{"id":992,"date":"2019-04-28T15:27:35","date_gmt":"2019-04-28T14:27:35","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=992"},"modified":"2023-09-19T14:16:48","modified_gmt":"2023-09-19T13:16:48","slug":"history-unesco-ich-definitions","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/","title":{"rendered":"History of UNESCO Cultural Heritage Definitions (2.2)"},"content":{"rendered":"\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_88 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6ab5bb30cfd99\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6ab5bb30cfd99\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#A_Short_History_on_UNESCO\" >A Short History on UNESCO<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#1899_%E2%80%93_1964_UNESCO_Timeline_for_ICH\" >1899 &#8211; 1964: UNESCO Timeline for ICH<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#1968_%E2%80%93_2005_UNESCO_Timeline_for_ICH\" >1968 &#8211; 2005: UNESCO Timeline for ICH<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#Organizations_Who_Define_Cultural_Heritage\" >Organizations Who Define Cultural Heritage<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#Cultural_Property_vs_Cultural_Heritage\" >Cultural Property vs Cultural Heritage<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#Safeguarding_of_Traditional_Culture_and_Folklore\" >Safeguarding of Traditional Culture and Folklore<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#Koichiro_Matsuura\" >Ko\u00efchiro Matsuura<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#The_Heritage_Paradigm_Shift\" >The Heritage Paradigm Shift<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#Heritage_Dialogical_Paradigm_and_an_Emphasis_on_People\" >Heritage Dialogical  Paradigm and an Emphasis on People<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#Cultural_Activity_Folklorisation_and_UNESCO_Lists\" >Cultural Activity,  Folklorisation and UNESCO Lists<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#Footnotes_and_Further_Information\" >Footnotes and Further Information<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"A_Short_History_on_UNESCO\"><\/span>A Short History on UNESCO<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">As the UNESCO 2003 definition of ICH has been the inspiration for my research, I start with UNESCO\u2019s definitions of cultural heritage (see Footnote 1).<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/history-unesco-definitions.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/history-unesco-definitions.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/history-unesco-definitions.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/history-unesco-definitions-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"The history of UNESCO ICH definitions from 1899 to 2005.\" class=\"wp-image-1031 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/history-unesco-definitions.jpg\" alt=\"The history of UNESCO ICH definitions from 1899 to 2005.\" class=\"wp-image-1031\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/history-unesco-definitions.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/history-unesco-definitions-300x169.jpg 300w\" sizes=\"(max-width: 560px) 100vw, 560px\"><\/noscript><\/a><figcaption class=\"wp-element-caption\">The history of UNESCO ICH definitions from 1899 to 2005.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">As stated on their website (UNESCO), UNESCO was founded in 1945, at the end of the Second World War.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Its constitution was ratified in 1946 by 20 countries, but more countries joined over the years.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the time of writing, UNESCO has 195 nation members and 10 associate members (UNESCO, no date b).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The idea behind UNESCO\u2019s creation was to have an organization representing a culture of peace.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Table 2 and Table 3 list some of the most significant treaties, recommendations, and conventions regarding cultural heritage, in relation to this thesis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first UNESCO convention regarding the protection of cultural property (movable: museum collections and immovable: architecture) was issued in 1954 (UNESCO, 1954).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It was inspired by The Hague Conventions of 1899 (see footnote 2) and 1907 (see footnote 3) and by the Washington Pact of 1935, and its aim was to protect cultural property in the event of war.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 1968, recommendations were made to protect cultural property endangered by public or private works (UNESCO, 1968).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"1899_%E2%80%93_1964_UNESCO_Timeline_for_ICH\"><\/span>1899 &#8211; 1964: UNESCO Timeline for ICH<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>CLICK TO VIEW LARGE VERSION<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline-1024x513.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline-1024x513.jpg 1024w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline-300x150.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline-768x385.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline-800x401.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline-600x301.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline.jpg 1198w\" decoding=\"async\" width=\"1024\" height=\"513\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"UNESCO ICH (Intangible cultural heritage)  timeline from 1899.\" class=\"wp-image-999 lazyload\"  sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><noscript><img decoding=\"async\" width=\"1024\" height=\"513\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline-1024x513.jpg\" alt=\"UNESCO ICH (Intangible cultural heritage)  timeline from 1899.\" class=\"wp-image-999\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline-1024x513.jpg 1024w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline-300x150.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline-768x385.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline-800x401.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline-600x301.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/unesco-ich-timeline.jpg 1198w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"><\/noscript><\/a><figcaption class=\"wp-element-caption\"><u><strong>CLICK TO VIEW LARGE VERSION<\/strong><\/u><\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"1968_%E2%80%93_2005_UNESCO_Timeline_for_ICH\"><\/span>1968 &#8211; 2005: UNESCO Timeline for ICH <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>CLICK TO VIEW LARGE VERSION<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco-1024x489.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco-1024x489.jpg 1024w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco-300x143.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco-768x367.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco-800x382.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco-600x286.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco.jpg 1110w\" decoding=\"async\" width=\"1024\" height=\"489\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"UNESCO ICH (Intangible cultural heritage)  timeline from 1968 to 2005.\" class=\"wp-image-1017 lazyload\"  sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><noscript><img decoding=\"async\" width=\"1024\" height=\"489\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco-1024x489.jpg\" alt=\"UNESCO ICH (Intangible cultural heritage)  timeline from 1968 to 2005.\" class=\"wp-image-1017\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco-1024x489.jpg 1024w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco-300x143.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco-768x367.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco-800x382.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco-600x286.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/1968-2005-unesco.jpg 1110w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"><\/noscript><\/a><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In this thesis, I compare the UNESCO 1972 definition with the 2003 definition of cultural heritage, as they are the most pivotal in the shift from a static and materialistic view of heritage to one that includes intangible elements and in which people are central.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Organizations_Who_Define_Cultural_Heritage\"><\/span>Organizations Who Define Cultural Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">These two are not the only definitions on cultural heritage that UNESCO and other international organisations, such as the International Council of Monuments and Sites (<a href=\"https:\/\/www.icomos.org\/en\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"ICOMOS (opens in a new tab)\">ICOMOS<\/a>) have ever issued.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Other charters, recommendations, and resolutions on cultural heritage have been issued, some of which include definitions (Kirshenblatt-Gimblett, 2004; Ahmad, 2006).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">ICOMOS, for instance, issued the Venice Charter in 1964 (ICOMOS, 1964), which I will return to regarding authenticity (2.5).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, UNESCO 1972 and 2003 are the only two conventions with a definition of cultural heritage (the word \u2018conventions\u2019 meaning that they define rules to which UNESCO\u2019s member states have to abide by as law (UNESCO, no date c)). Article 1 of the 1972 definition states (UNESCO, 1972, p. 2):<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">For the purpose of this Convention, the following shall be considered as &#8220;cultural heritage&#8221;: monuments . . . groups of buildings . . . sites . . . of outstanding universal value from the historical, aesthetic, ethnological or anthropological point of view.<\/p>\n<cite>(UNESCO, 1972: 2)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Cultural_Property_vs_Cultural_Heritage\"><\/span>Cultural Property vs Cultural Heritage<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In this definition, the expression \u2018cultural property\u2019 is abandoned in favour of \u2018cultural heritage\u2019 and the division between movable and immovable is dropped.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The only things considered as \u201ccultural heritage\u201d are monuments, buildings, and sites, which are of \u201coutstanding value\u201d for history, art or science.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">What outstanding value means is not explained in the definition, but it is enough, for the purpose of this study, to highlight that monuments, buildings, and sites were the only things that UNESCO considered worthy of being labeled \u201ccultural heritage\u201d for protection.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It soon became clear though, that UNESCO\u2019s position was ethnocentric, as not all cultures in the world place the same value on monuments, buildings, and sites.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Munjeri (2004) indicates, Europe became overrepresented in the UNESCO\u2019s lists and a preference for monuments portrayed a very fixed view of culture in which, \u2018what quali\ufb01ed as cultural heritage was deemed to be stable, and static\u2019 (Munjeri, 2004, p. 13). Isar argues (2011, p. 45):<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">The World Heritage List would inevitably be skewed towards those countries richly endowed with buildings (mainly monumental) and places that satisfied criteria elaborated by experts whose value judgments reflected their own cultural moorings.<\/p>\n<cite>Isar (2011)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Safeguarding_of_Traditional_Culture_and_Folklore\"><\/span>Safeguarding of Traditional Culture and Folklore <span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">In 1989, the <em>Recommendation on the Safeguarding of\nTraditional Culture and Folklore<\/em> (UNESCO, 1989, p.\n239)\npaved the way for the 2003 Convention definition, particularly regarding the\nrecognition by communities: <\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Folklore (or traditional and popular culture) is the totality of tradition-based creations of a cultural community, expressed by a group or individuals and recognized as reflecting the expectations of a community in so far as they reflect its cultural and social identity.<\/p>\n<cite>UNESCO (1989)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The <em>Nara Document on Authenticity<\/em> (UNESCO, 1994) was another step towards the 2003 Convention, as it refers to intangible cultural aspects, by stating: \u2018All cultures and societies are rooted in the particular forms and means of tangible and intangible expression which constitute their heritage\u2019 (UNESCO, 1994, Article 7).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This document led UNESCO towards the realisation that cultural heritage cannot be limited to physical sites and monuments, but it needs to include traditions and activities. Moreover, it dropped the distinction between heritage and folklore.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Koichiro_Matsuura\"><\/span>Ko\u00efchiro Matsuura<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">In 2003, UNESCO wrote the ICH Convention. According to Isar (2011, p. 47), this convention was influenced by the election of the Japanese diplomat <a rel=\"noreferrer noopener\" label=\"Ko\u00efchiro Matsuura (opens in a new tab)\" href=\"https:\/\/whc.unesco.org\/en\/oralarchives\/koichiro-matsuura\/\" target=\"_blank\">Ko\u00efchiro Matsuura<\/a> to the position of UNESCO Director-General in 1999, because Japan was already a country with an established awareness of intangible heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, Japan (which became a UNESCO member in 1951) already in 1950 had issued the <em><a rel=\"noreferrer noopener\" aria-label=\"Law for the Protection of Cultural Property (opens in a new tab)\" href=\"https:\/\/ial.uk.com\/changes-on-the-way-for-japans-cultural-property-law\/\" target=\"_blank\">Law for the Protection of Cultural Property<\/a><\/em> (1950), which included tangible (both movable and immovable) and intangible elements (such as performing arts, customs, folklore).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Schmitt (2008) instead argues that it was the need to protect <em>Jemaa el Fna<\/em> Square in Marrakech, which started the process leading to the 2003 convention.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Whatever the reason, the 2003 UNESCO convention on ICH marks a shift in paradigm for UNESCO. Article 2 states (UNESCO, 2003, p. 2):<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">The \u201cintangible cultural heritage\u201d means the practices, representations, expressions, knowledge, skills \u2013 as well as the instruments, objects, artefacts and cultural spaces associated therewith \u2013 that communities, groups and, in some cases, individuals recognize as part of their cultural heritage.<\/p>\n<cite>UNESCO (2003)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The focus of this definition is on expressions of culture (other than buildings and sites), revolving around people and practices.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I will critically address the tangible\/intangible separation in Chapter 3. For now, I would like to focus on the paradigm shift expressed in this definition.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/heritage-paradigm-shift.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/heritage-paradigm-shift.jpg 608w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/heritage-paradigm-shift-300x264.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/heritage-paradigm-shift-605x533.jpg 605w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/heritage-paradigm-shift-454x400.jpg 454w\" decoding=\"async\" width=\"608\" height=\"536\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Heritage paradigm shift by Dr Valeria Lo Iacono and Dr David Brown (2016)\" class=\"wp-image-1005 lazyload\"  sizes=\"(max-width: 608px) 100vw, 608px\" \/><noscript><img decoding=\"async\" width=\"608\" height=\"536\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/heritage-paradigm-shift.jpg\" alt=\"Heritage paradigm shift by Dr Valeria Lo Iacono and Dr David Brown (2016)\" class=\"wp-image-1005\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/heritage-paradigm-shift.jpg 608w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/heritage-paradigm-shift-300x264.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/heritage-paradigm-shift-605x533.jpg 605w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/heritage-paradigm-shift-454x400.jpg 454w\" sizes=\"(max-width: 608px) 100vw, 608px\"><\/noscript><figcaption class=\"wp-element-caption\"><u><strong>From Lo Iacono and Brown (2016: 88)<\/strong><\/u><\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Heritage_Paradigm_Shift\"><\/span>The Heritage Paradigm Shift<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Figure 3 illustrates the paradigm shift between the view reflected in the 1972 Convention (on the right) and the 2003 Convention (on the left).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The 1972 UNESCO definition, focusing exclusively on monuments, as Munjeri (2004) identifies, promoted a static view of heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This reflects what Smith (2006, p. 4) calls the \u2018authorized heritage discourse\u2019, which has \u2018a particular focus and emphasis . . . [on] \u2018things\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, Smith (ibid) continues, \u2018alongside this professional and authorized discourse is also a range of popular discourses and practices\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The 2003 definition points towards the popular discourse, unlike the 1972 definition. Nevertheless, there are still contradictions in UNESCO\u2019s heritage discourse.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I will return to these in the <a href=\"https:\/\/worlddanceheritage.org\/internationalisation-transculturality\/\">internationalisation section (2.6)<\/a> and in <a href=\"https:\/\/worlddanceheritage.org\/research\/framwork\/\">Chapter 3<\/a>. Overall though, the 2003 definition is much more people oriented as \u2018communities, groups and . . . individuals recognize\u2019 (UNESCO, 2003) something as part of their heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, UNESCO introduces the idea that heritage can change, as it is (ibid) \u2018constantly recreated\u2019 and promotes \u2018human creativity\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The shift of focus from immutable objects towards people, their practices and heritage recreation, is reflected in two paradigms of heritage, which Bodo (2012) calls \u2018essentialist\u2019 and \u2018dialogical\u2019.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/tinyurl.com\/y3gnysmb\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper-480x270.jpg 480w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-15476 lazyload\"  sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 560px, 100vw\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper.jpg\" alt=\"\" class=\"wp-image-15476\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2023\/08\/dance-binarism-paper-480x270.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 560px, 100vw\"><\/noscript><\/a><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The former, Bodo (ibid) explains, sees heritage as something static; of outstanding value; inherited from the past; unchangeable and transmitted in a linear way from the curator (or the tradition\u2019s holder) to the public.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The latter is more dynamic and sees heritage as a set of cultural expressions, material and immaterial, that should not only be preserved and transmitted but also reconstructed, renegotiated and made available for everyone to share in a social setting. Bodo (2012, p. 182) posits:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Whilst in the former, decisions are made on what is worth preserving and transmitting to future generations, in the latter, this heritage is constantly questioned and rediscovered by individuals who breathe new life into it.<\/p>\n<cite>Bodo (2012)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In my research, I adopt Bodo\u2019s dialogical paradigm, to accommodate the dynamic, embodied and experiential nature of dance\/heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I will explore further <a href=\"https:\/\/worlddanceheritage.org\/transmission-cultural-heritage\/\">how this applies to dance in 2.4<\/a> and in the rest of this thesis.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Heritage_Dialogical_Paradigm_and_an_Emphasis_on_People\"><\/span>Heritage Dialogical  Paradigm and an Emphasis on People<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Another implication of a dialogical paradigm of heritage is that it leads to placing more emphasis on the present and the present needs of people, rather than only on the past.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, Kirshenblatt-Gimblett (1995, p. 369) considers that \u2018heritage produces something new in the present that has recourse to the past\u2019, whereas Howard (2010, p. 1) suggests that heritage is \u2018that which people wish to save for the future, which clearly puts the emphasis on people and on actions taken in the present\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Finally, according to Ashworth (2011, p. 2) heritage is \u2018a process whereby objects, events, sites, performances and personalities, derived from the past, are transformed into experiences in and for the present\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Past, present and future are interconnected and each important in understanding heritage, its transmission and safeguarding. Harrison (2010, p. 9) connects these three-time dimensions, stating:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">We use objects of heritage (artefacts, buildings, sites, landscapes) alongside practices of heritage (languages, music, community commemorations, conservation and preservation of objects or memories from the past) to shape our ideas about our past, present and future.<\/p>\n<cite>Harrison (2010)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Furthermore, transmission, which will be explored further on <a href=\"https:\/\/worlddanceheritage.org\/transmission-cultural-heritage\/\">in this chapter (2.4)<\/a>, connects past present and future as heritage is \u2018transmitted from generation to generation\u2019 (UNESCO, 2003).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ashworth (2011, p. 2) argues that heritage is connected to \u2018current political, social or economic needs\u2019. The ways in which these needs can be met, represent what Smith (2006) refers to as \u2018uses of heritage\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Smith (2006, p. 4), heritage can be used \u2018by state-sanctioned cultural institutions and elites to regulate cultural and social tensions in the present\u2019 as well as \u2018to challenge and redefine received values and identities by a range of subaltern groups\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, \u2018heritage is not necessarily about the stasis of cultural values and meanings, but may equally be about cultural change\u2019 (ibid.).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The needs of people in the present and the uses they make of heritage reconnects with people\u2019s centrality in heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Therefore, people must be engaged in the safeguarding of cultural heritage, because \u2018people are not only objects of cultural preservation but also subjects\u2019 (Kirshenblatt-Gimblett, 2004, p. 58).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, people are also central to my <a href=\"https:\/\/worlddanceheritage.org\/research\/framwork\/\">conceptual framework (Chapter 3)<\/a>, as embodied social agents with emotions. On emotions and heritage, Smith (2006, p. 2) posits (referring to a necklace passed between generations, from mother to daughter):<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">The real moment of heritage when our emotions and sense of self are truly engaged, is not so much in the possession of the necklace, but in the act of passing on and receiving memories and knowledge.<\/p>\n<cite>Smith (2006)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It also occurs in the way that we then use, reshape and recreate those memories and knowledge to help us make sense of and understand not only who we \u2018are\u2019, but also who we want to be.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Cultural_Activity_Folklorisation_and_UNESCO_Lists\"><\/span>Cultural Activity,  Folklorisation and UNESCO Lists<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The inscription in UNESCO\u2019s lists could be beneficial to a\ncultural activity, as it can bring awareness and visibility to it, thus\nbenefitting the people involved (financially and\/or socially), for whom this\npractice is important. However, this increased visibility can lead to problems.\nUNESCO (2016a,\npara. 21)\ndeclares that:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Care must be taken to make sure this increased attention does not have a harmful effect on the intangible cultural heritage. For instance, increased tourism could have a distorting effect, as communities may change heritage to suit tourists\u2019 demands, or create differences among groups or communities by recognizing one living expression and not another. There is also a danger of freezing heritage through a \u2018folklorisation\u2019 process or the quest for \u2018authenticity\u2019, or of the disregard of customs that govern access to secret or sacred information.<\/p>\n<cite>UNESCO (2016) <\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Adopting a dialogical paradigm (and acknowledging the existence of a continuum between essentialist and dialogical positions) can help to avoid the freezing of heritage, whilst at the same time placing value onto its transmission.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Throughout this thesis, I address the key themes of transmission, authenticity, identity, uses of heritage and internationalisation, using a dialogical approach. <\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Footnotes_and_Further_Information\"><\/span>Footnotes and Further Information<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">1-  The word \u2018heritage\u2019 was adopted by UNESCO in 1972, whereas, before, UNESCO used the word \u2018property\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Ahmad (2006), UNESCO adopted the word \u2018heritage\u2019 to reconcile its terminology with ICOMOS, which used the words \u2018monuments and sites\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The original UNESCO classification of \u2018cultural property\u2019 included movable (museum collections) and immovable property (architectural heritage). In 1972, Ahmed (2006) explains, UNESCO adopted the word \u2018heritage\u2019, encompassing natural and cultural heritage (monuments, groups of buildings and sites).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Museum collections were excluded from UNESCO\u2019s definition and left to the International Council of Museums (ICOM) to deal with.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">UNESCO issued only two recommendations regarding museums and collections, one in 1960 (UNESCO, 1960) and one in 2015 (UNESCO, 2015).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2 &#8211; <a href=\"https:\/\/worlddanceheritage.org\/references-cited\/\" target=\"_blank\" rel=\"noreferrer noopener\">See Teixeira (2010, p. 61)<\/a> for text.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">3 &#8211; <a href=\"https:\/\/worlddanceheritage.org\/references-cited\/\" target=\"_blank\" rel=\"noreferrer noopener\">See McDonald (2000, p. 35)<\/a> for text.<\/p>\n\n\n\n<p class=\"has-vivid-red-color has-white-background-color has-text-color has-background wp-block-paragraph\"><strong>Next Page &gt;&gt; <span style=\"text-decoration: underline;\"><a href=\"https:\/\/worlddanceheritage.org\/case-studies\/\">Case studies on ICH (Intangible Cultural Heritage)<\/a><\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>History of UNESCO ICH Definitions and on Cultural Heritage from 1899. How the idea of intangible cultural heritage developed.<\/p>\n","protected":false},"author":2,"featured_media":1031,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[17],"tags":[],"class_list":["post-992","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-literature-review"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>UNESCO Cultural Heritage Definitions historically 1899 and ICH<\/title>\n<meta name=\"description\" content=\"History of UNESCO ICH Definitions on Cultural Heritage from 1899. How intangible cultural heritage developed and Ko\u00efchiro Matsuura director.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"UNESCO Cultural Heritage Definitions historically 1899 and ICH\" \/>\n<meta property=\"og:description\" content=\"History of UNESCO ICH Definitions on Cultural Heritage from 1899. How intangible cultural heritage developed and Ko\u00efchiro Matsuura director.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/\" \/>\n<meta property=\"og:site_name\" content=\"World Dance Heritage Research Centre\" \/>\n<meta property=\"article:published_time\" content=\"2019-04-28T14:27:35+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-09-19T13:16:48+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/history-unesco-definitions.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"560\" \/>\n\t<meta property=\"og:image:height\" content=\"315\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Valeria\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@danceperception\" \/>\n<meta name=\"twitter:site\" content=\"@danceperception\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Valeria\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/history-unesco-ich-definitions\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/history-unesco-ich-definitions\\\/\"},\"author\":{\"name\":\"Valeria\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/person\\\/a5061c4e7e43b91e456683b9699ebb42\"},\"headline\":\"History of UNESCO Cultural Heritage Definitions (2.2)\",\"datePublished\":\"2019-04-28T14:27:35+00:00\",\"dateModified\":\"2023-09-19T13:16:48+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/history-unesco-ich-definitions\\\/\"},\"wordCount\":2134,\"publisher\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/history-unesco-ich-definitions\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/04\\\/history-unesco-definitions.jpg\",\"articleSection\":[\"Literature Review\"],\"inLanguage\":\"en-GB\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/history-unesco-ich-definitions\\\/\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/history-unesco-ich-definitions\\\/\",\"name\":\"UNESCO Cultural Heritage Definitions historically 1899 and ICH\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/history-unesco-ich-definitions\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/history-unesco-ich-definitions\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/04\\\/history-unesco-definitions.jpg\",\"datePublished\":\"2019-04-28T14:27:35+00:00\",\"dateModified\":\"2023-09-19T13:16:48+00:00\",\"description\":\"History of UNESCO ICH Definitions on Cultural Heritage from 1899. How intangible cultural heritage developed and Ko\u00efchiro Matsuura director.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/history-unesco-ich-definitions\\\/#breadcrumb\"},\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/worlddanceheritage.org\\\/history-unesco-ich-definitions\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/history-unesco-ich-definitions\\\/#primaryimage\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/04\\\/history-unesco-definitions.jpg\",\"contentUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/04\\\/history-unesco-definitions.jpg\",\"width\":560,\"height\":315,\"caption\":\"The history of UNESCO ICH definitions from 1899 to 2005.\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/history-unesco-ich-definitions\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/worlddanceheritage.org\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Dance Research\",\"item\":\"https:\\\/\\\/worlddanceheritage.org\\\/research\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Literature Review\",\"item\":\"https:\\\/\\\/worlddanceheritage.org\\\/research\\\/literature-review\\\/\"},{\"@type\":\"ListItem\",\"position\":4,\"name\":\"History of UNESCO Cultural Heritage Definitions (2.2)\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#website\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/\",\"name\":\"World Dance Heritage Research Centre\",\"description\":\"World Dance Heritage. Traditional dance, tourism and preservation.\",\"publisher\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/worlddanceheritage.org\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-GB\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\",\"name\":\"World Dance Heritage\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2020\\\/05\\\/heritage-logo.png\",\"contentUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2020\\\/05\\\/heritage-logo.png\",\"width\":1276,\"height\":294,\"caption\":\"World Dance Heritage\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/x.com\\\/danceperception\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/person\\\/a5061c4e7e43b91e456683b9699ebb42\",\"name\":\"Valeria\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g\",\"caption\":\"Valeria\"},\"description\":\"Hi - I'm Dr Valeria Lo Iacono &amp; I am a dance researcher with a PhD in dance as a form of living heritage. I also teach belly dance and love to travel to discover new dances around the world. I have worked also as an academic and in the UK and in Korea. Thank you for visiting my site.\",\"sameAs\":[\"https:\\\/\\\/worlddanceheritage.org\\\/about-us\\\/\",\"https:\\\/\\\/www.pinterest.co.uk\\\/danceheritageuk\\\/\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"UNESCO Cultural Heritage Definitions historically 1899 and ICH","description":"History of UNESCO ICH Definitions on Cultural Heritage from 1899. How intangible cultural heritage developed and Ko\u00efchiro Matsuura director.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/","og_locale":"en_GB","og_type":"article","og_title":"UNESCO Cultural Heritage Definitions historically 1899 and ICH","og_description":"History of UNESCO ICH Definitions on Cultural Heritage from 1899. How intangible cultural heritage developed and Ko\u00efchiro Matsuura director.","og_url":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/","og_site_name":"World Dance Heritage Research Centre","article_published_time":"2019-04-28T14:27:35+00:00","article_modified_time":"2023-09-19T13:16:48+00:00","og_image":[{"width":560,"height":315,"url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/history-unesco-definitions.jpg","type":"image\/jpeg"}],"author":"Valeria","twitter_card":"summary_large_image","twitter_creator":"@danceperception","twitter_site":"@danceperception","twitter_misc":{"Written by":"Valeria","Estimated reading time":"10 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#article","isPartOf":{"@id":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/"},"author":{"name":"Valeria","@id":"https:\/\/worlddanceheritage.org\/#\/schema\/person\/a5061c4e7e43b91e456683b9699ebb42"},"headline":"History of UNESCO Cultural Heritage Definitions (2.2)","datePublished":"2019-04-28T14:27:35+00:00","dateModified":"2023-09-19T13:16:48+00:00","mainEntityOfPage":{"@id":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/"},"wordCount":2134,"publisher":{"@id":"https:\/\/worlddanceheritage.org\/#organization"},"image":{"@id":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#primaryimage"},"thumbnailUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/history-unesco-definitions.jpg","articleSection":["Literature Review"],"inLanguage":"en-GB"},{"@type":"WebPage","@id":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/","url":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/","name":"UNESCO Cultural Heritage Definitions historically 1899 and ICH","isPartOf":{"@id":"https:\/\/worlddanceheritage.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#primaryimage"},"image":{"@id":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#primaryimage"},"thumbnailUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/history-unesco-definitions.jpg","datePublished":"2019-04-28T14:27:35+00:00","dateModified":"2023-09-19T13:16:48+00:00","description":"History of UNESCO ICH Definitions on Cultural Heritage from 1899. How intangible cultural heritage developed and Ko\u00efchiro Matsuura director.","breadcrumb":{"@id":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#breadcrumb"},"inLanguage":"en-GB","potentialAction":[{"@type":"ReadAction","target":["https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/"]}]},{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#primaryimage","url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/history-unesco-definitions.jpg","contentUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/04\/history-unesco-definitions.jpg","width":560,"height":315,"caption":"The history of UNESCO ICH definitions from 1899 to 2005."},{"@type":"BreadcrumbList","@id":"https:\/\/worlddanceheritage.org\/history-unesco-ich-definitions\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/worlddanceheritage.org\/"},{"@type":"ListItem","position":2,"name":"Dance Research","item":"https:\/\/worlddanceheritage.org\/research\/"},{"@type":"ListItem","position":3,"name":"Literature Review","item":"https:\/\/worlddanceheritage.org\/research\/literature-review\/"},{"@type":"ListItem","position":4,"name":"History of UNESCO Cultural Heritage Definitions (2.2)"}]},{"@type":"WebSite","@id":"https:\/\/worlddanceheritage.org\/#website","url":"https:\/\/worlddanceheritage.org\/","name":"World Dance Heritage Research Centre","description":"World Dance Heritage. Traditional dance, tourism and preservation.","publisher":{"@id":"https:\/\/worlddanceheritage.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/worlddanceheritage.org\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-GB"},{"@type":"Organization","@id":"https:\/\/worlddanceheritage.org\/#organization","name":"World Dance Heritage","url":"https:\/\/worlddanceheritage.org\/","logo":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/worlddanceheritage.org\/#\/schema\/logo\/image\/","url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/05\/heritage-logo.png","contentUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/05\/heritage-logo.png","width":1276,"height":294,"caption":"World Dance Heritage"},"image":{"@id":"https:\/\/worlddanceheritage.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/x.com\/danceperception"]},{"@type":"Person","@id":"https:\/\/worlddanceheritage.org\/#\/schema\/person\/a5061c4e7e43b91e456683b9699ebb42","name":"Valeria","image":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/secure.gravatar.com\/avatar\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g","caption":"Valeria"},"description":"Hi - I'm Dr Valeria Lo Iacono &amp; I am a dance researcher with a PhD in dance as a form of living heritage. I also teach belly dance and love to travel to discover new dances around the world. I have worked also as an academic and in the UK and in Korea. Thank you for visiting my site.","sameAs":["https:\/\/worlddanceheritage.org\/about-us\/","https:\/\/www.pinterest.co.uk\/danceheritageuk\/"]}]}},"_links":{"self":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts\/992","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/comments?post=992"}],"version-history":[{"count":0,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts\/992\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media\/1031"}],"wp:attachment":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media?parent=992"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/categories?post=992"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/tags?post=992"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}