08. Iolanda Pensa, Heritage Management 2018, Stakeholders

Critical analysis
1.The Concept of Heritage
2. Structure of a Proposal
3. Implications of Heritage
4. Legislation and Copyright
5. Critical Analysis
6. Context Analysis
7. Services and Interpretations
8. Stakeholders
9.Target Groups
10.Authenticity
Map a territory (identify heritage)
Context analysis proposal budget
Analyse Message(s) promoted
Identify legislation and rights
SWOT
References and Wikipedia
Identify Services
Identify Stakeholders
Analyze Target groups involved
Identify Existing Gaps
Lessons Assignment Competence
As-is analysis
Critical analysis
As-is analysis
Critical analysis
Estimated time 20 hours
Concepts and proposal
Iolanda Pensa, Heritage Management, Università di Bergamo, 2018.
iolanda.pensa@supsi.ch - http://iopensa.it

World Heritage
Heritage is our legacy from the past,
what we live with today,
and what we pass on to future generations.
Our cultural and natural heritage
are both irreplaceable sources of life and inspiration.
http://whc.unesco.org/en/about/

Industrialisation/modernisation
Nationalism and collective nostalgia
Scientiﬁc and educative importance
Heritage is good economics
Artist and aesthetic value
Environmental diversity
Heritage as functional resource
Reasons to conserve the past
Source:Adapted from Timothy & Boyd, Heritage Tourism, 2003, p.88-93

Unesco
Global Heritage Fund
World Monuments Funds
ICOMOS International Council on Monuments and Sites
European Union
Europa Nostra
Italy
FAI Fondo Ambiente Italiano (UK National Trust for Places of Historic
Interest or Natural Beauty)
Spain - France - Germany - Finland - Iran - South Africa - Namibia…
Deﬁnitions of Heritage
Deﬁnition of Heritage Scope/Mandate Support
(links)
Source
(law, convention, charter)
Keywords
21

Example of your map
Assignment: Map HeritageIdentify Heritage/Stakeholders

WikiAfrica Cameroun, 2012-2013.

Douala. Photo Emiliano Gandolﬁ, 2007, cc by-sa.

Joseph-Francis Sumégné, Douala, 1996, cc by-sa.

Lucas Grandin, Douala, 2010, cc by-sa.

Salifou Lindou, Douala, 2010, cc by-sa.

Tracey Rose, Douala, 2010, cc by-sa.

HervéYamguen, Douala, 2010, cc by-sa.

Alioum Moussa, Douala, 2005, cc by-sa.

Wiki Loves Monuments Cameroun 2013 (Douala, Edéa et Limbe). Douala ville d’art et d’histoire, doual’art, 1991-2012.

Sandrine Dole, Douala, 2006, cc by-sa.

Mboupda Talla Roger, Douala, 2013, cc by-sa.

Z. NGNOGUE, Douala, 2013, cc by-sa.

Roberto Paci Dalò, Douala, 2010, cc by-sa.

Paulin Tchuenbou, Douala, 2007, cc by-sa.

Wiki Loves Monuments in Cameroon 2013.Around 700 images.

Ars&Urbis International Workshop, 2007, cc by-sa.

€ 0
€ 65’000
€ 130’000
€ 195’000
€ 260’000
2005 2006 2007 2008 2009 2010 2011 2012 2013 2014
€ 246’318
€ 97’013
€ 252’892
€ 212’853
€ 115’343
doual’art - Financial reports.

Self-ﬁnanced
€ 3’589
Ministry of Culture
€ 15’244
IRCOD
€ 9’950
FNAC/Ambassade de France
€ 501
Cultures France
€ 20’000
EED, Bonn
€ 38’058
Arts Collaboratory
€ 28’000
doual’art - Rapport d’audit des états ﬁnanciers, 2008.Total income 115.343 euro.
€ 0
€ 22’500
€ 45’000
€ 67’500
€ 90’000
NL DE FR CM
€ 18’833
€ 30’451
€ 38’058
€ 28’000
2008
€ 0
€ 25’000
€ 50’000
€ 75’000
€ 100’000
Cult&DevCult-coop Cult Dev Coop Research Ed Crowd Sponsors Services
3’589501
48’008
15’244
20’000
€ 28’000

Self-ﬁnanced
3%
ACP-UE
€ 9’880
lettera27
€ 17’422
Cultures France
€ 20’000
Casa Africa
€ 14’941
Arts Initiatives
€ 17’252
Goethe Institut
€ 1’000
EED, Bonn
€ 43’760
Prince Claus Fund
€ 25’000
Arts Collaboratory
€ 57’500
€ 0
€ 22’500
€ 45’000
€ 67’500
€ 90’000
NL DE USA ES FR IT Europe CM
€ 6’098
€ 9’880
€ 17’422
€ 20’000
€ 14’941
€ 17’252
€ 44’760
€ 82’500
2009
€ 0
€ 25’000
€ 50’000
€ 75’000
€ 100’000
6’098
17’422
43’760
45’821
€ 99’752

Self-ﬁnanced
€ 65’184
Alucam
€ 762
SGBC
€ 3’049
SABC
€ 4’573
MTN
€ 4’573
ACP-UE
€ 35’097
Gasworks
€ 1’200
Bozar
€ 8’000
lettera27
€ 7’500
FNAC/Ambassade de France
€ 2’836
AECID
€ 25’000
Arts Initiatives
€ 12’957 Goethe Institut
€ 1’121
BKVB
€ 6’896
Mondriaan Foundation
€ 25’000
Arts Collaboratory
€ 49’143
€ 0
€ 22’500
€ 45’000
€ 67’500
€ 90’000
NL DE USA ES FR IT BE UK Europe CM
€ 78’143
€ 35’097
€ 1’200
€ 8’000€ 7’500
€ 2’836
€ 25’000
€ 12’957
€ 1’121
€ 81’039
2010
€ 0
€ 25’000
€ 50’000
€ 75’000
€ 100’000
65’184
12’958
7’500
27’836
14’896
61’218
€ 63’300

Reserve
€ 328
Self-ﬁnanced
€ 7’425
UNESCO
€ 203
ACP-UE
€ 14’497
Flemmish institute of culture
€ 4’500
Orange Foundation
€ 40’000
French institute of Cameroon
€ 3’045
Goethe Institut
€ 1’982
German Embassy
€ 2’182
GIZ
€ 1’410
Arts Collaboratory
€ 21’442
€ 0
€ 22’500
€ 45’000
€ 67’500
€ 90’000
NL DE FR BE Europe UNESCO CM
€ 7’753
€ 203
€ 14’497
€ 4’500
€ 43’045
€ 5’574
€ 21’442
2012
€ 0
€ 25’000
€ 50’000
€ 75’000
€ 100’000
7’753
40’000
3’592
24’226
€ 21’442

Reserve
€ 38’352
Self-ﬁnanced
€ 23’787
CUD
€ 1’151
Kisskissbankbank
€ 3’601
Arterial Network (AFAI)
€ 14’696
SUPSI
€ 7’824
First Floor Gallery
€ 921
Tate Modern
€ 24’974
Philip Aguirré
€ 46’900
lettera27
€ 2’000
Goethe Institut
€ 9’292
GIZ
€ 2’820
Arts Collaboratory
€ 70’000
€ 0
€ 22’500
€ 45’000
€ 67’500
€ 90’000
NL DE IT BE UK ZW CH Afr-int Crowd CM
€ 24’938
€ 3’601
€ 14’696
€ 7’824
€ 921
€ 24’974
€ 46’900
€ 2’000
€ 12’112
€ 70’000
2013
€ 0
€ 25’000
€ 50’000
€ 75’000
€ 100’000
23’787
3’6012’0007’8242’8201’151
72’795
9’292
€ 84’696

doual’art - Income - Cameroonian and international resources.
€ 0
€ 65’000
€ 130’000
€ 195’000
€ 260’000
2005 2006 2007 2008 2009 2010 2011 2012 2013 2014
€ 183’028
€ 89’260
€ 174’749
€ 206’755
€ 96’509
€ 63’290
€ 7’753
€ 78’143
€ 6’098
€ 18’833
Cameroon International

€ 0
€ 22’500
€ 45’000
€ 67’500
€ 90’000
2007 2008 2009 2010 2011 2012 2013
NL DE USA ES FR IT BE UK ZW CH Int EU UNESCO Crowd CM
Prince Claus Award, NL
The Netherlands
SUD 2010 SUD 2013SUD 2007
Ars&Urbis Ars&Urbis Ars&Urbis Ars&Urbis Ars&UrbisArs&Urbis
Partnership
iStrike Foundation, NL
Partnership
ICU Art Projects, NL
Germany
FR
FR
Cameroon
doual’art - Rapport d’audit des états ﬁnanciers.Analysis based on countries.

doual’art - Financial reports.
0
65000
130000
195000
260000
2005 2006 2007 2008 2009 2010 2011 2012 2013 2014
SUD 2010 SUD 2013SUD 2007
Ars&Urbis Ars&Urbis Ars&Urbis Ars&Urbis Ars&Urbis Ars&Urbis
Prince Claus Award

The Netherlands
€ 0
€ 22’500
€ 45’000
€ 67’500
€ 90’000
2007 2008 2009 2010 2011 2012 2013
doual’art - Rapport d’audit des états ﬁnanciers.The Netherlands:Arts Collaboratory and Prince Claus Fund.
Arts Collaboratory
€ 0
€ 22’500
€ 45’000
€ 67’500
€ 90’000
2007 2008 2009 2010 2011 2012 2013
Prince Claus Fund
€ 0
€ 22’500
€ 45’000
€ 67’500
€ 90’000
2007 2008 2009 2010 2011 2012 2013
Prince Claus Award

Culture and Development - Cult&Dev
Cultural cooperation - Cult-coop
Arts Collaboratory Prince Claus Fund Arts Initiatives Gasworks
Mondriaan Foundation Goethe Institut
Culture - Cult
Development - Dev
Cooperation - Coop
BKVB
EED
GIZGerman Embassy
Casa Africa
AECID
Cultures France
FNAC/French Embassy
IRCOD
French Institute of Cameroon
SUPSI
ResearchEducation
lettera27 Orange Foundation
doual’art income.This overview does not include Crowdfunding (- Crowd), Sponsors and Services.Also partnerships and in-kind contributions are not included.
Flemish Institute of Culture
Philip AguirréBozarTate Modern First Floor Gallery
Arterial Network
ACP-EU UNESCO
Ministry of Culture (Cameroon)
CUD (City of Douala)

€ 0
€ 260’000
2005 2006 2007 2008 2009 2010 2011 2012 2013 2014
doual’art - Financial reports and some of the resources not included in the ﬁnancial reports.
Partners
In-kind contributions
Networks
Volunteer work
Technical support
Access to content
Participation
Personal commitment
Authorizations
Maintenance

Photo by Roberto Paci Dalò, cc by-sa, 2010.

People and institutions can actively intervene
A vision can produce heritage by deﬁning it
Heritage is selected and highlighted by someone
We interpret/frame heritage
Contemporary production can contribute to highlight/interpret heritage
Funds for culture are less than funds for… basically anything else
It is not only a matter of funds
Activate networks (if you really need them)
Understand keywords
Production is a gatekeeper
Land also determines the network you need
doual’art in Douala

!
Mobile A2k
Culture and Safety in Africa
Design practices for urban
safety and security, Venice
17.10.13

Bessengué
Neighborhood
Overview
Bessengué is a neighborhood of Douala
located between Akwa, the main commercial
centre of Douala, and Deido, an autochthon
residential area of the city. It is divided in ﬁve
administrative blocks, headed by the chief
Maurice Eyango Mandengue. The
neighborhood is densely populated with limited
access to running water, trash disposal,
electricity and drainage.
Coordinates Douala Cameroon
Timeline
2000 “Atelier Urbaines de Bessengué”
2002 “Bessengué city”

Borne Fontaine

The Passerelle
Artworks:
Radio Bessengue (ephemeral)
Bouquet de souris (ephemeral)
Borne Fontaine (permanent)
The Passerelle (permanent)
Facts
1. A new squared area between the bridge and the borne fontaine is now open
with new business activities.
2. Creation of the Development Committee of Bessengué. Thanks to the
committee the neighborhood has receive fundings from the World Bank.
3. Two water pumps have been installed into the second and third blocks of the
Bessengué.
4. With the fee from the rent of the Borne Fontaine shop (15.000 CFA for month)
the CDB can support the costs of small maintenance services
5. The curfew hours are shifts from 7 p.m. to midnight p.m.
Marta Pucciarelli, Report Douala in Culture and Safety in Africa, 2013. Curator Iolanda Pensa.

Bessengué
Evidences
Extract from Interview....
“Creation of the Development Committee of Bessengué Two water
pumps have been installed into the second and third blocks of the
Bessengué with the fee from the rent of the Borne Fontaine shop
(15.000 CFA for month) the CDB can support the costs of small
maintenance services opened a new squared area between the bridge
and the borne fontaine the curfew hours are shifts from 7 p.m. to
midnight p.m.”
Related facts
– the curfew hours are shifts from 7 p.m. to midnight p.m.
Related key ﬁndings
– the acceleration of development activities (services and
infrastructures)
Marta Pucciarelli, Field research Douala, December 2012.

Bessengue
Key findings
The process of producing the artworks and the necessity of negotiating with land
owners have required the engagement of the community, which has lead to the
establishment of a stable group.

Existing and new businesses have been growing in the the area.

Increased value of the land/place.

Sense of shared space.

Sense of ownership.

Keywords
Community, engagement, maintenance, neglected area, infrastructures,
development, workshops, permanent, discussions, meetings, business,
fundings, urban planning, clean water supply, streets, renewing the image of a
neighborhood, value, ownership, new community-based initiatives, new artists-
lead initiatives, urban research

New Bell
Neighborhood
Overview
Timeline
2000 “Atelier Urbaines de Bessengué”

Borne Fontaine

The Passerelle
Artworks:
Typology:
– Monuments
Facts
1. Creation of the Development Committee of Bessengué
Bessengué
3. with the fee from the rent of the Borne Fontaine shop (15.000 CFA for month)
4. opened a new squared area between the bridge and the borne fontaine
5. the curfew hours are shifts from 7 p.m. to midnight p.m.

La Nouvelle Liberté
Monumental artwork
Overview
Timeline
2000 “Atelier Urbaines de Bessengué” (2000)
Artworks:
Typology:
– Monuments
Facts
1. The production and installation of the work has produced local media
coverage and the rise of public opinion (supporting the work or in conﬂict with it.
2. The city council was forced by the public opinion to improve the maintenance
of the area.
3. Informal traders have been removed from the monument surroundings; new
businesses around the area.

La Nouvelle Liberté
Key findings
Landmark of the city.

The production and installation of the work has produced conﬂictual reactions.

Keywords
Public opinion, maintenance, role of the city council, monumental, landmark,
permanent, discussions, meetings, conﬂicts, media coverage, business,
renewing the image of the city, ownership

Oasis
Proximity artwork
Overview
Timeline
2000 “Atelier Urbaines de Bessengué” (2000)
Typology:
– Monuments
Facts
Bessengué
Artist
Tracey Rose
Typology:
– Monuments

Les mots écrits de New Bell
Overview
Timeline
2003 The Ministry of Culture invites Fernando Alvim to lead a
major exhibition project

2006 December-March 2007 Trienal de Luanda Edition I

2010 September-December Trienal de Luanda Edition II
Artworks:
Typology:
– Monuments
Facts
Bessengué

Pro Helvetia, website, still 2008.

Biennial Foundation website, still 2010.

Paul Butler, Facebook, December 2010, 600 million members

The cultural heritage of the European Union is a rich and diverse mosaic of cultural and
creative expressions, our inheritance from previous generations of Europeans and our
legacy for those to come.
It includes natural, built and archaeological sites, museums; monuments, artworks; historic
cities; literary, musical, and audiovisual works, and the knowledge, practices and traditions
of European citizens.
Cultural heritage enriches the individual lives of citizens, is a driving force for the cultural
and creative sectors, and plays a role in creating and enhancing Europe's social capital.
It is also an important resource for economic growth, employment and social cohesion,
offering the potential to revitalise urban and rural areas and promote sustainable
tourism.
While policy in this area is primarily the responsibility of Member States, regional and
local authorities, the EU is committed to safeguarding and enhancing Europe's cultural
heritage through a number of policies and programmes.
Article 3.3 of the Lisbon Treaty 2007
“The Union shall respect its rich cultural and linguistic diversity, and [...] ensure that Europe’s
cultural heritage is safeguarded and enhanced”.
https://ec.europa.eu/culture/policy/culture-policies/cultural-heritage_en
European Union

World Heritage Convention Paris 1972
For the purposes of this Convention, the following shall be considered as "cultural heritage”:
monuments: architectural works, works of monumental sculpture and painting, elements or
structures of an archaeological nature, inscriptions, cave dwellings and combinations of features,
which are of outstanding universal value from the point of view of history, art or science;
groups of buildings: groups of separate or connected buildings which, because of their
architecture, their homogeneity or their place in the landscape, are of outstanding universal value
from the point of view of history, art or science;
sites: works of man or the combined works of nature and man, and areas including archaeological
sites which are of outstanding universal value from the historical, aesthetic, ethnological or
anthropological point of view.
For the purposes of this Convention, the following shall be considered as "natural heritage”:
natural features consisting of physical and biological formations or groups of such formations,
which are of outstanding universal value from the aesthetic or scientiﬁc point of view;
geological and physiographical formations and precisely delineated areas which
constitute the habitat of threatened species of animals and plants of outstanding universal value
from the point of view of science or conservation;
natural sites or precisely delineated natural areas of outstanding universal value from the point
of view of science, conservation or natural beauty.

Convention for the Safeguarding of the Intangible Cultural Heritage is a UNESCO
treaty adopted by the UNESCO General Conference on 17 October 2003
Intangible cultural heritage is:
Traditional, contemporary and living at the same time: intangible cultural heritage
does not only represent inherited traditions from the past but also contemporary rural and urban
practices in which diverse cultural groups take part;
Inclusive: we may share expressions of intangible cultural heritage that are similar to those
practised by others.Whether they are from the neighbouring village, from a city on the opposite
side of the world, or have been adapted by peoples who have migrated and settled in a different
region, they all are intangible cultural heritage: they have been passed from one generation to
another, have evolved in response to their environments and they contribute to giving us a sense
of identity and continuity, providing a link from our past, through the present, and into our future.
Intangible cultural heritage does not give rise to questions of whether or not certain practices are
speciﬁc to a culture. It contributes to social cohesion, encouraging a sense of identity and
responsibility which helps individuals to feel part of one or different communities and to feel part
of society at large;
Representative: intangible cultural heritage is not merely valued as a cultural good, on a
comparative basis, for its exclusivity or its exceptional value. It thrives on its basis in communities
and depends on those whose knowledge of traditions, skills and customs are passed on to the rest
of the community, from generation to generation, or to other communities;
Community-based: intangible cultural heritage can only be heritage when it is recognized as
such by the communities, groups or individuals that create, maintain and transmit it – without their
recognition, nobody else can decide for them that a given expression or practice is their heritage.
https://ich.unesco.org/en/what-is-intangible-heritage-00003

To be included on the World Heritage List, sites must be of outstanding universal value and meet at least one
out of ten selection criteria
Selection criteria
(i) to represent a masterpiece of human creative genius;
(ii) to exhibit an important interchange of human values, over a span of time or within a cultural area of the
world, on developments in architecture or technology, monumental arts, town-planning or landscape design;
3. to bear a unique or at least exceptional testimony to a cultural tradition or to a civilization which is living
or which has disappeared;
4. to be an outstanding example of a type of building, architectural or technological ensemble or landscape
which illustrates (a) significant stage(s) in human history;
5. to be an outstanding example of a traditional human settlement, land-use, or sea-use which is
representative of a culture (or cultures), or human interaction with the environment especially when it has
become vulnerable under the impact of irreversible change;
(vi) to be directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with
artistic and literary works of outstanding universal significance. (The Committee considers that this criterion
should preferably be used in conjunction with other criteria);
(vii) to contain superlative natural phenomena or areas of exceptional natural beauty and aesthetic
importance;
8. to be outstanding examples representing major stages of earth's history, including the record of life,
significant on-going geological processes in the development of landforms, or significant geomorphic or
physiographic features;
9. to be outstanding examples representing significant on-going ecological and biological processes in the
evolution and development of terrestrial, fresh water, coastal and marine ecosystems and communities of
plants and animals;
10. to contain the most important and significant natural habitats for in-situ conservation of biological
diversity, including those containing threatened species of outstanding universal value from the point of view
of science or conservation.

Convention for the Protection of the Cultural Property in the Event of
Armed Conﬂict (1954)

08. Iolanda Pensa, Heritage Management 2018, Stakeholders

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