the highest degree of quality, and the beauty and uniqueness of each creation could not be better represented than by royal names in Cyprus history. The renowned queens of Cyprus gave their name to Retrovi bags: Berengaria of Navarre, Alice of Champagne, Isabella of Ibelin, Eleonora of Aragon, Helena Palaiologina, Charlotte, and Caterina Cornaro. Retrovi motto: “Heritage can never be forgotten and the modern woman points the way on how to revive tradition and rediscover our history.”
  43. 43. Julia Astreou-Christoforou is a textile designer (specialising in woven textiles), artist and researcher based in Nicosia. Her enthusiasm for traditional Cypriot textiles led to the creation of the Cyprus Textile Route website and booklet, created in cooperation with the European Textiles Network. Julia produces unique, personal creations.
  44. 44. KLOKKARI DESIGN STUDIO Irene Klokkari during her MA interdisciplinary Design, was asked to draw on the contemporary Cypriot souvenir. That's how she began to study the Cypriot tradition and focused on traditional uniforms. She has illustrated the traditional world of Cyprus with humor, inspired by traditional clothes and generally from their everyday life. Along the way they were designed, and applied to products (cushions, duvets, cloth dolls, handbags, etc.) Irene began to promote them in the market, and they are now so popular both in Cyprus and abroad.
  45. 45. Young fashion designers create use traditional embroidery
  46. 46. Traditional basket weaving as an inspiration
  47. 47. Fashion show of student creations with re-used garments by Kokkinotrimithia High School on 7th of May 2017 Ecology and tradition have found common art, in an original initiative, where students created outfits, using old clothes, decorated with motifs and embroidery from the folk art and tradition of Cyprus, giving them a new life. Their motto: “We can reduce the volume of waste by decorating them in a beautiful, creative and supportive way in preserving our cultural heritage.” 7 MAY 2017
  49. 49. Another gift for you….
  50. 50. OTHER IDEAS FOR POSSIBLE ENTREPRENEURIAL ACTIONS ◦ Creation of tourist guide for kids ◦ Creation of souvenirs inspired by cultural heritage ◦ Design of guided tours for cultural sites and museum educational programs for kids ◦ Formation of audio guided tours and virtual visits for cultural sites and museums ◦ Production of advertising material (posters, ads, videos etc) to promote culture ◦ Production of educational material about cultural heritage e.g table games (memory game, Trivial, puzzles, puppets, flash cards, posters), activity books, story books etc
  51. 51. More examples…. My travelling souvenirs!!
  52. 52. This presentation was based on: ◦ CULTURAL HERITAGE & ITS IMPORTANCE by: Tousif Raja ◦ AN INTRODUCTION TO CULTURAL HERITAGE by Muhyiddin School ◦ Developing impact goals for Cultural Heritage 3.0 byPier Luigi Sacco ◦ IULM & Harvard & EC