By Perla Innocenti
This publication is a research of the function of cultural and background networks and the way they could aid associations and their host societies deal with the tensions and fully grasp the possibilities coming up from migration. In previous and rising demanding situations of social inclusion and cultural discussion, hybrid versions of cultural identification, citizenship and nationwide belonging, the learn additionally units out to reply to the questions 'how'. How can cultural associations leverage the facility of cross-border networks in a contested position resembling Europe at the present time? How may they tricky ways and techniques in line with cultural practices? How can the activities of the eu fee and correct cultural our bodies be bolstered, tailored or prolonged to satisfy those pursuits? Cultural Networks in Migrating history should be of curiosity to students and scholars in museum and cultural historical past reviews, visible arts, sociology of firms and knowledge reports. it's going to even be suitable 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
In the last decade the European Commission has fostered a decentralised communication policy that prioritised the construction of a European public sphere as an instrument to create a transnational arena (Bee and Bozzini 2010). The goal of a significant number of initiatives (from EU-funded projects to festivals and workshops across Europe) has been to establish better relationships within different types of institutional and media networks. However this seems to remain an EU top–down policy agenda, whose priorities seem to lack effective feedback mechanisms into civil society.
Eu/about. 1 Items from Europeana digital online collections: Epitoma Rerum Hungaricum. 4 Together with Concordia and Sebinga, Gradmann defines the characteristics of Europeana as part of a cultural commonwealth that requires a mentality shift towards a ‘cultural commons’ (Concordia, Gradmann and Sebinga 2010, 8). Europeana’s political goal of contributing to generate a European-wide knowledge and cultural economy is also echoed in its recent strategic plans for 2020. In the words of the Nick Poole, Chair of the Europeana Network, Bruno Racine, Chair of the Board of the Europeana Foundation and Jill Cousins, Executive Director of the European Foundation: Europeana started 5 years ago as a big political idea to unite Europe through culture by making our heritage available to all for work, learning or pleasure.
It is a Europe that accords a central place to the individual, to every human being, and to respect for human dignity. Science and culture are at the very heart of Europe’s openness precisely because they enrich us as individuals and create bonds that extend beyond frontiers. (Barroso 2013) The idea of a common European culture is problematically interconnected with the concept of migrating heritage in Europe and beyond. So it is interesting to trace the background of Barroso’s speech. Over the last years, a rich body of literature (including for example Anderson 1993, Castles and Miller 1993, Macdonald 1993, Chambers 1994, Schlesinger 1994, Shore 2000, Orchard 2002, Sassatelli 2002, van Houtum and van Naerssen 2002, Delanty 2003, Macdonald 2003, Chambers 2007, Bennett 2009, Castells 2010b, Macdonald 2013, van Houtum 2013) has been produced on colonialism’s roots and its influence on the formation and politics of national European identities and related wider questions of ethnicity, culture, racism and migration.