Attachment 2: PRELIMINARY IDEAS FOR THE DRAFTING OF AN INTERNATIONAL CHARTER ON CULTURAL ROUTES

Introduction

The evolution of the sciences of conservation of cultural heritage has led to an increasing complex and comprehensive concept of cultural heritage, with a change in focus from the isolated object to increasing broader contexts.  

A heritage object of outstanding value cannot attain its full value until it is placed within a context that explains its historical, artistic, stylistic and social value. This is requirement we have only gradually learned to recognize, and which has given rise to the concept of urban monumental environment, historic center, historic city and other similar concepts. But the vision of the monument, its interpretation and potential perceptions are also important. This is the reason why building heights and volumes are controlled in areas that are not of particular importance in themselves. Controlled areas need to be created around these monuments and historic centers because of their panoramic and contextual importance and because they help to explain the development process that is essential for historic interpretation of cultural heritage.

When the above reflection is taken to the territorial scale and considered within the context of environmental concerns, the geographical and landscape reality surrounding the monument arises as another key factor in its emergence and creation. In effect, man responds to the stimuli and must face the challenges posed by the reality of the environment where he develops. The scale of conservation must therefore be larger, giving rise to concept of cultural landscape, with all its variations.

Even further beyond these concepts, theory has evolved to respond better to the challenges and the needs of conservation of cultural heritage, and continues to do so. This proves that the scientific spirit is always present in our discipline, as shown by the fundamental driving force of research work on one hand, and the need for new approaches to the objects which are the subject of our study on the other. The result of this scientific inquiry, cultural routes, as outstanding elements of the current dimension of conservation, constitute a new concept that contributes decisively to understanding of the continually evolving, interactive and dynamic processes of human intercultural links that are reflected in cultural heritage.

In effect, we can now answer many more questions about a monument than when it was first formulated as an isolated object. In what context did the process of creation of the monument take place? What were the elements that inspired the creator of the monument? (either individually or socially speaking) What was the setting which inspired or at least explains the work itself? What were the living conditions of society at the time? (e.g., what were the houses and living conditions like of the servants of the lord who built a castle, a splendid residence, an outstanding building?). And also: What was the approximate environmental setting? What effects did the work have on the environment? Were ecological values already respected in the past? How did those responsible for construction of the work view the results of their effort? What was the original site like where the new work was introduced? (a castle, a fortress, a wall, a city, an work of art, etc.) Or, what led a particular site to being considered sacred? What did they see when they performed their rituals?.

We could ask many more questions, but they all have a common denominator: they revolve around a focal element of particular importance for cultural heritage. It is no longer the outstanding monument, but rather its environment setting that matters. It may be that what is outstanding is not “the monument” itself, but the ensemble as a whole. It is even possible that it is not the work of man alone, but the work complemented by the environmental setting what confers it exceptional value and, therefore, the whole ensemble should be preserved. But, in one way or the other, we are dealing with a fairly static concept, which as a heritage object is explainable by itself.

We could consider that scientific research seeks the origins of architectural, urban development or artistic movements. Some have already thought on the relationships and influences of some men on others, such as those of important historic figures whose exceptional creativity set trends, helped to create schools of thought, or acted as representative milestones or special junctures in the course of the development of the arts, the sciences or technology. The influences of some peoples on others are also known; how knowledge, religious beliefs, ways of living, etc. acquired in remote places gradually extended to other parts of the world. Linguists have studied the processes of influence and imposition of some languages over others, they know that some terms we use originated in a language apparently far removed from ours and that others come from a different language. And we could continue citing examples that show how art historians, ethnologists, language experts, and many other researchers from other branches of knowledge have generated knowledge on trends, movements, schools of thought or, ultimately, cultural influences that have spread across different parts of the globe.

Serious studies on artistic objects and cultural properties in general will usually refer to the influences noted, the presence of materials characteristic to other areas which prove the existence of commercial or other exchanges, the usualness or unusualness of certain elements, which are nevertheless common in other cultures, the prevailing fashions at the time of the work, etc.

The innovation proposed by the term “cultural routes” is fascinating because it reveals the heritage content of the phenomenon of human movement and exchange itself. The influences can be explained by a concrete reality: the communication routes that facilitated their flow. These communication routes almost have or had a life of their own: along their path rest or supply points first arose that later became cites, requiring defense mechanisms including fortresses, places of exchange that later became trading centers, areas to expand and teach the faith to travelers which are now well-known convents, places to care for the ailments of travelers that gave rise to hospitals, as well as many other properties and the route: the route itself, with its works of engineering and architecture, its designs to overcome the hazards of nature or human enemies, the knowledge of the geography gradually acquired along its path, and the drawings and maps which illustrated its path over the face of the earth.

The cultural route constitutes in itself a cultural asset adapted to the different cultures it has enriched and which it transcends in overall value by offering a substantial number of shared characteristics and value scales. Within its overall identity, the value of its parts resides in their common, plural and shared interest. In this way, they help to achieve the most complete and rewarding assumption of one's own identity, bearing in mind that the latter forms part of a wider dimension, represented by shared cultural reality, within universal cultural links

The first consequence of this greater scale is a cultural linking between peoples, cities, regions and continents. This breadth of scale is important from the point of view of the territory and comprehensive management of the diverse heritage items included in it, but also constitutes an alternative to a process of cultural homogenization. From this perspective, cultural routes become a potential means for reencountering a history and geography whose content has been weakened, a way to recover the time and spaces characteristic to each culture. They also provide the opportunity of sharing a common cultural space and linking the territory with an intangible heritage dear to the traditional life of the communities along its route.

In addition to a material reality, cultural routes entail a dynamic element that acts as a thread or channel through which the communicating vessels of the civilizing process have flowed. Multiple back and forth flows issuing from different points along its path have taken place over the course of history, which have provided enriching contributions for the whole. This vital fluid of culture is manifested in the spirit and traditions making up the intangible heritage of cultural routes. Hence, together with material or tangible heritage items, these routes make up a melting pot of immaterial items that explain the soul of peoples. If through the study and promotion of a cultural route we can make that deep essence serve as a space for reencounters, we will have made a fundamental contribution to overcoming some of the great scourges that continue to plague humanity: racism, segregation, discrimination, isolationism, lack of solidarity, barriers to information and knowledge, etc. Through cultural routes understood as dynamizing elements of society, historic heritage may be considered in its living dimension, as a pillar of comprehensive and sustainable development

Objectives of the charter:

To present the category of “cultural route” to the international specialized scientific community, public and private institutions and interested citizens in a scientific and solidly grounded manner, as a methodological advance to improve our knowledge and understanding of cultural heritage.

To establish the basic principles underlying the conceptual independence and management methods specific to the category of “cultural route” in relation to other previously classified categories of properties.

To propose the basic mechanisms for the processes of research, conservation and enhancement of cultural routes.

To establish the basis for the international cooperation that is essential for undertaking the research and development projects related to cultural routes.

Definition

A cultural route is a land, water, mixed or other type of route, which is physically determined and characterized by having its own specific and historic dynamics and functionality; showing interactive movements of people as well as multi-dimensional, continuous and reciprocal  exchanges of goods, ideas, knowledge and values within or between countries and regions over significant periods of time; and thereby generating a cross-fertilization of the cultures in space and time, which is reflected both in its tangible and intangible heritage.

The concept of cultural route refers to a value set whose whole is greater than the sum of its parts and that give it its meaning[1]. Cultural routes exist in a natural context in which they exert an influence and help to characterize and enrich with new dimensions, within an interactive process[2]. They must necessarily be supported by tangible elements which represent heritage and the physical confirmation of their existence. The intangible factors give sense and meaning to the various elements which make up the whole[3].

The cultural route constitutes in itself a cultural asset adapted to the different cultures it has enriched and which it transcends in overall value by offering a substantial number of shared characteristics and value scales.[4] Within its overall identity, the value of its parts resides in their common, plural and shared interest. In this way, they help to achieve the most complete and rewarding assumption of one's own identity, bearing in mind that the latter forms part of a wider dimension, represented by shared cultural reality, within universal cultural links.[5]

Being the historic result of peaceful encounters or disputes, cultural routes involve great technical complexity and diverse cultural interpretations, since they carry varied messages that may offer different and even contradictory readings over their history and route[6]. However, they currently present a number of dimension which transcend their primitive function, possess a symbolic value which give cause for hope, offering an exceptional setting for a culture of peace and mutual understanding based on a plural and, therefore, more realistic and fairer interpretation of history, and bring the possibility of setting up a new dynamic of cultural and economic cooperation among nations[7].

Conceptual independence

The key element of a cultural route is the physical way itself as a human design and phenomenon. Many other heritage manifestations related to the route and its function can be found along its path: post horses and lodging places, storage places, ports, defensive constructions, urban centers, cultural landscapes, etc.

The key elements to understand a cultural route are: the physical route itself, the properties associated with its function, tangible and intangible heritage manifestations related to the process of exchange and dialogue between the peoples involved, and other cultural elements related to its function as a historic route.

The key differentiating criteria applicable to the category of cultural route include the structure of the road network and its material substrate, historical data on its use, the existence of cultural manifestations of shared origin along (or at specific points of) the route, constructions associated with the function of the route, practices, traditions, customs and common religious, ritual, linguistic, festive, culinary or other uses, reciprocal influences in activities such as music, communication elements and other material and immaterial cultural properties whose study and full understanding is related to the historic function of the route itself.

The dynamics of a cultural route are defined by the comings and goings of peoples and goods along its length. They are determined and delimited by historic investigation of this process. Even when environmental conditions have significant influence on certain routes (e.g., those related to maritime sailing navigation), the dynamics of the route do not follow natural laws but clearly human processes and interests, and therefore are understandable only as cultural phenomena.

Cultural routes are important to understand the relationships, interchanges and inter-influences between two or more cultural groups united and linked by an established cultural route. From the point of view of understanding cultural heritage that has shared roots and influences, it is a essential term.

Types of Cultural Routes

Cultural routes can be classified as follows:

-As per their present territorial scope: national or international;

-According to their cultural scope: within a given cultural region or across different cultural areas sharing a process of reciprocal influences in the formation or the evolution of their cultural values.

-As per their prime or still continuing purpose: social, economical, commercial, administrative, industrial, cultural and spiritual. These characteristics can also be shared in a multi-dimensional context.

-As per their duration on time: Those which are no longer used but provide archaeological evidence of the past, and those which are still used and that by their very nature have developed and will continue to develop under the influences of socio-economic, administrative, spiritual and cultural exchanges.

-As per their historical physical frame: land, aquatic, mixed or other type of   physical route.

Identification

The identification of a cultural route must be necessarily based on a collection of strengths and tangible elements, testimony to the significance of the route itself. The route will be established taking also into account its natural context, its  structural configuration such as line-like, belt-like, cross-like, and network-like, and its symbolic and spiritual dimension which shall contribute to identify and to explain its significance.

The authenticity test and the measure of the conditions of integrity must be applied, in each case (region, country, etc.), on the material aspects as well as on the historic sense and message of the cultural route and its defining spiritual elements. The temporal relevance and current use of each section will be taken into account, as well as the legitimate aspirations for development of peoples affected

A cultural itinerary or route as such necessarily includes a number of material elements and objects linked to other values of an intangible nature. The intangible contents of a cultural heritage are fundamentals for understanding its sense and values.

Even if in certain sections the material traces of a cultural route do not appear clearly preserved, the existence and value of the cultural route as a whole can be shown through the existing immaterial aspects.

For identification and evaluation purposes, the following characteristics may be considered:

• Expressions of dynamic social, economical, commercial, administrative, industrial, cultural and spiritual processes as a consequence of exchanges between related areas;
• Distinctive and shared characteristics of areas that are connected by historical and cultural links;
• Expressions of mobility and relationships between peoples or ethnic groups of different cultures;
• Special cultural features rooted in the traditional life of different communities;
• Cultural properties related to cultural practices as ceremonies, festivals and religious celebrations representative of shared values for different communities within (a) specific cultural and historic area(s);
• Cultural properties related to the sense and functionality of the route itself.

Methodology

Taken into account the cultural richness and variety of both the relationship and cultural properties which may exist in a cultural route (monuments, archaeological remains, historic towns, vernacular architecture, industrial and technological heritage, public works, cultural landscapes, transportation means and other samples of application of specific knowledge and technical skills), cultural routes are a suitable instrument for highlighting the fact that cultural reality is a multi-faceted evidence, which requires a multi-disciplinary approach. They also renew scientific hypotheses and allow technical, artistic and cultural knowledge to increase.

Taking into account the diversity of properties that are either directly or indirectly part of a cultural route, research teams working on this category should be characterized by their multidisciplinary, closely interconnected and participatory nature.

Research methodology as well as the development of measures for full assessment and conservation of cultural routes should be adapted to the nature of each route, to prevent any loss in the meaning or historic value of the route.

Researchers should bear in mind that the fact that diverse classes of heritage properties are found along the path of a cultural route does not make them by themselves integral elements of the route or elements relevant to its investigation. Investigation of these properties has its own characteristics depending on the intrinsic nature of each property. The elements that should be highlighted in a scientific investigation of a cultural route are those related to the use of the route itself, and those resulting from the influences arising along it and its own dynamics.

Due to their extent, the study of cultural routes may involve tasks in several geographical points, which may be widely separated from each other. It is thus advisable to set up several research teams located at the main points of the route under study.

Projects should start with basic overall planning that covers the various geographical areas involved in the historic path of the route studied. This planning should consider the possibility of working with a common pre-established calendar. It should also implement mechanisms for coordination, common methodological instruments for collection of data relating to the various cultural properties studied and common working criteria based on the principle of starting with investigation of the parts, but without losing sight of the project as a whole.

Data compilation should be carried out using previously standardized instruments. The key principle for management of these data should the greatest possible cooperation so that the professionals involved in the process can request data on the progress and work carried out by the other teams working on the same route at any stage of the project.

In the preliminary stages of the project, coordination meetings between representatives of the various teams working on different portions of the same route should be planned. These meetings should be scheduled on a regular basis to ensure that the work is carried out in coordinated fashion.

Policy on protection

Due to their large scope, the conservation and management of cultural routes requires that they be included fully in general development plans. This is a category of properties with diverse values, which are usually handled by different government agencies within the State. Therefore, it should be recognized that we are dealing with a subject that requires cross-coordination between institutions within each State.

Public participation

The protection, conservation/preservation and promotion of a cultural route calls for both public awareness and participation of the inhabitants of the concerned areas, setting up management tools adapted to the protection against all kinds of risks, specially the negative repercussions of tourism, and the development of land use policies in concert with national, regional or international plans and aiming for a sustainable development.

International action

Due to their nature, cultural routes are properties that often involve more than one country. There are notable examples of routes in the world whose historic paths cross numerous countries from quite distant points of the globe. International cooperation is essential for research, conservation and assessment of the properties making up international cultural routes.

In the case of cultural routes whose historic path crosses countries with different degrees of development, it is recommendable that the more developed countries provide the means for economic, technological and logistic cooperation and assistance in the exchange of experience and professionals, as well as the necessary exchange of information with less developed countries.

Cultural routes should be seen as links between peoples. Among the areas for development of cultural routes, it would be useful to study and use as far as possible the historic ties materialized through cultural routes to promote cooperation projects based on a reencounter between peoples who shared certain values and knowledge in the past.

Funding

Due to the scope of this type of research projects, funding should be done by stages. It is advisable, however, that adequate funds be obtained so that similar progress can be made in the investigation of different portions of the route. This requires that funding be assured through bilateral or multilateral cooperation agreements, as well as the creation of bodies specifically devoted to research of a given route.

The UNESCO and other international organizations, such as international financial institutions, should study the way to establish mechanisms of cooperation (financial, technical and logistic) to promote the creation and subsequent implementation of projects related to cultural routes of interest to more than one country.

Regional bodies whose jurisdictions coincide totally or partially with the historic path of a cultural route should study mechanisms both to provide incentives to the States involved and to facilitate cooperation in all areas (financial, technical and logistic) related to project implementation.

Relationship to tourist activities

Special care should be taken to avoid confusion between the concepts of ‘tourist routes’, including those of cultural interest, and ‘cultural routes’. However, this should not exclude the possibility of adequate use of cultural routes to allow them to be known and visited by interested persons. In any case, at the appropriate time and depending on the progress of specific projects, mechanisms of coordination should be studied for adequate and sustainable use of certain sections of a cultural route for tourist visits.

Tourist visits should be managed on a rational basis based on prior environmental impact studies and the creation of specific plans for public use and participation that respect the need to preserve the meaning and historic values of the cultural route, and which should become the key elements to be conveyed to visitors.

Tourist use of a cultural route should promote participation of the local population organized for this purpose and/or regional tourist companies. Every effort should be made to prevent the creation of monopolies by large international companies or powerful companies from the more developed countries through which the cultural route passes.