Introduction To Themed Issue World Heritage: Cultural Resource Management Giving Asia-pacific A Sense Of Place
Cultural resource management (CRM) is about conservation and sustainability of tangible and intangible aspects of culture. Asia-Pacific cultural sites are under consideration for international recognition to safeguard as a place of value for humanity, as well as places where people live, raise c...
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| Format: | Article |
| Language: | English |
| Published: |
Penerbit Universiti Sains Malaysia (USM Press)
2011
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| Online Access: | http://eprints.usm.my/40483/1/DavidBlundell-Introduction.pdf http://eprints.usm.my/40483/ http://ijaps.usm.my/wp-content/uploads/2012/06/DavidBlundell-Introduction.pdf |
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| Institution: | Universiti Sains Malaysia |
| Language: | English |
| Summary: | Cultural resource management (CRM) is about conservation and
sustainability of tangible and intangible aspects of culture. Asia-Pacific
cultural sites are under consideration for international recognition to
safeguard as a place of value for humanity, as well as places where people
live, raise children, build their society, and protect environments.1 Who
manages cultural resources? They are: policy administrators, politicians,
local communities, academics and environmentalists.
This provides a point of departure for thinking about our landscapes
and artifacts. I have often thought the idea of world heritage is linked to
European origins with the concept of heritage sites coming as a result of the
European Enlightenment and the Age of Reason. According to Dario
Gamboni (professor at the Institute of Art History of the University of
Amsterdam), since the French Revolution, our idea of "world heritage" is
more recent, stemming from the 20th century. Gamboni cites in his article
for Conservation that French author and statesman, André Malraux wrote in
1957, "for a long time, the worlds of art were as mutually exclusive as were
humanity's different religions" drawing our attention to civilisations having
their own "holy places" being listed for humanity. Malraux further observed
that for the first time, "dying fetishes have taken on a significance they
never had before, in the world of the images with which human creativity
has defied the passage of time, a world which has at last conquered time"
(Gamboni, 2001). |
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