The advent of information and communication technologies (ICTs) has had and is having a major impact on Indonesian cultural resource management, and on the safeguarding methods of its tangible and intangible cultural heritages. Despite varied levels and visible gaps between rural and urban regions in terms of technology usage, innovative initiatives have been created, which correspond to the needs and expectations of a technology-savvy public. As a starting point, a number of public institutions dealing with tangible cultural heritage (e.g. museums, palaces, temples, World Heritage Sites (WHS) do use innovative digital tools in order to communicate to various audiences, as well as to enrich visitors' experience, especially taking into consideration young generations. This paper will firstly examine the role of ICTs in intangible cultural heritage (ICH) (e.g. Batik, Wayang puppet theatre, etc.); secondly, the authors will explain how ICTs can help to communicate and promote the values, history, and significances of ICH products, both for locals and tourists, with the goal of raising awareness on cultural identity. However, the knowledge of ICH still requires contacts with its own communities and is vulnerable, as it can be exposed to excessive cultural commoditization through e-platforms. This study aims at giving an overview and some examples of digital interventions for cultural heritage communication implemented by various stakeholders in Indonesia. In addition, this paper analyses to what extent a participatory approach engaging local communities, academics, private sectors, NGOs and the government, can ensure higher levels of effectiveness and efficiency, hence supporting the conservation of UNESCO tangible/ICH in Indonesia. This paper aims at: (1) presenting the development of digital heritage platforms in Indonesia; (2) providing a grid of analysis of digital heritage knowledge platforms dedicated to UNESCO tangible and ICH in forms of websites and mobile apps.
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This review article traces the development of cultural tourism as a field of research over the past decade, identifying major trends and research areas. Cultural tourism has recently been re-affirmed by the UNWTO as a major element of international tourism consumption, accounting for over 39% of tourism arrivals. Cultural tourism research has also grown rapidly, particularly in fields such as cultural consumption, cultural motivations, heritage conservation, cultural tourism economics, anthropology and the relationship with the creative economy. Major research trends include the shift from tangible to intangible heritage, more attention for indigenous and other minority groups and a geographical expansion in the coverage of cultural tourism research. The field also reflects a number of ‘turns’ in social science, including the mobilities turn, the performance turn and the creative turn. The paper concludes with a number of suggestions for future research directions, such as the development of trans-modern cultures and the impacts of new technologies.
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Coastal and marine cultural heritage (CMCH) is at risk due to its location and its often indefinable value. As these risks are likely to intensify in the future, there is an urgent need to build CMCH resilience. We argue that the current CMCH risk management paradigm narrowly focuses on the present and preservation. This tends to exclude debates about the contested nature of resilience and how it may be achieved beyond a strict preservationist approach. There is a need, therefore, to progress a broader and more dynamic framing of CMCH management that recognises the shift away from strict preservationist approaches and incorporates the complexity of heritage’s socio-political contexts. Drawing on critical cultural heritage literature, we reconceptualise CMCH management by rethinking the temporality of cultural heritage. We argue that cultural heritage may exist in four socio-temporal manifestations (extant, lost, dormant, and potential) and that CMCH management consists of three broad socio-political steering processes (continuity, discontinuity, and transformation). Our reconceptualisation of CMCH management is a first step in countering the presentness trap in CMCH management. It provides a useful conceptual framing through which to understand processes beyond the preservationist approach and raises questions about the contingent and contested nature of CMCH, ethical questions around loss and transformation, and the democratisation of cultural heritage management.
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Indonesian tourism has been promoting extensively the country's heritage, be it tangible or intangible. In particular, Batik hand-drawn tradition is featured as a major attraction, encompassing materials and production techniques, motifs, fashion and wearing rules, as well as its philosophic and spiritual roots. Batik has been, additionally, enlisted in 2009 among the UNESCO Intangible Cultural Heritage list, providing a further opportunity for Indonesian tourism to leverage on this. An extensive research, covering both the Indonesian and the English languages, so to cater for domestic and international travelers, has been performed online in order to unveil the role played by Batik within the tourism-related online narratives. Such research has considered the main actors (be they national or international ones), has well as the most frequent types of contents and viewpoints on the Batik online tourism-related world of meaning. While a clear role of Batik as part of Indonesia-related tourism narratives is depicted, the research shows that most of the values stressed by UNESCO are only seldom covered and that there is room for improvement when it comes to providing a deeper understanding of Batik to domestic and international travelers.
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This report investigates prior experiences and impacts of the European Capital of Culture (ECoC) with the aim of informing preparation plans for Leeuwarden and Fryslân to organize the event in 2018. The longterm benefits that the ECoC tend to be both tangible through improvements in facilities, and intangible as self-confidence and pride increase as the result of celebrating the destination, its culture and history.
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Based on the theory of embodied cognition we developed NOOT, at tangible tool that allows marking audio-moments during creative sessions. A detailed analysis of using NOOT in practice lead to a reconceptualization of NOOT within processes of external scaffolding. It also spurred a new design project focused on reflection during group sessions
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Social work in the Netherlands is attracting an increasing number of Turkish and Moroccan Dutch professionals, mostly second-generation migrant women from a Muslim background. Inspired by Amartya Sen’s capability approach, this article presents the findings of a qualitative content analysis of 40 interviews with professionals by peers from the same background. The question is, what kind of professionals do these newly started social workers desire to be and what hindrances do they encounter? The professionals challenge the dominance of Western beliefs and values. This becomes tangible in their desires and constraints and especially in the process of choice.
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Fashion and textile practice transitioned over the past decade from a physically engaged design practice into a screen-based design practice with textiles simulated on digital bodies. Digital designers use tangible interaction with textiles for post-phenomenological design considerations. Our research indicates a complementary relationship between tangible interaction and drape observation, which allows for new approaches when considering textile materials. The drape observation based on drape measurement methods developed in textile science equips designers with a deeper material understanding. As the flat textile is placed in the scientific setup, the deformation and the designer's experience co-shape design considerations. The physical-to-digital paradigm shift disconnects designers from the tangible interaction with the textile. Fashion designers' approach contrasts with textile science methods to measure textile properties (needed to simulate textiles) and drape. Equipping designers with this understanding of textile technology requires interdisciplinary developments to make combined tangible drape tools accessible in physical and digital design spaces. Understanding design considerations in physical-digital practices and material drape, utilizing simulated textile properties, is essential for this endeavor. Cross-disciplinary understanding of textiles and similar soft materials between fashion designers, design researchers, textile and computer researchers, and cultural heritage researchers seems valuable in reducing measurement hurdles and creating tools to increase relationships between the physical and digital textiles and improving visual analyses and assessment of textiles. Our reflection to sharpen the post-phenomenological lens and cross-disciplinary collaborations of our past and future research contributes to understanding physical-digital textile design considerations and required cross-disciplinary interaction.
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This paper examines the network governance approach of the Dutch Urban Envoy in the context of multilevel governance in the European Union. This paper aims to answer the research question on how the scope of network governance can explore the performance of the Dutch Urban Envoy. By analyzing network characteristics, such as legitimacy, actor-level properties, and network-level properties, this paper seeks to provide a nuanced understanding of the performance of the Dutch Urban Envoy. Drawing on previous research, this paper identifies the applicability and limitations of assessing network characteristics in understanding advocacy processes. The paper successfully visualizes the networks of the Dutch Urban Envoy and explores their roles and mandates, contributing to determining the added value of their position. However, the network governance approach has limitations in explaining the tangible successes and challenges of the Dutch Urban Envoy that cannot be directly attributed to their overall performance.
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The rapidly developing relationship between tourism and creativity, arguably heralds a 'creative turn' in tourism studies. Creativity has been employed to transform traditional cultural tourism, shifting from tangible heritage towards more intangible culture and greater involvement with the everyday life of the destination. The emergence of 'creative tourism' reflects the growing integration between tourism and different placemaking strategies, including promotion of the creative industries, creative cities and the 'creative class'. Creative tourism is also arguably an escape route from the serial reproduction of mass cultural tourism, offering more flexible and authentic experiences which can be co-created between host and tourist. However the gathering critique also highlights the potential dangers of creative hype and commodification of everyday life.
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