By Peter Howard
Historical past and its renovation is a big trouble all over the world. so that it will identify identities, in addition to attracting viewers, the typical and cultural history is secure, conserved, controlled and interpreted, by means of households, through towns, via country stat
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Extra resources for Heritage: Management, Interpretation, Identity
4 5 6 A. Orbasli, Tourists in Historic Towns (London: Spon), 2000. This is attributed to Professor L. Dudley Stamp. B. Graham, G. J. Ashworth and J. E. Tunbridge, A Geography of Heritage: Power, 7 8 E. Relph, Place and Placelessness (London: Pion), 1976. P. Vergo, The New Museology (London: Reaktion), 1989. 2 Culture and Economy (London: Arnold), 2000. 3 Heritage for People: History and Theory SUMMARY The chapter introduces the major themes of debate. The history of heritage is shown to be a very long one, although it has been much strengthened in the last two centuries.
Heritage is customer-led, defined HERITAGE FOR PEOPLE: HISTORY AND THEORY 33 by the user and not by authority. Hence an understanding of basic economics, of demand-and-supply relationships, is fundamental to heritage and its management. Heritage is for people; not just for a small minority of specialists and experts, but for everyone. Not only is it often intended to be for everyone's benefit, as most museums would claim, but also everyone is doing it. Not only are there motor museums, but lots of people spend their weekends carefully preserving old cars, from 'bangers' to Rolls-Royces.
Some such events may well be staging significant heritage materials - musical, artistic or theatrical - but, presumably, not every new band nor every new play has enough support for its conservation to be regarded as heritage. Cultural management also tends to be concerned with culture as art, rather than with the culture of everyday life. In some situations 'culture' is viewed as the sum total of human activity and achievement, however mundane, whereas in other situations culture is virtually synonymous with arts, and, therefore, cultural management becomes taking 'culture' to the people.