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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Heritage communication is more and more integrating digital media, which help to offer a wider and deeper understanding of heritage and its values. In particular, intangible cultural heritage (ICH) can find in information and communication technologies a powerful ally to share its facets and different dimensions, through multimedia technologies (especially videos), storytelling, and several other applications like mixed realities and artificial intelligence. Such media can help not only to provide access to information and knowledge, but also to enrich the experience of people exposed to such heritage, and to promote a deep connection between the heritage itself and interested persons. This paper presents the process through which goals and needs to communicate and promote Indonesian Batik textile heritage, which has been inscribed by UNESCO among the Intangible Cultural Heritage list in 2009, have been collected and transformed into the design of digital communication outlets, namely a website and a mobile app. Such process has encompassed an extensive analysis of the presence itself of Batik in digital media through benchmarking, as well as the elicitation of needs and requirements of relevant stakeholders and target audiences, through in-depth interviews and surveys. The design has been done ensuring at every step that it was considering and integrating, as much as possible, the results of the previous analyses. While presenting the iWareBatik case, which has been successfully implemented and launched, with the support of the highest Indonesian cultural-related institutions, the paper describes in detail the used methodology, hence providing an itinerary, which can be adopted by other similar projects.
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This paper proposes a new framework for the production and development of immersive and playful technologies in cultural heritage in which different stakeholders such as users and local communities are involved early on in the product development chain. We believe that an early stage of co-creation in the design process produces a clear understanding of what users struggle with, facilitates the creation of community ownership and helps in better defining the design challenge at hand. We show that adopting such a framework has several direct and indirect benefits, including a deeper sense of site and product ownership as direct benefits to the individual, and the creation and growth of tangential economies to the community.
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The present research explores the growing use of digital presence in indigenous community-based tourism (CBT) in Brazil, contributing to self-determination, financial security, and heritage sustainability. Conducted during the COVID-19 pandemic, when indigenous communities hindered access to villages and ceased on-site tourist activities, the study employs small-scale qualitative research, combining active and passive online methods. The thematic analysis identifies two main themes: [1] the digital bow–a tool for connection, resistance, and awareness; and [2] an exploration of how the pandemic ignited new digital interaction formats in terms of CBT. The findings indicate that during COVID-19, digital presence increased, enriching experiences with visitors. It highlights the potential impact of digital CBT in generating local income while promoting and preserving the community's cultural heritage. Despite challenges related to limited skills and resource access, the research underscores the value of digital ventures in crafting authentic touristic activities and fostering meaningful connections with tourists.
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Can you remember the last time the ground gave way beneath you? When you thought the ground was stable, but for some reason it wasn’t? Perhaps you encountered a pothole on the streets of Amsterdam, or you were renovating your house and broke through the floor. Perhaps there was a molehill in a park or garden. You probably had to hold on to something to steady yourself. Perhaps you even slipped or fell. While I sincerely hope that nobody here was hurt in the process, I would like you to keep that feeling in your mind when reading what follows. It is the central theme of the words that will follow. The ground beneath our feet today is not as stable as the streets of Amsterdam, your park around the corner or even a poorly renovated upstairs bedroom. This is because whatever devices we use and whatever pathways we choose, we all live in hybrid physical and digital social spaces (Kitchin and Dodge 2011). Digital social spaces can be social media platforms like Twitter or Facebook, but also chat apps like WhatsApp or Signal. Crucially, social spaces are increasingly hybrid, in which conversations take place across digital spaces (WhatsApp chat group) and physical spaces (meeting friends in a cafe) simultaneously. The ground beneath our feet is not made of concrete or stone or wood but of bits and bytes.
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Information and communications technologies (ICT) can be very important to provide access to urban cultural heritage collections. Urban archives contain a lot of (historical) information about people, places, events, objects, trade and artefacts. Its worthwhile to make this information accessible for a bigger public. The core challenge nowadays is to explore the role and meaning of ICT in disseminating this historical knowledge in public spaces. In this paper, we will research the theoretical background of the information value chain in archival science and of the use and context of new media technologies in public spaces. Our research method was a combination of desk research and a case study, in which new interactive media technologies were used to reconstruct historical images of Amsterdam in public spaces. The case study blended digital historical content with physical interactions to provide a user experience of urban history by using innovative storytelling techniques. The resulting prototype made it possible to disseminate historical information from Amsterdam urban archives.
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iWareBatik is two digital tools (a website and a mobile app) designed and developed to communicate the value of Indonesian Batik, a UNESCO intangible cultural heritage in 2009. Such tools have been evaluated through a panel of 997 bachelor students recruited in 33 Indonesian universities. They have been involved in a process that encompassed user testing activities, filling in a survey related to them, participating in a focus group, and writing a short essay. 156 of them later on took part in hackathon type of competition, aimed at suggesting possible improvements to the iWareBatik set of tools. This paper outlines the overall design of the evaluation activities, and presents in detail the results of the user testing and the related survey, highlighting positive elements and dimensions to be improved. Such evaluation exercise is not only for the set of digital tools at stake, but can provide a relevant model for all those projects aiming at using digital media in the field of intangible cultural heritage, helping to fill-in the gap between design, development, and evaluation.
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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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