EXPLORING DIGITAL POSSIBILITIES TOWARDS SAFEGUARDING HERITAGE

 

 

EXPLORING DIGITAL POSSIBILITIES TOWARDS SAFEGUARDING HERITAGE

Digital possibilities towards heritage safeguarding has continued to develop in several ways making room for the art to deliver better and faster in the technological space. This trend of culture helps to promote national development and capacity building by constructing influences in technology organizations in a variety that easily helps to understand the cultural heritage.

Opoku Boateng et al argued that, digital transformation places value on the need for safeguarding the intangible cultural heritage. This also helps to embark on a digitization projects to digitalize almost all the materials available within the space that looks at the perishability and volatile nature of storage media of information as well as losing it completely if care is not taken properly. (Opoku Boateng et al 2020)

Digital technology has tremendous impact on the art of culture. The positive use of digital innovation and appliances helps solve problems in cultural spaces, museums, art exhibition and archaeological centers. This is because cultural heritage through the preservation of cultural artifacts relics on global movement of identity politics where people through technology can develop a new tool accessible for communication.

Francesco Piccialli and Angelo Chianese confirmed that, “technology has become a facilitator of interactions and connections between all involved actors and where interventions can be sustainable, where enjoyment can be enhanced and where people can learn more effectively on culture.” (Piccialli and Chianese, 2016)

The emergence of covid-19, has enforced many cultural institutions such as museums, operas and art festivals to explore another mode of operation of interaction among visitors and curators with the concept of virtual reality. The idea of virtual reality has brought the alternative use of digital space with the introduction of online exhibitions. Now cultural institutions are looking at the exclusive of streaming services, organizing events, concerts on Instagram, Facebook and other social media whiles some with the idea of setting up virtual concerts on apps.

 Charlotte Coates in her article, What Are the Best Examples of Virtual Reality in Museums adds that, “it is clear that emerging cultural technologies play a huge role in the modern museum experience. Where many cultural institutions having implemented these for a while looks like that is the new trend of heritage interpretation.” (Coates, 2020).  Virtual museums the new era of technological transformation and digital tour at the comfort of your place allows you to explore, experiment and immerse yourself in the art regardless of your geographical location.

Heritage institutions such as museum aims to bring collections to life and the involvement of VR is a great tool for learning where the visitor/ user inside an experience, can be in the form of interactive or 360-degree video.

The emergence of digital technology being used in cultural institutions create tours, make interactive exhibits and bring scenes to life. These help curators put objects in context as well as show their true scale.

To conclude, the act of experiencing the digital world of art gives cultural institutions, curators, visitors and stakeholders a model to better development.  This is because the digital age helps share and preserve our heritage. This as a very significant and crucial tool for the protection and renovation of cultural resources.

 

 

Reference

Coates, Charlotte. “What Are the Best Examples of Virtual Reality in Museums?” MuseumNext, July 29, 2020. https://www.museumnext.com/article/how-museums-are-using-virtual-reality/.

Francesco Piccialli and Angelo Chianese. Cultural Heritage and new Technologies Trend and challenges. Springer- Verlag London,2006.

Opoku-Boateng, J., Cann, E., Ntewusu, S. and Owusu, S., 2020. The J.H. Kwabena Nketia Archive at the University of Ghana- Legon. History in Africa, 47, pp.375-382.

 

 By:Nana Twumasi-Ntiamoah

Home- From Utilitarian to Symbolic

Maryam Shah 

Starting my first blog with ‘sagam’ (traditional skylight) which is bridged to two things close to my heart, architecture, and my hometown, Gilgit-Baltistan.  

Before coming to the skylight itself, I would like to geographically orient you about the Gilgit-Baltistan region. It is the northernmost mountainous region of the country, considered as one of the most important and sensitive parts of Pakistan, due to its proximity with India, China, Afghanistan, and Tajikistan, all accessible through passes made in a sea of snowcapped mountains in olden times. This proximity with these regions had made migrations from different countries to the region possible, hence it presents a picture of diverse cultures, religions, and social values. Although opulent with heritage sites and natural attractions, this region is concealed in the mountains in a way that it has only seen a tourism boost in the past decade. Earlier, mostly international mountaineers used to visit. 

Gilgit Baltistan Region

The more one explores the remote villages of the region, the more one uncovers the cultural diversity. Significant architectural features and materials native to this region are seen in construction which influenced the daily life of the people. Harsh, cold, and dry winters led the people to construct compact houses with only one opening, and lack of resources led them to live in a single-roomed house, which had a single central opening in the roof. Known as sagam, som, sum, komal, or eyechan in different local languages. It was constructed with square layers of small beams laid one above another in the center of the roof. The squares are diagonally placed and reduce in size as it grows up towards the final opening. The exact location of the opening is above the hearth. The skylight was the most significant feature of the house to a degree that there was no concept of a window in the wall, isn’t a word for ‘window’ in the local languages. It has a unique rotated square geometry and it not only served as an opening for light, air, and exhaust for the smoke but also played a role in bringing the family together. 

The phrase ‘Garee ‘Tze’ in one of the native languages, Burushaski, literally translates to ‘by the hearth’ (which used to right under the skylight) but is used to connotate sitting together after a long day of work and bonding with family members. Although the houses have very much evolved with time, this phrase is still used to bring people together. 

But how did this sky become such an integral part of the daily life of the people and what is its significance now? 

Around 2000 years back in the era of Legendary Aryan king Jamshid the traditional Pamiri (mountain range in Central Asia) house was planned and designed.  According to history, the main objective was to protect his people from life-threatening cold conditions. For this purpose, architects of king Jamshid designed a simple but versatile, earthquake-proof house that was self-sufficient and self-sustained. It was a purposeful and very valuable design that even after thousands of years didn’t lose its significance and is still functional.

Traditional Pamiri House

Structure, layout, and elements of Pamiri houses were based on the number seven. Adding to the significance is that the seven elements and features of Pamiri houses are all part of Zoroastrian Heritage. This architectural style has traveled from Central Asia to this region with the migration of Pamiri people. Although some myths- like skylights being inlets for fairies and ghosts of beloved ones- remained, the architectural features lost their original religious values with time and influence of other religions, it turned into a symbolic belief that it is as a source of letting in blessings in the house because of which many important events of the family took place in the main room. 

Plan of Traditional House in Hunza Valley

The region opening up to the world brought with it opportunities for the locals to improve their living and bring comfort for themselves. With new materials and resources, bigger houses were built, improved quality of life gave access to better heating conditions in winters, thus the skylight didn’t remain as the only opening in the house. Windows were added which fulfilled the purpose of lighting up the interiors. The skylight remained but was losing its significance with time. 

Skylight in Mir's (King) Hall in Baltit Fort

Fast forward to today, with a fast-paced and comfortable life, most houses built today do not feel the need of a having the skylight because huge open windows are in. those houses which do build the central common space, only do so to symbolize the communal living and family bonds, and is rarely used. 

It remains a distinct architectural element seen in historic houses or forts. It is close to the hearts of the local people which gives them a sense of identity, belongingness, and nostalgia. Owing to multiple factors such as passing on of traditions over generations, technological advancements, economy and resources, and changing lifestyles, this skylight has come to be a rare element now. Religious associations with the skylight now remain as myths and stories in the minds of some people. 

Let’s Walk Oradea and Talk Buildings

                                            

                                       1. Jews and Art (Nouveau), an undeniable connection

     The European art of the late 19th century to the beginning of the 20th century was subject to a great deal of influence from the Jewish community (Bedoir 2004). Unfortunately, this topic has been a less popular subject in the academic field and thus is subject to a very low degree of public awareness. My choosing to write about the links between the Jewish community and art, especially the Art Nouveau architecture, was very much influenced by the fact that the cultural stamp of this community during these years was never fully recognized.

 Source: https://www.culturespaces.com/sites/ceportail/files/dp_21_rue_la_boetie_vuk_bd.pdf

Figure 1. Paul Rosenberg- one of the world’s major art dealers of the 20th century, was behind such  famous artists as Picasso, Matisse, Monet & Braque 

                                                  

    This community, which has been living with us for many centuries, is still largely unknown to the public and often victim of unfounded stereotypes, as recent cases in Eastern Europe have shown. Even today, when Europe commemorates 75 years since the Holocaust, the evidence of rising anti-Semitism in Europe has become impossible to neglect, and especially in the western European countries where research shows that anti-Semitic violence is increasing (Stremmelaar and Lucassen 2018). 

     Yossie Hollander, Founder of the online platform for Holocaust studies “Echoes & Reflections” stated: "I firmly believe that education is the best way to prevent the next Holocaust" (Echoes & Reflections 2020). My MA research proposal starts from this very same idea that education – in this case not only through academia but also through tourism – is much needed for a better understanding of the Jewish community and its contribution to our wider society. 

     Contrary to popular belief, the history of the Jewish people did not start with and is not mainly comprised of the Holocaust! There was a very culturally rich Jewish life in Europe, prior to World War II, and like in other cities in Europe, Transylvanian Jews were part of the modernizations of the places they were living in.

 Federic Bedoire (2004) and Rudolf Klein (2005) have been writing about the undeniable impact of the Jewish community in the several European cities’ architecture, Oradea being one of the examples. They have also shown the strong ties connecting the Art Nouveau buildings and part of the Jewish community, particularly the upper-middle class one.

                                                  Source: https://editiadedimineata.ro/descopera-romania-palatul-vulturul-negru-simbol-al-orasului-oradea/

                       Figure 2. The Black Eagle Palace- beginning of the XXth century(Oradea)

    The heritage left by the Jewish communities in Europe has started to be more and more “fashionable”, judging by the booming numbers of available Jewish walking tours. The past years have witnessed an increase in the cities that are (re)discovering and promoting their heritage related to the Jewish community. Oradea is one of them. For the last decade, the municipality has been making considerable efforts to restore most of the cultural patrimony of the city and especially the Art Nouveau buildings. As a result, more and more tourists and locals have become interested in walking tours and in getting to know the city. 

     The project I chose for this MA will focus on the city of Oradea, Romania and the historical ties between Jewish culture and Art Nouveau Architecture. Stay connected for the next posts!

 To be continued…

by Flavia MATEI

 References:

1. Bedoire, Federic. The Jewish Contribution to Modern Architecture, 1830-1930. KTAV Publishing House, Inc., 2004; 

2. https://artnouveau-net.eu/city/oradea/ 

3. Institute for Jewish Policy Research. Retreived 29th January 2020, available at: https://archive.jpr.org.uk/object-neth60; 

4. Klein, Rudolf. SECESSION : UN GOUT JUIF ? Art Nouveau Buildings and the Jews in some Habsburg Lands: https://www.academia.edu/36082774/Secession_un_gout_juif_Art_Nouveau_Buildings_and_the_Jews_in_some_Hapsburg_Lands ;

5. Echoes & Reflections. Main Page. Retrieved 25th January 2020, available at: https://echoesandreflections.org;

My (Un)expected Journey

Tekla Balogh-Bodor

It was hard to decide the topic of my first blog post. I have started it at least four times since the beginning of October, but I couldn't come up with anything and I don't know exactly why. Obviously, I'm struggling to find my way and it may seem that I'm more lost than ever before. Hopefully, this is also just a station of my long journey, isn't it? So here I am, nothing is impossible. I thought it would be interesting to share some information about the evolution of my thesis topic, although only one month had passed since the university began.

So let's start with my original idea, and let's see some potential new paths after the first month on the CEU.

The goal of my thesis is to emphasize the situation of museums in small towns. For several different reasons, I chose a town in Hungary, the town of Esztergom that will be my Guinea-pig for my research. Esztergom is located on the north part of Hungary and was the capital of the Hungarian Kingdom from the 10th century until the 13th century. Yet it didn't lose its significance afterwards. Therefore plenty of cultural elements, sites, valuable built heritage are located there.

When I was finishing my masters at the university, I had my internship in one of the museums in Esztergom. Later on that time I worked and lived there for almost a year. Not only did I find a town with valuable cultural heritage, but I also found a town with a strong intellectual community. Sadly, these strong forces are unexploited. It is hard to understand at this time that a town is not a cultural centre with this amount of cultural resources. The whole idea came to my mind because of the unworthy situation of Esztergom and the multitude of possibilities it contains.

This is my original research topic, long story short. I have seen in the classes great case studies in connection with different kind of aspects of heritage and I must tell, we do a lot of brainstorming too. This makes me rethink over and over my thesis topic, I get inspiration.

After this one month, I would like to go after the connection of heritage and identity too. More fully, research the power of heritage, the community shaping power of heritage. I want to use it because the historic built environment can support the economic and social regeneration. Moreover, many of the cultural heritage’s elements are available daylong in Esztergom. I can imagine a built historical monument, where local people can meet regularly and do something together. The place reminds them of the long history of the town and gives them a common identity...

Well I know, I can't save the world with a MA thesis, but still this project makes me enthusiastic and I can't wait to start actively doing something. Even if I only raise awareness and discover the locals' attitude towards their heritage. Hopefully, at the end of my research, I will be able to understand the different kind of effects and processes, which define the cultural life of towns.

Of  course, I would like to find a way out of the current unworthy situation, so my project would be not only a research itself, but solution and ideas for the existing problems.

So fingers crossed, I hope I'm on the way of creating something. I'm ready for the challenges, although I still have concerns. I guess it is normal, right?

Contrast of The Soviet and Contemporary Management in The Museum Sector in Georgia

 Tinatin Baghashvili

Georgia is an old christian country, with spectacular landscape and cultural diversity. It is a small land that plays significant role in the geopolitics of the South Caucasus region. Admittedly, Georgia is aligned on the border of two continents of Europe and Azia. 

The geographical location and ancient history determined the rich and diverse cultural heritage. It is needed to highlight that the visible evidences support the proposed statement. The oldest christian built heritage is dated from VI century, Georgian alphabet is one of the 15 in the whole world - "მე მიყვარს საქართველო". Georgia is considered as the cradle of wine and the folk music, the song "Chakrulo" was sent by NASA to the space as the important musical piece of the world, and many more... but to feel the real Georgia, the best way is to visit and experience the local spirit. 

Svaneti, Georiga

According to the ancient history there have always been battles in Georgia between diverse groups of nations. Sometimes, the country was invaded by the Mongolians, Arabs, Ottomans, Iranians and Russians. Therefore, each of the ethnic groups have left their traces in the land of "Georgia". The history also influenced the shaping of combination of the European and Asian values that are still arguable in many context for Georgian society. 

Ultimately, the country got its liberation in XX century in 90s, after Soviet Union fall. The state transition has not been completed yet. There are many problems, issues regarding the system and democratic values, human rights etc. People still try to define what are the values that country should follow to. The Soviet understanding is still alive among the older generations that significantly affects the modernity. 

Since 90s, Georgia has been developing its institutions based on the European values and culture. However, the huge gaps between soviet period and contemporary Georgia is clearly visible, especially at the state cultural organizations such as the state museums. The problematic issues underline that the museum management does not speak the same language as it is demanded from the life nowadays. The staff is not well-trained, moreover, they are almost retired people having soviet mentality and life-style. Therefore, the modern challenges and technical requirements are not well-adopted in the museum sector. 

National Museum of Georgia, Rustaveli ave.

On the other hand, retired people are still employees at the state museums, and sometimes they even receive pension and salary at the same time. The administration has the legitimacy to fire these people, however, in practice this would be considered as disrespectful act to the older generation in the social, economic and cultural context. Meanwhile, there are youngsters with fresh ideas, that have ability to improve the museums to the modernity and replace soviet style of workflow and soviet management. 

The other issue arises on the museum infrastructure and accessibility to the institutions. All the state museum buildings are built in Soviet Union times. None of these constructions have special need facility in order to meet the underrepresented groups needs. There has been the Association Agreement between Georgian and EU, that considered by 2020 to complete the easy access program at the state museums, to build separate entrances, special elevators and bathrooms, audio guiding tutorials etc. It is obvious, the goals are not yet achieved. And the final aspect is the perception of the museum among Georgian society. The attitude towards culture seems problematic as it represents the joyful experience and entertainment, still the museums lack educational and mediator role in the society. Most of the people do not go to the museums nowadays, because simply museums are not attractive and they do not offer unforgettable experience to the visitors. Therefore, the fresh mind and creative entrepreneurship in the modern management in the museum sector seems crucial and survival step. 

"A Fisherman" - Pirosmani

Lastly, I need to tell personal story to support the arguments evoked previously. There is the one of the most famous Georgian artists, called Niko Pirosmani(1862 - 1918). His art is unique as he represented self-taught artist, painted with self-made colors made of the natural plants. He painted the animals he had never seem before too and it really is amazing. His style is somewhat in childish manner and pure. Couple of years ago, I went to the National Gallery and noticed that one of his painting "A fisherman" was hanging inclined. 

I expressed my emotion and could not resist myself of going to the guard in order to fix the painting. I went to the woman, that was controlling the gallery and told her, that if possible to turn off the alarm security and ask someone to fix the frame. She offhandedly whispered, "oh, when people take pictures, they lean on the painting and that's why it is not hanging right". The woman stood up, wend to the painting, touched and fixed it. I genuinely was shocked. I thought, there must have been at least alarm security in order to protect our culture, or at least the woman should have worn special gloves while touching the great piece of art. 

To conclude, after this incident I have realized that soviet management in the museum sector is a problematic issue. The employees, clearly do not understand the importance of the institutions they work at, they do not value and appraise art and culture. This small event showed me that the museum management does not regulate such incidents, do not provide proper security and education/training to their employees. I suggest, the museum should have its role in the society. It should be educative social space integrated with economic activities. the general success depends on the great management that is unfortunately absent in the Georgian scene as it still carries soviet legacy.