This dissertation investigates the role of architecture in the conservation of intangible heritage with specific reference to the ‘Marabi’ culture, a vibrant township culture unique to Marabastad in the North West of Pretoria which played a formative role in the development of South African popular culture from as early as the 1930’s. Due to the relocation of its citizens, the demolition of the Royal Theatre (together with the decommissioning of the Empire and Orient theatres) and the increasing effects of global cultural homogenization Marabastad has become dislocated from its cultural heritage. The principle aim of the dissertation is to re-introduce aspects of Marabastad’s cultural heritage within it’s current context. The proposal intends to revive historical cultural practices by re-establishing the physical loci that once hosted them, which in the context of Marabastad, are the The Royal, Empire and Orient theatres. The proposed intervention focuses specifically on the site of the Royal Theatre which was demolished in 1967. The project aims to (re)introduce a multi-form theatre on the site which will once again facilitate the cultural practices unique to the Marabi culture. The architectural response is informed primarily by the following: 1. The historical function of the ‘Marabi’ theatre as a multi-use, adaptable space that had to accommodate a variety of functions such as town hall, cinema, school, church hall, events venue, dancehall and theatre. 2. An analysis of the existing historical built fabric of Marabastad (which reveals a complex layering of thresholds). 3. Programmatic requirements: Multi-form theatre with shebeen, informal restaurant, recording studio and artist accommodation. 4. Amalgamation of performance space with public space within a historical meaning framework. 5. Response to contextual conditions, both current and proposed in the 2002 Aziz Tayob Meyer Pienaar Integrated Spacial Design Framework. / Dissertation (MArch(Prof))--University of Pretoria, 2011. / Architecture / unrestricted

This paper examines the development of the Zinneke Parade, a new intangible heritage project in Brussels. Using an interdisciplinary approach which encompasses heritage studies and multicultural studies, it analyses the processes and aims of the parade. With rising globalisation and the corresponding fragmenting of societies has come the many legitimacy claims of identity politics. The resulting growth of multiculturalist and interculturalist approaches in ethnoculturally diverse societies and increased pluralism in heritage projects form the background of the Zinneke Parade. Through narratives gathered from interviews and promotional materials, this paper discusses how Zinneke manifests both interculturalist and pluralist heritage approaches.

ABSTRACT The orally transmitted tradition of Lobolo is a common and widely practiced cultural tradition and an established marriage institution within African societies in Southern Africa, differing only in terms and minor variations of practice. Lobolo therefore has the status of being an intangible heritage and is acknowledged as such by South Africa’s National Heritage Resource Act of 1999. Its role in society today on the one hand and its oral way of transmission on the other has placed it in the center of an ongoing post-colonial discourse, particularly around the standing of the African intangible heritage in post-1994 South Africa. The Heritage Transformation Charter, following its mandate by the National Heritage Council, intended to attend to and correct existing imbalances in the Heritage sector and its institutions. It also aimed to identify and establish ways for the preservation and continuation of African heritage. The study reviews the literature on Lobolo, highlighting the ways in which it has been described as a multifaceted cultural and social institution. In consideration of these findings it critically engages in a discussion of the Draft Heritage Transformation Charter, to assess its acknowledgement of the characteristics of living heritage. In doing so the study probes the ability of a policy guiding document such as the Heritage Transformation Charter, to accommodate and guide the survival of oral traditions such as Lobolo, as part of the intangible heritage of South Africa.

Made available in DSpace on 2016-04-25T20:20:22Z (GMT). No. of bitstreams: 1 Maria Amelia Jundurian Cora.pdf: 2479891 bytes, checksum: 2dc34be1ee9faf8bc8b1723496bf8d2a (MD5) Previous issue date: 2011-08-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Created in 2000, the Programa Nacional do Patrimônio Imaterial (PNPI) National Program of Intangible Heritage established a new form of state action related to Brazilian intangible heritages. Executed by Instituto Nacional do Patrimônio Nacional (Iphan), the program innovates by extending its object of heritage, by proposing the registration process for intangible cultural heritage and the development of safeguarding plans to determine the actions to be undertaken. The central problem is based on the following questions: a) what were the progresses and limitations of the Programa Nacional do Patrimônio Imaterial (National Program of Intangible Heritage); b) how its establishment has impacted on the Brazilian cultural policy and the dynamics of cultural property registered as Patrimônios Culturais do Brasil (Cultural Heritage of Brazil)? Based on these questions, this research aims at understand how was the process of implementation of PNPI. The research is based on the analysis of procedures for registration and documents provided by Iphan on its website, supplemented by interviews with Iphan technicians, cultural intermediaries and holders of registered cultural property. It was observed that despite its progress, the program still needs to publicize its procedures and purposes, as well as to increase its human and financial resources to meet the demands created by the program itself. In the context of the holders of cultural property, was noticed that those who obtained record make use of the title Cultural Heritage of Brazil to achieve specific benefits such as access to social rights, the possibility of generating employment and income, partnerships, brokering with other public officials, etc. That is because the title gave greater visibility to the registered holders of cultural practices, enabling better articulation of them / Criado em 2000, o Programa Nacional do Patrimônio Imaterial (PNPI) estabeleceu uma nova forma de atuação do Estado em relação aos patrimônios imateriais brasileiros. Executado pelo Instituto Nacional do Patrimônio Nacional (Iphan), o programa inova ao ampliar seu objeto de patrimonialização, propondo o processo de registro de bens culturais imateriais e a elaboração de planos de salvaguarda para determinar as ações a serem realizadas. O problema central baseia-se nas seguintes indagações: a) quais foram os avanços e as limitações do Programa Nacional do Patrimônio Imaterial; b) como sua implantação impactou na política cultural brasileira e na dinâmica dos bens culturais registrados como Patrimônios Culturais do Brasil? Partindo desses questionamentos, esta pesquisa tem como objetivo geral compreender como se deu o processo de implantação do PNPI. A pesquisa é fundamentada na análise dos processos de registro e dos documentos disponibilizados pelo Iphan em seu sítio eletrônico, complementada pelas entrevistas realizadas com técnicos do Iphan, intermediários culturais e detentores dos bens culturais registrados. Observou-se que apesar dos avanços o programa ainda precisa publicizar seus procedimentos e finalidades, além de aumentar seus recursos humanos e financeiros para atender às demandas criadas pelo próprio programa. No âmbito dos detentores dos bens culturais, o que se percebeu foi que aqueles que obtiveram registro fazem uso do título de Patrimônio Cultural do Brasil para alcançar benefícios pontuais como acesso aos direitos sociais, possibilidade de geração de trabalho e renda, formação de parcerias, intermediação com outros agentes públicos etc. Isso porque o título proporcionou uma visibilidade maior para os detentores das práticas culturais registradas, possibilitando uma maior articulação dos mesmos. Palavras chave: Iphan, Patrimônio imaterial, Programa Nacional Patrimônio Imaterial, Patrimônio Cultural do Brasil

Made available in DSpace on 2016-04-26T14:53:17Z (GMT). No. of bitstreams: 1 Maria Amelia Jundurian Cora.pdf: 2479891 bytes, checksum: 2dc34be1ee9faf8bc8b1723496bf8d2a (MD5) Previous issue date: 2011-08-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Created in 2000, the Programa Nacional do Patrimônio Imaterial (PNPI) National Program of Intangible Heritage established a new form of state action related to Brazilian intangible heritages. Executed by Instituto Nacional do Patrimônio Nacional (Iphan), the program innovates by extending its object of heritage, by proposing the registration process for intangible cultural heritage and the development of safeguarding plans to determine the actions to be undertaken. The central problem is based on the following questions: a) what were the progresses and limitations of the Programa Nacional do Patrimônio Imaterial (National Program of Intangible Heritage); b) how its establishment has impacted on the Brazilian cultural policy and the dynamics of cultural property registered as Patrimônios Culturais do Brasil (Cultural Heritage of Brazil)? Based on these questions, this research aims at understand how was the process of implementation of PNPI. The research is based on the analysis of procedures for registration and documents provided by Iphan on its website, supplemented by interviews with Iphan technicians, cultural intermediaries and holders of registered cultural property. It was observed that despite its progress, the program still needs to publicize its procedures and purposes, as well as to increase its human and financial resources to meet the demands created by the program itself. In the context of the holders of cultural property, was noticed that those who obtained record make use of the title Cultural Heritage of Brazil to achieve specific benefits such as access to social rights, the possibility of generating employment and income, partnerships, brokering with other public officials, etc. That is because the title gave greater visibility to the registered holders of cultural practices, enabling better articulation of them / Criado em 2000, o Programa Nacional do Patrimônio Imaterial (PNPI) estabeleceu uma nova forma de atuação do Estado em relação aos patrimônios imateriais brasileiros. Executado pelo Instituto Nacional do Patrimônio Nacional (Iphan), o programa inova ao ampliar seu objeto de patrimonialização, propondo o processo de registro de bens culturais imateriais e a elaboração de planos de salvaguarda para determinar as ações a serem realizadas. O problema central baseia-se nas seguintes indagações: a) quais foram os avanços e as limitações do Programa Nacional do Patrimônio Imaterial; b) como sua implantação impactou na política cultural brasileira e na dinâmica dos bens culturais registrados como Patrimônios Culturais do Brasil? Partindo desses questionamentos, esta pesquisa tem como objetivo geral compreender como se deu o processo de implantação do PNPI. A pesquisa é fundamentada na análise dos processos de registro e dos documentos disponibilizados pelo Iphan em seu sítio eletrônico, complementada pelas entrevistas realizadas com técnicos do Iphan, intermediários culturais e detentores dos bens culturais registrados. Observou-se que apesar dos avanços o programa ainda precisa publicizar seus procedimentos e finalidades, além de aumentar seus recursos humanos e financeiros para atender às demandas criadas pelo próprio programa. No âmbito dos detentores dos bens culturais, o que se percebeu foi que aqueles que obtiveram registro fazem uso do título de Patrimônio Cultural do Brasil para alcançar benefícios pontuais como acesso aos direitos sociais, possibilidade de geração de trabalho e renda, formação de parcerias, intermediação com outros agentes públicos etc. Isso porque o título proporcionou uma visibilidade maior para os detentores das práticas culturais registradas, possibilitando uma maior articulação dos mesmos. Palavras chave: Iphan, Patrimônio imaterial, Programa Nacional Patrimônio Imaterial, Patrimônio Cultural do Brasil

As reflexões em torno do Patrimônio Imaterial são decorrentes de uma mudança na compreensão dos conceitos de patrimônio e cultura. As narrativas patrimoniais, a partir de então, voltam-se à valorização da diversidade cultural, e a compreensão de cultura passa a ser entendido como o campo de elaboração de signos e sentidos por uma comunidade ou um grupo. Nesse contexto, a Salvaguarda dos bens de natureza imaterial, frequentemente, se dá por meio do processo de Musealização desses bens, sendo possível observar que, na América Latina, existem similitudes na maneira de se trabalhar a Musealização dos bens imateriais. Assim, o presente trabalho tem por objetivo analisar como o processo de Musealização é apropriado como estratégia de Salvaguarda do Patrimônio Imaterial, visando verificar as associações e divergências na articulação dos processos de Patrimonialização e Musealização dos bens de natureza imaterial. Para tanto, foram analisadas as experiências do Museu de Folclore Edison Carneiro, no Brasil, e do Museu Nacional de Culturas Populares, no México. O trabalho parte, ainda, de uma compreensão da Musealização enquanto cadeia de processos de caráter infocomunicacional; de uma compreensão de Cultura enquanto campo em que os sujeitos elaboram os signos e símbolos, bem como a significação das estruturas sociais. Compreendendo a ideia de Patrimônio Imaterial como conjunto de expressões, tradições e saberes, que estão na base das identidades das comunidades, e que são transmitidos de geração em geração, o presente trabalho se caracteriza enquanto pesquisa básica, uma vez que busca preencher uma lacuna no conhecimento, e se estrutura enquanto pesquisa bibliográfica. / The reflections related to the Intangible Heritage arise from a change in the comprehension of the concepts of heritage and culture. The heritage narratives turn to a cultural diversity\'s appreciation, and the culture\'s comprehension starts to be understood as a field of elaboration of signs and meanings by a community or a group. In this context, the Safeguarding of the intangible cultural heritage often happens through a Musealization process, and it is possible to observe that in Latin America there are similarities in the way they usually tackle this issue. Therefore, this research intends to analyze how the Musealization process is appropriate as a strategy of the Safeguarding of Intangible Heritage, aiming to verify the associations and deviations in the processes of Patrimonialization and Musealization of intangible assets. Thus, we analyze the experiences of the Museum of Folklore Edison Carneiro, in Brazil, and the National Museum of Popular Cultures, in Mexico. Furthermore, this study sets out to an understanding of Musealization as a chain of infocommunicational processes, as well as a comprehension of Culture as a field in which the subjects elaborate not only the signs and symbols, but also the meaning of the social structures. We understand the Intangible Heritage as a set of expressions, traditions, and knowledge that are the foundation of the communities\' identities, and that are transmitted from generation to generation. This work is characterized as basic research since it aims to fulfill a gap knowledge and it structures itself as a bibliographical research.

The aim of this work is to understand how certain public buildings play an essential role in the evolution of cultural identity over time. Its main approach distinguishes the denotation of tangible heritage from the connotation of its intangible counterpart. These terms are not understood through semiotics, but, through phenomenology. In other words, meaning is not transmitted by an object; it is adjudicated by a subject. In this sense, the phenomenological experience of such buildings is divided in two: perception brings forth an initial denotation of some universal validity; while memories and dreams engender connotations that are rooted in specific spatiotemporal conditions. In this model, denotation stems from the tangible aspects of heritage, while connotation grows from its intangible dimension. To examine the interaction of these components over time, three case studies are surveyed: Rome's Pantheon, Teotihuacan's Sun Pyramid, and Granada's Alhambra. Their examination begins with an analysis of their basic, primordial denotation, as "centers of power." This type of analysis is followed by a condensed history, which identifies the physical transformations that each building experienced over time. Lastly, a series of context companions present a horizon of expectations, from which multiple users at a given time may have received inspiration to elaborate different connotations of meaning. These sections are portrayed as "glimpses" of intellectual history and literary criticism. Their approach is mostly driven by Wilhelm Dilthey's theory of worldviews and Hans Robert Jauss's reception theory. Each case study suggests a different characterization of an overall historical outcome, associated with the cultural evolution of specific groups: the Pantheon reflects some sense of continuity, for Western Civilization; the Sun Pyramid conveys an overwhelming sense of loss, for Mesoamerica; and Alhambra displays a pervasive sense of exclusion, for al-Andalus. The spirit behind these characterizations strives to understand the modalities in which heritage and cultural identity are shaped by the passage of time. Its goal is to increase our awareness about the fragility of the intangible heritage, when it is separated from its tangible substrate. / text

Recent developments in land rights and land use in the Toledo district, Belize has generated anthropological and activist interest surrounding traditional ecological knowledge and practice, and the role of heritage in communities. This study explores the connection between ecological knowledge and practices, and the concurrent construction of heritage, and community health and wellness, broadly defined. Developing and using the concept of "embodied ecological heritage," this dissertation takes a phenomenological approach to understanding the convergence of ecological heritage and health in multiple realms of everyday life, arguing that lived experience of participating in "traditional" practices is fundamentally connected to wellness in the Mopan community of Santa Cruz. Using the results of ethnographic research using multiple methodologies across 76 households over a period of 11 months, this dissertation presents a detailed account of how Mopan Maya participants view ecological skill and knowledge as critical to being and living well, arguing that social factors, such as work and food choices, have an effect on wellness. The research contributes to a growing number of studies linking changes in the body and overall health status to everyday practices within communities. Outlining how certain knowledge and particular practices, such as exchanging labor and making baskets, become prioritized as heritage through both their conceptualization and deployment, the analysis centers on individual bodies as the foci of skill, sensory experience and change. The timely nature of making these connections explicit is discussed in light of ongoing "development" in Maya communities and beyond, with an illumination of how changing land use patterns have far-reaching effects on wellness from multiple perspectives; individual, social, ecological and political, and concluding that a consideration of wellness can benefit from looking at the processes involved in heritage construction as it relates to ecological practice.

This thesis is an archaeological and ethnographic exploration of historic military sites associated with the Cold War. It takes a multi-sited approach to former radar installations in the UK and examines the range of meanings and values that surround them, as well as their mediation, management and curation in the contemporary landscape. This thesis provides a detailed study of a range of related (although not necessarily overlapping) practices, which have accumulated around these places since the 1990s. Much has been written about the ruined-aesthetic of abandoned military sites. Moreover, conservation professionals have undertaken extensive research and granted heritage status to a number of key sites. However, little academic research has been carried out concerning the contemporary social life of former military installations. Furthermore, despite valuable archaeological research concerning the character and form of Cold War historic sites, little attention has been given to the ways in which they are involved in the production of ideas surrounding the Cold War and Cold War heritage in the present; this thesis aims to cover both of these issues. Each of the main chapters in this thesis focuses on a particular set of practices or relationships surrounding historic radar sites, which have been treated in a relatively sporadic and uneven fashion – some have been demolished, others left in ruination and limbo, whereas as a few have been designated as nationally important heritage sites. Therefore, a number of heritage and memory practices are covered, including conservation management, militarisation and nostalgia, as well as the museumification of Cold War sites and objects and the (often) disparate memory practices of former radar veterans. Principally, the analysis in this thesis focuses on extensive ethnographic research undertaken by the author at a number of sites in the UK. This includes semi-structured interviews, participant observation and archival research undertaken in England and Scotland. The key case-studies are the listed and scheduled monuments at RAF Neatishead in Norfolk; the Air Defence Radar Museum, which is located on the same site; and a former early warning site at Saxa Vord in Unst, Shetland. Research conducted at a number of other Cold War sites and museums is also discussed. The principal aim of this thesis is to contribute a set of nuanced and detailed accounts surrounding the archaeology and heritage of the recent past. The Cold War was a varied and complex phenomenon – one which is much debated. Manifold legacies of the Cold War also continue to shape and influence the contemporary world. In a similar manner, concepts and practices surrounding heritage and memory are widely studied, but remain slippery and resist straightforward interpretation. Therefore, the complexities surrounding these phenomena are magnified when they are combined in the present through the notion of Cold War heritage. In order to add some specificity to these related issues, this thesis focuses on two main questions (which are really two-sides of the same coin): what kind of heritage emerges in relation to historic Cold War radar sites? And, what kind of Cold War is produced in the context of heritage and memory practices? Throughout the thesis, it is argued that the Cold War is an uneven, complex and occasionally difficult heritage to deal with in the UK. Mostly, this relates to practical problems such as the complexities surrounding the ownership of former military sites, as well as a number of other conceptual and philosophical issues. For example, in the context of designation and management, this emerges as a tension between the idea of the Cold War as avant-garde heritage and modern conservation principles that underpin contemporary heritage management practices. Furthermore, the emphasis placed on materiality, place and continuity in heritage and memory practices are also brought into relief. At times, these are shown to be complicated by the (at times) elusive, unpredictable and uncertain character of the Cold War in the present. Using radar sites as a microcosm, it is argued that former Cold War sites are seldom the product of coherent or unified approaches to heritage and memory. Instead, they are often at the centre of a variety of converging, conflicting and confounding agendas. Practices surrounding radar sites also present a number of ethical and political challenges. Moreover, it is also argued that radar sites, despite their billing as Cold War heritage, cannot simply be reduced or collapsed into the concept of the Cold War. Nonetheless, the author argues that this kind of fragmentation and complexity might form the basis of a more comprehensive approach to the Cold War and the recent past in the present. Therefore, in the conclusions to this thesis, the author presents a number of avenues for future research and examines the implications of his findings.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-05-09T15:24:08Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TESE COMPLETA DA QUALIFICAÇÃO- II - versão digital - defesa.pdf: 4892315 bytes, checksum: beca55bac17a39664f54b7cf7c1c91cd (MD5) / Made available in DSpace on 2017-05-09T15:24:08Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TESE COMPLETA DA QUALIFICAÇÃO- II - versão digital - defesa.pdf: 4892315 bytes, checksum: beca55bac17a39664f54b7cf7c1c91cd (MD5) Previous issue date: 2016-02-22 / A Capoeira, prática polissêmica e multifacetada, reconhecida pelo IPHAN, desde 2008, como Patrimônio Imaterial do Brasil é uma das expressões populares de inserção internacional, que mais resguarda os saberes e fazeres das culturas que formaram o povo brasileiro. Rompendo barreiras sociais, culturais e políticas foi também reconhecida pela UNESCO, em 2014, como Patrimônio da Humanidade. Todo o processo de inventário, registro e reconhecimento que a Capoeira vem recebendo nos últimos anos não rompem com os preconceitos e formas de descriminação que ainda sofrem os capoeiristas no Brasil. Daí a importância de pesquisar, conhecer e dar visibilidade as experiências dos capoeiristas, contadas a partir de suas memórias e histórias de vida. É nesse sentido que este trabalho de tese se coloca, buscando sistematizar, a partir do diálogo de fontes orais e escritas, referências históricas da presença dos capoeiristas na cidade do Recife. O recorte temporal escolhido é a década de 1980, momento em que no emaranhado dos processos de redemocratização e afirmação dos grupos culturais no Brasil, os capoeiristas do Recife lançaram mão de várias táticas e astúcias para legitimar o jogo da Capoeira na cidade. O presente texto, tecido com as referências teóricas e metodológicas da história e outras ciências humanas e sociais, narra algumas experiências dos capoeiristas do Recife que levaram a Capoeira a ser reconhecida e utilizada em espaços formais da cidade, como uma luta, esporte, dança e objeto e veículo de educação. Experiências estas que acabaram por construir espaços para outras formas de sociabilidade, contribuindo para referendar modos de se fazer gente, presentes na cultura negra em Recife. / Capoeira, a polysemic and multifaceted practice, acknowledged by IPHAN as Intangible Heritage of Brazil in 2008, is one of the world-renowned popular expressions that most protect the knowledge and practices of the cultures that contributed to the birth of the Brazil. Breaking the social, cultural and political barriers, wh it has also been recognized as World Heritage by UNESCO in 2014. The process of inventory, recording and recognition reserved to Capoeira in recent years did not put and end to the prejudices and forms of discrimination that still affect the capoeiristas in Brazil. Hence the importance of searching, knowing and making known the experiences of capoeiristas, starting from their memories and life stories. That is why this thesis arises, seeking to systematize historical references of the presence of capoeira in Recife, by interweaving oral histories and written witnesses. The period analysed is the 1980s, when in the tangled process of democratization and affirmation of cultural groups in Brazil, the capoeiristas in Recife resorted to various tactics and gimmicks to legitimize the game of Capoeira in the city. This dissertation, indited using the theoretical and methodological basis of history and other humanities and social sciences, reports some experiences of capoeiristas in Recife that allowed the Capoeira to be acknowledged and introduced in formal places of the city, as a fight, as a sport, as a dance and as an educational object and tool. Experiences that eventually created opportunities for other forms of sociability present in the black culture in Recife, thus providing more opportunities for people to become good citizens.