The overall aim of this thesis is to further understanding of the developing relations between heritage conservation and urban revitalization, by following the on-going World Heritage List nomination process for the Grand Canal in China. A review of the history and current situation of heritage conservation and urban revitalization establishes several key gaps in knowledge, for example, the field of systematic heritage conservation is still left blank. Taking advantage of the opportunity to work with this on-going nomination, the project examines the nature and challenges of heritage conservation research and practice for a heritage property of large scale and complexity, in the form of four linked studies. A critique of the national level nomination process to date illustrates the complexity of the task, and concludes that systematic heritage conservation has not been established as a concentrated and nation-wide heritage conservation activity in China. Focusing on the municipal level nomination process to date through a case study of the city of Zhenjiang (and Yangzhou as a comparator) establishes key reasons why one city has been more successful than the other in its participation in the World Heritage List nomination. A second case study, of the Xi Jin Ferry area in Zhenjiang (Jiangsu Province), provides a fuller account of the ways in which heritage conservation can contribute to, and work with, urban revitalization. Drawing on the case of Xi Jin Ferry, a theoretically-informed, but practically-viable approach to linking heritage conservation and urban revitalization is developed which learns from the past and looks to the future. Building on the empirical research projects, a critique of existing approaches to heritage conservation of large, complex sites leads to a proposal for a 'Heritage System' framework which would facilitate future evaluations and improve the prospects for on-going management of the Grand Canal.

Barriers like financial constraints and travel logistics prevent Indigenous people from accessing their cultural heritage objects held by national, state, and local institutions. This can be overcome using photogrammetry to create 3D models of cultural heritage objects and housing them in virtual museums accessible via Internet-capable devices. This pilot project, working with the White Earth Band of Ojibwe on the White Earth Reservation in Minnesota, followed appropriate museology and communities of practice approaches to meet the concerns, desires, and budget of the tribal members to provide them unfettered access to cultural heritage objects. Because this approach presents cultural objects as 3D models, which can be 'manipulated' as if physically held, it offers visitors more meaningful engagement than they would have with single-dimension, restricted access museum displays. This project focusing on ten cultural heritage objects serves as a foundation on which similar digital museum projects initiated by Indigenous communities can build. / May 2017

Preservation History of Art Nouveau Heritage in Hungary, Czech Lands and France Master Thesis Lilla Zámbó Abstract This master thesis discusses the preservation history of the most relevant architectural monuments of Art Nouveau from the perspective of different ideological and political systems of Hungary, the Czech Lands and France in the 20th century. The main objective of the thesis is to examine the influences of Art Nouveau in the society and vice versa through different heritage protection procedures and successful monument restorations, which took place in significant "Art Nouveau cities" of Europe: Budapest, Prague, Nancy and Strasbourg. The Art Nouveau style (1890-1914) was born as a reaction to the academic schools at the end of the nineteenth century and spread quickly by advertising a new architectural program, thanks to its special aesthetical, social and political contents. In order to satisfy the needs of the "modern" age and to create a better environment for the people, Art Nouveau broke with the previous dominant historical tendencies, not only in a mental way, but also in employing a new design and decorative elements. Thus the international practice-based, but locally unique and unprecedented works of the Art Nouveau were totally differing from the dominant eclectic townscapes, which is...

The Isleños of St. Bernard Parish, Louisiana trace their ancestry to eighteenth century settlers from the Canary Islands. Currently, St. Bernard Parish is home to two separate Canarian heritage organizations: Los Isleños Heritage and Cultural Society and the Canary Islands Descendents Association. This thesis examines how the Isleños are currently renegotiating their cultural identity through the use of heritage via the structure of heritage organizations. I argue that under mounting economic, environmental, and political pressure, people of Canarian descent in St. Bernard Parish have begun to adjust Isleño cultural identity in order to make it more widely inclusive. This is a creative means by which the Isleños attempt to maneuver around the increasingly rapid pace of change and deal with threats to the survival of their culture.

A wide variety of scholars acknowledge heritage planning as a widespread phenomenon. However, to what extent it is widespread is debatable. Also, if heritage planning is an acknowledged widespread phenomenon, what can be learned about it when looking at the rhetoric and the key concepts used in different contexts? This study aims at a cross-contextual investigation. The main aim is to interpret and to discuss rhetoric and underlying ideas used in heritage planning debates across contextual boundaries. The main aim is made workable through a number of methodological choices that curtail the scope of the study. The following main question is the result of these choices; what kinds of arguments, metaphors and figures of thought are similar (context-independent) versus different (context-dependent) in a selection of recent and on-going debates about heritage planning from Malmö and Rotterdam? As part of the methodology, figures of thought – that are expected to be relevant for understanding debates about heritage planning – are treated. This includes figures of thought such as the idea of an “original” and the idea of “progress”. Cases from the cities of Malmö and Rotterdam are chosen to study what similarities and differences come to the fore in heritage planning debates running parallel in time but being situated in different contexts (respectively a Swedish and a Dutch). The debates chosen are about the Kockums Crane and the area of Varvsstaden in Malmö and about the Porters Lodge and the area of RDM in Rotterdam. The analysis shows that the arguments and premises raised, the metaphors used and the underlying figures of thought are to a great extent similar between the cases from Malmö and the cases from Rotterdam. However, the use of arguments, metaphors and figures of thought differs professional groups in-between (“monument curators” versus “planners”) and between debates about single objects (the Kockums Crane and the Porters Lodge) and debates about the development of areas (Varvsstaden and the area of RDM). This study shows that arguments, metaphors and figures of thought effectively are exchanged across national boundaries through professions. More notable however, is that different “language-games” played or kinds of arguments used by monument curators and planners do not seem to conflict with each other at a discursive level. For example, the monument curator’s story-telling metaphors are smoothly turned into the planner’s commodification metaphors. However, at the level of figures of thought a potential conflict may arise between the preservationist idea of the moral duty of stewardship and the idea of commodification of built heritage propagated by an alliance between bureaucracy and economy.

Les monuments de Hué sont inscrits sur la liste du patrimoine mondial de l’humanité par l’UNESCO depuis 1993. Ils contribuent, par leur histoire même, au rachat d’une guerre qui a aussi été fratricide. La patrimonialisation des constructions impériales entrent dans une politique de construction de l’identité nationale par la culture et le lieu où l’unité vietnamienne s’est la première fois unifiée. La demande de l’organisation internationale qui porte désormais sur le « paysage culturel » suit la même orientation en valorisant ce qui devient une iconographie territoriale. L’extension du patrimoine au « paysage culturel » inclut nécessairement les « maisons-jardin » qui, outre les monuments impériaux, font la gloire d’une culture de Hué très subtile, à la fois élevée et modeste. La continuité de la nature à l’habitat est assurée par le jardin ordonné selon les règles de la géomancie. Mais les maisons-jardin ne sont plus, pour la majorité de leurs habitants, les résidences des mandarins, des artistes et des musiciens de cours. L’histoire est passée par là, provoquant une tension qui a pu être politique (idéologique), qui est sociale et économique assurément. Le discours traditionnaliste qui s’est réveillé autour de l’opération de patrimonialisation visant une « capitale féodale orientale » (ICOMOS, sic, n’est pas sans trouver contradiction dans la réalité contemporaine de l’habitat. Comment peut-on habiter le patrimoine et échapper à la seule vocation touristique qui conduit au musée ou au folklore. C’est à quoi cette thèse tente de répondre. / Hue monuments are inscribed on the List of World Heritage of Humanity by UNESCO since 1993. They contribute through their own history, to the redemption of a war which was also fratricide. The heritage of imperial city fall into a policy of building national identity through culture and the place where the Vietnamese unit was first unified. The request of the international organization that is now on the "cultural landscape" follows the same orientation valuing what becomes a territorial iconography. The extension of the heritage "cultural landscape" necessarily includes "garden houses" which, besides the imperial monuments, are the glory of a culture of Hue subtle, both high and low. Continuity of nature to housing is provided by the garden ordered according to the rules of geomancy. But the houses are no longer the homes of mandarins, artists and musicians for the majority of their inhabitants. The story has been through it, causing a voltage which could be political (ideological), which is certainly social and economic. Traditionalist discourse who woke up around the operation of heritage to a "feudal capital Oriental" (ICOMOS, sic) is not without contradiction found in contemporary reality of the habitat. How can live heritage and escape the single leading tourist or museum folklore. This is what this thesis seeks to answer.

ABSTRACT UNESCO’s World Heritage Convention of 1972 has set the standard for the evaluation, preservation and conservation of World Heritage Sites (WHS) globally. The role and function of UNESCO in the cultural heritage sector in Africa, in particular cannot be denied. However, the World Heritage Convention (WHC) site management requirements for African States that are parties to the Convention, presents challenges in terms of implementation. This is due in most cases, to lack of infrastructure, deficient national policy structures, poor legislation, bad management and poor implementation. This is particularly the case in developing countries where governments are grappling with socio-economic and political challenges. Questions are raised about who has the right to define heritage, and what kinds of parameters are used to measure World Heritage of ‘‘universal’’ value. Is it appropriate for UNESCO to recommend a set of standards that have become a lens through which global cultural heritage policy is viewed and measured? What then are the implications for African sites for being listed as World Heritage, and what are their chances of competing in the global cultural arena based on the challenges mentioned above? This research report, through a study of the Mapungubwe Cultural Landscape in the Limpopo Province of South Africa, attempts to grapple with aspects of the questions raised above, and seeks to illustrate the challenges of managing a World Heritage Site. It highlights the gaps between WHC requirements, national cultural policy legislation, infrastructural and human resource incapacity, and implementation by the management at the Mapungubwe World Heritage Site

A dissertation submitted to the Faculty of Science, University of the Witwatersrand, Johannesburg, in fulfilment of requirements for the degree of Master of Science. Johannesburg, 2015. / Heritage management has been a growing phenomenon throughout the world. This growth is due to the increasing necessity to protect the world’s cultural heritage. Heritage management has been closely linked with community participation as well as laws and policies that protect the heritage. Furthermore, site use is also of importance to discover how the heritage is presented, protected and managed. These are the three components that will be the focus of my research. The implementation of heritage management requires a management plan that clearly stipulates and outlines specific procedures to be followed. An ideal management plan includes the components mentioned above, in that it states the stakeholders involved, how the heritage place will be preserved and how the legislation will be used to ensure the protection of such places. This research focuses on rock art sites as the cultural heritage places and the importance of protecting them, with specific focus on rock art sites from South Africa and Mexico. The objective of this study is to analyse the different management plans from sites chosen from the two countries, compare the management plans and recommend a best practice for management plans constructed for rock art sites. The hope is that the recommendations will contribute to managing rock art sites as well as to the International Collaboration formed between South Africa and Mexico.

Mongomi wa Kolo is a hunter-gatherer rock art site within the Kondoa district of Central Tanzania. The site is part of a large group of rock art sites in Kondoa that were collectively declared a National Monument by the Antiquities Act of Tanzania, enacted in 1964 and amended in 1979. In July 2006, the World Heritage Committee inscribed the rock art of Kondoa as a World Heritage Site, acknowledging its international significance, its authentic beauty and living heritage. Mongomi wa Kolo is a focal point for regular ritual practices among the Bantulanguage speaking Warangi and Wasi/Waragwa communities in Kondoa District, Central Tanzania. The Warangi and Waragwa migrated to this area at the start of the third century. Since this time they have been using Mongomi wa Kolo for traditional ritual ceremonies. Currently, the management of Mongomi wa Kolo has sought to control the ritual ceremonies of Warangi and Wasi/Waragwa communities because some rites are damaging the archaeology and rock paintings of the site. This control has led to a conflict between local ritual practitioners and authorities responsible for heritage management. Management of living heritage is new to the Tanzanian cultural heritage authority. This study explores the implications of including living heritage in the management at the archaeological World Heritage Site of Mongomi wa Kolo. Examples are drawn from other World Heritage Sites that manage living heritage. Specifically this study considers how best to integrate living heritage within the management of the Mongomi wa Kolo rock painting site. It then discusses the challenges of adapting the Tanzanian Antiquities legislation to cover living heritage. This study will be achieved through a review of the history of the management of living heritage, international and national legislation protecting living heritage, and interviews undertaken with elders, traditional practitioners, communities around Kolo and nearby villages, and with staff of the Antiquities Department.

Pretende-se analisar a formação e apropriação de patrimônios culturais na cidade de Santa Rosa de Viterbo SP por meio dos discursos e ações de seus moradores. Observa-se que no Brasil as políticas patrimoniais privilegiaram a escala nacional e os critérios de técnicos e especialistas para definir o que é um patrimônio cultural. Desta forma, questionamos essa abordagem para desenvolver uma reflexão sobre o patrimônio local através dos seus usos pela sociedade. Propomos um modelo de intervenção que destaca as percepções e representações dos habitantes da cidade para definir os bens que são valorizados como símbolos de identidade e memória. A partir da história oral e trabalhos sobre mediação cultural, definimos métodos, como a realização de entrevistas e o retorno do material produzido, para promover uma relação com um grupo de moradores, registrando suas opiniões sobre o município e os bens que eles identificam como culturalmente relevantes. Com as transcrições das entrevistas e revisão bibliográfica, discutimos a história do município, privilegiando seus aspectos culturais e econômicos, e, por meio de quatro exemplos, que foram; a Banda Sinfônica de Santa Rosa, a Semana Universitária Santa-rosense, a Fazenda Amália e a Folia de Reis, analisamos os valores atribuídos a esses bens que nos permite classificá-los como patrimoniais. Como resultado, revisamos a ideia de divisão dos patrimônios em materiais e imateriais por compreendermos que todo bem cultural possui ambos os atributos. / It is intended to analyze the formation and appropriation of cultural heritage in the town of Santa Rosa de Viterbo SP through the speeches and actions of its residents. It is noted that in Brazil the heritage policies have concentrated on the national scale and in the criteria of technicians and experts to define what a cultural heritage is. Thus, we questioned this approach to develop a reflection on the local heritage through its uses by society. We proposed an intervention model that highlights the perceptions and representations of town residents to define the assets that are valued as symbols of identity and memory. Through oral history and cultural mediation works, we defined methods such as interviews and the return of the material produced to promote a relationship with a group of residents, recording their opinions about the town and the assets that they identify as culturally relevant. With transcripts of interviews and a literature review, we discussed the history of the town, emphasizing its cultural and economic aspects, and through four examples, which were the Symphonic Band of Santa Rosa, Santa Rosa University Week, Amália Farm and Folia de Reis; we analyzed the values assigned to these assets that allow us to classify them as heritage. As a result, we reviewed the idea of division of cultural heritage into material and immaterial because we realized that all assets have both attributes.