This article considers the Cheltenham: Diaspora project, an exploration and promotion of migration heritage narratives in Cheltenham (UK). Cheltenham has a diverse history, but heritage provision in the locality has been consistently concentrated on 18th and 19th century Regency architecture. This has led to a marginalisation of non-elite heritage narratives, with no permanent platform for culturally diverse heritage themes in the region. In addition, informal, online history themed social media groups have, rather than expand heritage narratives, ultimately further narrowed heritage discussions. The Diaspora project looked to challenge the lack of diversity in the authorised heritage discourse, and informal online discourses of Cheltenham’s heritage, while enhancing the democratic nature of research projects coming out of the University of Gloucestershire. This paper considers the difficulties encountered in attempting to democratise heritage research, in a cultural climate that is rigid in its perception of what counts as ‘heritage’ and what is deemed as relevant by more ‘vocal’ local stakeholder groups. Ultimately the project reveals that while social media provides a useful avenue through which diverse heritage narratives can be pursued and promoted, ingrained attitudes regarding authorised forms of heritage are robust and resistant to the introduction of the unfamiliar.
This article provides an ethnographic case study of heritage processes in action that were observed and recorded during fieldwork in 2013 and 2014 on the Main Islands of Yap State-the westernmost state of the Federated States of Micronesia. A description will be provided of a historic traditional gathering known as a mitmit which from the day it was decided upon activated the transmission of cultural heritage knowledge and practices throughout Yap's Main Islands. By examining the mitmit, the event's significance for Yapese stakeholders, and how the U.S. National Park Service was indirectly involved, several findings emerge. It is found that the planning, organization and performance of the mitmit assisted in preserving elements of Yapese cultural heritage that local stakeholders identified as most valuable and in need of safeguarding. The case study also supports the continuing utility of Chambers' (2006) public and private heritage constructs, especially when evaluating heritage practices within indigenous contexts where the preservation of intangible cultural heritage is often a more critical concern. The analysis suggests that more attention should be devoted to identifying how public heritage interventions can activate private heritage practices, thereby mitigating the hegemonic effects of Smith's (2004) authorized heritage discourse (AHD).
To mark history, governments authorize the erecting of markers, signs on the landscape meant to inform. While historical markers have a long tradition for identifying places with significant events and-people, there has been an expansion on what and how to mark places and their heritage. Signs capture the -attention and provide information for those interested in learning about where they are at the moment. They are in-situ teaching tools, open to anyone able to interpret the heritage for broad audiences, and can encourage places for cosmopolitanism, canopies for people to learn about the past and each other.
One of the most evocative objects in the new Smithsonian National Museum of African American History and Culture is an embroidered cloth bag that has come to be known as "Ashley's Sack". Stitch-work on the bag, signed "Ruth Middleton", recounts the bag's painful history, as a gift presented by an enslaved woman, Rose, to her daughter Ashley, when Ashley was sold at age nine in South Carolina. This paper explores ' Ashley's sack' as an object of history, memory, ritual action, and aesthetic creativity.
