By Perla Innocenti
This publication is a research of the function of cultural and historical past networks and the way they could aid associations and their host societies deal with the tensions and appreciate the possibilities bobbing up from migration. In previous and rising demanding situations of social inclusion and cultural discussion, hybrid versions of cultural id, citizenship and nationwide belonging, the examine additionally units out to respond to the questions 'how'. How can cultural associations leverage the ability of cross-border networks in a contested position reminiscent of Europe this day? How might they difficult methods and techniques in line with cultural practices? How can the activities of the eu fee and appropriate cultural our bodies be reinforced, tailored or prolonged to fulfill those ambitions? Cultural Networks in Migrating historical past might be of curiosity to students and scholars in museum and cultural historical past stories, visible arts, sociology of firms and knowledge reviews. it's going to even be proper to practitioners and policymakers from museums, libraries, NGOs and cultural associations at huge.
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Additional info for Cultural Networks in Migrating Heritage: Intersecting Theories and Practices across Europe
But how can this cultural multiplicity be operationally and practically implemented and supported, without being susceptible to self-referentiality and ghettoisation? Philip Schlesinger warned early on that Europeanness ‘does not add up to a convincing recipe for collective identity’ without an adequate place for culture (Schlesinger 1994, 320), and Ash Amin rightly noted that, in parallel with EU promotion of a pan-European identity, ‘racism and xenophobia have become trans-European phenomena’ (Amin 1993, 15), increasing exclusion in the name of cultural differences.
4). The Network holds an annual meeting for all of its over 1,400 members (as of 2014), has an advisory role on strategy and policy from the content providers’ point of view, and contributes to the decision-making of the Europeana Foundation. The Europeana Network plays a key role in moving from a centralised, data-gathering model to a distributed model, in which Europeana stakeholders collaborate to drive innovation and reinforce the relevance of cultural heritage, within a sustainable European information space.
In this regard, Kenneth Soehner stressed that ‘true collaboration is different from coordination. It devises a new vision for a new way of doing things. It inevitably and fundamentally involves change. Collaboration is transformational and the elements, institutions and individuals involved in collaboration must change. That’s why it occurs so infrequently’ (Soehner 2005). Within a ‘collaboration continuum’ composed of five progressive stages (contact, cooperation, coordination, collaboration and convergence) Zorich, Waibel and Erway remarked that ‘the collaborative endeavour becomes more complex, the investment of effort becomes more significant, and the risks increase accordingly.