Future Stories in the Global Heritage Industry explores what happens to the heritage and memory of communities that find themselves in contact with the rest of the world when they become UNESCO World Heritage Sites.
Written by an interdisciplinary group of emerging scholars and heritage professionals connected to these sites through their own heritage, this volume considers how a community can engage with a sites globalized importance while retaining its own sense of history. Drawing on oral histories, ethnographic methods, film, interviews, and archival research, the book adds to the discourse around Critical Heritage Studies. It does so by putting theories into practice in selected heritage sites in Romania, the UAE/India, Eritrea, China, Mozambique, Tanzania and Malaysia. The book also contributes towards the dismantlement of the many dichotomies imposed on heritage from the divisions between natural and cultural, or tangible and intangible in the UNESCO Conventions and Eurocentric heritage practices. Looking towards the future of the past, the volume asks whether heritage can be objectively or equitably managed, as it increasingly comes into conflict with issues around nation-building, climate change, social class, ethnicity, religion and gender.
Future Stories in the Global Heritage Industry will be of great interest to academics and students engaged in the study of heritage, sociology, public history, history, international studies, sociology and anthropology.
Future Stories in the Global Heritage Industry explores what happens to the heritage and memory of communities that find themselves in contact with the rest of the world when they become UNESCO World Heritage Sites.
Introduction. (Re)Emerging Pasts: Cultural Heritage Beyond UNESCO World
Heritage Site Definitions;
1. Jingdezhens Imperial Kiln Archaeological Park
as The Last Home of the Ancient Potters and Negotiations of Ownership and
Belonging by the Contemporary Migrant Artist Community;
2. Where Would I Walk
to Decolonize Myself? Film and Heritage between Eritrea and Italy;
3.
Endangering Multiculturalism: UNESCOs Impact on Street Food Heritage in
George Town, Malaysia;
4. A Future Beyond the Monuments: Social and Climate
Changes on the Island of Mozambique;
5. The Golden Hill: Who owns Roia
Montan?;
6. Who Owns the Right to Tell a Story? A Study of Occupational Sex
Desegregation of Tour Guiding in Zanzibar;
7. Building Boats and Heritage:
Understanding Shipbuilding Knowledge and Techniques in the Western Indian
Ocean
Alia Yunis is a scholar, filmmaker, and writer whose work primarily engages with memory and heritage, particularly in the Arab and Muslim worlds and their diaspora. As program head of the Center of Heritage Activities (CIE), she oversees the development of HeritageLabs interactive platforms connecting heritage and memory across oceans, particularly the online documentary Tree Routed. She recently coedited Reorienting the Middle East: Film and Digital Media between the Persian Gulf, Indian Ocean and Arabian Sea (Indiana University Press, 2024). In 2010, she cofounded the Zayed University Middle East Film Festival (ZUMEFF), now the longest running film festival in the Gulf. Her work has been translated into ten languages. She is a visiting scholar at the Arab Gulf States Institute in Washington, DC.
Robert Parthesius is Program Head and Associate Professor of Heritage and Museum Studies and Founding Director of Dhakira Center for Heritage Studies at New York University in Abu Dhabi. He is also the founder of the Amsterdambased CIE Centre for International Heritage Activities (UNESCOaccredited NGO). He is a maritime historicalarchaeologist and museum curator who has worked extensively on different World Heritage Port Cities reflecting on the rich maritime connections in the Indian Ocean. The way communities were using the past for their present through heritage creation became the main focus of his research. The broad base of involved heritage stakeholders fostered the growth of an innovative HeritageLab research concept: this interactive platform offers opportunities for researchers, artists, students, and communities to participate in multidisciplinary projects that rethink the heritage concept and its uses. Parthesius has published widely, including scholarly books, academic papers, exhibition catalogues, and publications for general audiences. He has organized several international heritage conferences and is an accredited UNESCO expert, serving at various expert committees of ICOMOS and ICOM.
NiccolņAcram Cappelletto (he/him) is a writer and independent researcher, currently an MA student in Arts, Museology and Curatorship at the University of Bologna. After his BA in Art History at New York University Abu Dhabi, he worked as postgraduate research fellow with Dhakira Center for Heritage Studies on the relationship between heritage and art in postcolonial Italy, culminating in the first Dhakira Heritage Film Festival. In 2022, part of the research ended up in the booklet The Afterlives of the Postcolonial (Sharjah Art Foundation). In 2021, he joined as editor Global Art Daily, an independent publication on contemporary art in the UAE. These experiences raised his interest for a decolonial perspective of todays theoretical frameworks.
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