Clara Irvin Chapman, Thurmond Clarke Memorial Library Heritage Room, Chapman College, Orange, California

Clara Irvin Chapman's last visit to the Chapman campus was in March, 1967 for the opening of the Thurmond Clarke Memorial Library. She is in the Heritage Room by a portrait of her late husband, Charles Clarke Chapman, for whom the college is named.

Clara Irvin Chapman, Thurmond Clarke Memorial Library Heritage Room, Chapman College, Orange, California

Clara Irvin Chapman's last visit to the Chapman campus was in March, 1967 for the opening of the Thurmond Clarke Memorial Library. She is in the Heritage Room of the library.

Clara Irvin Chapman, Thurmond Clarke Memorial Library Heritage Room, Chapman College, Orange, California

Clara Irvin Chapman's last visit to the Chapman campus was in March, 1967 for the opening of the Thurmond Clarke Memorial Library. She is in the Heritage Room by a portrait of her late husband, Charles Clarke Chapman, for whom the college is named.

Pica 13: Newsletter of the Mackenzie Heritage Printery Museum, 2001

The Mackenzie Heritage Printery Museum in Queenston, Ontario, is Canada’s largest working printing museum. The museum is housed in the 19th century home of William Lyon Mackenzie, a journalist and politician who published the Colonial Advocate and was instrumental in the Rebellion of 1837. The museum contains a Louis Roy Press, the oldest in Canada and one of the few original wooden presses remaining in the world.

IES Llanera, Posada de Llanera : 'CHOIR (Cultural Heritage of Individual Regions)'.

El IES Llanera, en Posada de Llanera (Asturias), participa junto a otros centros de Italia, Austria, Irlanda y Dinamarca, en un Proyecto Comenius. Se exponen los objetivos de una de las actividades programadas para 2009. Se trata de realizar e intercambiar con el resto de los centros socios la 'caja cultural' que contendrá: dos piezas musicales, un baile tradicional, un poema, una pieza de artesanía, una grabación de vídeo donde se explicarán las actividades diarias de los alumnos en el centro, y, por último, el relato de cómo se celebran la Navidad y otra fiesta típica elegida. Todo el trabajo realizado será expuesto en cada centro y se creará una página web para mostrarlo.

Patrimonio natural, patrimonio cultural = Natural Heritage, Cultural Heritage.

Texto en castellano e inglés

Ciudad educadora y patrimonio : cookbook of heritage.

Resumen basado en el de la publicación

Les pintures rupestres prehistòriques del Zemmur (Sahara Occidental)

El treball de tesi ha tingut per objectiu estudiar les pintures rupestres del Zemmur, al Sahara Occidental. El Zemmur és una regió muntanyosa molt rica en abrics, que s'obren a les cingleres dels seus turons de gres baixos, aplanats i allargassats. Aquestes pintures foren descobertes al 1995, quan el personal del ministeri de Cultura de la República Àrab Sahrauí i Democràtica les va mostrar a un equip d'arqueòlegs i antropòlegs de la Universitat de Girona. Les campanyes d'estudi continuades que s'han realitzat en aquests jaciments de pintura rupestre prehistòrica des d'aleshores han proporcionat les dades per aquesta investigació. En total es tracta d'un conjunt de 2734 figures repartides en 130 abrics de 5 jaciments diferents: Uad Ymal, Uadi Kenta, Rekeiz Ajahfun, Rekeiz Lemgasem i Asako. Les hipòtesis a contrastar eren dues. La primera que al Zemmur hi havia diversos estils de pintura rupestre. La segona que la majoria d'aquests estils dataven de la prehistòria. Ambdues han pogut ser verificades i s'han aportat arguments que demostren que eren certes. El treball de tesi ha consistit en fotografiar les pintures, digitalitzar-les, reproduir-les i estudiar-les. Concretament l'estudi ha consistit en descriure-les, classificar-les estilísticament i datar-les. La classificació s'ha realitzat a partir d'una sèrie de criteris morfològics i tècnics. Posteriorment les imatges han estat atribuïdes a diversos estils, que també havien estat definits amb criteris morfotècnics a partir de l'observació de les imatges. La seva existència, i per tant la verificació de la primera hipòtesi, es dedueix de la presència de recurrències morfotècniques en les representacions. Més tard aquests estils han estat ordenats de manera relativa tot estudiant les seves superposicions. La seqüència dels cinc estils identificats, de més antic a més recent és: Balladors, Modelats, Tracejats, Figures Fosques i Linial. Posteriorment s'ha intentat datar cadascun dels estils a partir de les representacions ja que les anàlisis efectuades indicaren que no era possible datar les imatges per tècniques radiomètriques a causa de la manca de matèria orgànica en les pintures. En qualsevol cas, gràcies a les representacions d'armes, d'animals i els textos escrits hem pogut verificar que la majoria d'elles són prehistòriques, tal com apuntàvem en la nostra segona hipòtesi. Finalment s'ha arribat a la conclusió que l'estil dels Balladors data, de manera molt aproximada, d'ara fa entre 3800 i 3200 anys tal com indiquen les representacions d'alabardes. L'estil Linial, el més recent, data d'entre ara fa 2400 i 2000 anys perquè és acompanyat de textos líbico-berbers però no de representacions de camells. Els estils Modelat, Tracejat i Figures Fosques es daten entremig. A part de les conclusions obtingudes, un dels resultats més importants d'aquest treball ha estat la realització del corpus de pintura prehistòrica del Zemmur que consta, com ja hem dit, de milers d'imatges. Per tant aquesta recerca, a més de tractar sobre un material inèdit i d'un gran interès històric, hauria d'ésser útil per a la gestió de tot aquest patrimoni.

Guidelines for strategic national planning of training and education for museums, cultural heritage and related fields in Sweden and in international co-operation

The guidelines presented in this document are a preliminary strategy for establishing a comprehensive policy for the needs of training and education wiyhin the sector and adjoining areas, across fields of knowledge and professions concerned, on relevant levels and for the varies institutions and operators. The objective of these guidelines is to analysis the problems, objectives and goals for development of a far reaching system of educational and training programs and courses for museums, cultural heritage and related fields of activities. This objective comprises a close collaboration between museum, cultural heritage organizations and educating organizations, notably within universities and colleges, but also other kinds of educating bodies.

Museology as a pedagogy for heritage

This essay presents some parameters for the study of Museology and its respective contribution for the constitution of preservationist processes, biased towards heritage education. From the decoding of some parameters that delimit this applied discipline’s action and reflection field, the text presents some paradigms, which have stimulated its epistemological construction and have guided its social functions. These paradigms are considered responsible for a new methodological order within the scope of the museum and, further, for the new commitments that these institutions have taken up.

Disabled access and heritage attractions

In a UK context, the importance of heritage tourism, the potential of the disabled market, and government policies concerning tourism, social inclusion, and the historic environment provide the setting within which access improvements at heritage attractions for disabled visitors are studied. At issue is how disabled access and conservation can be reconciled. The stakeholders range from the central actors, the disabled tourists and the heritage tourism service providers, through to the gatekeeper and lobby players in the conservation, disability, and tourism contexts. The critical power structures are identified. Changes to the historic environment are managed through the conservation planning system in which disability interests are not formally represented. Recent disability discrimination legislation has not altered this balance of power, and is a source of uncertainty over the access standards that should apply to heritage attractions. An evaluation of progress in implementing access improvements at heritage attractions reveals the limited extent of improvements undertaken to date. Consideration is given not only to physical access but also to alternative methods (intellectual access) of providing the heritage tourism service. In conclusion, the situation is examined from three perspectives. From the disabled tourists' perspective, choice of heritage attractions to visit remains restricted compared to that of nondisabled tourists. The lack of consultation with disabled stakeholders in the access improvements decision-making process is discussed, including the acceptability of alternative methods of service delivery to disabled tourists. The uncertainties facing heritage tourism service providers arising from the disability discrimination legislation are considered but, to ensure a more balanced recognition of disability interests, both conservation planning and disability discrimination legislation need to be amended, adjusting the roles of the legislative gatekeepers.

Heritage property, tourism and the UK Disability Discrimination Act

Heritage tourism depends on a physical resource based primarily on listed buildings and scheduled monuments. Visiting or staying in a historic building provides a rich tourism experience, but historic environments date from eras when access for disabled people was not a consideration. Current UK Government policy now promotes social inclusion via an array of equal opportunities, widening participation and anti-discrimination policies. Historic environments enjoy considerable legislative protection from adverse change, but now need to balance conservation with public access for all. This paper discusses the basis of research being undertaken by The College of Estate Management funded by the Mercers Company of London and the Harold Samuel Trust. It assesses how the 1995 Disability Discrimination Act has changed the legal obligations of owners/operators in managing access to listed buildings in tourism use. It also examines the key stakeholders and power structures in the management of historic buildings and distinguishes other important players in the management process.