Showing posts with label Cultural heritage. Show all posts
Showing posts with label Cultural heritage. Show all posts

8 March 2021

EATING YOUR HISTORY: PASTA AND INTANGIBLE CULTURAL HISTORY

A Muse Bouche | Natalie Scola



In 2003, UNESCO adopted the Convention for the Safeguarding of Intangible Cultural Heritage (ICH), in an effort to protect global intangible heritage. The ICH includes oral histories, performing arts, social practices, traditional knowledge and craftsmanship. However, the ICH does not include the production and consumption of food, which is a key part of heritage. Cultural groups worldwide have varied practices relating to food. It is a central tenet of identity for individuals, communities, and entire countries. The production and consumption of food is a practice that forms community bonds while maintaining cultural practices.

The Representative List of the Intangible Cultural Heritage of Humanity does include a variety of food practices. This list contains elements of intangible cultural heritage in order to "help demonstrate the diversity of cultural heritage and raise awareness about its importance". The examples of food practices on this list are fascinating and show the variety of cultural food practices found around the world: Washoku, Japan (2013); Qvevri Wine-making, Georgia (2013), Neapolitan Pizzaiuolo, Italy (2017); Airag, Mongolia (2019).

One food practice not found on the list is pasta making. My family is Italian, and I have been around pasta my whole life, from preserving tomato sauce in the summer to rolling gnocchi by hand with my nonna (grandmother). Pasta making is a varied and unique practice that changes throughout Italy and the diaspora. 

Homemade garganelli pasta. I discuss how I made this pasta at the end of this article. Photo courtesy of Natalie Scola

There are so many varieties and methods of making pasta that it is impossible to know or even name them all. Recipes change from house to house and village to village. The mechanization of pasta in the 19th and 20th centuries changed pasta production and mass immigration contributed to loss of knowledge. Some pasta types are only made in a handful of villages or by a few people. For example, in Sardinia, the rarest pasta in the world is made only by three women. The pasta, called su filindeu in Sardo or fili di Dio in Italian (Threads of God), has been made for over 300 years by women in the same family. The women make dough of semolina, wheat, water and salt and create extremely thin pasta strands. The strands are criss crossed over a circular wooden frame and dried before being cooked in a broth of mutton. It is a beautiful, complex dish but will it still exist in 50 years? With decreasing populations in smaller villages and an aging population, knowledge of how to make regional pastas and sauces are quickly dying out.

A few years ago, I was amazed to discover a YouTube channel dedicated to recording regional and often disappearing pasta dishes. Pasta Grannies is a fascinating channel that records Italian nonnas making pasta at home. The channel features pasta from all over Italy, including Sicily and Sardinia. It is addicting to watch these old women – some in their 90s! – make pasta by hand. So many unique varieties have been recorded on video: Su succu; bauletti; code de pecora; strozzapretti; curzul; ndunderi; trofie and so many more. These videos are a way of preserving a dying art and creating a digital record for years to come. I highly recommend you watch them!

A Many-Stranded History

Pasta is of course the quintessential Italian dish. But for a food that looms large in the popular imagination, it’s origin is maddeningly difficult to trace. Popular culture gives us the tale of Marco Polo bringing pasta to Italy from his travels to China but that is most likely a myth – records of pasta predate his 13th century journey. Pasta as a form of boiled dough has existed since Roman times. The first written record of pasta, or a pasta-like dish, is found in the Jerusalem Talmud from the 5th century CE. The author mentions itrium, a dish of boiled dough. By the 9th century, this word is recorded as itriyya, referring to string-like dough made from semolina that was dried prior to cooking. Pasta likely made its way to Italy through the cross-cultural Mediterranean trade. The Arab conquest of Sicily introduced many dishes and flavours that are still seen in Sicilian dishes today; pasta may have been one of the foodstuffs introduced. From Sicily, it likely spread up the peninsula. The Arab geographer al-Idrisi makes mention of pasta production in Sicily, where large quantities of pasta were produced and exported to mainland Italy and throughout the Mediterranean. Other Italian cities had strong trade connections throughout the Mediterranean, so pasta may have entered different areas of Italy at separate times.

However pasta was introduced, by the 13th century it was an established food. Pasta was not referred to as pasta, but instead called vermicelli, meaning a long, thin noodle — a word we still use today. Vermicelli was produced on a large scale and dried for long-term storage and trade. It was a common ingredient in most households and was eaten in broth or as part of gruel. Some recipes called for vermicelli to be cooked in almond milk, sugar and saffron, which is very different from how we think of pasta today.

14th century illustration from the medical treatise Tacuinum sanitatis (written by the physician Ibn Butlan in the 11th century). Pasta was thought to have medicinal properties and be good for the chest and throat. This illustration shows two women making pasta. One is kneading the dough and the other is laying long strands to dry on a frame. Source.  

While pasta-like dishes existed elsewhere in Europe, Italy developed a particular approach to pasta. There were a huge variety of pasta dishes but contemporary cooks did not categorize them as “pasta” dishes in the modern understanding as a category of cuisine. Pasta referred to a dough-based preparation made of flour mixed with other ingredients to form a paste. This paste could take on different flavours and forms, including cakes, tarts and shaped dough that were boiled or cooked in moist heat. These dishes were an ancestor of modern pasta. Pastasciutta were dishes of pasta served with sauce and pasta in brodo referred to pasta cooked in broth. Fresh pasta was made in the kitchens of the rich while common folk used dried pasta, which was a traded commodity throughout the Middle Ages. Areas like Apulia, Naples and Sardinia were main producers of durum wheat, a key flour for pasta production, and they exported pasta across Italy, to Spain and other areas throughout the Mediterranean and Europe.

By the 14th and 15th century, pasta is seen as a category of dishes on its own. Pasta varieties expanded and some familiar shapes developed: lasagne, tagliatelle, gnocchi, tortelli, and ravioli. Tortelli, a stuffed pasta, was considered a bite-sized cake, hence the name “little cake”. This is also where we get the modern-day name tortellini, which is a round, stuffed pasta. Tortelli would have been square and pan fried or cooked in broth. Bartolomeo Scappi, chef to Pope Pius V, recorded a recipe for torelli stuffed with capon as well as cow udders. The filling was scented with sugar and spices, which were common additives in savory Medieval and Renaissance dishes. While a filling like this is very different from what we are familiar with today, the idea of shaped pastas existing as a discrete genre of food emerged.

Bartolomeo Scappi's recipes for tortelletti with capon. The first lines of the recipe reads: "In a mortar grind the flesh of two capon breasts that have first been boiled with a pound of boneless beef marrow, three ounces of chicken fat, and three ounces of boiled veal udder..." There is an excellent English translation of Scappi's cookbook by the historian Terence Scully. Recipe source. Translation source

The commercialization of pasta was greatly helped with improvements to a machine called a brake. Brakes were used to knead pasta dough which could be very stiff and heavy when produced in large quantities. Kneading the dough by hand – or by feet! – was time consuming and strenuous. The brake mechanized this process and made it quicker to produce pasta. Brakes were used as far back as the Middle Ages but became adapted for pasta use by the 16th century. The development of the brake coincided with the development of manual extrusion presses to produce different pasta shapes. Shaping pasta was another laborious, hands-on part of pasta making. Naples was an important producer of wheat and the hot weather was ideal for drying the finished product. Pasta manufacturing was a mixture of mechanical process and artisanal skill. The machines needed workers to turn them by hand and some pasta shapes could not be made through an extruder; handmade shapes were often produced by women.

An image showing a baker's brake 17th century baker's brake. From Giovanni Branca's Le Machine (1629). Source.  

Industrialization in the 19th century brought steam and increased mechanization to pasta manufacturing. Machines automated almost all steps of the process, from kneading the dough to extruding shapes to drying. While machines were faster and more efficient than human workers, the mechanization of the industry throughout the 19th and early 20th century eliminated the knowledge of workers who had been making pasta for generations. Pasta factories, while industrial, were not massive companies, and towns often had multiple pasta producers; this shows how important pasta production was for the Italian economy. But throughout the 20th century, large companies expanded their operations, putting smaller pasta producers out of business. International companies also impacted Italian pasta export, with North America producing much of its own pasta by the 1920s, greatly reducing the need for Italian pasta exports.

Men carrying pasta, early 1900s. Source.


Pasta drying in Gargano, a town near Naples known for its pasta production. Source.

The popularity of pasta has spread through industrialization and immigration, cementing it as a national food. Artisanal pasta making is still a common practice today in many households across the country. However, the physical composition of pasta changes throughout Italy: in the North, egg-based pastas are more common but in the South, pasta is made mainly of flour and water. There is also a great variety of flours used, from the more common 00 flour ("doppio zero” or the finest grind of flour) to semolina or even flours made from chestnuts and chickpeas.

Pasta shapes themselves can be formed in many different ways, not just by cutting or filling. Pasta alla chitarra is produced using a wooden frame with wires stretched across. A sheet of pasta is placed over the frame and pressed with a rolling pin, cutting the pasta into long, thin strips resembling guitar strings, hence the name. Grooved boards are used to create ridges on gnocchi and cavatelli. A thin iron rod, called a ferrato, is used commonly in the South. A piece of pasta dough is wrapped around the rod and rolled, making a semi-closed tube, creating pasta shapes like carrati and filijie.

It is important to see the intangible heritage of pasta being preserved through projects like Pasta Grannies. How are cultural dishes are being remembered in other countries? Hopefully there will be more movements across the world to bring awareness to intangible heritage and the importance of preserving living culture.

Cuciniamo — Let's Cook! 

While researching this article, I was inspired to make one of these pastas and I settled on garganelli, a short tubular pasta made from egg dough originating from the Emilia-Romagna region. The defining feature of garganelli are its thin ridges which help to hold a heaty sauce – typically a ragù made from duck or lamb although other sauces can be used. The ridges are produced by rolling the thin squares of dough on a tool known as a pettine or comb. These are curious tools as they are historically made from the combs of weaving looms! The combs are typically made from hemp, bamboo and wood. These traditional tools are hard to find but modern ones can be made from solid wood. (In a pinch, a gnocchi board works well.) Follow along as I try my hand at making this wonderful pasta!

I started by making my egg dough. I used a mix of fine 00 flour and semolina rimacinata (a durum wheat flour). The eggs are placed in a well in the flour and beat, then small amounts of flour are incorporated until a loose dough is formed. The dough is then kneaded until smooth — about 10 minutes. It is definitely an arm workout! 


After the dough is made and left to rest, portions are passed through a pasta maker to make thin sheets. The dough is then cut into 1 1/4" squares. The squares are placed diagonally on the petinne to be rolled. I don't have an authentic petinne but my father made me one of wood and a matching dowel! 

The bottom point of the square is rolled around the wooden dowel. The dowel is then rolled forwards, pressing into the petinne to form ridges. This also seals the edges of the dough. 


And here we have garganelli! They resemble penne with their ridges but are different in that the sealed "flap" is visible. 



I didn't make ragù, the traditional sauce for garganelli (I don't think my family would enjoy duck ragù...) so I served it with pesto I made last summer using basil from my garden. The garganelli were a hit, there are no leftovers! I can't wait to try making another heritage pasta. 

Photos in this series courtesy of Natalie Scola

6 December 2019

CULTURE(D): FOOD, MICROBIOLOGY AND INTANGIBLE HERITAGE


A Muse Bouche | Jordan Fee



Since it has been a recurring topic in my past two articles, I thought it best to write my final piece for this semester on how some producers and distributors of food can function in similar ways to cultural institutions. However, while my last two articles dealt with the inherently human side of this question, my article today will be centred on something different, and quite microscopic: namely, bacteria.

One of the most popular topics in the world of food today is fermentation. While entire books have been written on this topic, fermentation can be defined simply as a biochemical process where certain compounds – sugars, in most cases – are broken down in an environment that is anaerobic (ie. free of oxygen). Fermentation is the process that produces alcoholic beverages such as wine and beer, but it is also integral to the production of dried meat products, as well as things like tofu, soya sauce and kombucha.

Chocolate is also fermented product! Here are some fermenting cocoa beans. (Source.)
So how exactly does the process of fermentation begin? Generally, there are two ways: one is to add what is known as starter culture to the mixture, which is essentially packaged bacteria that will help kickstart the process. The other, more traditional method is to let the mixture become inoculated with the natural yeasts and bacteria that exist in the air around us, which can be referred to as a low-intervention method

In either case, when the mixture is inoculated with these bacteria, it is referred to as being cultured. This open-access study, published in Frontiers in Microbiology, defines the distinction between two kinds of culture (ie. the one that we generally refer to in museums and the other microbial kind) as such:

"Every community in the world has distinct food culture including fermented foods and alcoholic beverages, symbolizing the heritage and socio-cultural aspects of the ethnicity. The word “culture” denotes food habits of ethnicity; another meaning for the same word “culture” is a cluster of microbial cells or inoculum, an essential biota for fermentation, often used in the microbiology."

These days, cultural institutions around the world are becoming more and more concerned with what is referred to as intangible cultural heritage. A fellow writer for A Muse Bouche wrote in 2018 about this topic in relation to the cultural practice of saving seeds, emphasizing how it sustains the traditions and memories of communities across the world. According to the website for the United Nations Educational, Scientific and Cultural Organization (UNESCO):

“Cultural heritage does not end at monuments and collections of objects. It also includes traditions or living expressions inherited from our ancestors and passed on to our descendants, such as oral traditions, performing arts, social practices, rituals, festive events, knowledge and practices concerning nature and the universe or the knowledge and skills to produce traditional crafts.”

While this definition certainly covers a broad range of cultural practices, is it possible that this emphasis on intangible cultural heritage could be taken one step further, into the microscopic realm? Currently, UNESCO lists over 15 food-related practices on its list of intangible cultural heritage. While some, like the Washoku diet in Japan, are related to the spiritual beliefs of a particular culture, there are other traditions that require micro-biotic activity as well. Kimchi, for example, is a fermented cabbage product that is traditional to both North and South Korea. Each year, many communities come together in what is known as the Kimjang where kimchi is produced en masse in autumn to prepare for the harsh winter.

Portioning Kimchi at a Kimjang celebration in Seoul, South Korea. (Source.)


According to the report linked earlier, Kimchi has been found to contain up to 17 different kinds of bacteria, and several other kinds of naturally-occurring yeasts. Each of these microscopic organisms contributes to the development of flavour and texture in the kimchi, breaking down the contents into a sweet, spicy, funky and tangy product (can you tell that I like kimchi?)

In any case, what I find so fascinating about this tradition is that it relies on both kinds of culture. The participants in Kimjang help to form the macroscopic culture that we in museums know so well, while the bacteria form the microscopic culture that helps to produce these unique food products that help to define a particular country, region or town.

In a lecture published in 2015, David Chang – owner of the Momofuku restaurant group and star of Netflix’s Ugly Delicious – spoke on what he referred to as “microbial terroir”. The word terroir is used most commonly to describe the characteristics of wine, generally in relation to the soil that the grapevines are grown in. However, in this lecture, Chang makes the argument that this terroir – the unique set of geographic characteristics that determine the taste of foods around the world – exists on a scale that is invisible to the human eye.



While I won’t get too far into it, Chang highlights two different kinds of yeasts – aspergillus orzyae and pichia. He speaks about how the former (which is also known as koji) is traditionally used in Japan to create products like soya sauce. He then goes on to tell a story about how, in an attempt to inoculate a certain food product with koji, he actually ended up producing a different kind, the aforementioned pichia. This led to the realization that because he was in New York, "using New York ingredients in New York air", that the naturally occurring yeast would of course be different from the ones that occur naturally in places like Japan. This essentially means that each region in the world has its own microscopic culture that is unique. This variation is also reflected in the article published in Frontiers of Microbiology!

It it would of course be difficult to officially designate these yeasts and bacteria as manifestations of intangible heritage. Still, I think it is something very interesting to think about. Museums today are having to readjust their practices to allow for new modes of cultural expression, and I believe that these microscopic cultures should be included in that discussion, even if it is only theoretical.

To quote Stuart Hall: ““theory is always a detour on the way to something more important.”

10 July 2019

CULTURAL HERITAGE QUIZ: PART 3

Heritage Moments | Selin Kahramanoglu

It's the final test!

This month's post will focus on the challenges surrounding cultural heritage. Every community has their own obstacles in regards to which stories they want to share with future generations, and how it should be passed on. Of course, cultural heritage will not survive all by itself. Most of the time, groups of people need to work together to keep it alive!

Nadampha Cultural Festival. Source.
When it comes to defending our own personal history and culture, some people go to great lengths to protect it. Want to see how far you might go? Based on my own knowledge, try this little quiz that I made to learn more about cultural heritage challenges.

If you answer "YES" to any of the statements in italics, give yourself five points! If you answer "NO," then add zero points. Keep a tally of your score, and read about your results at the end.


Teaching the Next Generation

I would teach the next generations about my cultural heritage, by practicing some of my traditions.

Whether you're sharing a dinner recipe, practicing a wedding ritual, or telling a story, the passing down of cultural heritage traditions is the best way to preserve our history for the future. It is important that you find what is meaningful to you, and try sharing your passions and ideas with others.

Protesting Misrepresentations

I would protest any published work, public event, or governing body that misrepresents my community's history. 

If you have ever heard the phrase, "History is written by the winners" then you know that not all textbooks tell the whole truth. It is important to vocalize when you feel your community is being targeted or misunderstood. However, these actions can have grave consequences, like being jailed, or being publicly humiliated for speaking out. It is important to both protest, and listen to protesters, respectfully.


Physical Suffering

I would suffer injury or death to protect my cultural heritage.

To many, cultural heritage is at the core of a person's identity. If people do not understand their culture, chances are that they feel lost or abandoned. For this reason, cultural heritage is especially significant in our understanding of one another, and our place in the world. This also means that a small number of people will go to extremes to protect it from harm, including putting their own lives at risk.

Genuine Interest

I would do further research about different cultural heritages, and try to learn more about it.

It is especially important to realize that cultural heritage will evolve overtime. Traditions change, borders change, people mix, cultures mix, and these are often unavoidable. Ultimately, we need to stay open to learning more about our own culture heritage and those belonging to others. How else are we supposed to learn about the world? Go and experience as much as you can!


Results of Tallied Points
0 points = There's still time to try and learn more about cultural heritage! Try to research your ancestry, or join in on another culture's traditions to understand it better.

5 points = You're on your way to protecting cultural heritage! Keep looking for some safe and enjoyable ways to experience more.

10 points = Well done! You are an ally to cultural heritage! There's always more to learn, so try to keep up with the evolving changes.

15 points = Wow, you're a regular defender of cultural heritage! Remember to explore innovative ways to preserve cultural heritage for future generations.

20 points = You're all fired up to protect cultural heritage! Be wary of more dangerous methods of safeguarding your cultural heritage, but continue trying to learn as much as you can from varying perspectives on cultural heritage.


There's a lot of challenges involved in protecting and preserving cultural heritage, like apathy, disrespect, or close-mindedness from others. The important thing is that we try to experience as much as we can, with as many people as possible, and from as many different cultures as possible. That way, cultural heritage will not only survive, it will thrive for many years to come.

Thanks for trying out the quizzes! See you again soon!

14 June 2019

CULTURAL HERITAGE QUIZ: PART 2

Heritage Moments | Selin Kahramanoglu


Ready to test your knowledge?

This month's post will focus on the varying levels of significance associated with cultural heritage. Now, we could easily write a whole book series on this subject, but I want to give you a light-read for the summer. So... here is another quiz to get you thinking about it!

As mentioned in the last post, this quiz is a little challenging because the significance given to a cultural heritage item will be different for everyone. Often, museum professionals and archivists (my other love) are faced with the problem of limited storage space and resources. As much as we'd like to, we can't keep everything! This quiz will hopefully give you an idea as to why some cultural heritage is worth keeping over others.

Image result for holi
An image depicting Holi, the Hindu Festival of Colours. Source.
For the following items, decide whether we should SAVE or TOSS each example of tangible or intangible cultural heritage. Remember: Cultural heritage can be material or immaterial, and it represents the legacy of a group of people, which has been preserved for future generations.
  1. Oral History of Lake Saint Anne: A Métis story about the healing properties and spiritual energy associated with the waters.
  2. "The Entombment": An unfinished painting by Michelangelo, depicting the burial of Jesus Christ after the crucifixion.
  3. "Purple Rain" Cassette Tape: A 1984 song by Prince.
  4. Two thousand pieces of pumice stone: These tiny 3 cm x 3 cm pieces of volcanic debris are from Pompeii.
  5. Mapuche Language: Spoken primarily in parts of Chile and Argentina, there are approximately 100,000 speakers in the world.
Here we go! Answers will follow!


Oral History of Lake Saint Anne: SAVE

The whole purpose of oral histories is to keep telling them to the next generation! We cannot discard an example of intangible heritage that is closely linked to the present-day functions of a culture. Storytelling that is representative of a culture's ideologies and practices can be preserved by talking in-person, or by audio-visual recordings, and should be considered a priority. This is particularly important for indigenous groups, but intangible heritage is generally valuable for every culture.


"The Entombment": SAVE

Now, if an artwork is incomplete and we cannot communicate with the owner, there are all kinds of debates about whether the piece should be sold or displayed at all. However, unfinished work by a famous artist, such as Michelangelo, now that's definitely a keeper. For art historians, it is rare and fascinating to study the creative process of a well-known painter. To add, it is rumored that Michelangelo stopped working on this painting, because he was commissioned to start his best known work, the "David" sculpture. The context of the cultural heritage item is important!


"Purple Rain": TOSS

I'm not saying that Prince's music is bad. I'm saying that cassette tapes are not worth keeping. In this technological era, music is digitally preserved. If an archive chooses to keep a cassette tape, this means that they also need a cassette player, and they need to keep it in good condition for a long, long, time. How many cassette tapes should they keep? For how long? There will be a time when these formats are no longer accessible, so we should update these records to their latest versions, before discarding the old ones. 


Pumice Stones: TOSS

Do you know how many pumice stones exist from the eruption of Vesuvius? Many. I don't have space in my storage closet for all of those rocks. Not only that, but pumice stones are created all the time, and are not unique to just Naples. (You can even buy them at the drug store.) It's true that the ancient site of Pompeii is historically significant, which is why I suggest the local museums keeps a couple of stones from that particular event, if any. No more than that! It's interesting to preserve a piece of history, and perhaps new information can be discovered about the artifact in the future. Most importantly, this piece of natural heritage needs to stay at it's site of origin, preferably in situ.


Mapuche Language: SAVE

Real talk: The sad truth is that you don't always have the power to save cultural heritage. The amount of money your institution may have, the number of resources, or the level of expertise of your staff does not matter. Much like oral histories and ceremonies, languages are difficult to preserve because it depends on the participation of the public. You cannot keep having Mapuche speakers, if no one is willing to learn the language. We cannot force people to see the value in preserving cultural heritage. The best we can do is educate others on why it is important to keep, work as a team, and try to save it for as long as possible.


That's it for this month's post! Deciding to save or toss cultural heritage is never easy, because we hope to keep it all. Everyone has their own opinions on what is important to preserve. To help facilitate our choice, we assess the needs of the public, the item's importance to future generations, and our available resources for preservation. See you next time for our final quiz!

Further Reading
- "Lake Saint Anne" as told by Marge Friedel, a Métis Elder from Edmonton
- University of Saskatchewan Indigenous Studies Portal for oral histories
- More examples of unfinished artwork
- The Guardian's list of endangered languages in the world

22 May 2019

CULTURAL HERITAGE QUIZ: PART 1

Heritage Moments | Selin Kahramanoglu


How much do you know about cultural heritage?

This summer, I'm super excited to be taking on the Heritage Moments column! All three of my blog posts will feature a quiz, gradually introducing readers to more complex topics on cultural heritage. This month's post will be a general overview of its definition.
Are you up for the challenge?

Image result for many cultures dancing
Source.
Pick TRUE or FALSE for each question. Answers will quickly follow, so don't scroll down too much.
  1. Cultural heritage is studied in History. 
  2. Cultural heritage always takes on a material form.
  3. If a culture has no tangible cultural heritage, then it does not exist.
  4. Objects are larger than they appear. (Threw you off with this one, didn't I?)

Answer to #1: TRUE

Cultural heritage is broadly defined as the legacies of a group of people (cultures, or societies), which have been passed on and continues to be preserved for future generations.
  • From this definition, of course cultural heritage is found in History! Studying and preserving the past is what historians do best! You know who else would love doing that? Anthropologists, political scientists, writers, artists, urban planners, biologists... 
Oh wait. That's a lot of different professions. (wink wink) That's right, practically every discipline has a reason to study cultural heritage. Everyone can learn something from it!


Answer to #2: FALSE

When I (poorly) sing a song by ABBA, did I just create it? As much as I'd like to claim "Super Trouper," the song is not mine. The only reason why I know all the words to the '80s song is because that track has transcended generations. I do not have any sheet music, but the melody has been shared globally, and it will continue to circulate for many more years. Sound familiar?
  • Tangible: Some cultural heritage takes a physical form - an ancient Greek amphitheater, a painting by Jackson Pollock, or the early drafts of George Orwell's "1984."
  • Intangible: Other types of cultural heritage is not a material, but they're still just as valuable - a spoken word poem, oral histories, music, a wedding ceremony, or a digital blog post.
Many people also consider a third category: Natural heritage. This includes cultural landscapes, like Grand Pré, the Medici Villas, or the Matobo Hills.


Answer to #3: FALSE

What if I told you that dragons are real. I have no animal bones, no reports of sightings, no drawings, or photographs. Do you believe me? No, because I can't prove it.
  • If one day, I did find tangible heritage, like a fossilized dragon scale, then it is no longer a myth, right? The physical materials become evidence of its existence. However, did the dragon suddenly become real when I found the bone? No, it was real before, but we just couldn't be sure.

This idea is true for cultural heritage. Just because we don't have any tangible remains of a culture, that does not mean that they do not exist. Perhaps the group left no trace? Maybe their legacies are all intangible? Think about it!

Answer to #4: TRUE

I’m not just talking about the side-view mirrors of your car. The significance of cultural heritage changes for each person. Perspective is everything!
  • Think about a family photo album. If you belong to the family to which the photo album belongs, then this heritage is probably more meaningful to you, than to a non-family member.
  • Meaningfulness is not always apparent from the outside. Think about intentionality and symbolism involved in the creation and expression of our heritage. 
Phew, and that's the basics!

Cultural heritage helps us know more about this world, who lived here, and how these groups interacted. What similarities do we have? How did we develop that idea? Cultural heritage is invaluable to know where we’ve been, so that we can better predict where we’re going.

Stay tuned for next month's post and quiz!

Further Reading
The Khan Academy's definition of Cultural Heritage
UNESCO's World Heritage List
Listen to ABBA's 1980 song "Super Trouper"