Abstracts
Communities, Groups and Individuals and the Safeguarding of the Intangible Cultural Heritage (ICH). Participatory Methodologies and Cultural Mapping
Filomena Sousa (Memória Imaterial, Portugal)
Abstract: Under the project "Digital Cultural Heritage: Platforms and Inventories of the Intangible" (DCHPII), was constructed, through a collaborative methodology, the "Map of e-Inventories of the Intangible Cultural Heritage" (2017). A world map that gives access to 158 e-inventories in their respective countries. This paper presents a preliminary characterization of these inventories and aims to promote the debate on participatory methodologies and the safeguarding of the Intangible Cultural Heritage (ICH).
The main objectives of the inventory are the systematized registration and the organization of the knowledge produced on this heritage. Article 12 of the Convention (UNESCO, 2003) highlights the need to implement these inventories, and for this reason, over the last 10 years, a number of inventory processes have been developed around the world. The use of the Web has become a logical choice for the dissemination of these platforms.
The 2003 Convention does not mention specific methodologies for inventorying, but there is a fundamental recommendation: the participation of the communities, groups and individuals (CGIs) in these processes (the involvement of CGIs plays a central role in all the safeguard measures invoked in the Convention - identification, enhancement, transmission, training, education, protection, promotion - and not only in the inventory).
In a preliminary analysis, it was concluded that among the 158 inventories registered in the Map of ICH e-Inventories, only 22 (14%) clearly announced the collaborative nature of the inventory, calling for direct participation of communities, groups and individuals. This result activated in the DCHPII project the need to elaborate the state of art of the use of these methodologies on ICH processes. We present in this paper the results of this work, addressing the use of cultural mapping, but supplanting this question by analysing the overall safeguard process.
The aim was to understand whether participatory methodologies are being applied or not; whether the involvement of populations is just an unfulfilled idealistic intention or not; if it is possible to identify problems, advantages or clues that support new and more effective ICH participatory techniques.
For the moment, confronting the theory with the practices, we can conclude that the CGIs participation is emphasized in the discourses but, in practice, the real involvement is still residual. We can also identify, in the scope of ICH safeguard projects, five aspects that difficult this achieve: 1) excessive centrality of the States Parties in the heritagization process; 2) diversity of interpretations of the concepts; 3) deficit of information among the CGIs; 4) deficit of experience in the improvement of teams composed of different actors; and 5) deficit of methods and professionals to operationalize the participation of communities, groups and individuals.
Another issue has to do with the need to implement safeguard measures and participatory methodologies that ensure that traditions do not lose meaning among practicing communities. An element of intangible culture can be valued, disseminated, recorded, mapped, archived and transmitted at local, national or even international level, but if its practice in situ is not guaranteed there is no heritage to safeguard.
Modelos e Usos de Mapeamentos Culturais no Brasil: Uma Análise sobre Gestão Colaborativa, Integrada e Compartilhada do Patrimônio nos Discursos Institucionais do IPHAN e do IBRAM
Elizabete de Castro Mendonça (Universidade Federal do Estado do Rio de Janeiro (UNIRIO), Brasil, Alexandre Matos e Alice Semedo (Universidade do Porto, Portugal)
Resumo: Esta comunicação tem como objetivo analisar os modelos e os usos de mapeamentos institucionalizados por duas instâncias do Ministério da Cultura brasileiro, a saber: Instituto do Patrimônio Histórico e Artístico Nacional (Iphan) e Instituto Brasileiro de Museus (Ibram), visando identificar e explicitar o papel da gestão colaborativa, integrada e compartilhada do patrimônio nos discursos institucionais incorporados nas políticas públicas direcionadas aos bens culturais imateriais e materiais.
A análise baseia-se em legislações, normativas e experiências dos referidos institutos, no que tange o Inventário Nacional de Referências Culturais (INRC), a plataforma Museusbr e o Inventário Nacional de Bens Culturais Musealizados (INBCM) – o primeiro regido pelo Iphan e os dois últimos pelo Ibram. Os elementos definidos para a análise foram: conceito de mapeamento cultural e seus usos; contexto de elaboração/atualização dos documentos legais e normativas institucionais em relação à Convenção para Salvaguarda do Patrimônio Cultural Imaterial e às diretrizes do Comitê Internacional para Documentação do Conselho Internacional de Museus (CIDOC/ICOM); formas de exercício do poder emancipatório relativo a participação das comunidades envolvidas nos processos de inventários sobre bens culturais materiais e imateriais e na identificação de museus; papel dos museus nas políticas públicas sobre Patrimônio Cultural Imaterial (PCI) e sua atuação na articulação/implementação de políticas participativas para comunidades locais. Como resultados identificou-se: convergências/divergências entre as práticas desempenhadas sobre gestão colaborativa, integrada e compartilhada do patrimônio nos discursos institucionais incorporados nessas instituições; crescente valorização de mapeamentos culturais, por meio de Inventários Participativos/Colaborativos, reiterando o papel da pesquisa e da documentação no processo de salvaguarda dos bens imateriais e de preservação dos bens materiais; relativa fragilidade que as ações de mapeamento podem apresentar por questões políticas e econômicas; o papel atuante - como equipamentos culturais vinculados aos planos de salvaguarda do PCI - que os museus podem desempenhar em processos de inventário e no exercício da prática de advocacy. Tal analise está associada a reflexão sobre os panoramas das políticas de PCI e de Museus implementadas nos últimos anos no Brasil. Suas conclusões ajudarão a fornecer indicadores para avaliação dos resultados da incorporação dos discursos institucionais sobre os processos de gestão do patrimônio e sobre o poder decisório, nestes processos, dos grupos detentores dos conhecimentos que reivindicam direitos de cidadania e de pertencimento em relação ao seu patrimônio cultural – articulando, desta forma, a noção de direitos culturais com a ideia de democracia cultural.
Mapeando os Patrimônios Culturais Imateriais do Rio de Janeiro: Notas Preliminares
Vivian Luiz Fonseca (Fundação Getulio Vargas/Universidade do Estado do Rio de Janeiro, Brazil)
Resumo: O presente trabalho se propõe a analisar o processo de mapeamento de bens culturais imateriais patrimonializados no âmbito do município do Rio de Janeiro a partir da plataforma do Google Maps, destacando potencialidades reflexivas relativas ao processo de georreferenciamento de patrimônios no espaço urbano carioca. O mapeamento em questão integra uma das etapas do projeto “O Rio de Janeiro dos patrimônios imateriais: políticas e representações”, no qual são analisados os bens culturais imateriais registrados na cidade do Rio de Janeiro desde 2003, quando se efetiva o primeiro processo de patrimonialização de bens intangíveis. Até o presente momento foram registradas cerca de 40 manifestações culturais, entre elas os gols do futebolista Zico no estádio do Maracanã, o Frescobol, a Umbanda, diversos bares e blocos de carnaval entendidos como tradicionais, Torcidas de Futebol e, ainda, a “condição carioca”. Diversos desses processos são objeto de intensos debates que questionam variados aspectos, tais como a representatividade cultural de alguns bens e a valorização de alguns bairros nobres do Rio de Janeiro, tais como da Zona Sul e do Centro Histórico, em detrimentos de seus subúrbios e periferias. Apesar desse recorte em relação a áreas mais valorizadas ser sistematicamente refutado por diversas gestões à frente da Prefeitura do Rio, ao situarmos no mapa da cidade esses bens culturais registrados, percebemos um claro recorte do que na política oficial representa o Rio de Janeiro e que, mais uma vez, mantém à margem a maior parte dos bairros da cidade, notadamente os mais periféricos. Há, ainda, os bens registrados que não apresentam nenhuma vinculação com uma origem geográfica específica da cidade, fazendo alusão à uma representatividade genérica sobre o ser carioca. Ao explorarmos o mapeamento desses bens imateriais, pretende-se refletir ainda sobre os equipamentos e manifestações culturais não contemplados nesses processos de registro e que convivem na mesma espacialidade dos patrimônios oficiais. Por fim, na última década, o Rio de Janeiro passou por uma série de obras de revitalização e infraestrutura urbana, parte das reformas da cidade para receber diversos megaeventos, como a Copa do Mundo Fifa de Futebol 2014 e os Jogos Olímpicos e Paralímpicos 2016. Nesse sentido, uma das propostas analíticas ao mapearmos geograficamente esses patrimônios é a possibilidade de se perceber em qual medida há uma confluência de investimentos em determinadas espacialidades, seja do ponto de vista de infraestrutura urbana, e de valorização cultural. Dessa maneira, pretende-se uma reflexão sobre caminhos e descaminhos da política pública cultural de patrimônio do Rio de Janeiro.
Augmented Reality and Cultural Mapping of Slovak ICH
Eva Capkova and Juraj Grecnar (Comenius University in Bratislava, Slovakia)
Abstract: The paper provides an insight into the level of cultural mapping in Slovakia, which includes existing databases, governmental and non-governmental organizations dealing with intangible cultural heritage issues, implemented projects, websites, communities presenting on social networks, etc. The data obtained is processed by datamining methods and then visualized in a suitable way. It focuses more on the possibilities of information and communication technologies, specially augmented reality in the presentation of intangible cultural heritage. The paper presents the results of the analysis of the already existing ways of using augmented reality focused on ICH in the Slovak Republic, which are part of the prepared project called Innovation of Stur revival movement aspects presentation in the Turiec region with use of information and communication technology. The ideological aim of this project has been communicated in the paper, which is to bring cultural and historical personalities of so called Stur - generation, and an intangible cultural heritage connected with it, which played a key role in Slovak history, by innovative ways of using an augmented reality. The paper also includes an analysis of available tools to enable project outputs to be realized. This research paper brings new views on the intersection of ICT, intangible cultural heritage and tourism, namely application of augmented reality in presentation of cultural heritage.
IT and Urban Creativity
Pedro Soares Neves (Faculdade de Belas Artes da Universidade de Lisboa, Portugal)
Abstract: The purpose of this paper is to identify main trends of relation between information technology and informal cultural practices such as graffiti, street art and Urban Creativity in general. First will be defined were are the specificities of Urban Creations, graffiti, street art regarding the relation with IT. How it relates with other forms of documentation of for example public art, architectural landmarks, conventional buildings and urban structures. Then we proceed with an overview of most representative existing projects, among others, projects with both local and global focus, institutional and commercial, individual scale, or crowd developed. The findings took us to the detail of what are in fact the specificities, and contributions of Urban Creativity for specific public space crowd sourced developments on updated street view information. The urban experience as visitor and or tourist is therefore crucial. The relation between hunters of creativity in the urban context, and tourists, is a relevant factor to explore. In this paper will be traced the implications of researching this specific connection between IT and Urban Creativity showed to be crucial, and justify the orientation of scientific publishing Journal (Street Art & Urban Creativity) in this direction.
New Approaches and Methodologies of Cultural Mapping in Creative Tourism: Some Case-study from Northwest Portugal
Vítor Ribeiro, Paula Remoaldo, Ricardo Gôja, Juliana Alves, Miguel Pereira, Isabel Freitas and Olga Matos (University of Minho, Portugal)
Abstract: Creative tourism is a new way of doing tourism and of creating more attractive destinations for the visitor through genuine and authentique activities where the co-creation emerges. This way of doing tourism will develop, enhance and value existing tourist resources and destinations through activities, initiatives and creative and innovative projects carried out by institutions in the culture and creativity field. The main objective of creative tourism is to provide a new experience and to show other cultures different from the one of the visitor (Richards, 2003).
Cultural mapping can be a tool in creating initiatives in creative tourism. There are two types of cultural mapping, through (i) asset mapping, providing information about identities and records of tangible cultural resources, using GIS and (ii) community identities mapping, when explore intangible cultural resources. The last group is based in stories, traditions and ‘sense of place’ of inhabitants of low density areas (Evans, 2015).
It is a process of collecting, recording, analysing and synthesizing information, in order to describe the cultural resources, networks, links and patterns of usage of a given community or group (Stewart, 2007; Freitas, 2016). It consists of an exercise and of an autonomous resource or part of cultural planning and needs assessment. It maps projects that can involve community creativity and practice-based artistic interventions through artistic forms (Evans, 2015). Over the years, cultural mapping methods has been used in several applications and contexts, for different cultural assets where there is some historic and cultural value and concerning endogenous communities. These methods are essential to create new conditions for the development of local and regional resources. They were inspired by the development of big urban centres and regions, which have been the great engine of cultural mapping growth.
This paper attempts to develop a new model for creative tourism, seeking to rely on the implementation and integration of GIS, Web-Mapping and Augmented Reality. The results were obtained from the context of creative tourism activities organized between July and December 2017 in the Northwest of Portugal with three institutions partnerships in the context of CREATOUR Project titled Development of the Destination of Creative Tourism in Small Cities and Rural Areas (2016-2019). This project is funded by European Commission under the joint activities of the Portugal 2020 Programme by COMPETE2020, PORLisboa, PORAlgarve and the Portuguese Foundation for Science, Research and Technology (FCT).
A methodological approach adopted to share the web mapping experience with crowdsourcing and augmented reality tools are presented and some key lessons learned are discussed.
Cultural Mapping and Participatory Practices. How to Connect Territorialisation, Sustainability and Tourism
Leonardo Chiesi and Paolo Costa (University of Florence, Italy)
Abstract: The paper discusses some participatory practices (such as Community mapping, Co-design, Opens Space Technology) that are strongly connected with Cultural Mapping, framing them within the discourses of tourism planning and place-based approaches to sustainable local development.
Community mapping is a process of collecting, recording, analyzing and synthesizing information in order to describe the cultural resources, networks, links and patterns of usage of a given community or group. Co-design is an approach to design that actively involves both designers and stakeholders (e.g. citizens, end-users, partners, local authorities, and so forth) in the design process, in order to increase the chances that what is designed or planned meets the needs of the community. Open Space Technology is a large group decision-making technique that allows to involve the local community in the discussion of a problem, to define the agenda of the discussion, to maximize the contribution of the participants and to develop proposals that address the problem. The paper also frames these practices within the general discourse on methodology of social research, with some specific reference to the action research paradigm, to social innovation and to the design practice. A classification for community projects based on a theoretical framework then shows how community processes can be placed in a three-dimensional space of attributes defined by three continua: knowledge vs. identity; inside vs. outside; past vs. future.
The paper proceeds with an empirical section describing several case studies that were part of participatory strategies coordinated by the authors in Syria, Malta, Altamura and Firenze. In Syria a community mapping process was planned (and stopped due to the war) to build some cultural trails, performed by administrators of various fields. In Malta some cultural mapping features were used in a co-design workshop, to design strategies to communicate the local cultural heritage to tourists. In Altamura and Firenze, two historical cities, cultural mapping was a driving approach in the performance of two participatory strategies. In Altamura the goal was to find new ideas for the regeneration of the historical center. In Firenze a participatory strategy was adopted to prepare the candidacy of the city as UNESCO Creative City (Craft and Folk Art section).
The case studies serve three purposes: demonstrating an application of the theoretical framework presented in the previous section; delving into specific types of community processes that entail an active involvement of local communities; show how these practices can promote territorialisation a relationship with tourism that takes into account social and cultural sustainability.
Mapping Visions
Alexandra Bonham (University of Auckland, New Zealand)
Abstract: The place standard tool is used by urban planners to assess the quality of streets and public spaces in the here and now (Scottish Government, 2018). Walking tour guides are city boosters (Wynn, 2010) who aim not only to pass on knowledge about how cities develop over time but to empower walkers to play a part in that process in their own neighbourhoods. In a series of free walking tours in September 2018 an urban planner and I took local residents for a walk and talk around central Auckland. We shared stories of the city’s development and gave instructions on how to use the place standard tool. The aim was to deepen understanding of local residents regarding decisions made in the past and ask them to consider which worked out well, what did not, what existed that they valued, what things they did not, and how they might like the maps of the future to look. In short we gave them the permission to critique the city. The semi-structured walk and talk is an established research tool in geography, medical and social sciences that allows participants greater agency to lead the research (Kusenbach, 2003). This method is here co-opted into an artistic research process. While we established the route, and led discussions at the stops, the conversations between stops were more participant-led allowing shared stories to emerge. Views on spaces were written on to work sheets anonymously. This talk is about what we learnt and our attempt to translate our findings into narratives of the future city which are then presented in a layered map on the web. The goal is to share visions and to invite more contributions.
It has been my experience when conducting tours in Auckland that so much of the cultural heritage in the central city was destroyed in the 1980s, while the country was undergoing a strong economic shock, that current conversations are as much about charting heritage lost as heritage at risk. My artistic research considers how community and culture may be strengthened through playful conversations, the sharing of stories and the creating of connections. This walking tour is part of a long term artistic research project that harnesses the affordances of the purposeful walk (McLaughlin, S. & Fry, A., 2001) and mapping (Mogel & Bhaget, 2007; Stewart, 2010; Chapin, 2017) to encourage citizens’ assertion of their rights to the city (Lefebvre, 1996) through writing the city (Pinder, 2005). This is done in two senses: making our mark by moving within the city, and by putting pen to paper to articulate stories and explore new meanings (Richardson, L.R. & St Pierre, E., 2015). The response to the creative translations of these findings is a key part of this artistic research (Nelson, 2013; Rolling, 2013).
Cultural Mapping the Intangibilities of Place: How ARTERIA Enhances Local Cultural Participation
Claudia Pato Carvalho (University of Coimbra) Margarida Relvão (University of Coimbra), Hermínia Sol (Tomar Polythecnic Institute), Rosa Branca (Guarda Polythecnic Institute) and Nuno Jerónimo (Beira Interior University, Portugal)
Abstract: In this presentation, we are proposing to reflect on how the participatory cultural mapping activities that are taking place in the eight ARTERIA cities may be an approach to innovate within the field of mapping intangible resources.
The ARTERIA project is characterized by its focus on exploring different approaches to participatory cultural mapping, which are connected to participative processes of mapping the intangible heritages of each of the communities involved, and analyzing how cultural practices, tourism, and heritage may be connected.
In this presentation, we wish to share participatory processes, methodologies and insights developed within the project “ARTERIA” (project no. CENTRO-07-2114-FEDER000022, co-funded by Programa Operacional Regional do Centro – Programação Cultural em Rede, www.redearteria.pt). The overall objective of the project is to create a cultural intervention projects in the Centro Region of Portugal, in eight different territories (Coimbra, Figueira da Foz, Viseu, Tábua, Fundão, Guarda, Belmonte and Ourém), during 2018, 2019, and 2020.
More generally, the project proposes for reflection how artistic activity can contribute to re-establish citizenship, democracy and urban sustainability. ARTERIA integrates the artistic, cultural, civic and academic dimensions in each of the eight territories. The scientific objective is to facilitate an integrated approach to the social and cultural issues of the space, articulating academic and non-academic knowledge. This requires the creation of a network of cultural, artistic and academic institutions and organizations that works as a community and university extension initiative, integrating different types of knowledge (performing arts, urbanism, citizenship, culture, among others). This multidisciplinary integration effort allows the development of different analysis tools such as diagnoses of local needs, impact monitoring, audience studies, identification of "cultural policies".
Cultural mapping, participatory endeavors, and creative collaborative processes are integral parts of developing and implementing ARTERIA activities. Through these experiments, we are finding that participatory approaches are integral to the cultural component of territories. Within ARTERIA, researchers, artists, cultural associations, municipalities and local residents are essential actors co-investigating and reflecting on how intangible cultural mapping methodologies can bring to the forefront of public discussion more participative approaches and connections between visitors and local agents, and between the culture and tourism sectors. This paper presents the methods and results from cases in five communities of the Centro Region (Coimbra, Ourém, Fundão, Figueira da Foz and Guarda), analyzing how intangible cultural mapping approaches inform the creation of cultural intervention projects.
An integral dimension of these discussions is how territories cultural intangibility can be reinforced and enhance the awareness of cultural identities, debating its implications for local development, community engagement and policy making. With this presentation, we wish to reinforce the importance of participatory cultural mapping projects, developed by an array of civil society actors, that are presently being created in the Centro Region. What is their impact and how can they be a valuable contribution for the sustainability and for the touristic development of theses territories?
Representing Places Through its Absence: A Design Strategy Against the Indifference of Representation
José Miguel Cardoso, Rui Costa and Paulo Freire de Almeida (University of Aveiro, Portugal)
Abstract: This article belongs to an ongoing research entitled "Maps Tailored to the Body of Places: Design Strategies against the Indifference of Representation." In this research we want to study the importance of image creation and use, in the representation of places. In particular, the relationship between maps (as representations of a place) and the places themselves, questioning the role of design as cultural mediation (Branco & Providência, 2018) in this process.
George Steiner, circumscribing the identity of Europe as a union, tells us to draw the coffee-house map and you have one of the essential markers of the idea of Europe (2004, p. 26). In a time of disunity marked by the recent Brexit and the rise of populist and nationalist movements seeking to close borders, this idea of mapping the richness and diversity of identities that blend together, seems to be constantly losing importance. Identity impoverishment and indifference are also manifested when the idea is confronted with the most massified systems of representation and mapping the territory and landscape. For example, in the street view mode of Google Maps, the representation of the city is created and mediated through automatic systems of photographic capture of the facades, regardless of the cities in question. Given this technological capability of automatic representation and orientation in the territory and cities, we can question if there is still a role for the designer in this process? Is today anachronistic the hand that draws the map?
We argue that it is the place that determines the design project. In this sense, we intend to answer these questions through the practical application of design strategies that contribute to stimulate the sense of places. All strategies are based in observational drawing of landscape of places, as a privileged tool of the designer. In this particular article we approach only one of the strategies adopted in this research — representing places through its absence — applied in two places of Porto city: Torre dos Clérigos and Terreiro da Sé. We use a mixed method between reflection and action. Mental maps allowed to identify the places and to connect them with three techniques adopted in their representation. The set of three techniques applied to the place, constitutes a design strategy.
We conclude that the mediator role of the designer in the representation of places, passes through the prolonged experience of the place, with all that this implies in the decisions taken during the act of drawing. Knowing through drawing (Massironi, 1996), in a dialogue between mind and hand, the designer is subject to an experience of time, and therefore original and unrepeatable. It promotes a sense of place that underlines its identity and counters the indifference of representation. It is not about creating wayfinding maps, destined to a literal orientation already solved by the technological ubiquity, but about creating meaningful artefacts of places.
We question whether there is a Genius Loci (Norberg-Shulz, 1979) in each place that demands its own representation. Maps tailored to the body of places.
Animating the Local - Artistic Engagements with Place, Cultural Mapping, and Creative Tourism
Nancy Duxbury (Centre for Social Studies, University of Coimbra, Portugal)
Abstract: Animate: ‘to give motion to’ as in leaves animated by a breeze. With this notion (and image) as a touchstone, this presentation provides insights from a variety of artistic approaches to local cultural mapping and considers how these perspectives may inspire and inform creative tourism initiatives in small cities and rural areas. Artists’ engagements with place are most prominently articulated and advanced through their creative practices. These approaches are also given form through two special types of social spaces for individual and collective engagement: artist-led community-engaged cultural mapping projects and creative tourism initiatives. Artistic approaches to cultural mapping involve creative, community-engaged processes that investigate and articulate the tangible and intangible aspects of culture, heritage, and place, and often aim to engage with the ‘felt sense’ of community experiences, an element often missing from conventional mapping practices. They also highlight the aesthetic as a key component of community self-expression and self-representation. Creative tourism initiatives create active spaces of engagement between local residents and travellers/visitors, foregrounding participation, learning, exchange, and opportunities for creative self-expression. The start-up stages of CREATOUR, which focuses on smaller communities and rural areas, have highlighted the importance of embedding place-specificity in the development of creative tourism offers. Artistic approaches to local cultural mapping provide pathways for creative articulation and engagement with the specificities of a place and suggest approaches to developing spaces that encourage creative self-expression, exchange, and collective learning.
Cultural Mapping of Intangible Cultural Heritage and its Usage in Tourism Branding Models
Rossitza Ohridska-Olson (University of Library Studies and Information Tecnologies, Sofia, Bulgaria)
Abstract: Cultural mapping as a process and research method is part of the value and meaning creation of for places and phenomena that can be subject of geospatial relationships. Mapping cultural assets is crucial for place branding – a practice insuring the competitiveness of communities, regions and nations (Anholt, 2010; Pike, 2009) and “creating place-embedded symbolic tools” (Duxbury, 2015). Cultural mapping is also essential activity in the process of the safeguarding the intangible cultural heritage. This is justified by the 2003 Convention for Safeguarding the Intangible Cultural Heritage, in which “safeguarding” is defined among others as its “identification, documentation, research, preservation, protection, promotion, enhancement…” (UNESCO, 2003). During the development of these activities, even since the first step – identification – the cultural mapping also plays an important role in the branding of the ICH element and the environment in which it exists.
The usage of ICH in place branding is not new in the tourism marketing (Ohridska-Olson, 2018). Maurizio Maggi (Stefano, 2014) underlines the importance of ICH for “enhancing local competitiveness” which represents the main goal of place branding.
The text will trace the process ICH mapping as it relates to the creation of local, regional and national brands in Southeastern Europe. It will extend beyond the importance of UNESCO label for World Cultural Heritage sites for tourism destination branding discussed in literature (Adie & Hall, 2017; Adie, Hall, & Prayag, 2018; Foster, Seeger, Hafstein, & Noyes, 2015; Kim, Stepchenkova, & Yilmaz; King & Halpenny, 2014; Pascale & Laurent, 2012). By analyzing the importance of cultural mapping using other labels (Living Human Treasures, National lists of ICH, online national and regional databases of ICH, etc.) it will outline the importance of ICH as cultural asset in the branding process for tourism destinations (Kim et al.).
The research is based on the assumption that tourism branding models (Anholt, 2010; Pike, 2009; Pogorzelski, 2018; Pryor & Grossbart, 2007; Zenker, Braun, & Petersen, 2017) are closely related not only to the tourist perception of the place, but also to the local residents’ evaluation of their built heritage and living traditions. The article analyzes brand awareness through collecting online social media data and brand awareness research on local, national and regional level of ICH elements, already mapped through different institutions and compares the branding models that work positively not only for tourism destination branding, but also for sustainability in the safeguarding the intangible cultural heritage in the environment of global travel industry competition.
This analysis serves to extract a new, improved model for destination branding based on cultural assets of geospatially defined environment. Its contribution to science and practice of tourism development within the limitation that UNESCO poses in its Operational Directives will help academia and DMOs to utilize ICH mapping as another instrument to insure local economic prosperity, while preserving the living traditions, beyond the researched area of Southeastern Europe.
O Mapeamento como Instrumento para a Promoção do Turismo Criativo e Desenvolvimento Local
Eunice Almeida Duarte (Universidade de Lisboa, Portugal)
Resumo: Dos produtos turísticos de âmbito cultural e criativo, as rotas turísticas são uma das práticas mais procuradas. Dessa forma, pode ser uma oportunidade para a criação de projetos diferenciadores. Especialmente, se na sua origem estiver por base as novas tecnologias, desde uma simples aplicação até à realidade aumentada. Uma vez que poderá permitir a experienciação virtual de uma realidade, sendo uma forma de autenticidade que genericamente é inautêntica. Como tal, a presente pesquisa visa analisar de que forma a existência de uma aplicação atraente de um conjunto de rotas do destino, pode combinar o conceito de mapeamento, de jogo, de realidade aumentada com a promoção turística, promovendo o desenvolvimento local.
Nesse contexto, é importante entender que, num destino, tudo o que o turista visita, faz e consome pode ser considerado como uma experiência, sendo como a experiência e o consumo de um lugar (Meethan, 2001). Nesse sentido, a experiência do turismo é entendida como uma atividade de lazer multifuncional envolvendo o indivíduo em atividades de entretenimento ou em atividades de aprendizagem (Ryan, 2002). Portanto, o turista viaja para consumir experiências (MacCannell, 2003, p. 33). Consequentemente, o turismo em Portugal registou um aumento significativo da procura e o surgimento de novas tendências, nomeadamente o surgimento do turismo criativo. No entanto, há um conjunto de cidades e vilas que apostam em estratégias de diferenciação, harmonizadas com sua realidade cultural e seu próprio potencial, baseadas na criatividade e inovação. Águeda, Braga, Borba, Guimarães, Idanha-a-Nova, Lisboa, Loulé, Montemor-o-Novo, Óbidos, Paredes, Portalegre, Porto, Santa Maria da Feira, Serpa, Sines e Tondela são alguns exemplos notáveis. Porém, ao nível da promoção este tipo de turismo ainda está subestimado.
Como tal, é importante ressalvar que a Internet provou ser uma ferramenta verdadeiramente eficaz na promoção de um destino. Uma foto / vídeo simples pode ser suficiente para alcançar potenciais turistas (Albertini, 2010). Eles têm toda uma nova dinâmica, criam, absorvem, compartilham, comentam, avaliam, gostam e excluem todo tipo de informação a cada segundo. As pessoas aproveitam cada momento disponível do seu tempo para gerar ou consumir informações em tempo real na Internet.
Nesse sentido, sendo que o turismo é baseado em experiências, torna-se vital entender se o turismo criativo e as experiências turísticas baseadas em tecnologia se complementam e promovem desenvolvimento local?
A pesquisa pretende inicialmente desenvolver uma abordagem teórica através da revisão dos conceitos de maior importância para a compreensão da relação entre turismo criativo, experiências baseadas na tecnologia e no cliente deste produto. Resultando na apresentação do estudo de caso, tendo por base a análise das estratégias para a criação de uma aplicação com base em rotas onde estão inseridos jogos e experiências de realidade aumentada.
Mapping Cultural and Creative Sector for Tourism Development
Pedro Costa and Elisabete Tomaz (ISCTE-IUL, Portugal)
Abstract: The cultural and creative sector (CCS) has been recognized for its potential as an engine for growth and job creation, and even more so to contribute fully to the 2030 Agenda for Sustainable Development. Many cities and regions have implemented creative strategies to stimulate local and regional development, not only to induce the growth of this sector of activity, but also the spillover effects that are pointed out to them in other areas.
One of the key methods for measuring the value of cultural and creative industries is mapping, which includes collecting and presenting information about individuals and organizations active in the sector as well as good practices, strategies and related policies and initiatives.
There are several approaches to defining and mapping the CCS in different countries and organizations. In general, these analyses varied from the macro level to the micro level. The macro analyses focus mainly on quantitative indicators, mainly in terms of economic activity and employment. The analyses at micro level aim to identify and qualify policies, strategies, actors, spaces and cultural equipment, events and other elements relevant to a detailed characterization of the sector.
In addition, there is a growing interest in understanding how the cultural and creative industries (CCI) can boost the development of tourism innovations and create more sustainable solutions. In order to develop effective policies to exploit these synergies, it is first necessary to know the industry effectively in different contexts to help policymakers develop measures that can generate added value.
In this paper, we will review the methodologies developed for mapping the CCS. Then we will design a framework adapted to the national reality and that can be operationalized within the scope of the CREATOUR project. Further, we aim to discuss the challenges of these approaches and how to provide valuable insights of CCS for local development, community involvement and to the formulation of integrated policies for sustainable creative tourism.
Mapping Architecture through Digital Technologies
Sara Eloy (ISCTE-IUL, Portugal)
Abstract: In this presentation I will present the research developed lately in ISTAR-IUL regarding the use of digital technologies, namely Augmented Reality (AR), Virtual Reality (VR) and Spatial Augmented Reality (SAR) to explore architecture contents, namely the ones focusing cultural tourism, through several perspectives.
The goal of this research is to combine knowledge from several disciplines, including History of Architecture and the City, Architecture in the broadest sense, Information and Communication Technologies (with an emphasis on Computer Graphics) and Tourism studies. These fields have been integrated in the development of a common base of information on the architecture of cities. In general, the main goals of our research are: i) to create an information system that allows access to digital information useful for the understanding of the built and urban areas; ii) to increase the knowledge about the built environment through the use of more informational media; iii) to collaborate with IT researchers in the development of real VR and AR implementations for the city; iv) to enhance collaboration between education architecture and multimedia students through the use and development of new technologies and processes.
In the book Theorizing Digital Cultural Heritage, Fiona Cameron and Sarah Kenderdine (2007), present a compilation of papers that discuss the mutual transformation that emerging digital technologies and heritage organizations cause on each others due the current trend of combining both. In this line of thinking the research we have been doing contributes to the discussion on the combination between the digital technologies and the elements and places they refer to. Both AR and VR tools have been developed by our team to enhance a better understanding of architecture, namely the cultural heritage, to students and the broad public. All these technologies have been presented in exhibitions on cultural heritage such as the “Escola de Chicago: arranha-céus digitais” exhibition in 2014 at ISCTE-IUL where digital technologies allowed visitors to observe the story of such period in an innovative way. In this exhibition several digital tools developed were presented. Semi-immersive Virtual Reality enabled participants to explore the downtown city of Chicago by navigating in a 3D model (Coroado, Pedro, D’Alpuim, Eloy, & Dias, 2015). Individual buildings representative of the period, as the Old Colony, were presented with an AR app (ARch) that enables users to navigate into these buildings using several functionalities as hide/show parts of the building (Mendonça, 2014). Spatial Augmented Reality was used to augment physical models at the scale 1:10 that were positioned in the exhibition as a complement to the ones digitally presented by AR (Velhinho, 2014). The mobility and ease of use enabled by the augmented reality apps lead us to continuing using this technology for creating solutions of visualization of cultural information targeting tourists. In this scope we developed an app to be used for the augmented visualization of paper maps (ARch4maps) (Gaspar et al., 2016). In this case the Lisbon map of the Prémios Valmor was used and the awarded buildings were mapped by AR in the physical map. SeeARch is a recent AR app developed to be use outside while e.g. a tourist is walking through the city and aims to acquire information on buildings and places. All the developed apps were tested (satisfaction and usability tests) and they use of digital visualization tools proved to be of outmost interest for linking city knowledge and visitors and therefore heritage and cultural tourism.
Cultural Mapping for Fostering Creativity in Creative Cluster: A Case Study of Seongbuk-dong in Seoul
U-Seok Seo and Kyung Won Lee (University of Seoul, Korea)
Abstract: Creativity thrives on networking and communication among stakeholders such as artists from various fields. As a creative cluster designated as “Historic and Cultural District” by the Seoul Metropolitan Government and a rising hotspot for creative tourism in the old northern part of Seoul, Seongbuk-dong needs to facilitate the collaborative working of artists toward fostering creativity. Cultural mapping has begun this year with the expectation to contribute to exchange information among various artist groups as well as residents overcoming the insufficient mutual understanding. This study will report on the multi-stage processes and the governance formation of cultural mapping in Seongbuk-dong emphasizing the importance of participation of various stakeholders in these evolving developments. In addition, the possibility for tourists to involve in cultural mapping will be discussed.
A Frota Branca e a Rota Portuguesa do Bacalhau como Elemento de Património Imaterial de Valor Socioeconómico, Cultural e Turístico dos Territórios
Fernando Vasques Felizardo (Universidade de Sevilha, Espanha)
Resumo: A ancestralidade do conhecimento e da pesca nos mares do norte considerando que o tratado estabelecido entre Pedro I de Portugal (1320 – 1367) e Eduardo II de Inglaterra comprovam que os portugueses pescavam em águas do Atlântico Norte. Acredita-se que os portugueses teriam conhecimento e que eventualmente já pescavam no mar Atlântico do Norte desde a presença escandinava nas costas portuguesas pelo intuito do comércio do Sal (século X). Em 1506 tona-se evidente que os portugueses já pescavam Bacalhau, uma vez que D. Manuel I mandou passar-se a cobrar a dízima sobre a pesca da Terra Nova. Com a viagem de Gaspar Corte-Real foi elaborado o planisfério de Cantino, em 1550, segundo a Corografia Portuguesa havia 150 naus destinadas à pesca na Terra Nova. A pesca do Bacalhau, por parte dos portugueses, voltou a recuperar a sua importância no séc. XIX, vindo a dar origem já no séc. XX, à denominada Frota Branca. Durante a II Guerra Mundial, os Portugueses continuaram a sulcar os mares, o governo de Portugal formalizou às partes beligerantes, em 1942, um pedido de neutralidade para com os navios de pesca ao bacalhau. Decidiu-se pintar de branco os cascos dos 45 navios, envergando a bandeira de Portugal, nome e nacionalidade, nasce assim a “White Fleet”, designação de reconhecimento mundial que se manteria até ao seu fim nos anos 70 do século XX.
A Frota Branca e a Rota Portuguesa do Bacalhau são um património Universal, transversal a várias actividades, ou mesmo a diferentes localizações geográficas, extensível até Newfoundland. A sua terra-mãe é indiscutivelmente Ílhavo mas a sua disseminação como influência cultural e patrimonial é nacional.
Ílhavo era genericamente a terra dos capitães e pilotos, a tripulação era engajada em vários pontos do território, acontecendo em vários locais do pais de norte a sul com incidência nas regiões da Figueira da Foz, Aveiro, Sesimbra e do Algarve - Fuzeta, integraram as companhas também Açorianos obrigando os navios fizerem escala nos Açores. A Frota Branca também esteve ligada a outras zonas do território, pelas unidades de seca do bacalhau, Figueira da Foz, no Tejo, Seixal, no Barreiro, a Moita do Ribatejo, ou Alcochete (…) locais influenciados pela cultura do “mundo do bacalhau”. Lisboa foi palco das partidas da Frota Branca, depois da sua bênção, paralelamente e fruto destas actividades o consumo de bacalhau generalizou-se transformando-se num prato de referência nacional pelo seu consumo e múltiplas formas de ser confeccionado, transformando-o numa cultura de gastronomia.
Propõe-se como linha de estudo exploratório, entender a relevância da Frota Branca e da Rota Portuguesa do Bacalhau enquanto património, desenvolver o mapeamento territorial da Frota Branca, e a influência desta cultura nas diferentes comunidades. O valor da preservação do património imaterial como foco dinamizador do desenvolvimento local e nacional e do turismo. O presente estudo é metodologicamente operacionalizado por revisão de literatura e entrevistas ou semiestruturadas a entidades de referência no sector do turismo.
“Identity Mapping” da Gastronomia do Bacalhau: Um Constructo Metodológico para Preservar a Memória Coletiva do Património Alimentar Português
Josefina Salvado (Universidade de Trás-os-Montes e Alto Douro, projecto INNOVINE & WINE)
Resumo: Os patrimónios alimentares possuem uma posição estratégica no sistema de vida e de valores das diversas sociedades, sendo portadores de simbolismos de índole material, social, ideológico e cultural. Para Montanari (2006), a alimentação é cultura e Mauss (1968) refere-a como um facto social total complexo, explicada pela junção de várias dimensões (históricas, sociais, económicas, religiosas, politicas, geográficas, artísticas e ideológicas) e não apenas um agente de manutenção da vida e da saúde. Soares, (2011) menciona que a mais antiga e abundante fonte de que se tem conhecimento (do séc. IV a. C.), no âmbito da literatura gastronómica especializada vem atribuída a Arquéstrato, um autor siciliano.
Este trabalho visa realizar um “Identity mapping” de activos intangíveis associados à memória colectiva de um povo e à sua identidade cultural, relacionados com a cultura e a gastronomia do bacalhau. Segundo Clark, Sutherland and Young (1995), “The most fundamental goal of cultural mapping is to help communities recognize, celebrate, and support cultural diversity for economic, social and regional development”.
O objectivo principal deste trabalho de investigação, visou mostrar o bacalhau como um evidente marcador identitário da culinária portuguesa, cujo consumo não é homogéneo no território, existindo uma relação directa entre o volume de consumo desse produto e o número de receitas culinárias.
Utilizou-se uma metodologia de triangulação de fontes de informação, segundo Blaikie, (1991). A análise da construção identitária do bacalhau seguiu as premissas práticas do “Cultural Mapping Toolkit”( Stewart, 2007) e para verificar a relação directa entre o volume de consumo desse produto e o número de receitas culinárias foram usadas duas metodologias, uma quantitativas e outra qualitativa. A análise dos livros de culinária, como fonte histórica, acompanhou a grelha de Albala (2012) que responde a 5 questões: quem escreveu, quando e onde foi publicado, qual o público-alvo e porque foi escrito, e no que se refere à análise de conteúdo, seguiu a metodologia de Soares (2018), em função do título da receita.
Os resultados apurados mostraram que o bacalhau é o “fiel amigo” da culinária portuguesa sendo confeccionado de diversas maneiras. A segunda conclusão, que respeita ao confronto entre o número de receitas por região e os locais de maior consumo de bacalhau, confirma a hipótese de que existe maior número de receitas nos territórios de maior consumo. A terceira conclusão que elenca os atributos da identidade e património culturais, revela que os sabores que surgem das reminiscências culinárias estão carregados de simbolismo, afectividade, saberes colectivos e identidade territorial. O resultado mostrou uma maior prevalência na cozinha de território e honorífica. Portanto podemos qualificar o bacalhau como marcador simbólico da cultura portuguesa, pois a cozinha de uma região é uma “linguagem na qual ela traduz inconscientemente as suas estruturas” (levi-Strauss, C.,1964) e as tradições culinárias frequentemente se transformam em ícones simbólicos dos locais (Tellström et al.,2006).
Cultural Mapping in Rural Areas: The Case of the Historical Route of the Lines of Torres
João Reis (Escola Superior de Hotelaria e Turismo do Estoril, Portugal) and Bruno Osório (Centre for Ecology & Hydrology, UK)
Abstract: Tourism industry has been changing from a mass tourism to an emerging 'New Tourism' model, driven by a new tourist-consumer profile that favours individualised experiences and activities. Usually supported by new technologies, practices, and management techniques, that new tourist-consumer paradigm is promoted by a creative and innovative tourism approach, combined with the tangible and intangible heritage as the distinguishing and competitive aspects of the tourism destinations offer. This presents an opportunity of development to rural areas, where both tangible, e.g. castles, churches, etc., and intangible heritage, such as oral traditions and popular arts, are deemed as important and strategic resources for tourism, especially cultural tourism. Moreover, the use of new technologies, which include mobile applications (apps), augmented reality, story maps, among others, reshapes tourism offer and planning by promoting, for example, the decrease of supply costs and the improvement of the external communication/marketing of destinations, enabling the globalisation of products and the access of an unlimited (potentially) number of consumers. The Historical Route of the Lines of Torres (HRLT), though essentially focused on the tangible heritage of a strategic network of fortifications built to safeguard Lisbon from the French Army during the Napoleonic Wars, constitutes an example of that development opportunity of an original and culturally relevant tourism product aimed at the new tourist-consumer archetype. In this paper, a WebGIS using the resource Web AppBuilder for ArcGIS was built for the HRLT to illustrate the application of the new technologies put into service of the new tourist-consumer. The WebGIS expands the efficiency of the tourism offer since it enables to easily make available and visualise information about points of interest (POIs), accommodation, restaurants, and many other tourism relevant content to tourists everywhere in the world if they have Internet access. Furthermore, the developed WebGIS also allows to use that tourism spatial information to obtain personalised routes, localise POIs, and perform other complementary actions that provide the individualised, interactive experience pursued by the new, savvy tourist-consumer who self-manages time, experiences and activities. All this tourism-related data accessible through the WebGIS are downloadable to be used in mobile systems, such as smartphones and tablets, to facilitate the experiences and activities of the predominantly autonomous, tech-savvy tourist-consumer within the visited territory, overcoming the static paper mapping of the old tourism practices. Therefore, in this research, and considering the WebGIS created, it is assessed how the new technologies can be instrumental in offering a more personalised, innovative tourism product to the new tourist-consumer player. Simultaneous, an increasing interest in rural areas by tourists benefits from the use of those technologies, considering their ability to enhance the experience and local narratives in a creative, spatial, and cultural mapping framework of the tangible and intangible heritages.
Rota do Mármore do Anticlinal de Estremoz: Desenvolver Turismo Criativo em Geografia Possível
Armando Quintas e Carlos Filipe (University of Évora)
Resumo: Com esta comunicação, procuramos contribuir para o conhecimento de um roteiro industrial e patrimonial, enquanto experiência turismo criativo, valorizada culturalmente pelos contributos da historiografia, enquadrada no mapeamento da geografia do Anticlinal dos Mármores, abrangendo os concelhos de Borba, Estremoz e Vila Viçosa, associada à paisagem industrial da extracção e transformação do seu produto endógeno.
Trata-se de um novo desafio para os nossos dias: o de salvaguardar, estudar, cuidar do património para poder utilizá-lo como recurso turístico, tendo em vista o enriquecimento cultural e o desenvolvimento sustentável da região. A salvaguarda e a reabilitação do património são hoje obrigações consignadas na lei e requeridas pelas comunidades, contemplando as funções rememorativas, de herança e de matriz identitária inerentes aos bens patrimoniais.
O novo desafio que se apresenta agora ao património é transformá-lo em recurso turístico. As operações de conservação, sabemo-lo todos, são tarefas especializadas e geralmente onerosas. Também por esse motivo a recuperação patrimonial implica que se lhe atribuam novas funções que, na generalidade dos casos, podem conciliar a vertente cultural com o turismo. Isto é, o novo desafio de combinar de maneira criativa e inovadora a cultura e a economia, transformando os patrimónios e as memórias que lhe estão associadas em experiências turísticas no sentido real da palavra, ou seja, com novas funções que impliquem a sua reelaboração produtiva.
A Rota do Mármore do AE, faz parte integrante da Associação de Estudos de Cultura, História, Artes e Patrimónios, que tem vindo a desenvolver a sua actividade a partir da sua sede em Vila Viçosa, desde 2012. Oferece várias possibilidades de percursos distintos, uma vez que integra variados patrimónios de diferentes âmbitos. A conjugação da diversidade de património é um dos pontos de valorização e diferenciação da RMAE em relação a outros produtos turísticos com nomenclaturas e âmbitos similares. Este é, de resto, um dos aspectos que contribui de forma mais decisiva para o sucesso desta experiência de percursos temáticos, já que permite ao visitante optar por um percurso criado de acordo com os seus interesses específicos.
O conjunto de recursos do património com a ligação ao mármore, apresenta uma interessante riqueza e diversidade no conjunto do Património Cultural no Alentejo. Neste aspecto, é de destacar o conjunto sítios, relacionados no espaço do Anticlinal dos Mármores, relacionados com as pedreiras, unidades industriais e o conjunto da arquitectura urbana – monumento, do património religioso construído no conjunto das outras realidades culturais. Constitui um dos importantes patrimónios materiais, sociais e culturais o património industrial com origem na indústria das rochas ornamentais no Alentejo.
A equipa de gestão da RMAE em cooperação com projecto Património e História da Indústria dos Mármores, desenvolveu um trabalho de mapeamento, identificando as infraestruturas do património, subdividido em três roteiros, procurando ajudar através da sua plataforma os percursos destinados aos visitantes.
Finalmente, procuramos desenvolver uma discussão com os participantes do congresso, tendo em vista o conceito e metodologia utilizada por outros projectos, e a própria estratégia de selecção e valorização do património mapeado pela Rota do Mármore do AE.
Artisans with a Face and Heart. Cultural Mapping and Creative Tourism Development in Rural Alentejo
Sara Albino, Noémi Marujo and Jaime Serra (University of Évora)
Abstract: Emerging from the experience of implementation of the CREATOUR project in Alentejo, we address the special role that third-sector organizations have in the local development as territorial connectors. It is presented a reflexion on how the pilot-project CACO (Associação de Artesãos do Concelho de Odemira) through their guild mission of dignifying the profession of the Artisan, contributes to an active mapping of the cultural assets of their area. CACO’s Mapping of the local arts and crafts has contributed to the construction of different territorial narratives that underwrite to the implementation of new tourism routes based on participative cultural mapping. CACO, as a case-study can be an example of the interconnection between the sectors of the social and creative economy in niche tourism development complementing and adding narratives to the place branding strategy of the Municipality of Odemira as a sun and beach destination in Alentejo. This communication has been based on the results from the site visit, interviews and idealab occurring at the University of Évora in April 2018. The presentation of the results is structured around a conceptual framework that describes the main features relating culture and place identity in a process of co-creation (Scaramanga, 2015) that can be leveraged by creative tourism.
Posters
Mapping Intangibilities through Tangible Objects: Using Cultural Mapping in Creative Tourism
Sónia Cabeça, Alexandra Gonçalves, João Filipe Marques and Mirian Tavares (University of Algarve)
Abstract: To acknowledge, trace, and place cultural assets is a powerful instrument to communities. Through cultural mapping, it is possible to create a narrative about a place’s identity, collecting significant cultural information, traditions, stories, values, and expectations that locate people in their places, in the world. This methodology can also be a useful tool in the design of creative tourist offers, once creative tourism bonds people to places, and is deeply linked to the territory, and the communities.
In Portugal, the project CREATOUR - Creative Tourism Destination Development in Small Cities and Rural Areas - is working with a range of cultural/creative organizations in order to implement new creative tourism offers that might contribute to the social and economic development processes and sustainability of the places and regions where they take place. To improve its partner’s initiatives, CREATOUR held a series of Regional Idea Laboratories where cultural mapping was used as a tool for regional actors to discover what is "so special" about their places, a way to link tourism offers with the territory where they take place. Linking creativity to place, and involving the partners and their projects in their communities, was a key exercise. By linking the creative activities to their place of implementation, placing them; significant cultural assets, tangible and intangible, emerge to determine the identity of the place; an important exercise, considering that creative destinies create distinctive identities.
Before IdeaLabs., participants were asked to bring a “basket full of ideas” (12 objects that characterize the region or the community where the proposed initiative was going to be implemented). CREATOUR asked the pilots to bring something photographic, sweet, creative, fragrant, historical, relaxing, symbolic, traditional, thrilling, musical, authentic, and innovative.
The poster intends to illustrate this cultural mapping process used in IdeaLabs, and state the importance of cultural mapping in the development and marketing of products and tourism destinations. In order to do so, it will also contain the major outcomes of the exercise.
Engaging with the Spirit of Place: Drawing as Alternative Mapping (Case Study of Urban Sketching in Lisbon)
Nevena Tatovic (PhD student, University of Évora)
Abstract: Cultural mapping and creative tourism are both scholarly recognized for the role they have in preserving and deeper understanding of local distinctiveness (Taylor, 2013, Duxbury, 2018). In heritage scholarship, this elusive concept (Clifford, 2016) has been closely linked to the notion of the spirit of place (Corsane, Davis, Hawke & Stefano, 2008), defined as “the tangible [...] and the intangible elements [...], that is to say the physical and the spiritual elements that give meaning, value, emotion and mystery to place [...]” (Quebec Declaration, 2008). This paper looks into sketching, a globally emerging form of creative tourism, as an approach to “alternative mapping” (Scherf, 2015). In particular, the study explores how drawing in - situ, as a form of artistic practice grounded in the “lived, immersed experience” (Ashton, 2014), allows documenting and interpreting the interrelationship of the tangible and the intangible, as artists emotionally map their experience of heritage. Focusing on the city of Lisbon as a case study, the paper applies qualitative methodology undertaking in - depth interviews with the members of the Urban Sketchers Movement - Portugal Chapter, selected by snowball sampling technique. To examine the development process within their drawing, the research draws on Tan’s argument (2013) that “creative experience” arises through interrelationship of the persons’ “outer interactions” and “inner reflections”, and the approach to drawing as revealing visible in invisible (Merleau-Ponty, 2013). Building on this, the paper suggests that sketching and drawing as an innovative take on deep mapping merit to be farther examined.
Mapear Literalmente la Ciudad, Nuevas Tecnologías para Representar el Patrimonio Cultural Urbano a través de la Literatura y el Teatro (S. XVI-XX)
María Zozaya (CIDEHUS, Universidade de Évora)
Resumen: Este poster ubica el cultural mapping en un lugar clave para el aprendizaje del patrimonio cultural, en este caso, literario. Es acorde con los principios del proyecto Heritales (cuyo festival codirigimos junto con Nicola Schiavotiello), cuyo objetivo es acercar la ciencia a los ciudadanos, buscando soportes diferentes de las conferencias y artículos científicos al uso por la academia. En este marco, la presentación del póster que aquí proponemos parte de la Literatura como fuente oral y escrita y es mostrada en diferentes facetas, como la pictórica, en 3D y teatralizada. El poster consta de tres partes, que van pasando sucesivamente de la teórica a la pictórica y práctica.
En primer lugar, partiendo de fuentes literarias sobre Évora que ya hemos reunido, se redactará un mapa literario de la ciudad según ha ideado María Zozaya, que será la principal parte visible del poster físico. El objetivo es contar con un proyector en el propio congreso para poder visualizar, junto al soporte físico, una segunda faceta, en la cual se proyecte una presentación en la cual irán cayendo las letras encima de la ciudad componiendo los versos.
En segundo lugar, conforme a los criterios de Nicola Schiavotiello de sacar la ciencia a la calle, los mencionados dos mapas serán proyectados sobre una fachada histórica de la ciudad de Évora, preferiblemente en una estructura diseñada en tres dimensiones, ser la especialidad del mencionado Schiavotiello.
En tercer lugar, la parte práctica implicará volcar toda esa literatura en la ciudad, de manera oral teatralizada. Esta fase será coordinada por Manuel Piçarra, con alumnos de literatura y teatro de nivel de enseñanza secundaria de la Escuela de la Malagueira (Évora), donde ellos mismos representen escenas literarias recogidas en los puntos de la ciudad que previamente han sido mapeados.
De este modo, conseguiremos representar otra faceta e una ciudad declarada patrimonio cultural de la humanidad, compendiando la propia urbe a través del patrimonio literario mediante una conexión interdisciplinar con vertiente artística y que consiga conectar diversas instituciones de la ciudad.
Rumo a um Novo Relacionamento entre Cidadão e Património: O Projecto ARQUEOSIA
Filipa Neto e Catarina Costeira (Direção-Geral do Património Cultural)
Resumo: No âmbito da modernização da administração pública, a DGPC desenvolve o projecto ARQUEOSIA que visa a optimização do Portal do Arqueólogo - plataforma electrónica para a gestão e divulgação do património arqueológico em território nacional. Uma das vertentes deste projecto consiste na criação de uma interface neste Portal vocacionada para o cidadão, com o intuito de disponibilizar informação sobre arqueossítios visitáveis, tendo como ponto de partida informação da base de dados da DGPC e a sua articulação com informação proveniente das Direções Regionais de Cultura e de websites de Câmaras Municipais.
Na selecção dos sítios arqueológicos visitáveis definiram-se critérios iguais para todas as regiões, procurando-se colmatar a assimetria da informação disponibilizada e consolidar um motor de pesquisas de âmbito nacional. Os conteúdos em desenvolvimento destinam-se a públicos diversificados, privilegiando-se a adaptação de terminologia técnico-científica numa linguagem mais acessível, e à internacionalização da informação com a sua disponibilização em inglês.
Este projecto também contempla o desenvolvimento de uma APP do Portal do Arqueológo e a possibilidade de partilha de informação através de redes sociais, contribuindo para novas formas de interacção entre o cidadão e património arqueológico.
Uma das metas do ARQUEOSIA é contribuir para uma maior consciencialização do valor do património arqueológico e da importância da sua preservação, que é uma responsabilidade partilhada entre estado e cidadãos. Desta forma, o projecto segue as recomendações da Comissão Europeia e do Conselho da Europa para uma nova visão de salvaguarda e fruição do património cultural assente numa governança participativa. Espera-se ainda com este projecto contribuir para a dinamização de oferta turístico-cultural, fornecendo informação de qualidade e incentivando a construção de percursos pessoais pelos utilizadores deste Portal.
'Roots Guide: The Dutch Stories': An Educational Travel Guidebook by Migrants for Locals
Meghann Ormond (Cultural Geography Wageningen University & Research)
Abstract: The Netherlands, like all modern nation-states, is supported by narratives that are officially authorised and shared to forge belonging to an ‘imagined community’ (i.e., to self-identify and recognise others as ‘Dutch’. While tools such as population censuses, history education, maps and musea have played a vital role in sustaining collective identity narratives by drawing borders between ‘us’ and ‘them’, heritage tourism is also widely recognised for its power to construct and maintain national identity claims. Yet it also has significant potential to challenge, complicate and shift dominant heritage discourse by bringing people into contact that otherwise might have never been and by exposing them to diverse perspectives on the world around them.
Given tourism’s transformative potential and the high travel rates of the Dutch population, our team set out to create an educational tool for social inclusion that takes the form of a travel guidebook. We call it Roots Guide: The Dutch Stories. RG is a unique interactive, educational storytelling vehicle that is designed to enable readers to reflect on and re-evaluate dominant, essentialised and worn-out narratives about what and who is 'typically Dutch' and to de-centre and enrich them with more contemporary and realistic framings of life in the Netherlands today. It does this by featuring personal stories and travel tips from two groups of intra- and transnationally-mobile people whose voices and experiences have been traditionally un(der)represented and/or exoticised in conventional national guidebooks.
In RG, over 60 contributors with diverse migratory experiences will guide readers through their journey coming to, moving within, or leaving the Netherlands. By recognising transnationally-mobile people as 'local’ enough to talk about the places in which they live or have lived with authority, our novel guidebook concept advances the simple yet extraordinarily powerful societal and political statement that migrants actively contribute to the places in which they live, regardless of whether they have resided in these places for a few months or their whole lives. How diverse migrants experience their current place of residence offers readers valuable perspectives on the places they may take for granted or have completely overlooked in their daily routines, potentially inspiring them to visit areas they may not have felt comfortable visiting previously. Exposure to a diversity of perspectives on life within a country may spark greater recognition of common ground between people of diverse backgrounds and foster greater proximity and empathy.
RG is intended to provide an engaging, safe and structured space for readers to reflect and connect in deeper and more authentic ways than the plethora of fear-mongering, dehumanising, anti-immigrant, and decontextualized media that floods the mainstream discourse. Additionally, we stimulate the reader to reflect on their personal, family’s and local community’s experiences of typical Dutch elements, and how these experiences differ or are similar to dominant national heritage narratives and experiences of the people with different migration backgrounds featured in the book.
Education experts have increasingly embraced interactive storytelling and experiential learning for their capacity to foster deeper holistic understanding, multi-perspectivity and empathic connection. As an experiential learning tool aligned with advancing global citizenship objectives, RG incorporates both community-based cultural mapping, counter-mapping and phenomenological approaches to tourism and includes exploratory exercises that encourage readers to reflect on how they perceive the world around them and to fundamentally question the social constructs that en-/disable different interpretations.
Maps, Mosaics, Layers, and Fragments: Traversing the Digital Landscape of Cultural Mapping Projects in Portugal
Nancy Duxbury, Claudia Pato Carvalho, and Fiona Bakas (Centre for Social Studies, University of Coimbra)
Abstract: In 2017, four research centers involved in CREATOUR (CES, Lab2PT, CIEO and CIDEHUS) identified an array of cultural mapping initiatives in Portugal that were developed at national, regional, and subregional scales. These projects range from directories and databases of tangible or intangible cultural information and resources, to mapped cultural assets (organizations, venues, public art, etc.), to thematic routes of historic-cultural significance packaged for tourism purposes. They exist as separate items in the digital landscape, without any integration. This poster presents the results of a two-part scan for initiatives (in 2017 and updated in 2018); compiles and analyzes these initiatives from a content perspective; assesses coverage, gaps, and prevalent patterns; and considers the intended use-contexts for each project. It then reflects on the potential and challenges of bringing these initiatives together within a ‘shared’ framework, and the value in interlacing and mapping these layers of cultural data from the perspectives of both community knowledge and tourism development.
In 2017, the CREATOUR teams in four regions (Norte, Centro, Alentejo, and Algarve) scanned for and compiled cultural mapping initiatives identified in each region. This data was consolidated, updated in 2018, and each initiative was reviewed, coded, compared, and assessed on a variety of criteria. The contents of these projects, in general terms, include: tangible cultural heritage/patrimony, intangible cultural heritage, arts/cultural venues, arts/cultural organizations, public art, and events. Individual projects tend to focus on particular aspects of this array, and very few overlay these topics so that a geographically defined rich cultural context can emerge. The project proponents range from municipalities and municipal associations, to national agencies, to research projects (national and European). Most have created in a ‘top-down’ manner rather than through participatory projects. The non-integrated nature of these projects is a significant weakness to their usability and take-up in potentially innovative ways. Bringing these resources together and enhancing their usability for local cultural and tourism development purposes could make for informed and inspiring ‘portraits of place’ and culture-based development initiatives.
The cultural mapping initiatives and related directories and databases identified collectively represent, on one hand, a significant investment of resources and skills to document and present the data and, on the other hand, valuable information resources about the cultural assets and resources (tangible and intangible) found throughout the country. This scan and assessment of projects provides a beginning framework for considering the potential value-added in the development of interlinked, layered historical and cultural information as resources for local, regional, and national development.
Sónia Cabeça, Alexandra Gonçalves, João Filipe Marques and Mirian Tavares (University of Algarve)
Abstract: To acknowledge, trace, and place cultural assets is a powerful instrument to communities. Through cultural mapping, it is possible to create a narrative about a place’s identity, collecting significant cultural information, traditions, stories, values, and expectations that locate people in their places, in the world. This methodology can also be a useful tool in the design of creative tourist offers, once creative tourism bonds people to places, and is deeply linked to the territory, and the communities.
In Portugal, the project CREATOUR - Creative Tourism Destination Development in Small Cities and Rural Areas - is working with a range of cultural/creative organizations in order to implement new creative tourism offers that might contribute to the social and economic development processes and sustainability of the places and regions where they take place. To improve its partner’s initiatives, CREATOUR held a series of Regional Idea Laboratories where cultural mapping was used as a tool for regional actors to discover what is "so special" about their places, a way to link tourism offers with the territory where they take place. Linking creativity to place, and involving the partners and their projects in their communities, was a key exercise. By linking the creative activities to their place of implementation, placing them; significant cultural assets, tangible and intangible, emerge to determine the identity of the place; an important exercise, considering that creative destinies create distinctive identities.
Before IdeaLabs., participants were asked to bring a “basket full of ideas” (12 objects that characterize the region or the community where the proposed initiative was going to be implemented). CREATOUR asked the pilots to bring something photographic, sweet, creative, fragrant, historical, relaxing, symbolic, traditional, thrilling, musical, authentic, and innovative.
The poster intends to illustrate this cultural mapping process used in IdeaLabs, and state the importance of cultural mapping in the development and marketing of products and tourism destinations. In order to do so, it will also contain the major outcomes of the exercise.
Engaging with the Spirit of Place: Drawing as Alternative Mapping (Case Study of Urban Sketching in Lisbon)
Nevena Tatovic (PhD student, University of Évora)
Abstract: Cultural mapping and creative tourism are both scholarly recognized for the role they have in preserving and deeper understanding of local distinctiveness (Taylor, 2013, Duxbury, 2018). In heritage scholarship, this elusive concept (Clifford, 2016) has been closely linked to the notion of the spirit of place (Corsane, Davis, Hawke & Stefano, 2008), defined as “the tangible [...] and the intangible elements [...], that is to say the physical and the spiritual elements that give meaning, value, emotion and mystery to place [...]” (Quebec Declaration, 2008). This paper looks into sketching, a globally emerging form of creative tourism, as an approach to “alternative mapping” (Scherf, 2015). In particular, the study explores how drawing in - situ, as a form of artistic practice grounded in the “lived, immersed experience” (Ashton, 2014), allows documenting and interpreting the interrelationship of the tangible and the intangible, as artists emotionally map their experience of heritage. Focusing on the city of Lisbon as a case study, the paper applies qualitative methodology undertaking in - depth interviews with the members of the Urban Sketchers Movement - Portugal Chapter, selected by snowball sampling technique. To examine the development process within their drawing, the research draws on Tan’s argument (2013) that “creative experience” arises through interrelationship of the persons’ “outer interactions” and “inner reflections”, and the approach to drawing as revealing visible in invisible (Merleau-Ponty, 2013). Building on this, the paper suggests that sketching and drawing as an innovative take on deep mapping merit to be farther examined.
Mapear Literalmente la Ciudad, Nuevas Tecnologías para Representar el Patrimonio Cultural Urbano a través de la Literatura y el Teatro (S. XVI-XX)
María Zozaya (CIDEHUS, Universidade de Évora)
Resumen: Este poster ubica el cultural mapping en un lugar clave para el aprendizaje del patrimonio cultural, en este caso, literario. Es acorde con los principios del proyecto Heritales (cuyo festival codirigimos junto con Nicola Schiavotiello), cuyo objetivo es acercar la ciencia a los ciudadanos, buscando soportes diferentes de las conferencias y artículos científicos al uso por la academia. En este marco, la presentación del póster que aquí proponemos parte de la Literatura como fuente oral y escrita y es mostrada en diferentes facetas, como la pictórica, en 3D y teatralizada. El poster consta de tres partes, que van pasando sucesivamente de la teórica a la pictórica y práctica.
En primer lugar, partiendo de fuentes literarias sobre Évora que ya hemos reunido, se redactará un mapa literario de la ciudad según ha ideado María Zozaya, que será la principal parte visible del poster físico. El objetivo es contar con un proyector en el propio congreso para poder visualizar, junto al soporte físico, una segunda faceta, en la cual se proyecte una presentación en la cual irán cayendo las letras encima de la ciudad componiendo los versos.
En segundo lugar, conforme a los criterios de Nicola Schiavotiello de sacar la ciencia a la calle, los mencionados dos mapas serán proyectados sobre una fachada histórica de la ciudad de Évora, preferiblemente en una estructura diseñada en tres dimensiones, ser la especialidad del mencionado Schiavotiello.
En tercer lugar, la parte práctica implicará volcar toda esa literatura en la ciudad, de manera oral teatralizada. Esta fase será coordinada por Manuel Piçarra, con alumnos de literatura y teatro de nivel de enseñanza secundaria de la Escuela de la Malagueira (Évora), donde ellos mismos representen escenas literarias recogidas en los puntos de la ciudad que previamente han sido mapeados.
De este modo, conseguiremos representar otra faceta e una ciudad declarada patrimonio cultural de la humanidad, compendiando la propia urbe a través del patrimonio literario mediante una conexión interdisciplinar con vertiente artística y que consiga conectar diversas instituciones de la ciudad.
Rumo a um Novo Relacionamento entre Cidadão e Património: O Projecto ARQUEOSIA
Filipa Neto e Catarina Costeira (Direção-Geral do Património Cultural)
Resumo: No âmbito da modernização da administração pública, a DGPC desenvolve o projecto ARQUEOSIA que visa a optimização do Portal do Arqueólogo - plataforma electrónica para a gestão e divulgação do património arqueológico em território nacional. Uma das vertentes deste projecto consiste na criação de uma interface neste Portal vocacionada para o cidadão, com o intuito de disponibilizar informação sobre arqueossítios visitáveis, tendo como ponto de partida informação da base de dados da DGPC e a sua articulação com informação proveniente das Direções Regionais de Cultura e de websites de Câmaras Municipais.
Na selecção dos sítios arqueológicos visitáveis definiram-se critérios iguais para todas as regiões, procurando-se colmatar a assimetria da informação disponibilizada e consolidar um motor de pesquisas de âmbito nacional. Os conteúdos em desenvolvimento destinam-se a públicos diversificados, privilegiando-se a adaptação de terminologia técnico-científica numa linguagem mais acessível, e à internacionalização da informação com a sua disponibilização em inglês.
Este projecto também contempla o desenvolvimento de uma APP do Portal do Arqueológo e a possibilidade de partilha de informação através de redes sociais, contribuindo para novas formas de interacção entre o cidadão e património arqueológico.
Uma das metas do ARQUEOSIA é contribuir para uma maior consciencialização do valor do património arqueológico e da importância da sua preservação, que é uma responsabilidade partilhada entre estado e cidadãos. Desta forma, o projecto segue as recomendações da Comissão Europeia e do Conselho da Europa para uma nova visão de salvaguarda e fruição do património cultural assente numa governança participativa. Espera-se ainda com este projecto contribuir para a dinamização de oferta turístico-cultural, fornecendo informação de qualidade e incentivando a construção de percursos pessoais pelos utilizadores deste Portal.
'Roots Guide: The Dutch Stories': An Educational Travel Guidebook by Migrants for Locals
Meghann Ormond (Cultural Geography Wageningen University & Research)
Abstract: The Netherlands, like all modern nation-states, is supported by narratives that are officially authorised and shared to forge belonging to an ‘imagined community’ (i.e., to self-identify and recognise others as ‘Dutch’. While tools such as population censuses, history education, maps and musea have played a vital role in sustaining collective identity narratives by drawing borders between ‘us’ and ‘them’, heritage tourism is also widely recognised for its power to construct and maintain national identity claims. Yet it also has significant potential to challenge, complicate and shift dominant heritage discourse by bringing people into contact that otherwise might have never been and by exposing them to diverse perspectives on the world around them.
Given tourism’s transformative potential and the high travel rates of the Dutch population, our team set out to create an educational tool for social inclusion that takes the form of a travel guidebook. We call it Roots Guide: The Dutch Stories. RG is a unique interactive, educational storytelling vehicle that is designed to enable readers to reflect on and re-evaluate dominant, essentialised and worn-out narratives about what and who is 'typically Dutch' and to de-centre and enrich them with more contemporary and realistic framings of life in the Netherlands today. It does this by featuring personal stories and travel tips from two groups of intra- and transnationally-mobile people whose voices and experiences have been traditionally un(der)represented and/or exoticised in conventional national guidebooks.
In RG, over 60 contributors with diverse migratory experiences will guide readers through their journey coming to, moving within, or leaving the Netherlands. By recognising transnationally-mobile people as 'local’ enough to talk about the places in which they live or have lived with authority, our novel guidebook concept advances the simple yet extraordinarily powerful societal and political statement that migrants actively contribute to the places in which they live, regardless of whether they have resided in these places for a few months or their whole lives. How diverse migrants experience their current place of residence offers readers valuable perspectives on the places they may take for granted or have completely overlooked in their daily routines, potentially inspiring them to visit areas they may not have felt comfortable visiting previously. Exposure to a diversity of perspectives on life within a country may spark greater recognition of common ground between people of diverse backgrounds and foster greater proximity and empathy.
RG is intended to provide an engaging, safe and structured space for readers to reflect and connect in deeper and more authentic ways than the plethora of fear-mongering, dehumanising, anti-immigrant, and decontextualized media that floods the mainstream discourse. Additionally, we stimulate the reader to reflect on their personal, family’s and local community’s experiences of typical Dutch elements, and how these experiences differ or are similar to dominant national heritage narratives and experiences of the people with different migration backgrounds featured in the book.
Education experts have increasingly embraced interactive storytelling and experiential learning for their capacity to foster deeper holistic understanding, multi-perspectivity and empathic connection. As an experiential learning tool aligned with advancing global citizenship objectives, RG incorporates both community-based cultural mapping, counter-mapping and phenomenological approaches to tourism and includes exploratory exercises that encourage readers to reflect on how they perceive the world around them and to fundamentally question the social constructs that en-/disable different interpretations.
Maps, Mosaics, Layers, and Fragments: Traversing the Digital Landscape of Cultural Mapping Projects in Portugal
Nancy Duxbury, Claudia Pato Carvalho, and Fiona Bakas (Centre for Social Studies, University of Coimbra)
Abstract: In 2017, four research centers involved in CREATOUR (CES, Lab2PT, CIEO and CIDEHUS) identified an array of cultural mapping initiatives in Portugal that were developed at national, regional, and subregional scales. These projects range from directories and databases of tangible or intangible cultural information and resources, to mapped cultural assets (organizations, venues, public art, etc.), to thematic routes of historic-cultural significance packaged for tourism purposes. They exist as separate items in the digital landscape, without any integration. This poster presents the results of a two-part scan for initiatives (in 2017 and updated in 2018); compiles and analyzes these initiatives from a content perspective; assesses coverage, gaps, and prevalent patterns; and considers the intended use-contexts for each project. It then reflects on the potential and challenges of bringing these initiatives together within a ‘shared’ framework, and the value in interlacing and mapping these layers of cultural data from the perspectives of both community knowledge and tourism development.
In 2017, the CREATOUR teams in four regions (Norte, Centro, Alentejo, and Algarve) scanned for and compiled cultural mapping initiatives identified in each region. This data was consolidated, updated in 2018, and each initiative was reviewed, coded, compared, and assessed on a variety of criteria. The contents of these projects, in general terms, include: tangible cultural heritage/patrimony, intangible cultural heritage, arts/cultural venues, arts/cultural organizations, public art, and events. Individual projects tend to focus on particular aspects of this array, and very few overlay these topics so that a geographically defined rich cultural context can emerge. The project proponents range from municipalities and municipal associations, to national agencies, to research projects (national and European). Most have created in a ‘top-down’ manner rather than through participatory projects. The non-integrated nature of these projects is a significant weakness to their usability and take-up in potentially innovative ways. Bringing these resources together and enhancing their usability for local cultural and tourism development purposes could make for informed and inspiring ‘portraits of place’ and culture-based development initiatives.
The cultural mapping initiatives and related directories and databases identified collectively represent, on one hand, a significant investment of resources and skills to document and present the data and, on the other hand, valuable information resources about the cultural assets and resources (tangible and intangible) found throughout the country. This scan and assessment of projects provides a beginning framework for considering the potential value-added in the development of interlinked, layered historical and cultural information as resources for local, regional, and national development.