TY - STAND
AU - Barbara Gonçalves Guazzelli
AB - What constitutes a cultural asset in its entirety? What are the elements present in Amazonian cuisine that make up the Cultural Heritage practiced in the Brazilian city of Belém do Pará and which ones constitute Flamenco in the Andalusian city of Seville? How is the so-called duende, the feeling that moves the flamenco artist to an inexplicable expression in words, classified? These were questions related to the different dimensions that make up the totality of a cultural asset that guided this investigation, which considers the fact that, currently, social practices are the generators of Cultural Heritage. In the face of the recognition of the different dimensions that are part of the totality of a cultural asset, this investigation fundamentally considers that the material vectors of a cultural asset are inseparable from its intangible dimension. In the current context, the valorization of intangible cultural assets becomes complex, as there is diversity in these assets and in the criteria for their inclusion in patrimonialization processes. Authenticity, beauty, and antiquity, for example, are values that relate to an earlier moment in this field of knowledge, which can compromise the current premises of Cultural Heritage, as they depend on the attribution of technical knowledge and particular perspectives. The current moment is characterized here from concepts such as (Multi)territoriality and processes such as Globalization and the transnationalization of Memory, which must be considered in this debate, especially regarding urban entrepreneurship strategies linked to tourism in cultural territories. The study considers that the urban entrepreneurship process results in transformations due to the consumption and commodification of culture, which can lead to the homogenization of the city and compromise the preservation of local characteristics. The thesis considers two specific urban entrepreneurship strategies, one of which is Urbanization and the other is Containerization applied in the analysis of the themed urban space. Both provoke the banalization and standardization of the urban experience, exclusion of local populations and traditional activities, and transformation of urban spaces into independent objects, geared towards the service economy, consumption, and entertainment. The case studies analyzed during the investigation, which was based on an exploratory qualitative approach, were the Ver-o-Peso Complex in the Brazilian city of Belém do Pará and its respective intangible cultural asset, Amazonian cuisine, and the Triana neighborhood in the Spanish city of Seville, considered the birthplace of Flamenco, which is also an intangible cultural asset. The investigation showed that the intangible dimension of urban heritage is inseparable and complementary to its built part. However, intangible cultural assets have been used in cultural territory entrepreneurship strategies, especially in touristification processes, mainly using the value of authenticity as an attraction. The result is a specific itinerary of activities, unrelated to the environment, aimed at a characteristic public, which has as one of its consequences the vulnerability of the intangible assets that are intended to be preserved. Finally, it was concluded that the categorization promoted by the field of Cultural Heritage, by dividing assets according to their materiality, weakens the cultural asset by not considering its totality, endowed with both material and intangible dimensions.
N2 - What constitutes a cultural asset in its entirety? What are the elements present in Amazonian cuisine that make up the Cultural Heritage practiced in the Brazilian city of Belém do Pará and which ones constitute Flamenco in the Andalusian city of Seville? How is the so-called duende, the feeling that moves the flamenco artist to an inexplicable expression in words, classified? These were questions related to the different dimensions that make up the totality of a cultural asset that guided this investigation, which considers the fact that, currently, social practices are the generators of Cultural Heritage. In the face of the recognition of the different dimensions that are part of the totality of a cultural asset, this investigation fundamentally considers that the material vectors of a cultural asset are inseparable from its intangible dimension. In the current context, the valorization of intangible cultural assets becomes complex, as there is diversity in these assets and in the criteria for their inclusion in patrimonialization processes. Authenticity, beauty, and antiquity, for example, are values that relate to an earlier moment in this field of knowledge, which can compromise the current premises of Cultural Heritage, as they depend on the attribution of technical knowledge and particular perspectives. The current moment is characterized here from concepts such as (Multi)territoriality and processes such as Globalization and the transnationalization of Memory, which must be considered in this debate, especially regarding urban entrepreneurship strategies linked to tourism in cultural territories. The study considers that the urban entrepreneurship process results in transformations due to the consumption and commodification of culture, which can lead to the homogenization of the city and compromise the preservation of local characteristics. The thesis considers two specific urban entrepreneurship strategies, one of which is Urbanization and the other is Containerization applied in the analysis of the themed urban space. Both provoke the banalization and standardization of the urban experience, exclusion of local populations and traditional activities, and transformation of urban spaces into independent objects, geared towards the service economy, consumption, and entertainment. The case studies analyzed during the investigation, which was based on an exploratory qualitative approach, were the Ver-o-Peso Complex in the Brazilian city of Belém do Pará and its respective intangible cultural asset, Amazonian cuisine, and the Triana neighborhood in the Spanish city of Seville, considered the birthplace of Flamenco, which is also an intangible cultural asset. The investigation showed that the intangible dimension of urban heritage is inseparable and complementary to its built part. However, intangible cultural assets have been used in cultural territory entrepreneurship strategies, especially in touristification processes, mainly using the value of authenticity as an attraction. The result is a specific itinerary of activities, unrelated to the environment, aimed at a characteristic public, which has as one of its consequences the vulnerability of the intangible assets that are intended to be preserved. Finally, it was concluded that the categorization promoted by the field of Cultural Heritage, by dividing assets according to their materiality, weakens the cultural asset by not considering its totality, endowed with both material and intangible dimensions.
TI - La dimensión intangible del patrimonio urbano
UR - https://dialnet.unirioja.es/servlet/exttes?codigo=322023
ER -