Cultural Commons

Bertacchini, Enrico; Santagata, Walter; Bravo, Giangiacomo; Meccarelli, Massimo

doi:10.4337/9781781000069

Cited by 28 publications

(14 citation statements)

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“…Cultural commons refer to cultural resources produced and nurtured by a community in a spatial-temporal context, subject to scrutinization through the lenses of culture, space, and community (Bertacchini, Bravo, Marrelli, & Santagata, 2012). This paper understands the performing group of tawa'ifs as the community, the dance form of kathak, the singing genre of thumri, and the detailed dressing regimen they produced, shared and passed down inter-generationally, as cultural resources, and finally, the kothas 1 they resided and performed in, as spaces of cultural production.…”

Section: Cultural Commons Performing Community and Identitymentioning

confidence: 99%

“…Cultural commons in their material and non-material manifestations are products of human interaction and must be passed down from one generation to another (Bertacchini et al, 2012). Despite their unlimited carrying capacity and non-rival nature, Bertacchini et al (2012) have identified two classes of social dilemmas associated with their management and production. The first dilemma is a free-riding problem, which arises when individuals over-exploit commons resources and fail to replenish the stock.…”

Section: Cultural Commons Performing Community and Identitymentioning

confidence: 99%

“…The first dilemma is a free-riding problem, which arises when individuals over-exploit commons resources and fail to replenish the stock. The second dilemma involves uncertainty in the transmission of commons to subsequent generations due to conflict between 'traditionalists' and 'innovators' (Bertacchini et al, 2012). While these two dilemmas adequately capture threats related to "a large number of different interaction structures" of the producer community (Bertacchini et al, 2012, p. 11), neither considers external factors such as changes in the socio-cultural context that might affect the producer community and its production process.…”

Section: Cultural Commons Performing Community and Identitymentioning

confidence: 99%

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The Courtesan Project and the Tawa’ifs’ Cultural Commons

Chanda

Patnaik

Chatterjee

2021

International Journal of the Commons

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The tawa'ifs were an elite class of performing community engaged in the production of dance, music, and poetry in the form of cultural commons in pre-colonial Lucknow and other princely states. There was a gradual decline in this community's cultural commons throughout the 19th and 20th century. While the performance history of tawa'ifs and their contribution to the art forms of kathak and thumri have been widely explored, there is a sparse understanding of the community's cultural production process, why it was hampered, and if any steps are being undertaken to preserve their cultural resources. Hence, this paper's first objective is to understand the factors that affected the tawa'if community's production of cultural commons. The second objective is to critically analyse a neo-revival project (Courtesan Project) by the Non-Governmental Organization, Sufi Kathak Foundation, and its efforts to re-link kathak and its associated music repertoire with the performing community of tawa'ifs. The arguments will address the gap of academic research on cultural commons produced by tawa'ifs and highlight the neo-revival project's efforts to recreate and reconnect the tawa'ifs' idiosyncratic arts with its community identity. The paper uses cultural commons theory to understand tawa'ifs' production of cultural commons and argues that the loss of desirable community identity, which results in a degraded social value of the community, can lead to a potential social dilemma for the production and maintenance of cultural commons. It further proposes that the Courtesan Project can produce new cultural commons if a community of members with similar interests evolve around its practices.

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Section: Cultural Commons Performing Community and Identitymentioning

confidence: 99%

Section: Cultural Commons Performing Community and Identitymentioning

confidence: 99%

Section: Cultural Commons Performing Community and Identitymentioning

confidence: 99%

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The Courtesan Project and the Tawa’ifs’ Cultural Commons

Chanda

Patnaik

Chatterjee

2021

International Journal of the Commons

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“…With the aim of countering these kinds of conflicts, "creative capital" (Florida, 2003) is considered to be a key element for attracting and implementing a new workforce and innovative forms of experimentation on multicultural identities, knowledge economies, and innovation cultures. Creative capital is able to optimize local cultural resources for rebuilding relationships among communities, values, and public spaces (Forester, 1997;Scott, 2000;Fusco Girard, 2010;Sassen, 2011;Bertacchini et al, 2012;CHCfE, 2015) in a productive way, thereby enhancing culture-led urban regeneration processes that are locally-embedded.…”

Section: Culture Economies and Creative Processes For Urban Regenerationmentioning

confidence: 99%

Culture-led regeneration for urban spaces: Monitoring complex values networks in action

Cerreta¹,

Daldanise²,

Sposito³

2018

Urbani izziv

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According to the current European conditions, culture-led urban regeneration policies and practices are being enhanced by the introduction of interdisciplinary innovative approaches. These involve the development of methodologies and tools that are able to address material and immaterial networks of microcommunities in a systemic and circular manner of thinking among cultures, economies, and processes. When talking about overturning hierarchies and power relations and creating the conditions that are necessary to encourage a new collaborative cultural regeneration of urban public spaces and places, some open questions can be relevant: What kind of cultural resources do we have to optimize for achieving local sustainable development in response to global challenges? What kinds of new uses for public spaces and places must we improve in order to generate complex values and enhance the engagement of communities? How could communities activate themselves for building complex values networks? In order to understand how positive initiatives are activated as a "chain reaction" and facing unsolved conflicts and building new productive values systems tailor-made for a specific context are made possible, the present paper explores the components of new forms of local complex values networks in regeneration processes, based upon the ex-post evaluation of some selected Italian practices with the multi-criteria method PROMETHEE-GAIA.

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“…Scholarship on the commons in cultural heritage, as in other fi elds, has grown markedly since 2009, when the academic and public profi le of the commons concept rose markedly after the late Elinor Ostrom, the intellectual founder of rigorous commons analysis, was awarded the Nobel Prize in economics. In the most comprehensive volume to date focused on the topic, Bertacchini et al ( 2012 ) sought to defi ne the domain of the "cultural commons," incorporating both theoretical papers and applied analyses of the commons attributes identifi ed in landscapes, fashion and design, national gastronomy, World Heritage Sites , cultural heritage, and emergent "commons" such as social networks, virtual gaming, and crowdsourcing platforms. Alonzo González ( 2014González ( , 2015 ; see also Chap.…”

Section: The Commons In Cultural Heritage Managementmentioning

confidence: 99%

Considerations on Governing Heritage as a Commons Resource

Gould

2016

One World Archaeology

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Cultural Commons

Cited by 28 publications

References 0 publications

The Courtesan Project and the Tawa’ifs’ Cultural Commons

The Courtesan Project and the Tawa’ifs’ Cultural Commons

Culture-led regeneration for urban spaces: Monitoring complex values networks in action

Considerations on Governing Heritage as a Commons Resource

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