Cultural Heritage

Thailand: Conference on climate change and cultural heritage

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Thailand: Conference on climate change and cultural heritage

The International Conference on Cultural Heritage and Disaster Risk Reduction, held in Thailand on 18-20 November 2013 addressed the issues of climate change and the threat it poses to cultural heritage.

int-conf-thailand

“While it is acknowledged that climate change is a major issue that impacts negatively on the environment and has subsequent consequences in relation to increased flooding, drought, rising temperatures, energy supplies, food supplies, social structures including migration, lack of resources leading to increased conflict, poverty, and other social ills; rarely is the impact of climate change on cultural heritage – both tangible and intangible – addressed. This conference aims to make explicit the link between climate change and the threat it poses to cultural heritage and to highlight the importance of adopting disaster risk reduction strategies.”

International Conference on Cultural Heritage and Disaster Risk Reduction
Venue: Windsor Suites Hotel, Bangkok, Thailand
Date: November 18, 2013 – November 20, 2013
Website: seameo-spafa.org

Read more:
asemus.museum

Culture|Futures is an international collaboration of organizations and individuals who are concerned with shaping and delivering a proactive cultural agenda to support the necessary transition towards an Ecological Age by 2050.

The Cultural sector that we refer to is an interdisciplinary, inter-sectoral, inter-genre collaboration, which encompasses policy-making, intercultural dialogue/cultural relations, creative cities/cultural planning, creative industries and research and development. It is those decision-makers and practitioners who can reach people in a direct way, through diverse messages and mediums.

Affecting the thinking and behaviour of people and communities is about the dissemination of stories which will profoundly impact cultural values, beliefs and thereby actions. The stories can open people’s eyes to a way of thinking that has not been considered before, challenge a preconceived notion of the past, or a vision of the future that had not been envisioned as possible. As a sector which is viewed as imbued with creativity and cultural values, rather than purely financial motivations, the cultural sector’s stories maintain the trust of people and society.
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Mus’Art Cameroon seeks to twin with arts institution

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Since its creation in 1996 Musa Heritage Gallery (shortened Mus’Art), named in memory of Nso’ carvers Daniel Kanjo Musa and his elder son John Yuniwo Musa, has been active in propagating the Nso’ cultural heritage.

This cultural initiative by the Musa family opened her doors to the public on 18th December, 1996. Mus’Art Gallery has a collection of over 400 objects, most of which were created between 1970 and 2000. These varied and diverse objects range from Bamboo work to Wood Carvings, Basketry to Pottery. The museum continues to acquire contemporary Cameroonian arts and crafts while maintaining a major focus on the Western Grass-fields region.

Mus’Art Gallery was created in part as to preserve in response to the loss of these precious objects, so the Art of the past is not lost to the region. Its mission is to support the arts and crafts of the Western Grass-fields and to highlight the excellence and diversity of regional artists, past and present, so these may become known nationally and internationally.

The art of Nso’ traditional wood sculpturing is fast disappearing. Most Nso’ renown carvers have died. Youngsters are unwilling to learn the art. Mus’Art Gallery is interested in a rebirth of Nso’traditional wood sculpturing as well as other traditional art forms such as weaving, basketry, bamboo work, knitting of traditional caps and other gadgets with raffia leaves or straw. In fact the arts and crafts industry in Nso’ if revamped can create a lot of jobs for young boys and girls, contribute to economic growth and fight unemployment.

The Mus’Art Gallery in Kumbo, Cameroun, is seeking to twin with a museum, gallery or other arts institution abroad, in order to open the door to new ideas, collaboration and joint programmes that will allow both partners to evolve.

Interested museums or art-based organisations may contact Peter Musa, Mus’Art Director. Email: administration [at] musartgallery [dot] org

Phone: +237 7937 2652

Address: Bamfem Qtr, P.O Box 21, Kumbo, North West region, Cameroun.

For more information about the museum, please visit http://musartgallery.blogspot.fr/

 

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

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Call for Submissions: Cultural Mapping as Cultural Inquiry

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Cultural mapping, which spans many academic disciplines and methodologies, is informed by the observation that cultural phenomena are distributed spatially and that people experience the symbolic resources of their communities in spatial terms. While cultural mapping is firmly grounded in the world of academic disciplines and inquiry, it has a pragmatic dimension as well. In the Creative City Network of Canada’s Cultural Mapping Toolkit, for example, Cultural Mapping is defined pragmatically as “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.” Cultural mapping is generally regarded as a systematic tool to identify and record local cultural assets—and these assets are thought of as “tangible” or quantitative (physical spaces, cultural organizations, public forms of promotion and self-representation, programs, cultural industries, natural heritage, cultural heritage, people, and resources) and “intangible” or qualitative (community narratives, values, relationships, rituals, traditions, history, shared sense of place). Together these assets help define communities in terms of cultural identity, vitality, sense of place, and quality of life.

Cultural mapping, then, is a theoretically informed research practice and a highly pragmatic planning and development tool.  But cultural mapping can also be viewed as a form of cultural production and expression. Mapping can itself be cultural—that is, animated by artists and artistic approaches to mapping collective and competing senses of place, space, and community. The Folkvine project in Florida (and the work of the Florida Research Ensemble generally); the memory mapping work of Marlene Creates and Ernie Kroeger; the storymapping of First Nations experiences in small cities documented by the Small Cities CURA; Map Art and Diagram Art from the Surrealists to the Situationists to the work of contemporary artists; Sound Mapping, sonic geographies, and acoustic ecology research: these alternative approaches to mapping culture and community are helping to expand and refine the possibilities for mapping as a form of cultural inquiry.

The editors of Cultural Mapping as Cultural Inquiry seek submissions that address cultural mapping in all its forms and applications. Abstracts and inquiries should be sent by March 30, 2012 to Dr. W.F. Garrett-Petts, Faculty of Arts, Thompson Rivers University: petts@tru.ca

Editors for the refereed book publication (to be published jointly by the Centro de Estudos Sociais at the University of Coimbra, Textual Studies in Canada and the Small Cities Community-University Research Alliance): David MacLennan, W.F. Garrett-Petts, and Nancy Duxbury.

Centro de Estudos Sociais: www.ces.uc.pt

The Small Cities CURA: www.smallcities.ca

Conference: “People and Nature in Mountains”

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21st to 23rd September 2011, Trondheim, Norway

Abstract submission deadline: 15th June.

This conference will address how archaeology and cultural history can be integrated with long-term and contemporary ecology to understand landscape dynamics and underpin sustainable management and conservation of both cultural heritage and biodiversity in mountain environments. For more information visit: www.ntnu.no/vitenskapsmuseet/peopleandnature.

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)

– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)

– Hans Dieleman (based in Mexico-City, Mexico)

– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21