Call for Proposals (CfP CSF 11)

Folklore, 2018

The article critically engages with the articulations and manifestations of a UNESCO initiative for the safeguarding of so-called intangible cultural heritage in Croatian context in the first years of the active Croatian implementation of the Convention for the Safeguarding of the Intangible Cultural Heritage (2009–2013). It presents the intersections of a UNESCO initiative with past and present thnology and folklore research in Croatia. Though one might get the impression (not entirely unfounded) that the project of protecting or safeguarding intangible heritage within the Croatian context first and foremost constitutes a global, imported product, the notion of protecting or safeguarding intangible cultural heritage can also be traced in the history of Croatian ethnology, folkloristics, art conservation, legislation, and folklore festivals production. A strong tendency to transform culture into a slick product can be seen as the main or only ‘innovative’ aspect of transmitting the old concepts into the contemporary framework of the UNESCO initiative. It seems like this aspect makes it easier for everyone involved – state administration and experts and those to whom a given cultural practice ‘belongs’ – to ignore ‘the side effects’ of the UNESCO initiative and the processes of its implementation that are discussed in the article. These side effects, perhaps not so visibly, concern society as a whole, and more directly local communities, as well as our specific professions and disciplines: ethnology and folkloristics. A somewhat different variant of this article was originally published in Croatian, as an introduction to Proizvodnja baštine: kritičke studije o nematerijalnoj kulturi (The Production of Heritage: Critical Studies on Intangible Culture) (edited by Marijana Hameršak, Iva Pleše, and Ana-Marija Vukušić), a collection of essays published in 2013 by the Institute of Ethnology and Folklore Research in Zagreb.

2015

Preface Nowadays, responsibility for the heritage, broadly understood as human and environmental coexistence, is the most important challenge of humanity. The Convention Concerning the Protection of the World Cultural and Natural Heritage proclaimed in 1972 by United Nations Educational, Scientific and Cultural Organisation (UNESCO) reinforced and popularized the Western thought that divided the nature and the culture, which had its beginning in the thought of Enlightenment (MacCormack and Strathern 1980). The nature vs. culture dichotomy, understood as contrasting those two qualities, had huge consequences often depreciating the value of the one for the another. In Articles 1 and 2 of the Convention (UNESCO 2005), the criteria allowing for qualifying properties as examples of cultural or natural heritage were defined. Sandra Pannell lists definitions of cultural heritage we can find in Convention as ‘‘monuments’, ‘groups of buildings’ and ‘sites’, the last ones being the ‘works of man or the combined works of nature and of man’’ (Panell 2006). Definitions of natural heritage are put as ‘‘physical and biological formations’, ‘habitats of threatened species’ and ‘natural sites or natural areas’, which are of ‘outstanding universal value’ from the point of view of science, conservation and/or aesthetics’’(Panell 2006). We can also find ‘mixed heritage’ understood as combination of cultural and natural ones. Nowadays UNESCO proclaims a new way of understanding heritage, a new vision which ‘strives to recognize and protect sites that are outstanding demonstrations of human coexistence with the land as well as human interactions, cultural coexistence, spirituality and creative expression’ (UNESCO 2008). That approach wins more and more supporters not only in the scientific world but also in people all over the world. The discussed process is taking place on numerous planes. Starting from the discussion of specialists on universal values and defining the basic notions, through changes in legal regulations e.g.: connected to implementation of the European Landscape Convention, which is to be accepted by every signing country, to a purely social plane connected with popularization of a new way of understanding, viewing and protecting the Heritage. The term ‘Cultural landscape’ is the actual sample of such a new thinking, and therefore we have decided to focus mostly on the elements of cultural landscape. The subject, approached from various perspectives, from a theoretical (defining and situating cultural landscape in the social space) to a practical one (revitalizations of historically and culturally valuable objects, the value of which forms the identity of the region, winning the sources of financing), from the municipal (examples of Cittaslow towns, urban parks, or ‘The Holy Cemetery’ in Romania) to the rural one (‘Village Renewal’), from a French (an excellent sample of the Parc Naturel Régional de la Brenne ) to a Polish one (examples of Warmia and Mazury, as well as Podlasie) constitutes the first part and the core of this publication. The further part deals with the subjects connected with difficult/dissonant heritage basing on the example of Warmia and Mazury, where, due to political and historical conditions, the regional cultural landscape was subjected to ideologization in favour of Polish raison d’état. The authors have presented how important and more and more common it is in that ‘difficult’ environment to discover and build identity of a human being based on the heritage of the region. The final part of the following monograph discusses particular actions taken by various organizational units (the University, societies, funds) to put theory into practice. We let those who make that theory work in practice speak. Launching the cultural and natural studies as well as the Centre for Cultural and Natural Heritage at the University of Warmia and Mazury in Olsztyn, together with work of specific people in associations and organizations show us how important it is to be aware of and to take care for the cultural heritage and what difficult this work it is. The collected examples, however, prove that it may be done successfully. We realize that we have not discussed in this publication numerous important issues and areas of heritage or we have not devoted as much time to them as they deserve. Our intention is to inspire with the expertise and experience of this book as much people, organizations, and self-governments to notice the cultural and natural heritage and to take measures for its protection. The international exchange of experiences presented in this publication would not be possible without personal involvement by the authorities of the University of Warmia and Mazury in Olsztyn, the Association France-Pologne de l'Indre and the management of the Parc Naturel Régional de la Brenne. We believe that that every initiative to be born under the influence of this publication, which aims at showing how it is possible to take care together for heritage understood according to the UNESCO World Heritage Centre as ‘our cultural and natural heritage are both irreplaceable sources of life and inspiration. They are our touchstones, our points of reference, our identity’ (UNESCO 2008), is to serve well for the local societies building, at the same time, a relation with the place of living. M. Śliwa, K. Glińska-Lewczuk

2015

2023

Studenica Monastery, as a part of the heritage of humanity and a cultural monument on the UNESCO World Heritage List since 1986, has been part of the biosphere reserve "Golija - Studenica" MAB/UNESCO since 2001. In accordance with Articles 5 and 27 of the Convention for the Protection Concerning the Protection of the World Cultural and Natural Heritage, the Administration of the Monastery implemented several significant projects. The first in the series was the "Digital Studenica" project, realized in 2018 with the LiveView studio from Belgrade. The goals of this project were the presentation and mapping of the architecture of the Studenica Monastery through a digital interactive interpretation of the Church of the Virgin and the Church of Saints Joachim and Anna (i.e. King’s Church), drawings from the 12th century, 3D virtual models and augmented reality, interactive permanent exhibitions and a catalog. During 2021–2022, Studenica Monastery, in cooperation with the competent institutions of the Republic of Serbia, the experts of the Museum of the Serbian Orthodox Church, associate arhitect, conservers-restorers and other consultants, successfully implemented two phases of the project "Arrangement of the treasury depot of the Studenica Monastery". In accordance with modern museological standards, the Studenica Monastery's treasury depot was established, where valuable treasury items are stored properly and in compliance with technical protection measures. As part of the project, a digital database of all exhibits was created, with an electronic record of each piece, the most important literature references, data on conservation and exhibition. With their interdisciplinarity in the era of contemporary digital culture, these projects make an essential contribution to the preservation, protection and popularization of the cultural heritage of the Studenica Monastery./Mанастир Студеница као део баштине човечанства и споменик културе на Листи светске баштине Унеска од 1986. године, део је и резервата биосфере „Голија – Студеница“ MAB/UNESCO од 2001. године. Управа Манастира је у складу са чланом 5 и 27 Конвенције о заштити светске културне и природне баштине спровела неколико значајних пројеката. Први у низу био је пројекат „Дигитална Студеница“, реализован 2018. године са LiveView студијом из Београда. Циљеви овог пројекта били су презентација и мапирање архитектуре манастира Студенице посредством дигиталне интерактивне интерпретације Богородичине и Краљеве цркве, цртежа из 12. века, 3Д виртуелних модела и проширене стварности, интерактивне сталне поставке и каталога. У току 2021-2022. године манастир Студеница је у сарадњи са надлежним институцијама и стручњацима Музеја Српске православне цркве успешно реализовао обе фазе пројекта „Уређење депоа ризнице манастира Студенице“. У складу са савременим музеолошким стандардима оформљен је депо ризнице Манастира Студенице, где су прописно и уз поштовање мера техничке заштите, смештени вредни ризнички предмети. У оквиру пројекта је урађена дигитална база података о свим експонатима, са електронским картоном сваког дела, најважнијом литературом, подацима о конзервацији и излагању. Манастир је у сарадњи са Министарством културе Републике Србије 2020. године на платформи Google Arts nad Culture реализовао сталну онлајн изложбу на енглеском језику „Studenica Monastery. Made of Marble and Spirit. An exhibition of art and history of the ancient Serbian Lavra“. Ова изложба била је међу првих десет изложби које је Министарство културе остварило у Србији. Наредне 2021. године, Управа Манастира Студенице је покренула нови веб сајт на српском и енглеском језику у форми високо естетизованог портала који посетиоца упознаје са овим манастиром 12. века века на Листи светске баштине Унеска – његовом историјом, уметношћу, новостима, распоредом богослужења, галеријом фотографија и видео садржаја, и одабраним текстовима. Својом интердисциплинарношћу у ери савремене дигиталне културе, ови пројекти дају суштински допринос очувању, заштити и популаризацији културне баштине манастира Студенице.

ON THE CROSS-PATH OF CULTURAL IDEAS Macedonia, the Balkans, Southeast Europe - Heritage, Management, Resources, 2020

Collection of papers from the Conference held in Ohrid in September 2029 on investigation, protection and management of cultural heritage: Ratko Duev, Elizabeta Dimitrova, Irena Teodora Vesevska and Jovana Savevska organizers.

Folkloristika: Journal of the Serbian Folklore Association (Open access) ISSN 2560-4414 (Print), ISSN 2560-3191 (Online)

Folkloristika [Folkloristics] is a scholarly, peer-reviewed journal of the Serbian Folklore Association ‒ a large community of academic specialists, professionals, and postgraduate students. It publishes papers on all forms of folklore and the non-material heritage in Serbia and elsewhere. Research is wide-ranging: from the verbal folklore, through folk music, dance, beliefs, customs, traditional medicine, pharmacy, phytotherapy, to traditional arts, skills, and crafts. Examining and illustrating traditional and contemporary folklore practices and processes, Folkloristika encourages various theories, critical and comparative approaches, the study of history and folklore methodology, covering all the areas of interest to the subject: the relation between folkloristics and ethnology, ethnomusicology, linguistic and social anthropology, social history, cultural studies, kindred social sciences and the humanities. In addition to maintaining high academic standards, Folkloristika publishes field material and reports, endeavouring to stimulate scholarly discourse and point out connections between contemporary theoretical standpoints while simultaneously contributing to academic communication, the development of education and the preservation of the non-material cultural heritage. In launching Folkloristika, the Serbian Folklore Association calls on a long tradition of Serbian and Yugoslav journals, such as: Tihomir Djordjević’s Karadžić (1899‒1904), Pavle Popović’s Prilozi za Književnost, Jezik, Istoriju i Folklor [Contributions to Literature, Language, History, and Folklore] (1921‒1939, 1954‒), Alois Schmaus and Radosav Medenica’s Prilozi Proučavanju Narodne Poezije [Contributions to the Research on Folk Poetry] (1934‒1940), Narodno Stvaralaštvo – Folklor [Folklore] (1962‒1988), Raskovnik (1968‒2000). Folkloristika invites original unpublished work: research articles, field reports and material, reviews, review essays, bibliographies. Articles may contain audio, video and photographic documentation. The journal is published bi-annually (in June and December) in printed and electronic form, with open access.

Even though Serbia is especially rich in intangible cultural heritage and folklore, there is still no established register of intangible cultural assets in Serbia that could evaluate particular elements of folk heritage. The ethnographic heritage of Serbia is rich in spiritual values related to customs, celebrations, music, song, dance, stories and legends, and this type of heritage is presented through numerous festivals, gatherings and tourist events. The Network for the Preservation of Intangible Cultural Heritage was formed in 2012. Of the twenty-seven proposals submitted, six representative elements of ICH that reflect the ethnic cultural identity of the Serbian nation were initially chosen: the feasts for patron-saints, the St. George's Day ritual, a folklore dance called kolo, singing with the gusle, flute playing and rug making in Pirot. These elements play an important role in the creation of national identity and have the potential to become significant for tourism in Serbia. In this study, some of the elements proposed for the UNESCO Representative List of Intangible Cultural Heritage are described, and their importance for the cultural identity of the Serbian people is explained.

Although only recently recognized by the Serbian government (in 2010), intangible cultural heritage constitutes an indispensable part of anthropological research programs in Serbia. We juxtapose current Serbian national and socio-anthropological practices toward ICH and discuss the importance of these practices for the safeguarding of this heritage. Furthermore, we focus on visual anthropology and visual ethnography to explore the possibilities, benefits and limitations of visual technologies in the safeguarding process. Last, we apply the idea of the humanities and social sciences as ICH (and not only the organized exploration of it) to visual anthropology in order to merge the gap between the decontextualization of ICH and its safeguarding.

2021