ICR_Milan_2016-zip

References Bourdin, A.: Le patrimoine réinventé. Paris : Presses universitaires de France, 1984. Camara, A, V. Negri : La protection du patrimoine archéologique. Fondements sociaux et enjeux juridiques. Edition l’Harmattant, 2016, 244p. Protection juridique du patrimoine culturel immobilier: Orientations pour les pays francophones de l’Afrique subsaharienne. ICCROM conservation studies 2009, 72p. Kiénon-Kaboré, T. H.: La sidérurgie directe en Côte d’Ivoire : Contexte et résultats de la recherche. European Scientific Journal, 2012, Octobre, Vol. 8 N° 23, 2012, pp. 144-158. Mohen, Jean-Pierre, Jean-François Reynaud, Archéologie (Archéologie et société) – Aménagement des sites. Encyclopædia Universalis [en ligne], consulté le 14 mai 2016. URL: http://www.universalis.fr/encyclopedie/archaeologie-archaeologie-et-societe- amenagement-des-sites/. Nora, P. (dir.): Les lieux de mémoire. 3 vol., Paris : Gallimard, 1997. Serneels, V., Kiénon-Kaboré T. H. et al.: Origine et développement de la métallurgie du fer au Burkina Faso et en Côte d’Ivoire. Premiers résultats sur le site sidérurgique de Siola (Kaniasso, Denguélé, Côte d’Ivoire). Rapport annuel SLSA, Suisse, 2012, PP113-143. Serneels V., P. Jobin et al.: Origine et développement de la métallurgie du fer au Burkina Faso et en Côte d’Ivoire. Seconde campagne dans la région de Kaniasso (Folon, Côte d’Ivoire) et autres recherches. 1*. Rapport annuel SLSA, Suisse, 2014, pp. 23-60. 197

4.3 Seeds of the future Mazhar Naveed, Pakistan Introduction In terms of culture, our daily life style has an embedded fragrance of history. From textile patterns to truck art, foods to festive dances, ceramics to jewelry designs, poetry to performing arts, belief systems to seasonal celebrations, from Sufi shrines to metro-architectural style; we find history in various layered patterns. These flourishing patterns are inter-connected. In our conventional professional museum practices, we ignore the sustainability of these patterns in engaging our visitors. Their own references become blurred when we try to represent the future connections; visitors are unable to make the historical linkages and contextualise background facts without explanation. Ignorance appears deep, while prejudice prevails. This phenomenon of prejudice generates a state of isolation and can cause conflict to emerge. This habit of alienation is polluting our children’s minds, confusing their behaviour and particularly contorting layers of cultural patterning. Societies are losing their visionary horizons. This is a very alarming situation for us. Our future is threatened by thoughtless practices in the present. Day by day we are misled through ignorance into practice and ideas which the communities adopt, and then fabricate into an idealistic-rigidity, indulging in prejudice which then flourishes in a cultural desert. These crises of conflicts arise with their own sets of problems; the rigidity of these differences and their identification needs to be overcome. Now is the time to demand the identification and re-establishment of traditional cultural creativity, We need to revise the collective flashbacks from history, which reflect the various faces of emerging beliefs and identities. For that purpose we need to replant these in the community through true education and knowledge references using the potential means available to museums: exhibitions, interactive educational activities and productive communications to introduce the seeds of future. Our museum culture needs to be active in providing the space to strengthen our understanding of history, aligning it with the energy needed for our future concerns and demands to protect the patterned layers of our culture. Museums can nourish our communities by helping visionary cognitive products of understanding; they can develop revelatory learning and dynamic sharing of acceptance to engage visitors’ approach to owning their own history beyond the inaccessibility of past practices. Towards an Ideal Identity On 14th August, 1947 a newly born country appeared on the world map: Pakistan, the land of purity, was founded. The emerging ideology gifted the land to a people who had been rejected for several decades. The newborn country faced many challenges; the main ones were existence and peace. The fresh fragrance of 198

freedom energized the inhabitants with their new identity. This new Pakistani identity is based on acceptance of contemporary native expressions and their visionary historical linkages. From an individual to a collective set of cultural values, progressive acceptance was mentioned as the part of the new belief system. These values were recognised as basic rights and celebrated as a ritual cult. The existing norms and practices determined the basic functional aspects of growth. These norms had been blended in various groups, communities and then the wider societies. The state of balance among the various societal groups needs to be considered. Expressions of freedom evolved and were articulated. These emerging expressions were very pure, real and natural. To strengthen them, there was a need and a demand to institutionalize them: a sustained system to introduce self-actualization and to become better informed. Institutions which could provide people with the space to interpret and share their cultures; starting with a local horizon but aiming globally. The Problem and Crises Cultural boundaries and interpretation of intangible heritage must be explained in broader detail. The fact of stability in terms of common nationalism had continually been defined with fewer explanations of regional identities. On the one hand, the phenomena of contribution and protection of cultural landscape were neglected. On the other, the institutionalisation and organization required them to be redefined. The urgency of changes and fresh thoughts had been ignored. Gradually these concepts had been weakened; the organic notion of culture was expanding without any supportive structure of regional identities. Such a structure was required to promote a wider appreciation of the interaction between human beings and their cultural environments. The artificiality was stamped onto the development of cultural sustainability. And afterwards the behavioural “desertification” appeared; in the 1970’s, energies twisted and burned the common grounds of culture sharing. The seeds of chaos had been planted; the arrival of blandness stained the essence of vison, the shadows gripped and tangled national pride into narrow vistas. Many questions arose but with demarcation of condemnatory fabrications. Overlapping this with a rigid footprint and prejudices, the damage started. Actualization It is essential to reexamine the impressions of ignorance. The societies had to learn the lessons and find the ways to essentialize the basics. The survival of intangible heritage requires holding onto the remaining visionary scope. The new cultural landscape demanded access to all the facts. Sharing the knowledge and acceptance required identifying the actual sources and who “owns” them. Critical thinking and study demanded their expression in venues in their own environment. 199

As a whole, societies and communities learned to observe and review their own values, identifying those and confirming them with some flexibility - but how to do this? Establishment and development The state commits to announcing new physical venues, as functional and systematic organizations involved in cultural heritage. Initially only the government sector took any action; after a few years the private-public sectors also took the initiative and started to work in this area. In that way there are two sectors are working parallel. • Government sector • Private sector Government sector In July 1977, to deal with this situation the Government of Pakistan established the Ministry of Culture, National Heritage and Integration (MoCul). Charged with the promotion of culture in terms of architecture, cinema and films, dance, folklore, literature and poetry (Mushaira), music, philosophy, textiles and theatre, MoCul implemented and enforced the cultural policies and activities in the country. The Ministry coordinates its activities through its designated departments and also at the university level. It has various departments which deal with policy- making. The Ministry is responsible for showcasing Pakistani culture at home and abroad through its various organizations. The National Heritage and Integration unit coordinates the work of the following departments and organizations: Department of Archaeology and Museums (DOAM-1861 and 1947) • Iqbal Academy (1951, 1976 and 1996) • The National Institute of Folk and Traditional Heritage (1974) • Central Board of Film Censors (CBFC) in 1979 • National Fund for Cultural Heritage (NFCH- 1994) • Lok Virsa Museum (2002) • Pakistan National Council of the Arts (PNCA-2007) Department of Archaeology and Museums (DOAM): Pakistan contains some of the oldest archaeological discoveries of the world. The country is home to many archaeological sites dating from the Lower Paleolithic period to the Mughal Empire. These government sectors are ill-equipped with poorly trained human resources. Pakistan has thirty different types of museums. These types include: 200

• Archaeological and historical museums • Biographical museums • Heritage museums • Military museums • Natural history museums • Science & technology museums • Transport museums • Money museums • Archives • These museums operate under the government sectors. Private Sector and Galleries: There are collectors who have donated their private collections to museums, and there are also some private organizations participating in this sector by running art galleries and museums in the private sector. To maintain the standards this sector faces the same lack of trained human resources as well as financial issues. These galleries have been transformed into commercial operations. Thus we have very few venues to promote and introduce the phenomenon of the cultural landscape. These low numbers cannot fulfill the demands. We need to think creatively and work on other options. To establish the various interactive layers with fewer opportunities we need to deal with the situation either by increasing the numbers of museums or organisations rapidly or come up with new ideas. Plan of Action The first option of increasing numbers of physical venues is a long-term plan, involving approval from government sectors. This is a time-consuming factor. We have the other institutions, where we can expand the horizon and connect to expand operations and activities. The involvement of educational institutions is the key. With this practical idea we can approach and channel new numbers to address all aspects of demand. Students and the youth hold the most potential for incorporating the concept of cultural landscapes for progressive development in the future. These are best engaged through the educational institutions. The Programme We are proposing a three level programme; (A) Training and Gaining to expand the vibrant vision, (B) Share-relationships & making resolutions for effective engagement and (C) Set & Re-viewing the programme to generate new systems and scope. These three levels are discussed below: A. Initially museums prepare the ground for incorporating the concept of cultural landscapes in their work. This involves the existing and functional museum staff in training and workshop sessions. The museum assesses the scope of its cultural 201

landscapes. Then museum authorities and professional designed the programme of action plans. I. These training workshops identify and simplify the skills to recognize the possibilities for shared responsibility for the cultural and physical landscape being organized between museums and their source communities. II. These sessions are interactive and promote a wider appreciation of the interactions between human beings and their cultural and physical landscapes through engagement programmes; to archieve the basic values of engagement, including use of modern digital interaction and extend these approaches and working through the design of potential structures of organizations and institutional relationships. III. These knowledge-collections increase and develop the skills to design the programme of museums to document and interpret intangible heritage cultural boundaries or the intangible horizons separating cultural landscapes. This is the main aspect of engaging all museum staff and personnel. Certainly, it offers the chance to work on all these valuable learning: skills, to design the programme and focus the emerging concerns with the help of these factors in the museum. B. Museums can be defined by their users, engage with their historical affiliations and personal sense of belonging. This provides a pattern of initial notions: where individuals actualize themselves and embrace the whole range of connections. Then the second-level concepts are determined by a self-sustaining system of deliverables towards the society and vice versa. I. Training and finding the potential of individuals to interpret their cultural and physical landscapes and their communities is a way that allows for expansion beyond the self; in this phase training and workshop sessions are for new recruits through the selection of schools, colleges and universities. By listening and offering programmes, we enable the students to participate collectively and actively. The initiative encourages individuals according to their capacities to learn from and deliver new structures and phenomena. II. These student initiators are the group of flexible individuals operating across knowledge and disciplines to appraise and contribute to the protection and conservation of their cultural and physical landscapes, while still allowing for development and cultural tourism beyond familiar horizons. III. The museum staff train them in a vibrant and cohesive manner to respond dynamically to strengthen their newly understood environment. In this ongoing functional system museums can easily incorporate the concept of cultural landscapes and their horizons in their work and exhibitions. 202

C. The museums then set and review the programme and generate the new system as necessary. A scoping exercise helps to design a set of programmes that advance fruitful outcomes with analytical structure. By analyzing the existing project structures and reviving relevant practice we can redesign it for valuable future learning at levels feasible with of the evolving partnerships. I. Volunteers can become involved after tracing the basic blueprint of the new functional system; they can work and strengthen the existing system. Through mentoring and sound administration, volunteers can operate beyond into the multi-disciplinary domain. II. They will schedule and design their availability with the museum professionals. They will design the future exhibitions and activities to serve and introduce their communities. In fact, they will generate the loop of sustainability which allows it to thrive. III. Expansion and engaging people more broadly in the execution of the programme to organize collaboration between museums and their source communities leads to the last phase: showcasing the final outcomes in public through engaging activities and exhibitions. Through this work, an annual calendar will be designed for the museum and connect it with different institutions and venues to overcome the margin of limited sources. Conclusion Museums’ main role is to establish the visitors’ interest in a healthy, effective manner; to extend museums’ reach, to establish a feasible model for visitor growth patterns and design patterns of ownership along with the real engagement evaluation. Museums promote a wider appreciation of the interactions as extensions of the contemporary and visionary historical linkages between human beings, cultural landscapes and their expansion patterns. From the above discussion and solution presented museums can nourish visionary cognitive products of understanding; they can develop revelatory learning and dynamic sharing of acceptance to engage the visitors’ approach of reaching beyond the inaccessible. We can deal with the problems and be able to sow the future seeds to sustain our vision. 203

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