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| Tangible heritage in small island is often on a less grand scale, | but the stories are riveting. |
As a rule, I never place cultural heritage in a box. I try not to liken strict ‘definitions’ to this powerfully intrinsic element of humanity. Of course we understand in general terms that cultural heritage is a representation of identity/patrimony. But I think that’s where the definitions should end. I hold firmly to the view that heritage is limitless, and as such I treat the concept as a ‘moving post’ which when left alone to roam freely is likely to take us to destinations beyond our wildest dreams.
It brings diversity to life experiences. I submit that nowhere on this planet are we guaranteed diversity in cultural heritage experiences than in island states. Yes, these are tiny spaces- their histories are ridiculously ‘miniscule’ when compared to their developing and developed country counterparts. But it’s not about size, neither is it about longevity of history. History is history. No matter where it occurs, how it occurs and why it occurs.
But for those who insist on hanging on to elitism and such here’s something to ponder. Bearing in mind that the cultural heritage experience goes far beyond ‘histories’, small islands with their heavily vested “grassroots’’ cultures offer distinctive heritage experiences that can be had nowhere else.With their vast intangible assets and talents; coupled with unique tangible assets small islands are all about diversity of experience. This is a sure approach to create a competitive space for SIDS in global heritage.
Question is, to what extent are island states cognizant of the value of their identity? If you are guilty of placing cultural heritage in a neatly packaged box then chances are you have yet to think about the possibilities that linger for the heritage industry.
Stepping outside the box, let us contemplate the role of less traditional experiences in this dynamic industry. As a visual artist Oneika Russell (oneikarussell.net) opens the doors for an emerging contemporary art scene that can add tremendous value to the art landscape in Jamaica. Instantly, if properly positioned, Jamaica’s intangible heritage product is given a boost. The National Gallery of Jamaica where Oneika exhibits should be, but sadly is not, one of the major heritage tourism centres in Kingston.
What of the long-standing Jamaican Pantomime? This has been a staple in local theatre, but, do we realize the gold mine of this traditional feature of our intangible heritage? Have we extracted the fullest value of this experience? What of evolving artistic entities like the National Dance Theatre Company? They offer an exportable experience, but, why not build on the 'commodity 'in Jamaica as well?
I came upon an interesting case study conducted by two youngsters from Oberlin High School. They were looking at Nine Night as a central feature of cultural tourism in Jamaica. I applaud this kind of research and thinking. A colleague practitioner told me frankly, that this is where we perhaps have a divergence of views when it comes to synergy between culture and tourism. I appreciate the concerns.
I understand the trepidation, and the fear of misappropriation and ‘dumbing’ down of certain sacred cultural experiences. But part of the challenge of shaping sustainable heritage is ensuring that people who choose to participate in local experiences are adequately and creatively educated about the sanctity of that heritage.
But back to the basic point of this conversation- are small islands making their diversity count? Not nearly as much as their potential dictate. Small islands can heighten their competitiveness in global heritage by tapping into the 'little' things that make them unique. Make the diversity count, and make linkages work.
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| Intangible heritage on show in Cuba. |
