Kjell Magnus Økland The Oselvar boat is customized to withstand rough sea at the west coast of Norway, either as a rowing or sailing boat. Blacksmither Øystein Myhre started his craft scholership in 2015 and has still another year to specialize into handforging of axes and tapered augers. Håvard Flaatten 24
All three statements engender discussion and need to be interpreted in “the spirit of the Convention”. They are valid not only to the domain of traditional craftsmanship, but to the whole array of domains. And they are indeed debatable. The people concerned are described in the Convention as “… communities, groups and in some cases, individuals”. This description might be adequate in many countries, but in a highly modernised society, communities and groups are not easily identified. They are numerous and act more like flexible networks without strict boundaries. A modern community, especially in a digitalised world, is not necessarily restricted to a geographic area. A group probably needs to be more than a collection of sole practitioners in order to keep the heritage alive and dynamic. Supporters, enthusiasts, customers and an audience are but a few examples of characters that may also constitute a group or a community. The notion “in some cases, individuals”, however, makes it clear that it is extremely rare that intangible cultural heritage is related to individuals alone, as stated by one of the architects of the Convention (Blake 2006). The expression from generation to generation may be interpreted in a strict, formalistic way. In the field of folkloristics, the term designates a process consisting of at least three generations, with one generation constituting 30 years. Alternatively, the term may be interpreted as a metaphor for a process of passing on knowledge. Again, in a complex modern society, the term “generation” is not a fixed entity (Berkaak 2010). One of the items on the representative list of the Intangible Cultural Heritage of Humanity in 2016 was actually a festival that was less than a generation old, starting in 1989. The inscription concerned was the student festival Mangal Shobhajatra on Pahela Baishakh, nominated by Bangladesh. The listing represents a significant amount of licence in the interpretation of the term “generation to generation”. A living heritage that constantly evolves in response to new contexts is a statement that is quite opposite to the philosophy conveyed by the 1972 World Heritage Convention. This convention underlines the necessity of uniqueness and authenticity. In the operational guidelines of the 2003 convention, however, it is stated quite clearly that phrasings referring to uniqueness or authenticity should definitely be avoided (UNESCO 2016). The understanding of the three key issues are not, as demonstrated, carved in stone. The understanding of the convention is a process, in much the same way that traditional practices and expressions are. In our opinion, the Convention needs to be read with respect and practised with wisdom. 25
- Page 1 and 2: elävä PERINTÖ AURA KIVILAAKSO, M
- Page 3 and 4: AURA KIVILAAKSO, MARKETTA LUUTONEN
- Page 5 and 6: LUKIJALLE Tämän verkkojulkaisun t
- Page 7 and 8: JOHDANTO Marketta Luutonen Käsity
- Page 9 and 10: nittelu ja muokkaaminen sekä tieto
- Page 11 and 12: ELÄVÄÄ PERINTÖÄ VAALIMASSA - U
- Page 13 and 14: tuuriperintö. Esimerkkejä Unescon
- Page 15 and 16: Muut kulttuuriperintöalan sopimuks
- Page 17 and 18: Kiireellistä suojelua vaativan ain
- Page 19 and 20: Ringeille muotoillaan yhtenäinen t
- Page 21 and 22: Marsio, Leena (2014) Aineeton kultt
- Page 23: The craft of plastering is listed a
- Page 27 and 28: In this way new information, which
- Page 29 and 30: One effect of the Red List is the c
- Page 31 and 32: Kulturådet 2015. Periodic reportin
- Page 33 and 34: Pläkkiseppä Asko Gråholm työss
- Page 35 and 36: Gunnar Bäckman / Taitoliitto Gunna
- Page 37 and 38: Jo kansakouluissa, jotka tulivat ka
- Page 39 and 40: uutta käsityökulttuuria, jota kut
- Page 41 and 42: KÄSITYÖN NYKYTALLENNUSTA 1800-LUV
- Page 43 and 44: Kuvat Suomen käsityön museo / kuv
- Page 45 and 46: Marjaana Kovanen tallensi hirvensal
- Page 47 and 48: Jyväskylän yliopisto / Avoin ylio
- Page 49 and 50: Avoimessa yliopistossa museologiaa
- Page 51 and 52: Muu arkistoaineisto A 1589 Kallioin
- Page 53 and 54: Taina Kangas Tykkimyssy on aikuisen
- Page 55 and 56: Taina Kangas Taina Kangas Taina Kan
- Page 57 and 58: Käsityö koukuttaa Esikuvavaatekap
- Page 59 and 60: KÄSITYÖTAITOA PERINNÖKSI - KULTT
- Page 61 and 62: perinteen ja modernin välillä. Pe
- Page 63 and 64: Käsityön tekeminen opettaa myös
- Page 65 and 66: Tavoitteet ja keskeiset sisällöt
- Page 67 and 68: Perustutkinnot Käsi- ja taideteoll
- Page 69 and 70: • käyttää mielikuvia ja visuaa
- Page 71 and 72: käsityön tulee näkyä tekoina, t
- Page 73 and 74: KÄSIN TEHTYÄ HYVINVOINTIA: KÄSIT
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intensiteettiä. Myös tunne hyvin
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Käsityön harrastajan väriharmoni
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ja niiden välisten yhteyksien, pro
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hankkeissa hyödynnetty käsityöt
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Outi Sipilä Yhteisöllistä käsit
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Pöllänen, S. 2013. Homing and dow
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tai -aseiden tekijätkin. Tämän r
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Toinen hyvä esimerkki pienteollise
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Kuvat Tjockt 91
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ta lähtien markkinoimaan ulkomaill
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Jos nyt niputetaan nämä kolme yri
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tuotannon kehno laatu ja rumuus. T
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muotojen ja kuvioiden käyttö sek
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perinteen hallinta. Vaatesuunnittel
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konaan prosessista. Digitaalisesti
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Paja työskentely on tänä päivä
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Aino Kajaniemi: Äidiltä tyttärel
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Minna Haveri Suvi Solkio: Dreamteam
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kunnallisestikin kantaaottavia muot
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Johanna Seppä: Vapaavirkkaajan val
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sesti huomioida. (Ihatsu 2005, 20.)
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Aiemmin kodin piiriin rajautuneesta
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Jarkko Mikkonen Kaija Papu: PI541 (
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