By Edited by Mairead Nic Craith Edited by Ullrich Kockel
Drawing on anthropological fieldwork, this ebook offers case stories illustrating the discovery or re-conceptualization of heritages and traditions in chosen destinations in Africa, Asia, Australia and Europe. The authors assessment the significance of oral traditions as markers of identification and think about competing narratives of historical past in post-colonial societies. lately, the historical past h...
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Extra resources for Cultural Heritages as Reflexive Traditions
Schiffauer, W. (1996) ‘The Fear of Difference: New Trends in Cultural Anthropology’, Anthropological Journal on European Cultures, 5(1), 49–62. Thomas, N. (1997) ‘Anthropological Epistemologies’, International Social Science Journal, 153, 333–43. Vallely, F. (2004) ‘Singing the Boundaries: Music and Identity Politics in Northern Ireland’ in U. Kockel and M. Nic Craith (eds), Communicating Cultures (Münster: LIT). Welz, G. (2000) ‘Multiple Modernities and Reflexive Traditionalization: A Mediterranean Case Study’, Ethnologia Europaea, 30(1), 5–14.
Other, caught up in a state of complete entropic individualism. Structures and attachments, however fleeting and controversial, provide the negentropy that allows the system to function. This raises a critical issue: a working system may be sustained by its own dynamic with a relatively modest amount of steering; to revive a system that has reached entropy, however, requires a deliberate input, which in turn requires power and interest. In other words, an autonomous system left to fall into cultural entropy invariably loses its autonomy, becoming a pawn in a larger game of power and vested interests.
While disputed at the political and academic level, this heritage appears to be gathering strength on the ground (McCall 2002). Reflexive Traditions and Heritage Production 25 In many communities, in what is described as Ulster–Scots heartland – that is, County Antrim, North Down, and the northern coast – where a generation ago Irish dancing was practised by both Catholics and Protestants, the latter have increasingly turned to Scottish Highland styles of dancing and music with the associated ‘traditional’ Tartanry.