DOCSLIB.ORG

MAPPING CULTURAL DIVERSITY Good Practices from Around the Globe

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MAPPING CULTURAL DIVERSITY Good PRactices fRom Around thE GLobE A Contribution to the Debate on the Implementation of the UNESCO Convention on the Diversity of Cultural Expressions Education | Sci E n c E | c u L t u R E | communication Mapping Cultural Diversity – Good Practices from Around the Globe A Contribution to the Debate on the Implementation of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions – A Project of the U40-Programme „Cultural Diversity 2030“ – Published by: German Commission for UNESCO (DUK) Asia-Europe Foundation (ASEF) Colmantstr. 15, 53115 Bonn, Germany 31 Heng Mui Keng Terrace Tel. +49 (0) 228 6 04 97-0 Singapore 119595 Fax: +49 (0) 228 6 04 97-30 Tel. +65 6874 9700 [email protected] Fax: +65 6872 1135 www.unesco.de [email protected] www.asef.org Editors: Anupama Sekhar (ASEF) Anna Steinkamp (DUK) The editors reserve the right to select contributions and photos for inclusion in the publication and to edit the contributions submitted. Contributions by authors do not always reflect the opinion of the editors. Design: MediaCompany – Agentur für Kommunikation GmbH, Bonn, Germany Printing: Medienhaus Plump, Rheinbreitbach, Germany Print run: 2 000 Download from www.unesco.de and www.asef.org All rights reserved © German Commission for UNESCO / Asia-Europe Foundation, November 2010 Photos front cover: Amuneri Kuikuro filming the Kuikuro indigenous people watching a projection of old movies about their own ethnicity XIV Edition of the Biennale of Young Artists from Europe and the Mediterranean, Skopje, FYROM, 2009 Reconstruction of cultural facilities in Manyikeni, Mozambique: Students visiting the archaeological site WOMEX 2009 Audience Photo back cover: Living Culture, Teia 2010, Ponto de Cultura Floresta Criativa – Tambores da Floresta, São Luiz, Brazil Bibliographic Data of the German National Library The German Library registers this publication in the German National Bibliography. Detailed bibliographic data may be found on the Internet under www.d-nb.de The publication is printed on chlorine-free bleached and recycled paper. ISBN 978-3-940785-22-0 This publication received funding from the Federal Foreign Office of the Federal Republic of Germany. ASEF’s contribution is with the financial support of the European Commission. MAPPING CULTURAL DIVERSITY Good PRactices fRom Around thE GLobE A Contribution to the Debate on the Implementation of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions – a PRoJECT OF THE u40-PRoGRAMME „CULTURaL DIVERSITY 2030“ – German commission for UNESCO asia-Europe foundation Mapping CUltUrAl DIvErsity Contents Forewords ............................................................................................................................................................................................................. 8 Ambassador Dominique Girard Executive Director, Asia-Europe Foundation Walter Hirche President, German Commission for UNESCO Editorial Introduction ........................................................................................................................................................................... 10 Objectives, Scope and Limitations of the Publication Anupama Sekhar, Anna Steinkamp Cultural Diversity in Times of Globalisation: Why Knowledge Matters .......................................... 12 Ways, Measures and Possibilities for implementing Articles 9 and 19 of the Convention Christine M. Merkel, Nina Obuljen MAPPING Cultural DIVERSITY – GOOD PRACTICES FROM AROUND THE GLOBE chapter 1 Policy Measures, Programmes and Structures Social and Cultural Development through Cultural Diversity .................................................................... 17 Living Culture Programme, Brazil Giuliana Kauark, Lilian Richieri Hanania An International Laboratory for Diversity ........................................................................................................................ 22 The Catalan Law of Cinema Martí Petit, Jordi Baltà Portolés, Laura Gómez Bustos, Núria Reguero For a New European Union External Cultural Strategy ...................................................................................... 26 A French Proposal on how to deal with Cultural Cooperation in International Trade Agreements Lilian Richieri Hanania New Impulses for Cultural Policy Development ....................................................................................................... 29 The Inter-ministerial Working Group on the Improvement of the Social Situation of Artists in Austria Yvonne Gimpel The Voice of a Canadian Minority Heard by Federal Cultural Agencies ........................................... 32 An Agreement that nurtures Francophone Arts and Culture Guillaume Sirois Raising awareness: ASEM Seminar: “Preserving and Promoting the Diversity of Cultural Expressions: Sharing Asian and European Experiences” ........................................................................................................................... 21 Raising awareness: Cultural Diversity Department, Toluca de Lerdo, Mexico ............................................................................................ 28 Raising awareness: Understanding the UNESCO Convention: Seminars on Cultural Diversity in Several Cities and Regions in Brazil ........................................................................................................................................... 35 Raising awareness: Activities of the International Federation of Coalitions for Cultural Diversity (IFCCD) .......................... 39 and spread out through the publication 4 ContentS chapter 2 Protecting and Promoting Cultural Expressions Empowering Independent Filmmakers .............................................................................................................................. 37 Public Service Broadcasting Trust, India Anupama Sekhar Enhancing Cooperation, Exchange and Capacity Building for the Arts ......................................... 40 The Harare International Festival of the Arts (HIFA) Jesmael Mataga Revitalising the Role of Literature in America .......................................................................................................... 44 The Big Read Aimee Fullman A Showcase for Cultural Diversity ........................................................................................................................................ 46 Cultural festivals in Algeria Ammar Kessab Enabling Communities Re-discover their Cultural Wealth ............................................................................ 49 Toluca, United by Music: Contest of Traditional and Popular Songs Gabriela Sanchez Villegas A Model for Cinematographic Diversity .......................................................................................................................... 50 The Micro-cinema Network Julio César Vega Guanilo An Independent Film Festival in Colombia Celebrates Diversity ........................................................... 54 International Festival of Cinema without Borders Sandra Velásquez Puerta A Catalyst for a Vibrant Theatre Culture ........................................................................................................................ 55 Prithvi Theatre, Mumbai Anupama Sekhar A Contemporary Music Hub .......................................................................................................................................................... 58 The Global Music Academy, Berlin Tina Gadow The Independent Voice of Contemporary Vietnamese Artists .................................................................. 61 San Art, Ho Chi Minh City Huong Le Thu Building Bridges between Art and Society in Latin America ..................................................................... 64 Latin American Network of Art for Social Transformation Antonia Mehnert Nurturing a Film Community in Singapore ................................................................................................................... 67 Moving Images: The Film Programme of The Substation Anupama Sekhar Raising awareness: Targeted Communication of the Convention ............................................................................................................................ 66 Cooperation with the International Literature Festival, Berlin chapter 3 International Cooperation A Sustainable Development Cooperation for Cultural Diversity ........................................................... 71 Culture and Development: An Initiative of the German Goethe-Institut Friederike Kamm Women, on Your Marks! .................................................................................................................................................................... 75 Engagement Féminin: Engaging Women Dancers in West Africa Moussa Dabone 5 Mapping CUltUrAl DIvErsity Multicultural Music Marathon .................................................................................................................................................... 77 WOMEX – the World Music Exposition Birgit Ellinghaus Strengthening Cultural Diversity and Creativity in the Mediterranean Area ............................ 79 The Biennale of Young Artists of Europe and the Mediterranean Francesca Cominelli, Karsten Xuereb Nurturing the Next Generation of Southern African Musicians ............................................................
Recommended publications
  • Resituating Culture

    Resituating Culture

    Resituating culture edited by Gavan Titley Directorate of Youth and Sport Council of Europe Publishing This publication is an edited collection of articles from the resituating culture seminar organised in the framework of the partnership agreement on youth research between the Directorate of Youth and Sport of the Council of Europe and the Directorate-General for Education and Culture, Directorate D, Unit 1, Youth, of the European Commission. The opinions expressed in this work are those of the authors and do not neces- sarily reflect the official position of the Council of Europe. All correspondence relating to this publication or the reproduction or translation of all or part of the document should be addressed to: Directorate of Youth and Sport European Youth Centre Council of Europe 30, rue Pierre de Coubertin F-67075 Strasbourg Cedex Tel: +33 (0) 3 88 41 23 00 Fax: +33 (0) 3 88 41 27 77 e-mail: [email protected] http://www.coe.int/youth All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic (CD-Rom, Internet, etc.) or mechanical, including photocopying, recording or any information storage or retrieval system, without the prior permission in writing from the Publishing Division, Communication and Research Directorate. Cover: Graphic Design Publicis Koufra Council of Europe F-67075 Strasbourg Cedex ISBN 92-871-5396-5 © Council of Europe, April 2004 Reprinted May 2005 Printed at the Council of Europe Contents Pags List of contributors ........................................................................................... 5 Resituating culture: an introduction Gavan Titley ...................................................................................................... 9 Part l. Connexity and self 1.
  • Fifty Years on Culture, Politics and Cultural Policy

    Fifty Years on Culture, Politics and Cultural Policy

    Cinquante ans après Culture, politique et politiques culturelles Fifty Years On Culture, Politics And Cultural Policy Sommaire Table of Contents Sommaire Table of Contents Ouverture Opening Session Frédéric MITTERRAND Frédéric MITTERRAND Maryvonne DE SAINT PULGENT Maryvonne DE SAINT PULGENT Élie BARNAVI Élie BARNAVI Le modèle français en question Examining the French Model Les missions de 1959, vues de 2009 A 2009 perspective on the aims of 1959 Antoine COMPAGNON ............................................... Antoine COMPAGNON .......................................... 5 Redéfinir une culture véritablement cultivée Redefining a genuinely cultured culture Élie BARNAVI Élie BARNAVI Réponse à Antoine Compagnon et à Élie Barnavi Response to Antoine Compagnon and Élie Barnavi Jack LANG Jack LANG CHAPITRE 1 SESSION 1 La construction de l’Europe suppose-t-elle Does the Construction of Europe une politique culturelle commune ? Presuppose a Common Cultural Policy? Les politiques culturelles dans le temps Cultural policies in European time and space. et l’espace européens. Modèles et évolutions Models and evolutions Pierre-Michel MENGER ............................................ Pierre-Michel MENGER ......................................... 10 TABLE RONDE ROUND TABLE Présidée par Jack LANG Chaired by Jack LANG Modérateur : Emmanuel LAURENTIN Facilitator: Emmanuel LAURENTIN Intervenants : Liz FORGAN, Jan-Hendrik OLBERTZ, Panel members: Liz FORGAN, Jan-Hendrik OLBERTZ, Jacques RIGAUD, Ivaylo ZNEPOLSKI Jacques RIGAUD, Ivaylo ZNEPOLSKI La politique
  • Understanding the Value of Arts & Culture | the AHRC Cultural Value

    Understanding the Value of Arts & Culture | the AHRC Cultural Value

    Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8.
  • EMERGENT FORMS of LIFE: Anthropologies of Late Or Postmodernities

    EMERGENT FORMS of LIFE: Anthropologies of Late Or Postmodernities

    Annu. Rev. Anthropol. 1999. 28:455–78 Copyright © 1999 by Annual Reviews. All rights reserved EMERGENT FORMS OF LIFE: Anthropologies of Late or Postmodernities Michael M.J. Fischer Science, Technology and Society Program, Massachusetts Institute of Technology, Cambridge, Massachusetts 02139; e-mail: [email protected] Key Words: social theory and ethnography, science institutions, film and cyberspace, reconstruction after social trauma n Abstract Anthropologies of late modernity (also called postmodernity, postindustrial society, knowledge society, or information society) provide a number of stimulating challenges for all levels of social, cultural, and psycho- logical theory, as well as for ethnographic and other genres of anthropological writing. Three key overlapping arenas of attention are the centrality of science and technology; decolonization, postcolonialism, and the reconstruction of so- cieties after social trauma; and the role of the new electronic and visual media. The most important challenges of contemporary ethnographic practice include more than merely (a) the techniques of multilocale or multisited ethnography for strategically accessing different points in broadly spread processes, (b) the techniques of multivocal or multiaudience-addressed texts for mapping and ac- knowledging with greater precision the situatedness of knowledge, (c) the re- working of traditional notions of comparative work for a world that is increas- ingly aware of difference, and (d) acknowledging that anthropological repre- sentations are interventions within a stream of representations, mediations, and unequally inflected discourses competing for hegemonic control. Of equal im- by HARVARD UNIVERSITY on 09/21/10. For personal use only. portance are the challenges of juxtaposing, complementing, or supplementing other genres of writing, working with historians, literary theorists, media critics, novelists, investigative or in-depth journalists, writers of insider accounts (e.g.
  • Minister of Counterculture

    Minister of Counterculture

    26 Guardian Weekly December 23 2005-January 5 2006 Culture Gilberto Gil is a musical legend - and now a senior Brazilian politician. He tz Minister of counterculture Gilberto Gil wears a sober suit and tie these days, and his dreadlocks are greying at the temples. But you soon remember that, as well as the serving culture minister of Brazil, you are in the presenceof one of the biggest l,atin American musicians of the 60s and 70s when you ask him about his intellectual influences and he cites Timothy l,eary. "Oh, yeah!" Gil says happily, rocking back in his chair at the Royal SocietyoftheArts in London. "Forexam- ple, all those guys at Silicon Valley - they're all coming basically from the psychedelic culture, you know? The brain-expanding processesof the crystal had a lot to do with the internet." Much as it may be currently de rigueur for journalists to ask politicians whether or not they have smoked marijuana, the question does not seem worth the effort. Gil's constant references to the hippy counterculture are not simplythe nostalgia of a 63-year-old with more than 4O albums to his name. For several years now, largely under the rest of the world's radar, the Braeilian government has been building a counterculture ofits own. The battlefield has been intellectual property - the ownership ofideas - and the revolution has touched everything, from internet file- sharing to GM crops to HIV medication. Phar- maceutical companies selling patented Aids drugs, for example, were informed that Brazil would simply ignore their claims to ownership and copy their products more cheaply if they didn't offer deep discounts.
  • Cultural Mapping

    Cultural Mapping

    Cultural Planning in The City of L’viv: Cultural Mapping 1 Centre for Cultural Management European Cultural Foundation (ECF) P. O. Box 5620 Jan van Goyenkade 5 Lviv 79067 1075 HN Amsterdam Ukraine The Netherlands www.kultura.org.ua www.eurocult.org Copyright 2008 Centre for Cultural Management 2 Contents Section I I. Forward 4 II. Acknowledgements 7 Section II III. Executive Summary 8 Section III IV. Introduction 10 V.The L’viv Context 11 VI. Information Collection 11 VII. Participants 13 VIII. The Cultural Map of L’viv 14 IX. Key Issues 19 X. Recommendations/conclusions 20 Section IV XI. Appendices 21 3 Cultural Planning in The City of L’viv: Cultural Mapping I. Foreward L’viv has great cultural potential to work within Europe. Philipp Dietachmair When beginning an initiative such as this one, the first dilemma is identifying a place to start. Usually one chooses an arbitrary commencement point that makes sense within the context. Our starting point was based in our individual experience, the interests of our funder, the interests of our City officials and the current reality of L’viv’s cultural community. These constitute a lot of variables, and we can rest assured that all of the designers of the project did not bring to the task the same set of assumptions around these variables or the same set of motivations. In the hope that transparency can support more effective communication with you, the reader, we would like to take a moment to explore and explain a few issues that frame what we have done and might impact your appreciation of this report, of our process and of our recommendations.
  • Cultural Mapping Findings

    Cultural Mapping Findings

    Creative Together: A Cultural Plan for the City of Vaughan Cultural Mapping Findings Cultural mapping is a systematic approach to defining and recording a community’s cultural assets. In Ontario, municipalities having made commitments to building cultural mapping systems include Oakville, Hamilton, Vaughan and Durham Region. The City of Toronto has partnered with the Martin Prosperity Institute to establish Placing Creativity a group that brings together individuals from academic, government and community organizations to advance thinking and practice in cultural mapping. In August 2009, the Province of Ontario launched the Creative Community Prosperity Fund, a $9 million funding commitment with cultural mapping and municipal cultural planning forming key funding priorities. Cultural mapping as it is understood and practiced in Ontario has two dimensions – one tangible (or quantitative) the other intangible (or qualitative). 1. Resource Mapping – identifying and recording tangible cultural resources usually making use of Geographic Information Systems (GIS) tools and platforms; and, 2. Community Identity Mapping – exploring a community’s ‘intangible cultural resources’ – the unique stories and traditions that define a community’s identity and sense of place. 1. Cultural Resource Mapping Vaughan has established itself as a leading municipality nationally in entrenching a formal commitment to cultural mapping in the Official Plan. “Cultural mapping is a systematic approach to identifying and recording cultural resources. It can identify and record tangible cultural resources using GIS tools, but can also use community identity mapping to explore intangible cultural resources, such as unique histories, values, traditions and stories that combine to define a community’s identity and sense of place. Through multimedia enriched web-based maps, cultural mapping enhances access to information on local cultural resources for residents and visitors and provides a platform for marketing and promoting these resources.
  • Defining Cultural Mapping

    Defining Cultural Mapping

    1 Appendix I: Cultural Mapping Summary Report Introduction Cultural mapping was an essential step in the development of the Niagara Culture Plan. The cultural mapping work undertaken during the Culture Plan process built on the strong mapping work completed by the Cultural Asset Mapping Working Group struck by the Niagara Region Culture Committee in 2006 to begin a systematic process of identifying cultural assets in Niagara. Niagara was one of the earliest municipalities in Ontario to commit to undertaking cultural mapping work. Cultural mapping is a defining feature and foundation of municipal cultural planning approaches to local and regional cultural development. Both cultural mapping and municipal cultural planning are priorities for the Province of Ontario as evidenced by the launch in August 2009 of the Creative Community Prosperity Fund, a $9 million funding commitment in which cultural mapping and municipal cultural planning are key funding priorities. Municipalities in Ontario join leading municipalities across Canada in embracing cultural mapping as an essential planning and economic development tool. In Ontario, municipalities building cultural mapping systems include Oakville, Hamilton, Vaughan and Durham Region. The City of Toronto has partnered with the Martin Prosperity Institute to establish Placing Creativity. The group brings together individuals from academic, government and community organizations to advance thinking and practice in cultural mapping. This report summarizes the process and findings of the cultural mapping work of the Culture Plan and sets out a series of potential next steps in further developing cultural mapping systems and capabilities in Niagara. Defining Cultural Mapping Types of Mapping Cultural mapping as it is being understood and implemented in Ontario has two dimensions - one tangible (or quantitative), the other intangible (or qualitative).
  • Capital and Culture

    Capital and Culture

    Capital and Culture An Investigation into New Labour cultural policy and the European Capital of Culture 2008. Mark Connolly Presented in fulfilment o f the requirements for the degree o f Doctor o f Philosophy at the University of Wales, Cardiff. December 2007 UMI Number: U584278 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584278 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Statements of Declaration This work has not previously been accepted in substance for any degree and is not concurrently submitted in candidature for any degree. Signed .. ...............(candidate) Date ........... STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree of PhD (insert MCh, MD, MPhil, PhD etc, as appropriate) Signed .. (candidate) Date M .U/L/.firk. STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sourcesurces are acknowledged by explicit references. Signed (candidate) Date ....?. 9. /. I A./.^. STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations.
  • Making Culture Accessible

    Making Culture Accessible

    Making culture accessible The enjoyment and fulfilment of the right to participate in culture requires an enabling environment and a legal Making culture accessible Access, participation and cultural provision framework that offers a solid basis for the protection of rights related to cultural actions. A society that demonstrates an interest in nurturing cultural and spiritual needs in conditions of liberty has a greater chance of developing a sense in the context of cultural rights in Europe of social responsibility among its members. Annamari Laaksonen This study is a general overview of existing legal and policy frameworks in Europe, covering access to and participation in cultural life, cultural provision and cultural rights. It aims at facilitating an environment that enables the development of access and participation in this area. The study also pays due tribute to local civil society organisations and cultural associations, in recognition of the important role they play in making access to culture possible. www.coe.int The Council of Europe has 47 member states, covering virtually the entire continent of Europe. It seeks to develop common democratic and legal principles based on the European Convention on Human Rights and other reference texts on the protection of individuals. Ever since it was founded in 1949, in the aftermath of the Second World War, the Council of Europe has symbolised reconciliation. Council of Europe Publishing ISBN 978-92-871-6729-3 http://book.coe.int €19/US$38 Council of Europe Publishing www.culture.com Making culture accessible Access, participation and cultural provision in the context of cultural rights in Europe Annamari Laaksonen Interarts Agency, Barcelona Council of Europe Publishing The opinions expressed in this work are the responsibility of the author and do not necessarily reflect the official policy of the Council of Europe.
  • Values in Heritage Management

    Values in Heritage Management

    Values in Heritage Management Values in Heritage Management Emerging Approaches and Research Directions Edited by Erica Avrami, Susan Macdonald, Randall Mason, and David Myers THE GETTY CONSERVATION INSTITUTE, LOS ANGELES The Getty Conservation Institute Timothy P. Whalen, John E. and Louise Bryson Director Jeanne Marie Teutonico, Associate Director, Programs The Getty Conservation Institute (GCI) works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research, education and training, field projects, and the dissemination of information. In all its endeavors, the GCI creates and delivers knowledge that contributes to the conservation of the world’s cultural heritage. © 2019 J. Paul Getty Trust Library of Congress Cataloging-in-Publication Data Names: Values in heritage management (2017 : Getty Conservation Institute), author. | Avrami, Erica C., editor. | Getty Conservation Institute, The text of this work is licensed under a Creative issuing body, host institution, organizer. Commons Attribution-NonCommercial- Title: Values in heritage management : emerging NoDerivatives 4.0 International License. To view a approaches and research directions / edited by copy of this license, visit https://creativecommons Erica Avrami, Susan Macdonald, Randall .org/licenses/by-nc-nd/4.0/. All images are Mason, and David Myers. reproduced with the permission of the rights Description: Los Angeles, California : The Getty holders acknowledged in captions and are Conservation Institute, [2019] | Includes expressly excluded from the CC BY-NC-ND license bibliographical references. covering the rest of this publication. These images Identifiers: LCCN 2019011992 (print) | LCCN may not be reproduced, copied, transmitted, or 2019013650 (ebook) | ISBN 9781606066201 manipulated without consent from the owners, (epub) | ISBN 9781606066188 (pbk.) who reserve all rights.
  • Introduction: Mapping Cultural Intangibles

    Introduction: Mapping Cultural Intangibles

    City, Culture and Society 7 (2016) 1e7 Contents lists available at ScienceDirect City, Culture and Society journal homepage: www.elsevier.com/locate/ccs Editorial Introduction: Mapping cultural intangibles Methodologically, if one accepts that the intangible, the sub- jective, and the immaterial are important to what culture is as an object of study, then quantitative methods alone are inade- Keywords: quate. This interest in making the intangible visible heightens Mapping culture the importance of drawing on cultural research traditions that Making the intangible visible are primarily qualitative in nature and, in some cases, drawing on ethnographic and artistic traditions of inquiry. (p. 18) As a mode of research that enables a clear organizing structure to hold together hybrid modes of information, cultural mapping has emerged as a useful tool in diverse research fields from artistic in- quiry to community governance. The map itself can embed spatial 1. Cultural mapping: an emerging interdisciplinary field and chronological information, description, narrative, sound, mov- ing and still images, and both quantitative and qualitative data Cultural mapping is a practical, participatory planning and through a visual interface that carries affective and stylistic quali- development tool and an emerging mode of research (Duxbury, ties as well as “basic” information. The process of mapping often re- Garrett-Petts & MacLennan, 2015). While cultural mapping has veals many unexpected resources and builds new cross-community come to be closely associated with professional cultural planning and cross-sector connections. practices,1 its recent adoption within a variety of disciplinary areas Cultural mapping methodologies hold great potential as a means that “traditional” approaches are being re-thought and bridging methodology for interdisciplinary projects, and in partic- expanded, with cultural mapping practices adopting new method- ular to bridge forms of artistic inquiry with research based in other ologies, perspectives, and objectives as they evolve.