• Digital Humanities and Cultural Heritage
• Bachelor thesis close

In this paper I will present myths and legends as a part of intangible heritage, what is their significance and how they are presented. Myths and legends are folklore stories, and they differ in the fact that myths talk about imaginary events and most often supernatural beings, while legends often describe real events or a version of real events enriched by fantastic elements. They are of cultural importance because they are part of the tradition of the people and proof of the way our ancestors lived and their worldview. Throughout history, they were passed on from generation to generation, through oral tradition, and later on they were written. The stories themselves were often related to traditional dances and music, and today they are mostly preserved as a part of intangible heritage. We can see this in examples such as the Gióng Festival of the temples of Phu Ðông and Sóc or the Gelede ceremony of the Yoruba people. Both examples can also be found on the UNESCO's lists of intangible world heritage. In Croatia, we have Picokijada, a festival in Đurđevac, which is based on the Legend of the Picoki. Myths and legends can be connected to tangible cultural heritage, which can be seen in the example of the mythological King Minos and the myth of Minotaur and the archaeological site Knos. Also, in art we can see various myths and legends as a theme of sculptures or paintings, such as the Birth of Venus by S. Botticelli. U ovom radu ću predstaviti mitove i legende kao dio nematerijalne baštine, koje je njihovo značenje te kako ih se prezentira. Mitovi i legende su folklorne priče, a razlikuju se po tome što mitovi govore o izmišljenim događajima i najčešće nadnaravnim bićima, dok legende češće opisuju stvarne događaje ili verziju stvarnih događaja obogaćenu fantastičnim elementima. Oni su od kulturne važnosti jer su dio tradicije naroda i dokaz o načinu života naših predaka te njihovom pogledu na svijet. Tokom povijesti su se prenosili s koljena na koljeno usmenom tradicijom, a kasnije su znali biti i zapisani. Često su same priče bile vezane uz tradicionalne plesove i glazbu, a danas su najčešće tako i sačuvane kao dio nematerijalne baštine. To možemo vidjeti u primjerima poput Gióng festivala hramova Phù Ðông i Sóc ili Gelede ceremonije Yoruba naroda. Oba se primjera ujedno i nalaze na UNESCO-ovoj listi nematerijalne baštine svijeta. U Hrvatskoj imamo primjer Picokijade, festivala u Đurđevcu, koji se temelji na Legendi o picokima. Mitovi i legende mogu biti vezani i uz materijalnu baštinu, što možemo vidjeti u primjeru mitološkog kralja Minosa i mita o Minotauru te arheološkog nalazišta Knos. Također, u umjetnosti možemo vidjeti razne mitove i legende kao teme skulptura ili slika, primjerice Rođenje Venere S. Botticellija.

This paper aims to analyse the event organization, but not any events, but those whose purpose is to preserve tangible and intangible cultural heritage. Particular emphasis is placed on the intangible cultural heritage because the case study of the organization of events, which is analyzed in more detail in the paper, is related to the traditional dishes and customs of the Croatian small village Tijarice. Theoretically, the paper emphasizes basic concepts related to cultural heritage and delimits its fundamental division. A significant part of the paper is dedicated to the United Nations Educational, Scientific and Cultural Organization (UNESCO), partly because it is responsible for its list of intangible and tangible cultural heritage, including a representative list of examples of Croatian cultural heritage. The most extensive part of the paper is devoted to the organization of events processed through a case study of Days of Old Fire Place, Semolina and Old Pots, in Tijarica, near Trilj. The paper presents the cultural sights of the Trilj area and the intangible cultural heritage of that area on the example of the cultural and gastronomic event Days of Old Fire Place, Semolina and Old Pots, The analysis of the events essential elements and event concept includes the goals of the event, its purpose, event theme, venue, target audience, available resources, time and ability of the organizing team to combine all these elements into one meaningful whole and organize a successful event. Ovaj rad obrađuje tematiku organizacije događaja, ali ne bilo kakvih događaja već onih čija je svrha očuvanje materijalne i nematerijalne kulturne baštine. Poseban naglasak stavljen je na nematerijalnu kulturnu baštinu jer je studija slučaja organizacije događaja koja se u radu detaljnije analizira vezana za tradicionalna jela i običaje hrvatskog malog naselja Tijarice. Teorijski do rada stavlja naglasak na tumačenje temeljnih pojmova vezanih uz kulturnu baštinu te razgraničava njenu osnovnu podjelu. Značaja dio rada posvećen je Organizaciji ujedinjenih naroda za obrazovanje znanost i kulturu (UNESCO) dijelom stoga jer je ona zaslužna što se na njenoj listi nematerijalne i materijalne kulturne baštine nalazi reprezentativan popis primjera hrvatske kulturne baštine. Najobimniji dio rada posvećen je organizaciji događaja obrađenu kroz studiju slučaja manifestacije pod nazivom Dani komina, pure i bronzina koja se održava u naselju Tijarica, nadomak Trilju. Rad predstavlja kulturne znamenitosti triljskog kraja te nematerijalnu kulturnu baštinu tog kraja na primjeru kulturno -gastronomske manifestacije Dani komina, pure i bronzina. Analizom temeljnih elemenata koncepta događaja obuhvaćeni su ciljevi događaja, njegova svrha, tema događaja, mjesto događaja, ciljana publika, raspoloživi resursi, vrijeme održavanja i sposobnost organizacijskog tima da objedini sve navedene elemente u jednu smislenu cjelinu i organizira uspješan događaj.

This final paper discusses cultural resources as the attraction bases of a destination. The first part defines the general concepts of tourism and tourism resources. It is about tourism such as to promote the growth and development of some countries, in your system important offers have a tourist offer and look for, and motives, irons and needs to look for. Such a tourist country shows the name of a destination that may have different characteristics and characteristics, given the wide range of natural and cultural resources available. In the central part, that is, the main part in describing these topics, the importance is to create cultural resource resources. It is defined as a culture and cultural heritage, and is thus marketed as a major promoter of everything it offers and sells in the market, including cultural resources. The last part of the paper deals with tourism and cultural sites of Jezera on the island of Murter. It provides general 2 information about the place, stories about the history and ancient legends of the place, about the development of tourism in the place and tourist statistics of arrivals and overnight stays, as well as about the wide range of material and tangible cultural heritage. In the end he made a conclusion about the future development of the place and the development of the destination in general, especially those with an abundance of cultural sites and customs, and each country and place has its own cultural story. Ovaj završni rad govori o kulturnim resursima kao atrakcijskoj osnovi destinacije. U prvom dijelu se definiraju opći pojmovi turizma i turističkih resursa. Govori se o turizmu kao pojavi za promicanje rasta i razvoja neke zemlje, u čijem sustavu važnu ulogu imaju turistička ponuda i potražnja, te motivi, želje i potrebe potražnje. Takva turistička zemlja stječe naziv destinacija koja može imati različita svojstva i obilježja, glede široke ponude prirodnih i kulturnih resursa. U središnjem dijelu, tj. glavnom dijelu u opisivanju ove teme važnost se stavlja na kulturne resurse destinacije. Definira se pojam kulture i kulturne baštine, te se ističe marketing kao glavni promicatelj svega što se nudi i prodaje na tržištu, pa tako i kulturnih resursa. Zadnji dio rada razrađuje turizam i kulturu mjesta Jezera na otoku Murteru. Navode se općeniti podaci o mjestu, priča se o povijesti i starim legendama mjesta, o razvijenosti turizma u mjestu i turističkoj statistici dolazaka i noćenja, te o širokoj ponudi materijalnog i nematerijalnog kulturnog naslijeđa. Za kraj se donosi zaključak o budućem razvoju mjesta i o razvoju destinacija općenito, posebno onih sa obiljem kulturnih znamenitosti i običaja, a svaka zemlja i mjesto imaju svoju kulturnu priču.

The focus has predominantly been on Southeast Asian countries like Japan and China. Meanwhile, such South Asian countries as India, Indonesia, and Pakistan, which are important from the point of view of understanding the processes of modernization, are undeservedly overlooked. Academics have maintained the necessity to study intangible cultural heritage, citing a new global context marked by a growing urban population and a changing climate as justification. UNESCO has also recognized the value of intangible cultural heritage (ICH) since 2003. Nonetheless, the link between ICH and green energy transition discourses is new. The aim of this study is to analyze how the intangible cultural heritage of Indian civilization affects the energy sector and to which conclusion it leads. Specifically, the paper is trying to expand on focusing on the clean energy sector in India. A systematic literature review (SLR) and the quantitative research method were used to answer the research questions in this work. Considerations for future approaches to ICH and the green energy sector are presented.

This thesis investigates the Slow Food movement which started in Italy in the late80’s and today is an internationally spread organization with around 100 000 participants in 160 countries. The core aim within the Slow Food movement is combining everyone’s “right to pleasure” with social responsibility, summed up in their motto: “Good, Clean and Fair”. The movement is interesting from a global development perspective, since it looks at food in relation to the cultural, physical, social, environmental and political aspects of our lives, and relates to sustainability in a wide sense. In 2003, UNESCO started acknowledging so called ”Intangible cultural heritage” as a part of the common heritage of humanity, and a few years later some culinary traditions were inserted to the list. Departing from a social constructivist approach in how knowledge is constructed, combined with Pieterse’s ideas of the relation between culture and power, the key research question for the thesis is: How is the concept of Food as cultural heritage being expressed within the external communication channels of the Slow Food movement? Followed by the sub-question: How do these expressions relate to power dynamicsand to socially constructed assumptions of reality? Through a semiotic analysis, visual and textual material from Slow Food’s official websites have been analysed, using the UNESCO definition of Intangible cultural heritage as an analytical tool. The findings are that many fundamental ideas within the UNESCO definition are expressed in Slow Food’s external communication, but at the same time, that some aspects could be more highlighted in order to put a higher emphasis on the producer and the community. It is evident that Slow Food need to continuously address the critique directed towards them regarding issues of privilege and elitism, and keep a self-reflexive approach in their communication work.

Virserum's furniture industry museum is a working life museum that represents the furniture industry in Virserum and the surrounding area. It is a non-profit association that runs the museum and the present work examines how the association conveys the material and intangible cultural heritage. I have taken my starting point in the furniture series called the Apple to limit my studies in what the conveys process looks like. The purpose is to make visible a generally known piece of furniture that was found in many Swedish homes in the early 20th century and has since been forgotten. A discourse analysis is applied to find out through statements what significance the Apple has for the museum. The exhibition, the website and a selection in the archive are analyzed through a perspective that highlights the activation of cultural heritage as well as the work in documenting and managing the heritage that is in the museum's collection. The research resulted in the Apple's function at the museum being small, as well as in the writing of history. The museum is constantly working on development but encounters obstacles such as commitment from non-profit forces. Virserums möbelindustrimuseum är ett arbetslivsmuseum som representerar möbelindustrin i Virserum med omnejd. Det är en ideell förening som driver museet och det föreliggande arbetet undersöker hur föreningen förmedlar det materiella och immateriella kulturarvet. Jag har tagit utgångspunkt i möbelserien som kallas Äpplet för att avgränsa mina studier i hur förmedlingsprocessen ser ut. Syftet är att synliggöra en allmänt känd möbel som tidigt på 1900-talet fanns i många svenska hem som sedan har glömts bort. En diskursanalys tillämpas för att genom utsagor ta reda på vilken betydelse Äpplet har på museet. Utställningen, hemsidan och ett urval i arkivet analyseras genom ett perspektiv som belyser aktivering av kulturarv samt arbetet i dokumentering och förvaltning av arvet som finns i museets samling. Forskningen resulterade i att Äpplets funktion på museet är liten, likaså i historieskrivningen. Museet arbetar ständigt med utveckling men stöter på hinder som engagemang från ideella krafter.

Uppsatsen undersöker den halländska bingetraditionen från 1600-talet fram till idag. Binge är ett halländskt ord för att sticka, och syftar på den sticktradition som finns där. I Halland har människor stickat sedan 1600-talet. Av nöd började man sälja stickade varor och detta utvecklades under 1700- och 1800-talen till en stor verksamhet. Under början av 1900-talet startades Föreningen Bindslöjden som nedtecknade gamla halländska mönster och anställde stickare som stickade plagg med dessa mönster på, som de sedan sålde. Uppsatsen följer sedan den halländska bingetraditionens utveckling fram till idag, då det finns många människor och flera olika föreningar samt organisationer som utövar och jobbar med den halländska bingetraditionen. Uppsatsen går även igenom hantverkets utförande och tar upp olika mönster, redskap och tekniker. Mönster som finns inom den halländska bingetraditionen är exempelvis Bjärbo, Blomster, och Krok. Även begreppet binge diskuteras i uppsatsen, då betydelsen inte är helt fastställd. Inom den halländska bingetraditionen finns det även olika uppfattningar om vad som är rätt och fel, till exempel när det gäller garnkulörer. Denna uppsats lyfter denna diskussion om vad som hör till den halländska bingetraditionen och även binge som ett immateriellt kulturarv. Det finns nämligen en målsättning att skapa en förteckning om den halländska bingetraditionen till institutet för språk och folkminnen. För att ett immateriellt kulturarv ska bevaras är det viktigt att det utövas och utvecklas, vilket kan skapa svårigheter eftersom det finns flera åsikter om vad som ingår i bingebegreppet och vad som anses som rätt och fel. Det finns även andra svårigheter, som till exempel frågan om vem det är som har rätt att uttrycka sin åsikt i bevarandefrågan. This essay describes the tradition of binge from the Swedish province of Halland. Binge is an old word from Halland that means to knit, and refers to the knitting tradition in Halland. People have been knitting in Halland since the 17th century and the need for an income made people knit things that they could sell. The selling of knitted goods grew bigger during the 18th and 19th century and in the beginning of the 20th century an association called Bindslöjden started. They documented old knitting patterns from Halland, hired knitters that knitted items with color work of these old patterns on them. Bindslöjden then sold these knitted garments. This essay describes the tradition of binge from Halland on to this day, when there still are people and different associations that practice the tradition of binge. This essay also describes the handicraft behind the tradition of binge like the patterns, tools and techniques. Examples of color work patterns that you can find within the tradition of binge is Bjärbo, Blomster and Krok. The word binge is also discussed, because the meaning of it is not fully clarified. Because of that there are differences in what people think the word binge means and also what is right or wrong within the tradition of binge. An example of this is the different opinions about the colors of the yarn. This essay also puts focus on the discussion about what is included in the tradition of binge, and also the discussion about binge as an intangible cultural heritage. The essay focuses on the tradition of binge as an intangible cultural heritage because there is a will to submit a document about the tradition of binge to the Institute for Language and Folklore. It is important that the intangible cultural heritage is practiced and can evolve, so that the intangible cultural heritage can be preserved. This can cause difficulties since there are different opinions about what is included in the tradition of binge from the Swedish province of Halland. Another difficulty is the question of who is entitled to have an opinion about the preservation.

This essay describes the tradition of binge from the Swedish province of Halland. Binge is an old word from Halland that means to knit, and refers to the knitting tradition in Halland. People have been knitting in Halland since the 17th century and the need for an income made people knit things that they could sell. The selling of knitted goods grew bigger during the 18th and 19th century and in the beginning of the 20th century an association called Bindslöjden started. They documented old knitting patterns from Halland, hired knitters that knitted items with color work of these old patterns on them. Bindslöjden then sold these knitted garments. This essay describes the tradition of binge from Halland on to this day, when there still are people and different associations that practice the tradition of binge. This essay also describes the handicraft behind the tradition of binge like the patterns, tools and techniques. Examples of color work patterns that you can find within the tradition of binge is Bjärbo, Blomster and Krok. The word binge is also discussed, because the meaning of it is not fully clarified. Because of that there are differences in what people think the word binge means and also what is right or wrong within the tradition of binge. An example of this is the different opinions about the colors of the yarn. This essay also puts focus on the discussion about what is included in the tradition of binge, and also the discussion about binge as an intangible cultural heritage. The essay focuses on the tradition of binge as an intangible cultural heritage because there is a will to submit a document about the tradition of binge to the Institute for Language and Folklore. It is important that the intangible cultural heritage is practiced and can evolve, so that the intangible cultural heritage can be preserved. This can cause difficulties since there are different opinions about what is included in the tradition of binge from the Swedish province of Halland. Another difficulty is the question of who is entitled to have an opinion about the preservation. Uppsatsen undersöker den halländska bingetraditionen från 1600-talet fram till idag. Binge är ett halländskt ord för att sticka, och syftar på den sticktradition som finns där. I Halland har människor stickat sedan 1600-talet. Av nöd började man sälja stickade varor och detta utvecklades under 1700- och 1800-talen till en stor verksamhet. Under början av 1900-talet startades Föreningen Bindslöjden som nedtecknade gamla halländska mönster och anställde stickare som stickade plagg med dessa mönster på, som de sedan sålde. Uppsatsen följer sedan den halländska bingetraditionens utveckling fram till idag, då det finns många människor och flera olika föreningar samt organisationer som utövar och jobbar med den halländska bingetraditionen. Uppsatsen går även igenom hantverkets utförande och tar upp olika mönster, redskap och tekniker. Mönster som finns inom den halländska bingetraditionen är exempelvis Bjärbo, Blomster, och Krok. Även begreppet binge diskuteras i uppsatsen, då betydelsen inte är helt fastställd. Inom den halländska bingetraditionen finns det även olika uppfattningar om vad som är rätt och fel, till exempel när det gäller garnkulörer. Denna uppsats lyfter denna diskussion om vad som hör till den halländska bingetraditionen och även binge som ett immateriellt kulturarv. Det finns nämligen en målsättning att skapa en förteckning om den halländska bingetraditionen till institutet för språk och folkminnen. För att ett immateriellt kulturarv ska bevaras är det viktigt att det utövas och utvecklas, vilket kan skapa svårigheter eftersom det finns flera åsikter om vad som ingår i bingebegreppet och vad som anses som rätt och fel. Det finns även andra svårigheter, som till exempel frågan om vem det är som har rätt att uttrycka sin åsikt i bevarandefrågan.

The subject of this thesis is dance as archive material. Illustrations, dance notation, reviews, photographs, moving imagery and motion capture are studied as different types of records which preserve dance. The purpose is to find out what has happened between dance and dance record. What kind of representation of dance are the records? The study also connects to a user perspective and poses another question: what do scholars who study movement which has happened get out of these types of records? In what way can dance scholars use these record types? The theoretical stance is semiotics and I use Ferdinand de Saussures concepts ‘signifiant’ and ‘signifié’ to orientate myself in the difference between dance which has happened and the records, which tell us something about this dance. Charles Sanders Peirce concepts ‘symbolic,’ ‘iconic’ and ‘indexical’ are used to describe the relationship between dance and record. The method is qualitative interviews. I have interviewed four dance scholars and the recorded interviews are the source material. The scholars have knowledge of what types of representatives of dance the records are, since they study dance which has happened through records. The interviews also answer the question related to the scholar’s perspective: what do dance scholars get out of the records when they study dance which has happened? Scholars who study dance which has happened often prefer moving imagery as a source. They do so because the moving image has an iconic relationship to the dance (a relationship built on likeness) and because it, like dance, is moving. There is no record which could give an absolute transferral of a movement which has happened, all types of records have their prerequisites. Nor is there a record type which is ‘better’ than another, which record is prefered depends on the scholar’s purpose of their study. The different record types complement each other and many scholars prefer to use several different types. Hence, this study recommends dance archives to aim for plurality of record types in their collections. Ämnet för denna uppsats är dans som arkivmaterial. Teckningar, dansnotation, recensioner, fotografier, rörlig bild och motion capture studeras som handlingstyper som dans bevaras genom. Syftet är att ta reda på vad som har hänt mellan dans och danshandling. Vilken slags representanter av dansen är handlingarna? Vidare knyter studien an till ett användarperspektiv och en annan frågeställning lyder: vad får forskare som studerar rörelse som har skett ut av handlingarna? Hur kan handlingstyperna användas av dansforskare? Den teoretiska utgångspunkten är semiotik och jag använder mig av Ferdinand de Saussures begrepp signifie och signifiant för att orientera mig i skillnaden mellan dansen som skett i tid- rum och danshandlingarna, som berättar om dansen. Charles Sanders Peirce begrepp symbolisk, ikonisk och indexikal används för att beskriva vilket slags förhållande handlingen har till sin signifie, dansen. Metoden är kvalitativa intervjuer. Jag har intervjuat fyra dansvetenskapliga forskare och de inspelade intervjuerna är källan. Forskarna har kunskap om vilken slags representanter för dansen handlingarna är, eftersom de i sitt arbete studerar dans som har skett genom handlingar. Genom intervjuerna har jag även fått reda på vad forskare som studerar rörelse som har skett får ut av handlingarna och hur de kan använda dem. Forskare som studerar rörelse som har skett föredrar ofta rörlig bild som källa. Detta för att den rörliga bilden har ett ikoniskt förhållande (liknelseförhållande) till dansen och för att den, likt dansen, är rörlig. Dock så finns det ingen handlingstyp som är en absolut återgivning av en rörelse som har skett, alla handlingstyper har sina förutsättningar. Det finns inte heller en handlingstyp som kan anses vara bättre än en annan, vilken handlingstyp som är bättre skiftar beroende på forskarens syften. Handlingstyperna kompletterar varandra och många forskare vill använda sig av flera olika handlingstyper. Därför rekommenderas dansarkiv att satsa på pluralitet i handlingstyper som dans bevaras genom.

Grad Kaštel has everything that is necessary for the development of tourism, rich cultural heritage, natural, monumental and intangible. It also has a good infrastructure position because it's located close to important transport facilities. Tourism statistics confirms tourism growth. Following the development of tourism, the issue of tourist offerings of the city rises. Unfortunately a lot of cultural heritage is not well valorised. The importance of intangible cultural heritage and the way of its valorisation are emphasized in the paper. The intangible heritage in this area is a good resource, it consists of traditional singing, gastronomy, the legend of lovers Miljenko and Dobrila, etc. One way of valuing intangible resources is through manifestations. Kaštela already has good examples of local manifestations based on intangible heritage, but there are opportunities for greater development. Manifestation tourism became one of the essential elements for the design of tourism products and serves to further development of the entire community. It nurtures cultural heritage, which's becoming a sensitive resource. Grad Kaštela posjeduje sve preduvjete potrebne razvoju turizma, bogatu kulturnu baštinu, prirodnu, spomeničku i nematerijalnu. Smještaj blizu bitnih prometnih terminala omogućuje mu dobru infrastrukturnu povezanost. Statistički podaci o turističkoj potražnji potvrđuju da on turistički raste. Uslijed razvoja turizma javlja se pitanje turističke ponude grada. Kulturna baština također nije dobro iskorištena. U radu se posebno ističe važnost nematerijalne kulturne baština i načina njene valorizacije. Nematerijalna baština na ovom području je dobar resurs, ističu se tradicionalno klapsko pjevanje, priprema hrane, legenda o Miljenku i Dobrili. Jedan od načina valorizacije nematerijalnih resursa su manifestacije, u Kaštelima već postoje primjeri lokalnih manifestacija temeljenih na nematerijalnoj baštini, ali postoje mogućnosti i za veći razvoj. Manifestacijski turizam postaje jedan od bitnih elemenata pri oblikovanju turistički proizvoda destinacije i služi za daljni razvoj cijele zajednice, a njeguje i kulturnu baštinu koja postaje osjetljiv resurs.