Concepts and As-is analysis

Critical analysis

Proposal

1. The Concept of Heritage

2. Stakeholders

3. Copyleft and Wikipedia

4. Interpretations and Services

5. Target Groups

6. Implications of Heritage

7. Authenticity

8. Structure of a Proposal

9. Strengths / Weaknesses

10. Threats / Opportunities

Map a territory

Identify Heritage/Stakeholders

Identify Licenses/Sources

Identify Services

Analyze Target groups involved

Analyse Message(s) promoted

Identify Existing Gaps

Show Concept/Message/Target

Produce a SWOT

Describe Services

Lessons Assignment Competence

Iolanda Pensa, Heritage Management, Università di Bergamo, 2017.iolanda.pensa@supsi.ch - http://iopensa.it

how authentic a representation of the past can be

Source: Timothy & Boyd, Heritage Tourism, 2003, p. 237

visitor satisfaction

Source: Timothy & Boyd, Heritage Tourism, 2003, p. 239

The “local community”

Authenticity

Source: Timothy & Boyd, Heritage Tourism, 2003, pp. 240-254

The search for authenticity1. Staged authenticity and commodified heritage2. Distorted pasts3. Relative authenticity 4. Ethnic intruders5. Sanitised and idealized pasts6. The unknown past

Authenticity

Source: Timothy & Boyd, Heritage Tourism, 2003, p. 238-

Typology of authenticity (Bruner 1994)1. Authentic reproduction2. Replication historically accurate3. Original instead of copied4. Authority of legal recognition

Authenticity

Source: Timothy & Boyd, Heritage Tourism, 2003, p. 241

Typology of authenticity - dynamic (Cohen 1979)1. Truly authentic experiences (objectively real and accepted by the tourists as real)2. Staged authenticity (staged or made up for the tourists but the tourists are unable

to distinguish this from reality) - covert tourist space3. Denial of authenticity: the scene is presented as genuine but the tourists question

its authenticity.4. Contrived authenticity. Overly inauthentic and preened as such by the tourist

establishment and perceived as such by the tourist - overt tourist space.

Authenticity

Source: Timothy & Boyd, Heritage Tourism, 2003, p. 242-

1. Authentic people in authentic environments2. Authentic people in inauthentic environments3. Inauthentic people in inauthentic environments4. Inauthentic people in authentic environments

© Yinka Shonibare, Scramble for Africa, 2000 in Looking Both Ways: Art of the Contemporary African Diaspora, 2003. Commissioned by and courtesy Museum for African Art NY.

© Hala Elkoussy, (re)construction, 2003..

© Samuel Fosso, La Femme américaine libérée des années 70, Série Tati, autoportrait I-V, 1997, coloured photography. In Africa Remix, p. 124.

© Tsesler & Voichenko.

© Jane Alexander, Courtesy Africa Screams, Vienna, 2004.

© Lara Baladi.

© Iman Issa, Going Places, Cairo, 2003.

© Iman Issa, Going Places, Cairo, 2003.

© Basim Madgi.

© Maha Maamoun, Going Places: A Project for Public Busses, Le Caire, 2003-2004.

© Basim Magdy, Superman Will Save Us All, Cairo, 2002, postcard.

© Mounir Fatmi, Sortir de l'histoire, 2005-2006, cassettes VHS, photos, sons et vidéo.

© Mounir Fatmi, G8 Les balais, 2004, installation.

© Calixte Dakpogan, Hounsa, 2007, 79x75x19 cm in Why Africa, p. 45.

Mobile A2K, photo Zetalab for lettera27, Dakar, 2010, cc by-sa.

Reconstruction of the sitting room of 221B Baker Street at The Sherlock Holmes themed public house in London. Photo by Jack1956, 2014, cc by-sa.

Kinshasa, Belgium Pavilion Venice Biennale of Architecture 2004 (Filip de Boeck and Marie-Françoise Plissart, Kinshasa: Tales of the Invisible City.