VoC: Skills, Training and knowledge transfer. Preparatory questions. by Asociación Española de Gestores del Patrimonio Cultural AEGPC

STRUCTURED DIALOGUE BETWEEN THE EUROPEAN COMMISSION AND THE CULTURAL SECTOR ''Skills, training and knowledge transfer: traditional and emerging heritage'' Brussels

COMPILATION OF THE ANSWERS RECEIVED TO THE PREPARATORY QUESTIONS FOR THE BRAINSTORMING SESSION

List of the participants ASOCIATIA MONUMENTUM ......................................................................................................... 3 ASTRA NATIONAL MUSEUM COMPLEX ......................................................................................... 6 BRITISH COUNCIL .......................................................................................................................... 8 CHAMBER OF RESTORER / ACADEMY OF FINE ARTS AND DESIGN ............................................. 11 DIADRASIS ................................................................................................................................... 15 E.C.C.O. – EUROPEAN CONFEDERATION OF CONSERVATOR-RESTORERS’ ORGANISATIONS ..... 18 ECOMUSEU MUNICIPAL DE SEIXAL / CM SEIXAL ........................................................................ 21 EUROCLIO – EUROPEAN ASSOCIATION OF HISTORY EDUCATORS.............................................. 24 EUROPA NOSTRA......................................................................................................................... 26 EUROPEAN FEDERATION OF TOURIST GUIDE ASSOCIATIONS .................................................... 29 EUROPEAN HISTORIC HOUSES ASSOCIATION ............................................................................. 32 EUROPEAN NETWORK OF CONSERVATION-RESTORATION (ENCoRE) ........................................ 35 ENCATC – EUROPEAN NETWORK ON CULTURAL MANAGEMENT AND POLICY EDUCATION ..... 38 FFCR – FÉDÉRATION FRANÇAISE DES PROFESSIONNELS DE LA CONSERVATIONRESTAURATION ........................................................................................................................... 41 FUNDATIA TRANSILVANIA TRUST ............................................................................................... 45 ICCROM ....................................................................................................................................... 48 ICOMOS – INTERNATIONAL COUNCIL ON MONUMENTS AND SITES ......................................... 51 INSTITUT NATIONAL DE L’AUDIOVISUEL ..................................................................................... 53 INTERNATIONAL COUNCIL OF MUSEUMS (ICOM) ...................................................................... 55 NEMO – THE NETWORK OF EUROPEAN MUSEUM ORGANISATIONS ......................................... 58 INTERPRET EUROPE..................................................................................................................... 61 KULTUR UND ARBEIT E.V. – ASSOCIATION CULTURE & WORK ................................................... 64 POLITECNICO DI MILANO ............................................................................................................ 67 POSTSCRIPTUM ........................................................................................................................... 70 RAYMOND LEMAIRE INTERNATIONAL CENTRE FPR CONSERVATION (KU LEUVEN) ................... 72 REGIONAL CENTRE FOR THE SAFEGUARDING OF INTANGIBLE CULTURAL HERITAGE IN SOUTH-EASTERN EUROPE UNDER THE AUSPICES OF UNESCO ................................................... 76 RESOURCING SCOTLAND’S HERITAGE......................................................................................... 79 SPANISH ASSOCIATION OF CULTURAL HERITAGE MANAGERS (AEGPC) ..................................... 82 STOWARZYSZENIE BADAWCZO-ANIMACYJNE FLANEUR ............................................................ 85 THE FABRIC ASSOCIATION........................................................................................................... 87 THE HERITAGE CONSORTIUM ..................................................................................................... 89

ASOCIATIA MONUMENTUM ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? Traditional professions are bearer of technical knowledge and cultural significance for a certain period in human history based on a process of accumulation and dispersing information. Most of what we call nowadays traditional professions were seen as emergent professions at their time. It’s a continuous process of transforming one into another. What we call today emergent could become traditional tomorrow while boundaries are very diffuse. The success of a traditional profession is given by it’s capacity to regenerate into an emerging profession while filtering useful information and skills for a particular time. Also, traditional professions which are threatened by dying out should be highly researched and documented as they have potential capacity to regenerate in future in a useful way.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Globalisation and current European job policy which opened the marked has led to abandonment of traditional professions in Romania on a large scale. Still, European funds are nowadays used to support small traditional production centres which compensates in a very small proportion the renouncing to traditional crafts. This is mainly a result of migration of workers to the EU countries. The level of income for working in an EU average country is much higher than any income from traditional activities. This would be the main threatening which has not been significantly counterbalanced by regional, national or international policy. The problematic of the transmission of traditional knowledge is on the top of the crisis nowadays as most of the professionalised craftsmen who still have the knowledge are at an age where they are not able to work anymore while the young generation is not interested in absorbing it. This is the difficult moment when traditional professions are getting lost. In very traditional communities and in certain villages there are still some occupations which were transmitted from generation to generation without taking in account economic valorisation of the activities just based on a traditional pattern of behaviour. For the transmission of traditional knowledge the most energetic activities comes from the independent cultural sector. There are several NGO’s which developed training programs and workshops. One of the examples would be the “Semne cusute”, a program which involves on national level over 16.000 women who are thought in the field of traditional stitching and weaving. In many of the villages, private ethnographic collections and museum became local cultural centres and important promoters of traditional knowledge and crafts. This important local stakeholders were excluded from EU funding in the 2014-2020 session despite massive critics from the Romanian civil society. There is no consistent help from the government in this field, excepting the funding for small applications of NGO’s, while the competition is high. There is a continuously increasing involvement of museums which are promoting traditional crafts through their events. 3

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? Diversity of recent social, economic and cultural events has increased the need for complex knowledge and dynamic approaches in the interior of professions, especially in the ones connected to the field of construction. Here, a certain need to adapt traditional skills and tools to computer designed products has been determined. New tools have been designed and manufactured while using modern technique and digitally controlled machines which created a mutation in the field of traditional professions. There is a high demand for both traditional and modern design for interiors using traditional technology, especially for furniture. The need of an adequate living comfort has made traditional craftsmen to approach combined skills for both modernising and conserving a traditional building where new activities have emerged from. Also the field of textiles has lately made a shift from classical and modern design to a fusion of old and new based on a revival of local, regional and national identity awareness and self-esteem. We cannot speak about very clear defined emergent professions in Romania due to a very short experience of capitalism after the fall of the communist regime, that’s why we prefer to categorise it as “emergent activity”.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? After 2000 the government closed most of the technical professional schools in Romania where young people used to learn both traditional and contemporary crafts based on industrial approach, especially in the field of constructions, fabric and gastronomy. Still there are some functional professional schools in each of the 42 counties of Romania called “Scoala populara de arte si meserii” which has some activities in the field of tangible and intangible heritage and accreditation in traditional crafts. Not many actions have been undertaken to improve the situation lately while some schools are closing. There are several NGO’s who have developed in the last 10 years certification programs for craftsmen in the field of construction professions, but the contribution is far from the need of professionalizing. Some international companies “took faith in their own hands” and financed the activity of several schools employing students during, or right after the graduation similar to an efficient German system. There is an increasing activity of universities for the formation of professionals in the field of heritage but no similar activities for the formation of craftsmen and other workers from this field.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? An unstable market is in most cases the reason why start-up’s, and even experienced producers are failing before reaching a critical point of a functional business, independently from a temporary lack of demand. Creative educational programs for sustainable approaches in design, technology, community-development would increase the number of possible customers for a wide use of handmade products and could overcome this problem.

Accessibility of products is another significant reason why customers abort in reaching the producer. Lack of promotion is creating difficulties to find the adequate product while the time of production is also a significant characteristics in accessing a product. A unique European or national interactive database (e.g. an interactive map of products with geographical position, craftsman, product, certification, feedback/rating, contact, prices) would be a step forward to reach the right product and producer. Certification of products and high investments into equipment’s is a general problem due to its unbalanced cost in a win-back ratio. The testing for traditional products should be subsidized by the national or regional government. Administrative bureaucracy for officialising the activities is nowadays highly discouraging when speaking about small producers. Lately, several governmental decisions to discourage tax fraud have affected inclusive small producers which had to shut down their business (PFA) or shift to a more bureaucratic and unspecific type of organization (SRL). It is highly recommended to relax bureaucracy for producers of traditional products.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. Completed by Eugen Vaida - Asociatia Monumentum The questionnaires was sent to 36 relevant stakeholders in the field of traditional or emerging professions. There has been received a number of 5 partially completed questionnaires which stood on the base of the final completed questionnaires, but doesn’t represent necessary the complete position of the following : Anamaria Iuga - Muzeul National al Taranului Roman, European Museum of the year 1996 Carmen Mihalache - Muzeul National al Taranului Roman, European Museum of the year 1996 Andreea Diana Tanasescu – La Blouse Romaine, promoter of traditional textiles and initiator of The International Day of Skirt Mihaela Nechifor – World Wildlife Fund Romania, project manager Raluca Zbarcea – The Rural Group of the Romanian Chamber of Architects, architect Previously to the meetings there will be asked for the position of several other stakeholders.

ASTRA NATIONAL MUSEUM COMPLEX ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? Boundaries are no longer clearly set, since traditional becomes more and more a part of the interconnecting chains of emerging industries. If we think of tradition in a very restrictive way, as old and obsolete, no longer viable or compatible with the contemporary cultural sector, except from research, there we can speak more of a cleavage than a boundary. But if we think of tradition as a transforming, evolving, adaptive phenomenon then it becomes clearer that the two are overlapping, mixing or becoming one. At different moments in historical times, what we now consider as a traditional profession was then an emerging one, as a result in the shift of societyâ&#x20AC;&#x2122;s needs. Traditional skills and techniques are used nowadays for producing new items or are The use of traditional intangible heritage (skills, techniques, local knowhow on resources or raw materials) goes way beyond the heritage professions into eco industries, Traditional represents both an advantage and a possible risk. Advantage because of the long history and the verified results, risk because the people looks all the time for something new and these days even the traditional objects are done by modern methods, so the authentic touch is somewhat lost in the process. Still, the heritage area is very creative and resourceful for an open cultural eye but exactly by avoiding the new, industrial touch. The direct contact between the man and the natural resource, shaped using the traditional way of working and the local motifs is always a winning combination.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? The main challenge is the economic one. A lot of people working or willing to work in the area are trying to win quickly and are getting discouraged if not. In the same idea, the concurrence on the market is not sane, because of the fake objects arrived from the Chinese market, for example. Another challenge is the low interest of the local authorities, who do not know the real resources their communities still have. Traditional knowledge is no longer fashionable among the young; it doesnâ&#x20AC;&#x2122;t offer the same opportunities (economic, social status) as the modern ones. For some of the traditional professions, there is a rapidly growing aging of the persons considered resource of know-how that can become critical in the following years and make more difficult or even impossible to ensure the proper transmission from master to apprentice. There also a serious lack of opportunities (infrastructure to ensure learning facilities) in match making between masters and possible future apprentices, combined with a decrease of interest of the public authorities in supporting vocational schools in the sector. Museums are good examples of addressing the gaps mentioned above, by organizing cultural and educational events, matching traditional knowledge with contemporary society in a pleasant environment. 6

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? The mix between the traditions and the new methods can be done only if the material is reinterpreted in a creative way, not disrupting the tradition, not changing the main sense of the motifs, but including them in new stories, in new designs or in new ways of doing things. An example could be the textile sector, another the wooden one. A good balance between new technologies and traditional know-how, in order to reinvent and reuse resources (both materials, skills, knowledge) in a different context that would fit and address the needs of the cultural sector nowadays. Digital technologies could be used for recording, storing and passing to the next generationsâ&#x20AC;&#x2122; knowledge that would be soon lost.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? A professionalized sector is the restoration/conservation one. Here we can found a sort of modern craftsmen, highly qualified people who know how to integrate the old motifs and techniques, to repair damages and to create new objects or monuments the old way. Another sector, with a lot of potential, is that of the real craftsmen, who need to understand and to adapt to a new society and a new market. The rest of the heritage sector, except for some, very few, museum professions, is still pending both in professionalizing and preparing practitioners. There is a strong lack of both in the field of heritage interpretation.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Professional infrastructure in the specialised areas, next to the institutions which own the heritage and the knowledge (museums), or in collaboration with them. A very close work between cultural institutions, national and local administration, universities and schools. Specialised selling network to help the craftsmen achieve their goals. A better analysis and acknowledgement of the risks that the sector is facing would be a good start since many of the cultural institutions and professionals are living a little aloof. (Re)developing the feeling of ownership of traditional knowledge for the local communities, grass root level and finding the right partnerships between them and representatives of the cultural heritage professionals (public bodies, private entrepreneurs, museums, creative industries) in order to boost latent potential of the existing knowledge.

BRITISH COUNCIL ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? Boundaries of heritage professions are becoming less distinct. Public funding cuts and increased demands on heritage created by rapid global development means that roles require both specialist knowledge alongside the capacity to flexibly respond to requirements that decades ago may not necessarily have been part of the traditional job description. For example, traditionally, a curator in a small museum who may once have been able to solely focus on academic research and care of the collection, may now find themselves in the position of multi-tasking a variety of roles, many of which require very different soft and practical skills. An ‘emerging’ curator may find themselves conceiving and delivering public engagement programmes, managing marketing and digital campaigns, building partnerships and fundraising – the potential occupational standards for these responsibilities can be extensive. Emerging roles of this kind are demanding, may not be well rewarded financially and can sometimes offer little opportunity for progression or the training that is needed to prepare individuals for such an assortment of demands. Given that the sector often attracts individuals with existing specialist or academic expertise that they have acquired through higher education, it is essential, that if the heritage sector is to remain an attractive professional arena, individuals receive support to be able to respond to these new and diverse demands.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Heritage Alliance in the UK has identified these challenges through their 2005 report as:       

shift to digital technologies and rapid changes in working practice mobile and diverse workforce raised expectations of professional / industry standards organisational and resource strategies led by outcomes and impacts new culture of sustainable development and environmentally-aware practices engagement with the sustainable communities agenda and active citizenship move towards integrated, cross disciplinary working

The academic sector does not necessarily prepare professionals with the practical or soft skills needed to deliver their work. There are examples of where the sector is collaborating with universities/higher education but this needs to be encouraged in order to ensure that curriculum is informed by the changing demands of the sector Professionals are stretched with demands on their time which makes it difficult for them to take part in professional development. Cuts in funding also make it difficult for organisations to ensure that opportunities for staff are supported. More generally, organisations tend to be weak in encouraging staff to engage with their professional development. 8

Internationally, conservation skills are the greatest traditional skills shortage, given its specialist requirements. Remedial conservation particularly, given the expense of the equipment to undertake this on an ongoing basis. Traditional craft/rural conservation skills are particularly in danger.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? Soft skills – particularly in communication and engaging the public/volunteers Practical skills in project management, digital, enterprise Leadership – policy, sustainability, governance and the soft skills attached to this area In order to respond to the digital shift – soft skills in strategic thinking, creativity and problem solving are required in order to ensure that digital is implemented appropriately and not for the sake of introducing it for technologies sake. The Arts Council England’s Museum Resilience Fund and the Heritage Lottery Fund Resilient Heritage programme are available to organisations in the UK who want to build their capacity or achieve strategic change to improve the management of heritage. Grants can fund activities to help individuals acquire new skills or knowledge, or introduce new models of governance, leadership and business to put their organisations in a better position for the future.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? In the UK:  Creative and Cultural Skills has established national occupational standards and vocational qualification frameworks for the archaeology and museum sector.  The Museum sector has established NOS (National Occupational Standards) and NVQ (National Vocational Qualification) schemes.  Planning for skills development and training is based on a succession of workforce surveys and development strategies, fully integrated in MLA’s (Museums Libraries and Archives Council) development programme.  Accreditation schemes in place for some more traditional parts of the sector (e.g Archaeology) More generally:  Post graduate specialist qualifications  Professionals sharing best practice at conferences/events internationally  UK sector providing consultation/training/sharing expertise with other professionals internationally

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals?       

A short/medium/long term view Better cooperation and knowledge sharing across national and international boundaries Advocacy for the economic, social and intrinsic value of heritage Evidence based research on the skills gaps/shortages and the geographic context in order to determine priority areas for development Funding and opportunities to be available for both individuals to seek the support they need and international/national bodies to be able to facilitate development opportunities Better transmission and sharing of policy recommendations and occupational standards Engagement at every level of society – Government, Leadership, Professional level, Citizenship

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. Due to time limitations I was unable to consult broadly on my feedback. The information above has been acquired anecdotally, through British Council research and through developing and delivering skills training in over 10 different countries. The Heritage Alliance report on skills and heritage (2005): http://www.theheritagealliance.org.uk/docs/Modernising%20sector%20skills_final.pdf More information on HLF/ACE funding can be found at: https://www.hlf.org.uk/looking-funding/our-grant-programmes/resilient-heritage http://www.artscouncil.org.uk/funding/museum-resilience-fund

CHAMBER OF RESTORER / ACADEMY OF FINE ARTS AND DESIGN ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? Chamber of restorer The boundaries itself are not as important. Important is cooperation and understanding, that cultural heritage and the sector serving its maintenance and protection are developing already for centuries. The emerging professions should keep in mind they are entering an existing system with its terminology and intangible qualities as knowledge, skills and experience which need to be transmitted sometimes just by traditional means such as human communication. The used terminology traditional and emerging should be clearly defined to avoid misinterpretations. The traditional and emerging professions should and are working closely together, using mutually beneficial knowledge, skills and experience. The terms tangible, intangible, emerging are quite new and still establishing their content meanings within the users of the non-Anglo-Saxon languages. The traditional terms would be more like material, immaterial and new. The individual specialisations require specialised schooling. Individual professionals can absorb and use more of the emerging techniques themselves, or chose to cooperate with specialists from other fields not specialising in cultural heritage. The rights and responsibilities in the decision making processes should be equal.

Academy of fine arts and design

At the Academy of Fine Arts and Design there are two departments primarily dealing with the protection of the tangible and intangible cultural heritage; Restoration and Architecture. Academy of Fine arts and Design Is the Member of ENCoRE. In case of the Restoration the traditional professional orientation is predominant. In the case of Architecture it deals primarily with building additions and revitalisations of protected heritage buildings. We are not as far as developing new branches from these traditionally understood professions (restorer, architect) which would view the problems of protection of cultural heritage from a new perspective. However, we realise, that the requirements for new knowledge and skills in restoration professions are growing, mainly in the disciplines of chemical-technological processes, use of digital technologies in favour of the analysis of the individual historical layers of the restored objects (movable) or buildings (immovable). We do not see the development towards creation of new professions but more likely towards more interdisciplinary education of the restorer. His/her main task is to conserve the authentic material of the restored artwork. During the past 5 years a new profession within the area of restoration was established aimed at the restoration of analogue photographic processes. We do not perform restoration of digital art, we do not have experience with this, but we support young colleagues to gain this specialisation at foreign workplaces.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Chamber of restorer The current challenges include decrease of systematical control and increase of democratically based approach. That does not have to mean the development goes in the sought direction. The access to knowledge is provided by traditional and emerging schools. It is also easier thanks to the information channels such as internet. The self-taught specialists are on increase. The existence of regulation in execution of interventions on cultural heritage is highly important! The malpractice of relying on volunteers or citizensÂ´ associations or using work on cultural heritage as the solution of unemployment of uneducated persons is dangerous! Thankfully, we in Slovakia have the access to the profession of restorers legally regulated and have also law on protection of cultural heritage. The task however is to act and work accordingly!

Academy of fine arts and design In Slovakia we see the tendencies in the areas of design and textile creation which source their inspiration from traditional crafts bound to the historical identity of this region. The actual requirements however update these traditions into contemporary needs of the society. They can be described as being between craft and design. That implies the crafts are reflected also in another departments at the school or even in restoration.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? Chamber of restorer The profession conservator/restorer works in contemporary conditions which involve not only the absorption of technical development and increase of information speed and amount. The public requires more use of its heritage objects, the knowledge about it spreads faster and mobility grows. There are emerging activities which are based on the objects of cultural heritage, the owners of heritage objects require to obtain the greatest income using the heritage qualities or selling them to the public. The conservators/restorers have to be involved in creation of projects intending the use of the tangible cultural heritage to prevent their maybe unintentional and irreversible destruction. The schooling of C/Rs should include more managerial skills, legal literacy and preparation to interpret and voice their knowledge and advice to the public (all of these are addressed in the Competences for access to the profession issued by E.C.C.O.). The digital shift is important, but e.g. creation of statistical or other categories describing cultural heritage objects or even intangible heritage should not be left to technocrats, who do not understand the complexity of art objects and simplification can lead to loss of information.

Academy of fine arts and design

We live in so called post-media time meaning that there is no study department which would not be influenced by digital technologies. All the graphic disciplines are created by PC programs and thereby individual medias are interconnected. On the other hand, it puts the screws on knowledge and skills and even interdisciplinary understanding of work of art. Intersection of humanities into arts is obvious.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector Chamber of restorer The traditional skills in Arts and Crafts are in Slovakia still taught at the specialized middle schools up to EQF 4 and this schooling provides abilities to use the craft to create new and replicate – creating new. However these skills are also needed in restoration in cases where restoration involves reconstruction, restitution or renewal. The graduates usually serve as technical help to the specialist conservator/restorers who have to undergo a six years specialized university study of restoration in various specialisations (4years Bachelor + 2 years Master of Arts+ Doctoral Study )to achieve the permission to be licensed by the Komora reštaurátorov – professional chamber established by Slovak Act No. 200/1994 Coll. Of the National Council of the Slovak Republic on the Chamber of Restorers and on the Performance of Restoration Activities of its Members. To secure the execution of the profession in public interest (KR keeps the list of licensed persons who obtain personalized stamps to invoice restoration work and can enter public tendering). Our members have to be insured and take ought on the KR´s Code of Ethics. They are responsible to the Supervisory and Disciplinary boards. Their membership is awarded based on education requirements stated in the law and further on their practice assessment by the independent Examination senate announced by the Board of the KR. The graduates without the license of the Komora reštaurátorov (Chamber of restorers) can execute the profession in private sector or as employees. This differentiation in access to the execution of the profession illustrates the importance of the required measure of acquired preparation of specialists and the control of the execution of the profession in public interest which is guaranteed by the chamber system in the Slovak legal regulation. The public understanding of the high standards required in preparation of the specialists handling the national cultural heritage is supported also by the existence of the doctoral studies in restoration awarded with the title Doctor Artis. We would welcome a regulation of the profession of conservator/restorers on European level to act by the means of best practice and also to enhance professional exchange and mobility.

Academy of fine arts and design

By the national law, there are established, inter alia, the Chamber of Restorers (the Act of the National Council of the Slovak Republic No. 200/1994 Collection of Law on the Chamber of Restorers and the Execution of the Restoration Activity of its Members as amended) and the Chamber of Architects (the Act of the National Council of the Slovak Republic No. 138/1992 Collection of Law on accredited architects and accredited building engineers as amended) in Slovakia that have the task to gather physical persons executing the relevant professions, to continuously monitor that their members carry out their profession in accordance with the professional, expert and ethical 13

principles and rules which are related to the execution of the liberal profession “restorer” and “architect” as well as to support their members in life-time further education and training.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Chamber of restorer The schooling system exists in Slovakia. We perceive the high schools preparing Arts and Crafts specialists to be too many due to the existence and creation of too many private schools. In case the high school graduates wish to become restorers in Slovakia, they have to study at the only one existing school providing the I, II and III the level of university studies in restoration in Slovakia. The problem is not in the capacities, it lies in under-financing of the maintenance of the cultural heritage – private or in the state collections. The non-existent specialisations in conservation/restoration which are not provided by Slovak schooling system could be imported based on mutual recognition of the profession within EU, which is one of the aims of E.C.C.O. The Komora is a full member of E.C.C.O. and cooperates in creating strategies how to achieve the compatibility of professionals. The missing study branches could be optimally added in the Slovak system or studied abroad. We feel as misunderstanding to solve unemployment by creating workplaces for undergraduates while reconstructing castles, which are objects of national cultural heritage. This work certainly belongs into hands of specialists and not various citizens´ cooperatives or associations without professionally responsible support as understood by the legal regulation of Heritage protection law. On European level to create a recommendation for Conservation-Restoration as a strategic resource for the maintenance of the material authenticity stating the competences for the access to the profession would be of great help.

Academy of fine arts and design

In Slovakia the financial support and financial motivation of specialists is missing. We face the strong under-staffing in cultural sector. Only thanks to the personal involvement of some individual specialists in grant projects there is some development.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. The answers were consulted with the management of the Academy of Fine Arts and Design.

DIADRASIS ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? Discussing with heritage professionals of different background both professional and national, we reached to the conclusion that four are the main points creating boundaries between heritage professions: 



Lack of recognition of the importance of all the figures and professions. Even if the fact that a heritage project must be an interdisciplinary project has been recognized as a necessity for over 40 years from the academia and the experts, when it comes to real working condition, not all professionals are treated as equally important. Often skills and expertise are performed from other professionals producing lower quality products and undervaluing at the same moment the specific professional figure. Generation gap and loss of the value of craftsmanship. While many of the traditional heritage professions were linked to workshops and peer to peer transmission of techniques and materials, following the general social transformation towards a society of services, craft and craftsmanship has been gradually abandoned and unappreciated. Modernization of tools and materials has widened the gap between older and younger professionals and alienating them knowledge that could be transferred only by a master to a younger is getting lost forever. Mistrust and fear of the unknown. As the sense of the professional secret is very strong when it comes to heritage professional, it is very difficult to build bridges of trust that would help both traditional and emerging professions learn one from the other and grow together Extreme evaluation of academic titles. As for the market needs when it comes to job openings or scores in project calls and funding, often traditional heritage professions, are getting put aside from shiny titles and overspecialization.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Analyzing what has happened in the field of heritage conservation, traditional craftsmanship and knowledge has been sacrificed in view of turning a practical work into a scientific profession. Long time apprentices, that have for centuries produced high quality practical restores, have been replaced with theoretical studies. Without underestimating the benefits of the scientific systematic approach, often new professionals are overspecialized but when they move from the academic level to real working conditions they lack the broader picture and second they often have trouble finding practical solutions. 15

An organized response to this situation comes from England, where more than a decade ago they created the Traditional Building Skills Bursary Scheme (TBSBS) for England and Wales, http://www.buildingconservation.com/articles/traditional-skills/traditional-skills.htm The same tine in Scotland, the Scottish Traditional Training Centre was founded, to face together the lack of traditional knowledge, the conservation of the Built Heritage and the rising of unemployment. http://www.traditionalskills.com/ Also there are organizations around Europe offering heritage training through workshops offering them the possibility to widen their skills while practicing.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? Through the evolution of technologies, Internet and the social media, heritage sector seems to be one ones trying to resist the present moment and tendencies, stuck to the “professional secret” or copyright. This problem, seems often more evident in countries of South Europe and especially related to archaeological heritage. At the same moment and on the totally opposite side, we see big Museums opening their collection to the digital era, with more prominent the example of Rijksmuseum in Amsterdam that launched RijksStudio, a digital collection of 125,000 works open and free for the public. With this new shift and opening, we need specialized professional that have a global perception of heritage and culture and new technology. Fact is that nowadays new graduates choose university programmes that train them to be flexible and creative. Studies like “Cultural Heritage Management and New technologies”, “Cultural informatics” et al, are teaching in their curricula both about heritage value and about number values of programming. That is of course an added value that facilitates the implementation of contemporary needs and challenges of today. New technology and the Startup sector are also playing an important part in this opening and interaction with the digital shift. For example, clioMuse a mobile application that shares the cultural stories for indoor and outdoors tours in Greece and other European countries was born in a hackathon, where a heritage expert met an IT and a business expert. http://cliomuseapp.com/ So often the answer to the need is not a new specialization or working profile, but the power of collaboration and the opening to professional profiles that heritage experts where not used too.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? In respect of conservation-restoration, the education and training of the conservator-restorer needs to be properly resourced at university level in order that the necessary analytical, evaluative and technical skills are developed so that cultural agency of heritage; its value, relevancy and potency is properly accessed, sustained and transmitted into the future. It is not a creative process but one that continually assesses how cultural heritage can best be transmitted. Schools like the Digital Technologies in Cultural Heritage & Tourism Summer School offered by the University of the Aegean. Fortunately, these efforts are complemented by several initiatives such as seminars launched and internships offered by NGOs and private institutions that provide training and skills to students and young professionals helping younger generations to develop new skills in order to respond to the emerging needs of the labor market. 16

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Evaluation of the lack of professionals and contemporary needs. Recognition of the value of all the various professional figures. Strengthening of the practical learning in apprentices. Open dialogue and synergies with other professional fields.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. Brief article review Discussion with colleagues Data from previous Diadrasis study and publication

E.C.C.O. â&#x20AC;&#x201C; EUROPEAN CONFEDERATION OF CONSERVATORRESTORERSâ&#x20AC;&#x2122; ORGANISATIONS ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? The principle of transmitting to present and future generations an authentic material heritage that retains its cultural and historic relevance and integrity is the foundation-stone of contemporary heritage management and practice. It is the paradigm that lies behind the emergence of Conservation-Restoration as a discrete field of study and the professional discipline of the conservator-restorer. Scientific methodologies, employed in the analysis of materials, the processes of deterioration and responses to them, combine with humanistic enquiry into issues of authenticity, value and significance to determine sustainable preservation outcomes. ConservationRestoration is not a creative or an artistic process, though it both borrows and mobilises skills, knowledge and experience used in these and other areas to its own end.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? If traditional knowledge means traditional techniques associated with Arts and Crafts then there is a difference between the traditional professions and emerging professions such as conservationrestoration. This difference lies not only in the way such knowledge is transferred but in the purpose which the respective skills and knowledge serve. Arts and crafts are a function of design and creativity, skills and knowledge are used in the processes of creation and replication Traditional knowledge associated with Arts and Crafts is considered intangible heritage particularly where knowledge of material and technical skill in working such material has a long history. These skills can be lost because the need for the products they made are no longer required. These skills are also accessed when restoration involves reconstruction, restitution or renewal. In respect of conservation-restoration, the education and training of the conservator-restorer needs to be properly resourced at university level in order that the necessary analytical, evaluative and technical skills are developed so that cultural agency of heritage; its value, relevancy and potency is properly accessed, sustained and transmitted into the future. It is not a creative process but one that continually assesses how cultural heritage can best be transmitted.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? The care and preservation of our cultural heritage involves a trans-disciplinary approach where traditional professions and emerging professions have different roles and functions requiring 18

different levels of training and education. The competences of the conservator-restorer have been defined by the profession and learning outcomes have been developed by the universities in direct response to this work. These universities form a discrete network ENCoRE that liaises directly with E.C.C.O. as the European body representing the profession. The conservator-restorer creates value through the generation of new knowledge which is often recorded and presented digitally. Information presented this way can lead to rapid dissemination, better, presentation affording greater understanding and access to cultural heritage. However imaging techniques, 3d scans and digital outputs are not to be confused with the heritage itself where the experience of the authentic is fundamental to how we value and relate on an emotional level to heritage in the first place.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? In Conservation-Restoration, an academic education to deliver the professional conservatorrestorer has been in place for over 40 years ago reflecting a paradigm shift in the care and preservation of cultural heritage which seeks to stabilise and valorise that which is an authentic expression of our human productivity and creativity. The profession of the conservator-restorer as an emerging profession has had different trajectories and routes across Europe leading to where it has arrived today. In some countries the profession is regulated and in others it is not even legally recognised. The principle of national subsidiarity in respect of cultural heritage in Europe has meant that it is difficult to achieve a common regulatory framework for the profession. However the educational delivery of the conservator-restorer has become fixed within the university sector and because of the Bologna agreement and the work of E.C.C.O. the access to and exercise of the profession has become set at Masters Degree Level 7 at 31 universities throughout Europe with the right to award doctorates since over 10 years. It includes life long learning and further development of specializations, and in the same time to open the capacity for transdisciplinary exchange and projects through courses and conferences. This is determined by the E.C.C.O. Guidelines and Professional competences which create the framework or structure which all national organisations who are members of E.C.C.O. recognise and uphold, leading to mutual recognition of the profession across Europe.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Recognition of the competences of the professionals in Cultural Heritage through recommendations and directives to promote quality assurance in the execution of their professions. Promoting a trans-disciplinary approach and the integration of professionals in decision-making processes in an early stage of project planning. Many young professionals, including Conservator-Restorers are facing unemployment despite their expertise in the field of Cultural Heritage. This is due to the lack of resources that are invested in cultural heritage. Formal recognition of cultural heritage as being in the public interest and as a driver of economic and social good requires that this field is properly resourced. This means the acquisition of specialist services, recognition of those professionals as provider/facilitator/enhancer/resource for the 19

sustainable existence of the cultural heritage sector in every step of the cycle of the creative and cultural industries. In respect of conservation-restoration: Create a recommendation for Conservation-Restoration as a strategic resource for the maintenance of the material authenticity.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. Through the network of our institutional partners, the member associations and direct contact with the delegates and committee memberâ&#x20AC;&#x2122;s all of these active professionals in the field of conservationrestoration in their own countries.

ECOMUSEU MUNICIPAL DE SEIXAL / CM SEIXAL ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? The most visible boundaries are demographic changes that reduce intergenerational contacts and the impact of urbanisation which reduces the contact of young people with more traditional skills and knowledge. Nowadays creative industries are creating new business reinventing some aspects of the traditional way of living such as gastronomy, architecture, crafts but so far with a reduced economic impact.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Formal education systems devalue traditional knowledge and skills, which often depend on orality rather the written texts. Intergenerational contacts are crucial in the transmission of knowledge and skills. For instance within the universe of traditional milling the last generation of millers is disappearing without the possibility of deliver their practical knowledge to the next generation and this represents a risk to the preservation of an important heritage sector connected with the history of energy and technology. Besides there is a general lack of knowledge relating to molinology and millwrighting and the fact of architectural and engineering variations in the construction of mills are widespread throughout a single country and Europe in general makes more difficult to guarantee the preservation in working conditions of this living heritage. In this respect, we have a testimony from one of our colleagues: â&#x20AC;&#x153;As time goes on the process of training the younger generation in traditional skills and traditional knowledge will probably become more difficult. This age group, in my experience, has had little if any experience working with hand tools and natural materials such as wood and stone. I am from the generation that saw, during the first 20 years of my life, the end of an era where from an early age one was exposed to hand controlled craftsmanship. This included woodworking, stone work, lumbering and sawmills. As well, many of the craftsmen were designer-builders. Now I find that talking about what was common place when I was growing up in Nova Scotia is meaningless to people who have not had appropriate experiences. I wonder how future programs can be designed for future generations who are lacking in appropriate prior knowledge and previous experiences.â&#x20AC;? On the other hand, under-funding and the cuts in public budgets is in some cases leaving to the decay of heritage assets and to the reduction of cultural activities. The decline in the participation in traditional cultural activities and the digitisation and online accessibility of cultural content are transforming cultural practices and audiences and the cultural sector is still trying to deal with this new reality.

Another important challenge is related with the need to dispose of interoperability of databases between institutions connected with the same area of interest in the domain of cultural sector or heritage. Museums display objects constructed in historic complexity which cannot be explained by one single narrative. This complexity is a challenge for museum actors which can be addressed and overcome by assuming that museums are places of convergence where curators, researchers and audiences can think historically about a diversity of objects. In order to overcome the difficulties related with the transmission of traditional skills and knowledge, the creation of Ecomuseums since the 1970â&#x20AC;&#x2122;s was an interesting experience since the concept beyond these institutions was the idea that the most important was the conservation of a cultural landscape rather than an isolated site and the community became as important as the museum collection. In this context, museums were seen as places of community interaction and social integration contributing for inclusion and growth.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? Technology adds economic value in the heritage sector as digitized cultural material can be used to enhance the visitors experience, develop educational content, produce documentaries, tourism applications and games. However, often the institutions of the cultural sector donâ&#x20AC;&#x2122;t have these professionals in their teams but they search their contribution by adopting the out-sourcing. This means that only in the context of specific projects when the budget allows is possible to achieve some materials and ideas, but this doesnâ&#x20AC;&#x2122;t allow a permanent and coherent practice.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? Within the museums, the professionalization has increased in the last years as well as the degree of specialization but in Portugal the institutions face a lack of resources in order to have a diversified and stable team. Universities, museum associations and research institutions organize some more practical training as well as some professional associations. In respect of traditional mills, specialist consulting engineers within millwrights are low in number as are architects with the professional skills required to work in this area. On the other hand there is currently none or very little molinological training within most of the European regions. Training is found within existing millers and millwrights in a regional or geographical area. In UK the Society for the Preservation of Ancient Buildings attempts to fill the gap by arranging regular training courses annually. In UK, improved heritage skills in traditional millwrighting can only be found in limited conditions with RIBA (architects) and RICS (surveyors) but in other regions there is no such specialization.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? History as heritage are socially constructed and they can be seen as a flow which is constantly changing according to time, space and society. The enhancement and preservation of heritage should be part of a broader long-term development plan requiring a more integrated approach to heritage conservation and promotion. There is a need for a strategy about the transmission of traditional skills and in some cases we only find a mere representation without significant content and even an adulteration of intangible heritage. A strategy should be put in place and the creation of Arts and Crafts Schools with open curricula to be available both for young people and for elder people already in the labour market may be an interesting project. Within the domain of traditional mills there is a need to raise awareness and engage associations and local communities about the heritage value that mills represent and their potential to enhance projects devoted to local development, sustainability, local cohesion and to promote a sense of identity. This could be achieved by strengthening the links between local communities and local developers both with the existing millers and millwrights and with a variety of research centers and universities in order to promote an enlarged and interdisciplinary reflection in the fields of architecture, engineering, tourism, history, heritage professionals, communication specialists, educators, conservation experts… The establishment of regional, national and cross-border platforms assembling different institutions, creating networks and opportunities for peer learning and exchange best practices and resources seems crucial. Mills can only be preserved with the improvement of construction heritage skills in traditional millwrighting and repair.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. I’ve asked for collaboration both in my own institution and in the networks I’m involved, specially those related with traditional mills, benefiting from the contribution of a wide range of specialists, not only persons with practical experience as millers, but also architects, biologists, engineering, historians and museum professionals. Institutions which contributed: Ecomuseu Municipal do Seixal, Mãe D’Água (Portugal), Mills Research Group (UK). Individual researchers: Bruno Matos (Portugal), Alan and Glen Crocker, David Plunkett, Duncan Breckles, Guy Blythman, John Brandrick, Katherine Graves, Kerr Canning (Canadá). Consulted data: UNESCO Convention on Intangible Cultural Heritage; The International Molinological Society; The Society for the Preservation of Ancient Buildings; The UNESCO Chair on Intangible Cultural Heritage in the University of Évora; NEMO organization; ICOM; European Commission documents as “Towards an integrated approach to cultural heritage for Europe” and also particular projects as http://projectotasa.com/.

EUROCLIO – EUROPEAN ASSOCIATION OF HISTORY EDUCATORS ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? From the point of view of (school) history education as one of the main conduits in society to transfer knowledge and skills related to heritage, our insights in to different heritage professions is small. We prefer therefor to answer this question in a different view, which is to seek to define how history teachers, on average in Europe, would address heritage: 



traditional ways: visits with classes to heritage sites where the resident educator would deliver a learning experience to the students. There is limited common preparation between the teachers and the on-site educator, and, once back in the classroom, students are not facilitated in their learning to relate the site visit to their accumulated knowledge or curriculum. emerging opportunities: local heritage, supported through digital means, would offer a more embedded way for learning.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Not speaking as a part of the ‘cultural sector’, our view as history educators, would be mainly to consider the following challenges: -State history curricula pay very limited attention to heritage as a conduit for learning, and knowledge transfer. -Heritage sites and institutes, and possibly the wider cultural sector do identify schools as an important target group, but have a limited capacity to seek structural cooperation with education stakeholders to the end of embedded heritage in the curricula or provide educational resources which educators will use more effectively.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? From the vantage point of history education, it would be good to continue to invest in the development of skills and training on:

   

Multiperspectivity – how the past has always been, is, and will be perceived differently and that it is not the aim of learning about the past to transmit a single truth, but rather find better ways to deal with different vantage points. Critical thinking – how is heritage presented today is subject to agency in the present and cannot be separated from this. Differentiated learning – how different learners have different needs which requires a variety of educational resources and approaches. Inclusivity – how heritage narrates (hi)stories which are not equally ‘belonging’ to everybody, but with efforts can be seen as important for larger parts of the society as well.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? We have limited information re reply to this question. We know that in the field of heritage education networks like NEMO and Europa Nostra deliver excellent opportunities for professional development. EUROCLIO’s professional development opportunities are in the first instance targeting history, but also heritage educators. We argue for the creation of Erasmus+ type support for professional development in the field of heritage.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals?  

Mobility programmes Stronger connection with education stakeholders (possibly on the European level)

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. Discussion with key members who have experience of bridging between education and cultural heritage sector.

EUROPA NOSTRA ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? The sector is very compartmented, especially between tangible/intangible and digital, which is the ‘new kid on the block’ and is continually evolving at a rapid pace. The boundary between tangible and intangible arises from the way we are taught, both as professionals and craftspeople. It is a sector of niche specialists, which is good in having such deep knowledge, but bad in that it is inflexible and not as responsive to threats and opportunities. Professional bodies and specialism networks compound the ‘silos’ of working deep within chosen single disciplines rather than across several. Embracing digital should be a legitimate medium in its own right, rather than it just being seen as a tool of the others. Not making use of its potential is a significant barrier to all three, and therefore the ability of the sector to engage with new more media-savvy generations.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? For Transmission, read communication – either by word/image/media, or by experience/learning. Heritage is a specialism sector; specialisms are acquired over years of learning but the acquired skills (professional and crafts) are not being passed on from generation to generation at a sufficient rate to sustain the pool of expertise needed to maintain the stock of heritage across Europe. In a world where young people favour technical/digital careers, heritage is seen as static, offering no obvious opportunities for creativity. Digital offers the potential to bridge between conservation and creativity. For example using laser scanning to record heritage which then is developed into a creative tool of interactive virtual experiences is one example that fulfills the full potential of tangible, intangible and digital heritage. Digital must not be a separate discipline but it is the ‘learning environment’ in which all heritage can be communicated in an interactive way.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? Digital media is a medium so the heritage content (which is likely to be tangible and/or intangible heritage) must be understood in order to communicate it through digitial – though digital heritage per se, such as archives, is an interesting and challenging concept). All are based on values – cultural values (celebrate distinctiveness or what is held in common), but also the value judgements upon which management and communication are decided. There is some progress on this, such as Europa Nostra’s initiatives in Heritage in Action, but learning/training in inter-disciplinary techniques 26

surprisingly is still in its infancy. The MODI-FY Erasmus+ project is one attempt to break down the barriers between disciplines and promote inter-disciplinary learning.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? The sector is quite strong professionally because it is built on specialisms. Each discipline has a hierarchy of networks linked to strata of eligible membership and higher levels of accreditation. But all these are in the ‘silo’s of specialisms or sub-sets of mainstream professions (for example architects working in conservation, or curators working within a particular era of collections). It is the structures which the European Commission is well placed to ‘internationalise’ and make more permeable, transferrable and inter-disciplinary – something that cannot be done from within the existing mainstream professions.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Learning nurtures interest which leads to choices that leads to training. 1) We must prioritise the 16-30 age group who are disenfranchised from the economy and society because they are not minded to go through conventional higher education routes. 2) We must foster inter-generational skills transfer: too many of the most experienced professionals or practitioners are nearing retirement, have worked in SMEs, have no succession plans, and are not being replaced. Mainstream colleges and universities and institutions are not geared for bridging between the worlds of professionals and practitioners which is probably of greater importance to the heritage sector than most other contributors to the economy, especially in rural areas where traditional patterns of life are most economically sensitive but also distinctive. Tourism exploits and supports that, but many areas are suffering decline and depopulation (especially of young people) because there is no support infrastructure to encourage them to stay.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. I have formed my responses from the following networks and organisations in which I am directly involved: 1. 2. 3. 4.

Europa Nostra FEMP - Fédération européenne pour les Métiers du Patrimoine bâti MODI-FY Erasmus+ project partners ICOMOS 27

5. 6. 7. 8.

International National Trusts Organisation Future for Religious Heritage North of England Civic Trust Hungarian Renaissance Foundation.

EUROPEAN FEDERATION OF TOURIST GUIDE ASSOCIATIONS ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? Intangible heritage is inextricably intertwined with tangible heritage (e.g. the history of a castle and the material fabric of the castle cannot be separated; a place of religious importance (building or landscape) is not that without the ritual involved). These artificial categorisations are tools for theoretical speculation, but “cultural heritage is a group of resources inherited from the past which people identify, independently of ownership, as a reflection and expression of their constantly evolving values, beliefs, knowledge and traditions” (Faro 2005, Art. 2). Change has always been an intrinsic aspect of heritage and therefore the word “traditional” must not be misunderstood as static. Whereas digital commentaries and/or representations of heritage may offer something new (presenting a refreshing ‘change’), they simply use different platforms to interpret and preserve heritage that appeals to different audiences. There will always exist visitors though who will seek the personal interaction with a live interpreter. The boundaries in the “traditional” and “emerging” heritage professions exist in the tools, know-how and kind of audiences they appeal to. This does not mean that they should have different aims though, which should include: conservation and continuity, meaningful interpretation, protection, identity building, making sense of our past and our communities.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Some of the serious challenges are: economic crisis causing the abolition of institutions and infrastructure that transmitted traditional knowledge, increasing unemployment, especially among young people, fast changing demographics (immigration within Europe, low birth rates), erosion of social fabric and communities, disruptions and lack of continuity. In the tourism industry, we have witnessed increasing numbers of visitors who overcrowd sensitive and/or fragile sites resulting in wear and damage. At the same time, intensive commodification and unsustainable models are implemented. We are not aware of any examples in the cultural sector that have adequately addressed these challenges.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? The skills and training needs of tourist guides (see CEN Definition 13809:2003) are well documented in CEN standard 15565:2008 “Tourism services – Requirements for the provision of professional tourist guide training and qualification programmes”. This standard has already been incorporated in the legislation and training of tourist guides in Germany, Austria, Cyprus, Scotland and the Ukraine, while other countries are in the process of incorporating it. More use could be and is being made of e-learning and other digital applications (e.g. GPS, emapping) in these training programmes. An opportunity for learning from “emerging” professions exists there. The needs of “emerging” professions, especially concerning new technologies, has been dealt with dealt with cases of generous funding by the EU in programmes like Digicult, Minerva, EPOCH.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? The sector of tourist guides is professionalized through training programmes for member associations belonging to the European Federations of Tourist Guide Associations (FEG). These training programmes are modeled on CEN standard 15565:2008. There are also national associations and in certain countries exists national legislation for the profession of tourist guides, concerning their formal training and licensing. Finally there is an established Code of Professional Practice and Ethics (http://www.feg-touristguides.com/code_of_tourist_guidance.php ).

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals?  

  



Better understanding of the concept of cultural heritage beyond stereotypes and categorisations, and the importance of values involved in it. A serious effort to disentagle cultural heritage from a skewed and dominant trend, as a direct result of the economic crisis, which views cultural heritage as an economic force of ‘development’ through tourism, and which leads to intensive commodification and unsustainable practices. Collaborative schemes of “traditional” and “emerging” professionals who will genuinly learn from each other and collaborate by exchanging their know-how. Creation of channels of communication among professionals of “traditional” and “emerging” professions. Funding: in the case of tourist guides, more needs to be done at European level to give financial support to standards of training in order to ensure a quality visitor experience which encourages return visits. This is particularly true of the expensive but necessary guiding skills part and techniques of the training programmes and also the theoretical knowledge training part, which could benefit from a digital shift. Close collaboration with communities of traditional skills and knowledge, not just to learn from them, but also to involve them in the process 30

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. Consulted with:    

Executive Board of European Federation of Tourist Guide Associations (FEG) FARO 2005 The ICOMOS Charter for the Interpretation and Presentation of Cultural Heritage Sites, 2008 Giaccardi, E. (ed.), 2012, Heritage and Social Media, London: Routledge

EUROPEAN HISTORIC HOUSES ASSOCIATION ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? In recent years, two major shifts have shaken the heritage sector and pushed heritage professions to adapt and evolve: ď&#x201A;ˇ

ď&#x201A;ˇ

The digital revolution which has changed the way people communicate on and engage with heritage (social media such as Facebook or Instagram). It has also prompted an impulse to digitize heritage (archives, museums) in order to make it available to the greatest numbers, usually for free, which has challenged the traditional way apprehending intellectual property or copyright issues. Heritage professions, and especially museums, have had to adapt to this new trend. Finally, the digital revolution and the creation of new techniques have greatly expanded the realm of possibilities regarding heritage preservation. New professions have thus emerged, notably in companies such as Iconem or CyArk, which are digitizing heritage in conflict zones to enable future preservation or reconstruction. New forms of consumptions in heritage have emerged based on experience and participatory approaches which has led to a decline in traditional cultural activities and has raised issues on how to engage people. This has led to the emergence of new professional skills and innovative models to attract new audiences.

Heritage professionals have thus developed new tools to fit the new paradigms of the heritage world. The European Historic Houses Association, representing private owners of historic houses and gardens across Europe, is deeply committed to the preservation of traditional heritage professions, notably the craftsmanship, while promoting emerging heritage professions. We are involved in the preservation of Europeâ&#x20AC;&#x2122;s tangible and intangible heritage, ranging from movable and immovable heritage to traditional craftsmanship skills to cultural landscapes.

This is even truer for professions which are mostly located in the countryside, which usually lacks attractiveness for the young generations. Because numerous historic houses are located in remote areas, the European Historic Houses Association is particularly familiar with these issues. This challenge can be alleviated by an increased involvement of the young generation. Facing similar challenges, notably because the young generation can sometimes be reluctant to get involved in the care of historic houses, the European Historic Houses Association has created in 2014 a NextGeneration group aiming at gathering young owners of historic houses to exchange on best practices. The creation of platforms of exchange between the experienced professionals and the younger one is one of the solution to curb this lack of engagement. Specific trainings and capacitybuilding actions can also be envisioned, as well as awareness-raising campaigns to promote traditional heritage professions.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? There is a new for a reflection among heritage professionals, including emerging professions, on how to make people engage with their heritage, perhaps through voluntary programs. New management models also need to emerge. Specific trainings need to be delivered regarding the use of the new digital technologies, notably in the areas of the digitization of heritage and the management of online databases; enhancing visitor experience through the use of new technologies (augmented reality, use of cellphones etc.). Finally, trainings could be provided to improve the social media skills of the heritage professionals. Our Irish national association, the Irish Historic Houses Association has launched such training for the private owners of historic houses.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? There are several structured training structures for heritage professionals: ď&#x201A;ˇ ď&#x201A;ˇ ď&#x201A;ˇ

Professional training schools or structures (e.g. Ecole Boule, British Museum International Training Programme, among others) Training centers (e.g. ICOM-International Training Center, among others) Professional networks (e.g. Compagnons du devoir in France, among others).

There are also more ad hoc and punctual structures providing trainings to heritage professionals: professional platforms of exchange, Conferences, punctual training programs.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Following are a few examples of initiatives to enhance and develop capacity-building for cultural heritage professionals:  Strengthening apprenticeship at the European and national level, notably using European programmes such as Erasmus +  Develop punctual training sessions, Conference or workshops dedicated to issues facing heritage professionals  Increase the use of new technologies, and especially communication technologies (ICTs)  Develop user-friendly guides and guidelines to improve the transmission of information  Inspire from models such as the ‘Compagnons du devoir’, a group which exist in France and work to transmit highly specialized skills in several fields of activities.  Involving the local professionals and communities in caring for their heritage  Raising-awareness among the heritage sector but also among the general population on the importance of heritage  Develop synergies and efficient partnerships which can bolster innovative practices and exchange

EUROPEAN (ENCoRE)

NETWORK

CONSERVATION-RESTORATION

ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? The boundaries are not clearly defined as the understanding of heritage conservation may vary from stakeholder to stakeholder and profession to profession. For tangible heritage this will be due to the different approaches of taking into account either the mere appreciation of the obvious form and color or - as a base for this - the precious, irrevocable physical matter which allows a genuine glimpse into the past, a testimony of the roots of society. Seen in a wider context, only the understanding of the physical as well as the historical, spiritual, societal … factors enables to transmit heritage in as much an authentic form as possible to the coming generations. For intangible heritage another important factor and other considerations come in: a “still” of a process can be made, in the form of documentation. Nevertheless, when a living tradition is “frozen” by documentation, the process may eventually not go on and develop not any more as it did for a long time. Thus a living tradition would be turned into something similar to a museum situation. Digital heritage is quite different. Apart from the technical questions also here ethical considerations have to come in. The term “original” can relate only to hardware, as the contents are infinitely reproducible without any difference to the starting point. In contrast to tangible and intangible heritage the term “original” therefore does not apply to digital heritage, except if migration procedures (analog to digital or migration of compressed formats) take place. To be aware of all these notions is the precondition to take justified decisions and act within conservation and conservation-restoration, when being a “hands on “actor and stakeholder. “Traditional” heritage professions usually are not aware of this dimension as they focus mostly on the “crafts” aspect, on “hands on” work, whereas it is the task of the conservator-restorer – an “emerging” profession – to be aware of all these aspects. Nevertheless, a “traditional” profession might turn into an “emerging” profession when reviving old and forgotten crafts again.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Traditional crafts suffer from industrialization, which on the one hand helps enormously in everyday life and which has been offering ease in a never known dimension. On the other hand, traditional craftsmanship and techniques have been reduced in a way that in particular monument care is 35

limited more and more when it comes to reproduction of lost elements. Through the loss of this specific knowledge in addition some details of the heritage object may not be understood properly. Examples for tangible heritage: wall decoration techniques like stucco lustro, wood working and cabinet making, traditional plastering techniques, blacksmith techniques, guilding techniques etc. Sometimes traditional techniques are taught in specific courses by older practitioners who still know how to do it. Nevertheless, the interest in these course contents is not attractive for everybody within the crafts field, as this surplus qualification frequently cannot be used often enough to pay off the efforts; sometimes course certificates of a few employees are just used by larger building enterprises as a fig leaf to simply get commissions. Examples for intangible heritage: musical instrument making Examples for digital heritage: Question does not apply

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? If the preservation as well as the conservation-restoration of cultural heritage is taken serious the E.C.C.O. Professional Guidelines as well as the Competences for Access to the ConservationRestoration Profession point out in detail what is needed in terms of knowledge, skills and competences. In the last few decades the universities and educational institutions of recognized equivalent have developed the field enormously. For craftsmen there exist only few training possibilities, alas they seem presently being more and more reduced, also due to the increasing lack of candidates.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? The term “practitioner” is misunderstood quite often. In fact, it should be used denominating somebody who actively exerts a profession (e.g. medicine: general practitioner). Unfortunately conservation-restoration is often misunderstood as being something practical and more or less purely physical. In this context the first connotation is meant. Conservator-restorers: Many universities and educational institutions deliver fully trained professionals. ENCoRE (European Network for Conservation-Restoration Education) with 40 European member institutions is working on educational guidelines in order to standardize the educational process, putting emphasis on theoretical as well as on practical training. Research is an additional necessary issue in order to understand heritage better and to improve conservation procedures. Practice has to be delivered in a close association with theory, therefore it is necessary to deliver the practice part within the university context instead of “outsourcing” it. A sufficient amount of time for working on original material has to be provided, as the learning process needs a 36

certain length for being effective. The document â&#x20AC;&#x153;On Practice in Conservation-Restoration Educationâ&#x20AC;? agreed upon by the General Assembly of ENCoRE in March 2014 gives a detailed description of the process. The training of professional craftsmen largely lacks many skills needed in the heritage sector. Apart from a few courses teaching includes normally only the skills which are needed in modern life. More professionalization has to take place also on the side of the employers and commissioners, in terms of increasing awareness concerning the quality of the various heritage professionals.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? For the education of professional conservator-restorers the universities need more resources in terms of staff, as teaching and tutoring of practice with originals needs a low ratio teacher:students. Also scientific resources and possibilities to access them are lacking frequently. Furthermore, in some cases it will be necessary to change the legal framework, in order to allow for entrance exams which are necessary for ensuring that the candidates fulfill the requirements in terms of dexterity as well as mental aptitude. Traditional crafts should be furthered by installing specific courses, in particular also concerning vanishing knowledge and skills.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. The above statements reflect the work within ENCoRE as well as long personal experience in the field.

ENCATC – EUROPEAN NETWORK ON CULTURAL MANAGEMENT AND POLICY EDUCATION ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage* professions? The augmentation and enlargement of the heritage professions is important. This question is followed by another one: Are there any surveys on national or European level which are comparable? References in France: Marie-Cécile Bouju et Christian Hottin, « Au regard des métiers du patrimoine », In Situ [Online], 30 | 2016, launched on the 30th September 2016, consulted on the 04th may 2017. URL: http://insitu.revues.org/13749. This article primarily looks at the heritage professions and the training dedicated to the knowledge, the conservation and restoration of cultural heritage; the terms of “immaterial”, “intangible”, “manual”, “anthropology”, “digital”, “digitalization”, are not included.) Chiffres clés 2016 : Statistiques de la culture et de la communication. Paris : ministère de la Culture et de la Communication, DEPS, 2016. « Métiers du patrimoine en France : identités, formations, interrelations professionnelles au service du patrimoine, XIXe-XXIe siècles ». Colloque, Paris, 12-14 mai 2014. « Le tournant patrimonial. Mutations contemporaines des métiers du patrimoine » sous la direction de Claudie Voisenat et Christian Hottin, Paris, Éditions de la MSH, 2016 (collection « Cahiers d’ethnologie de la France, 29) Isabelle Mathieu : L’Action culturelle et ses métiers. Paris : PUF, 2011.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? What is called here: „traditional knowledge "? Are there references to skills and competences over the last centuries? Is the art sector included? This challenge is discussed within the European Cultural Heritage Strategy for the 21st century (Council of Europe 2017) and was a subject of Recommendation for actions and has been illustrated by an action plan: “The transmission of knowledge and skills involved in heritage trades is essential to ensure the preservation of the heritage, but it is fragile and can be lost in a generation, with retirements and company closures. In itself it is a constituent legacy of European culture and could be attractive to young people or people changing careers. Ensuring this transmission will also help secure sustainable jobs and activities which have a high heritage value which often have the potential for renewal.” 38

Different actions: training, studies, publications, seminars, events, etc.      

Institut français de restauration des oeuvres d’art (IFROA) Centre de formation des métiers du patrimoine (Belgique/Wallonie) La CAPEB (Professional organisation of building trade, France): Training programs relating to the culture of old buildings. Support for the creation of a professional A level in the field of cultural heritage. Procedures Guidelines, etc. European days of (European) art crafts Salon Denkmal à Leipzig (Germany) ; Salon international du patrimoine culturel, Paris « Le compagnonnage, réseau de transmission des savoirs et des identités par le métier » (France) UNESCO Intangible Cultural Heritage Lists, 2010. « Transmettre ! Savoir-faire, métiers d'art et patrimoine culturel immatériel » 5e colloque international du Centre français du patrimoine culturel immatériel, Vitré (France) 2016.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? To this day, this question - although very important - has not emerged as a priority within our network but we do not exclude it to be reintegrated in our future programs.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? The range is large and offers, often competitive, response to very different situations (positions, status, competences, employment framework, qualification).   

National or regional institutions attached to the Ministry in charge of heritage: INP (France); Centre de formation des métiers du patrimoine (Belgique/Wallonie university courses at several levels Training programs proposed by cultural and touristic organisations (network CAGEC, France, etc.), professional organisations (CEPEB, France), consular chambers (chamber of commerce and industry, France), etc.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? To answer this question you first have to take stock to develop a project for 2018 

Identify the necessary capacity of professionals taking part in the field of cultural heritage, in view of the evolving challenges, political objectives, technology, social supply and demand 39

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Identify and analyse the existing training at European level, in view of the development of the sector and the society Take into account resent studies and recent documents as well as the holistic vision which supports the approach to cultural heritage: For example: « Cultural Heritage counts for Europe » (Consortium CHCfE, 2015); European Cultural Heritage Strategy for the 21st century (Council of Europe 2017) etc. In light of recent studies, develop a prospective analysis which combine the viewpoints of professionals of cultural heritage and neighboring sectors (tourism, development, education, new technologies), as well as training professionals and researchers Link initial training and Life Long Learning

FFCR – FÉDÉRATION FRANÇAISE DES PROFESSIONNELS DE LA CONSERVATION-RESTAURATION ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? This refers to the definition between both “sectors” or to different ways of acting in the same sector, cultural heritage preservation. Traditional heritage professions are most of the time issued from the background of creation, production of objects whether these become heritage or not. They stand on material and practical knowledge and know-how generally transmitted through family or enterprise secret of studio, long apprenticeship, and use of ancestral natural material and equipment; Problem is that these technics and way of production and the goods produced are not always commercially viable and public is not always inclined to buy such traditional production. Commercially restricted transmission, based on a venerable experience constitutes a intangible heritage in itself, which should be acknowledged, recorded and transmitted at a larger scale, to understand the technical implication of production and construction traditional techniques and potentialities for making, updating and reinventing with design of new objects. But his venerable knowledge and deriving skills, are sometimes considered compatibles with repair or maintenance of aged and altered material, when objects come to be identified as Cultural heritage matter. In these type of intervention, initial usage of functionality is practically the main value chosen to be highlighted or transmitted. The potential problem is that this maintenance, repair and renovation or replacement at identical, are considered in the blur category of restoration interventions, when in most cases they contradicts the principle of modern conservation of heritage to respect significance which can be summarized as the combination of all values. These traditional practices can then become “offensive” to some heritage objects, their authenticity, as the reversibility of these inadequately called “restoration” actions is unreachable. Using the same as initial materials, the same “genuine” technic, makes impossible to differentiate the real authentic and historic parts from the renovated, replaced, patinated, renewed restored parts. This kind of renewing renovating/restoration do not correspond to a modern ethic of conservation, respecting authenticity and inherent values deriving from it. The heritage treated in this “traditional” way shall weaken or change radically not only the appearance, but most of the historical and cultural values, e.g. significance of cultural heritage, if not taking in consideration :    

The examination and analysing procedures of Cultural heritage Items and all the documentation deriving from it. Assessment and understanding of values and significance that must be preserved/enhanced. The knowledge of conservation products, evaluated for their stability and compatibility with heritage objects and understanding of the relativity of reversibility of actions and materials. The ethical rules set in heritage world (international Charters, Council of Europe recommendations, national legislations on heritage…) to respect significance and enhance the values of heritage objects and their transmission to Public. 41

Emerging profession are the ones that deal with assessing the materials, their behaviour, their ageing as cultural heritage and ways to re-acting, if object is or could be at risks in present or future. This comprehend the understanding of values, technic and history and prognostic of what will happen if acting or not and how. This is also why action can be preceded by measures onto the environment which must be monitored and as much as possible kept under control. This humanistic and hard science knowledges, make the conservation-restoration methodology specific. The embedded ethic of enhancing and respecting significance have emerged between World war I and II in international committees thinking of Culture and heritage. It led to creation of new profession deriving from so called traditional “Art crafts”. Restoration became conservationrestoration. Relying on multi-angle approach of existing objects (never creating new item), they generally rely on a evolving corpus of knowledge on material, their ageing and their historical use, the competences to permanently assess and preserve values and significance of cultural heritage and the skills to do it safely and precisely. For larger scale or complex gathering of different material object, such as in immovable or monuments, some multidisciplinary competences can be requested and need to be managed altogether to obtain a coherent result and long lasting, without arm to the heritage. This management is part of these emerging activities and must also be taken into account in conservation-restoration skills.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? The traditional knowledge was transmitted through secret of studio or family and/or commercial filiation which implied that it was difficult to have transparency and further dissemination to transmit and conserve it. Secret is not compatible with applying the traditional technic to heritage objects. This resulted in weaknesses or losses in these competences and original knowledge, knowhow oriented on creation. Furthermore the lack of academic education in this transmission alters the quality of update of this historical knowledge. Contradictorily the transmission of practical skills and empiric knowledge attached to traditional practices require studio work and practical stages of learning. But focusing mainly on the transmission of hands-on work, may imply weaknesses in scientific approaches and ethical behavior which supposes a more academic or very much designed pedagogy for a balanced initial education and a “filling the gaps” Continuous professional development. Examples; 4 different types of school in conservation-restoration exist in France, one under Ministry of Culture, one at University, 2 Others in school of fine Arts which represent 3 different approaches, but leads to professionals able to work together and with other professionals in the field, curators, registrar, and for specific tasks art crafts professional with a shared and sharp sense of responsibility.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? Additional to the scientific knowledge on materials, behavior and ageing, are humanistic knowledge on history, history of technics, of Art, and anthropolical approach of heritage, but should also be the inclusion of digital thinking and technology; Generation of data, documentation and management of data bases. Imaging technics and Three dimension revolution and the digital generalisation may lead to confusion between documenting and/or reproducing facilities and conservation practices and ethical objectives. This needs to be identified and the differences between approach of duplicating and preserving must be stated and disseminated.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? In most European countries, activity is not legally defined nor profession is recognized by law or any regulation, although the higher education network providing skills, knowledge and competences at EQF level 7 and the immense responsibilities toward cultural heritage and Society. A lot of European countries rely on cultural heritage laws to identify criteria or professionals acting in the sector, not always identifying the differences between traditional and emerging practices, considering the scientific control on decisions and fundings granted ahead of intervention, or control of outcomes after treatments, are strong enough to properly and safely preserve cultural heritage. This may lead in losses and destructions, done with the intend of saving, and respect, because of ignorance, or not informed enough decisions and actions. The recognition of competences could be made on basis of diplomas (most of them master degrees, or EQF level 7, possibly confirmed and supported by national or European professional bodies. Universities or specialised higher education school are certified to validate CPD updating and past experience in some field where they deliver diplomas. This may help experimented professionals to move from traditional sector to emerging after validation of experience and possible compensatory measures to acquire missing qualification, as it does exist in France. For Free-lance professionals, statutes vary between art craft professional (Artisan rather traditional) to liberal profession (rather emerging). There is a very limited amount (at least in France) of employees in occupational sector and it is true that, at the moment, highly educated persons rarely find position or employment when they donâ&#x20AC;&#x2122;t engage in free-lance activity. The tendency to generalise public tendering system interacts in the way that it complicates or minimizes dialog around the object needs and options for conservation-restoration actions and makes difficult the sharing of information. The context of non-paid competitions between free-lance professionals and bigger companies judged by administrative or public servant/non practicing professionals makes more difficult to understand what is a â&#x20AC;&#x153;best offerâ&#x20AC;?, when cost only driven choices may impact values and generate loss of significance of heritage. The development of larger enterprises in the field may reduce the costs, but division of work reduces individual responsibilities toward the object. This may harm heritage and alerts small and very small enterprises, with a better individual qualification but a reduced capacity to front unpaid professional acts such as examination, 43

diagnosis, complex conservation assessments and planning, exactly as if doctors were only paid when the ill patient accepts the prescription… The public dimension of cultural heritage work may justify a specific measure to consider any professional advice or assessment ahead or after acting on objects.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? 

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Clearer regulation or recognition of methodology, duties and responsibilities of the activity and of the professionals required to conserve and preserve cultural heritage and allow its better presentation/ transmission to the public. This shall take into account the ethic and personal engagement with deontology toward Society and cultural heritage, and the will to share and protect heritage with public for better local development. The recognition of well educated professionals and their implication in local development could help to increase employment of less qualified persons working locally and for sustainable purpose of preserve and enhance local heritage. Improve CPD possibilities and initial schools to embraces all sectors where tradition knowledge could be conserved, transmitted and updated, orienting the professionals toward traditional exercise of creation or scientifically informed activity of conservationrestoration, but properly identifying the differences between these two ways of acting and working for heritage development or preservation. This may include knowledge of new material and digital world change and control tools for both parts of the activities in Cultural heritage Sector. Provide better research funding to allow development of procedures of treatment, testing of new and ancient materials, and adaptation of digital tools and data management and storage. Allow research on digital imaging for conservation and follow up of conditions of art and heritage works. Allows e-learning for access at material and historical knowledge for all stake holders, public and private, beside the consideration of these as intangible heritage. Create a European database on cultural heritage with information on material techniques, material and their ageing, and possibly information on the condition of listed heritage and inform public on tourism interesting sites and works.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. Consultation of committee members of my organization and references to former written texts (CEROART on line, FFCR.fr, ECCO.org, also with contacts with French ministry of culture (department of cultural heritage, CEN terminology personal involvement) And various professional contacts in cultural sector noticeably, (CIPAC) Contemporary Art professional organisations congress in France. 44

FUNDATIA TRANSILVANIA TRUST ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? “Traditional” and “emerging” heritage professions should be rather linked than limited from each other by boundaries. A high number of traditional heritage professions can use emerging technologies. Examples: a carpenter doing traditional joints may use modern equipment but similarly can use traditional tools as well, or may combine their use. Emerging technologies can result in new opportunities in heritage professions: 3D scanning – to capture the deformed shapes much easier than traditionally or with topography, etc., dendrochronology can help in determining the construction periods of various construction, etc.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Unfortunately in Romania the training in the heritage sector is very limited. At the level of craftsmen, there is no training in our professional schools related to heritage, and the classic apprenticeship is not working either. There are just a few craftsmen who know the traditional techniques, and they do not have a platform to teach the necessary number of professionals. At University level some training is provided, but more on the theoretical side, and less on the practical side. Students are not taught “how” to use their knowledge in the field. Also, there is no training at all regarding the co-operation needed between the different professions that are involved in the protection of heritage. The ethos behind the training is still the 1960’s restoration philosophy, which has caused great problems and decay for our heritage. The cultural sector has answered, but in a limited way, the challenge: NGO’s offer training modules for university students and craftsmen, also an International Built Heritage Conservation Training centre has been established by the Transylvania Trust in 2005. The state does not offer much support at all for the work of these NGOs.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? Unfortunately, in Romania we are still living in a printed paper stage, although students are taught how to do research online, the digitization is in very early stages. The online archives are very limited, and not standardized. On the other hand, art historians, archaeologists are not taught how to use, or how to benefit from the digital technologies. The Transylvania Trust provides training 45

based on case studies, where all the involved professions in the restoration of a historic building work together on a case, using modern technology.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? The craftsmen graduating from the professional schools have no knowledge of traditional techniques. For them, the tuition of traditional skills is happening within 2-3 open air museums, but the training is not structured at all. Also, 2-3 NGOâ&#x20AC;&#x2122;s offer training, and the International Built Heritage Conservation Training Centre, run also by an NGO, the Transylvania Trust. Here 2 week long training modules are organized, for craftsmen, university students, and postgraduate students. There the Universities who deliver training in all heritage related subjects, but as stated before, the practical training is very limited. There is a postgrad course in historic building conservation in Cluj, at the Babes-Bolyai University, and plenty of postgrad courses in the heritage related subjects, all theoretical.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? First of all, heritage should be considered as a major asset to deliver local and regional development. If that is the case, it would become very clear, that we need to protect and revitalize the heritage, which would result in funds to be allocated for the sector. This will create the need for professionals who know how to record, restore and how to maintain the heritage (of course different approach is needed for the tangible, and the intangible heritage). There are the following possible strands: Use the knowledge already existing in some member states, on how to use the heritage for the benefit of society. This would lead to creating the need to record, restore and revitalize the heritage, and the need to have heritage professionals to deal with the problem. To train the trainers â&#x20AC;&#x201C; offer European co-operation on transfer of best practices, who are able to train heritage professionals in practical fields, which includes not only traditional skills, but also the use of new technology, in real life situation. Also, create networks of heritage professionals, to share their knowledge on new technologies in the field.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. The questions were sent to the networks of professionals in the field, also to leading museums and universities. The information provided above is also gathered through the 20 years of professional life, spent in the non-governmental sector, at university and also in central government.

ICCROM ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? Definitions are needed: “traditional” in the sense of “standard” i.e. more limited Western-based notion of heritage professional as per art historian, archaeologist, museum professional or architectural historian profiles, or in the sense of “vernacular” – crafts based on traditional knowledge systems (mud/adobe, stone/brick masonry, textiles etc.), bound with traditional values or world view, as per the community based Living Heritage approach. “Emerging” also requires definition, as the new professions are adapted to the heritage they care for, which may be emerging based on a variety of criteria – “disregarded heritage” (ephemera or “junk” only recently recognized to have heritage value – e.g. trash novels, baseball cards, graffiti); “reinvented heritage” (conventional heritage made with modern materials, i.e. rubber/plastic, mixed-media sculptures, video installations); “new heritage” supported with new technologies (i.e. sounds and images on many formats, television/radio recordings on magnetic tape or digital carriers); or “new uses” (i.e. industrial heritage, street art, adaptive use of old buildings). Where copies are the norm, notions of authenticity are difficult to interpret, resulting in practical complications (i.e. restore the carrier or the content?). “Emerging” also identifies new professional activities for the heritage sector globally. Many interdisciplinary, multi-disciplinary or cross-disciplinary roles, as opposed to specific restoration skills, involve administration or management, communications (both media and crossstakeholder), community engagement, policy development, legal and police protection, risk management, documentation and other developing needs.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Again, “traditional” must be defined. If it means “standard”, a first challenge is a weakness in longterm planning by cultural administrators to ensure institutional memory/succession planning for practitioners about to retire, as extreme specialization can lead to fragmentation and working in silos. Systems which once prepared artisanal practitioners are giving way to professional university conservation degrees focusing on administration/management skills, with erosion of craft-based and technical restoration skills. Time commitment for degrees has reduced due to cost pressures and financial commitments (and even at ICCROM for short-term courses – previously 6 months, now 3 weeks). In these cases, curricula focusing on critical thinking and soft skills, mentoring, paid internships, grant-based international experiences (with language learning) and project placements have helped provide face-to-face opportunities for skills acquisition. If traditional means “vernacular”, a central challenge is the erosion (due to inroads of globalization and consumer society) of traditional knowledge systems that fostered craft skills that gave rise to material heritage manifestations, i.e. temples, mosques, palaces, shrines. Clan, tribal or faith-based systems may have weakened due to modern pressures including new economies and need for livelihood – a (necessary) choice away from traditional trades can weaken the craft skills market. Multiinstitutional partnership has helped bridge this gap. ICCROM’s regional programmes have 48

strengthened local skills and problem solving, community resilience and confidence in managing heritage for local institutions, often community focused, and have advocated a return to traditional maintenance practices, as opposed to heavy restorations. Where national administrations caring for unique yet endangered cultural treasures have partnered with well-funded and high-skills NGOs, IGOs or trusts such as AKTC, Getty or WMF, positive conservation projects have resulted also in the rediscovery or strengthening of traditional craft skills and improvement of restoration or maintenance delivery processes.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? Given the complexities of modern challenges facing heritage, its stewards must develop new skills in order to remain effective and relevant. Conservation sector professionals all face the challenge of diversifying skill sets and embracing multiple roles. In this new professional reality, IT/ICT and engineering skills, research and writing skills, documentation skills (including capture, data storage and archiving on stable platforms), curation/preservation of digital objects or knowledge resources (scanning, metadata management, digital conversion, forward migration planning), risk management/preparedness methodologies, communication/media outreach for awareness and promotion, community engagement and design of crowdsourcing initiatives represent hugely relevant developments impacting the heritage sector. Training options for those entering the heritage sector, and continuing education for those already employed, becomes a priority. Flexibility and adaptability must become the sector norm. ICCROMâ&#x20AC;&#x2122;s focus on knowledge exchange and acquisition (as opposed to transfer) empowers the practitioner, inspiring leadership, conferring confidence and self-agency in obtaining and sharing skills and know-how needed for future optimization of conservation projects and careers. ICCROMâ&#x20AC;&#x2122;s focus on training the trainers, setting up mechanisms whereby participants further communicate methodologies into their national realities, is also intended to extend broadly the reach of new knowledge and skills.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? Professionalization vectors include: University degrees in conservation (i.e. UCL); recognized accreditation policies for job search purposes; national definitions and recognition of restorer roles, national boards, guidelines, codes of conduct, codes of ethics; state schools and heritage administrations (ISCR, INP, IRPA, CCI etc.); private schools, craft schools and conservation centres (NEDCC); internship or international job placement programmes; professional membership associations (ECCO, ENCoRE, ICOM-CC, IIC and its national committees, ICON etc., along with wider institutions such as ICOM, ICOMOS, IFLA, ICA, etc.), some with accreditation schemes. Scarce jobs for young heritage professionals weaken the sectorâ&#x20AC;&#x2122;s professionalization. Strengthening the heritage job market and ensuring employment options will contribute to professional practitioner delivery by ensuring expectation of gainful employment. Sector professionalization is also strengthened through partnerships and strategies that develop cohorts and informal networks.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Todayâ&#x20AC;&#x2122;s heritage practitioners need an ever wider range of interdisciplinary skills to function effectively. Heritage professionals must understand the science behind conservation measures, develop project management/planning skills, negotiate and advocate positively with politicians, legislators, urban planners and the emergency/humanitarian sectors, and skills in communications and promotion towards stakeholders on all levels. Challenges are training/professional development for experience in all facets, access to updated manuals and easily obtained literature to inform projects, plans, policies and strategies. Conservators, individually and as part of wider institutional or informal community platforms, must reliably perform functions, solve problems and obtain objectives for heritage conservation in support of sustainability and stable societies. In addition to vectors noted above, partnerships between universities and training organizations in bilateral cooperation with heritage institutions, NGOs, IGOs and Trusts have helped provide conservation professionals with appropriately complex capacity-building opportunities for obtaining experience and accessing/developing/contributing to professional networks.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. 1. 2. 3. 4.

Sharing of the questionnaire with professional programme staff at ICCROM Review of written replies received Informal conversations and other inputs (PPT) from programme staff Literature search and review of published scholarly output of programme staff

ICOMOS – INTERNATIONAL COUNCIL ON MONUMENTS AND SITES ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? Role Profiles for the “traditional “established players (e.g. architects, engineers ,archaeologists conservators etc. ) are relatively well defined in the ICOMOS Colombo guidelines. Role Profiles may still need to be established/recognised for the “emerging “heritage practitioners (sociologists, planners, geographers, geo-surveyors, building technologists etc.) to meet the conservation challenges of the 21st century

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? A lack of understanding of conservation principles and the significant contribution which heritage practitioners can make to the European cultural, social and economic development. Promotion of successful case studies can advance the cause

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? The ‘’ Capacity Building ‘’ initiative being undertaken by ICOMOS aims to facilitate the development of role profiles for the sector

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? Registration of sectoral practitioners is being actively pursued

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Europe’s Heritage sectoral needs should be realistically assessed and resourced 51

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. IC0MOS and ICCROM actively consider and research these issues and recommend that national ICOMOS Education and Training Committees regularly review their home provisions.

INSTITUT NATIONAL DE L’AUDIOVISUEL ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? Concerning Audiovisual Heritage, traditional professions are still rather new. The traditional professions deal with collection, preservation, physical storage, description, communication of heritage… The emerging professions have something to do with digital and data. The new assignments of audiovisual archive managers include digitization, digital media management, digital ingest, automatic description and indexing, collections enhancement on the web with new devices and possibilities according to social practices (virtual reality or collaborative projects, for instance), or open data… Some skills remain common to both traditional and emerging professions, like rights management or information structuring. Boundaries are thin and unsettled.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? The generational change is a big challenge: traditional “technical” knowledge as well as collections knowledge must be transmitted to younger teams. The history of collections management and heritage institutions must not be lost. At the same time, elder people must upgrade their skill to match with present realities. Examples :   

implementation of an anticipated qualification management collection of testimonies and production of knowledge tools to keep records of what have been done before. Development of tutoring systems and sandwich courses to facilitate the handover.

Another challenge is the economic crisis leading organizations to give way to other priorities. Heritage (and transmission of knowledge related to it) comes after, or even last, even when it is in major risk. Examples :  

demonstrate that heritage can also be a profit center and yield profit to organizations, countries, local authorities, companies, administration... (cultural profit, social profit, citizenship profit, brand image…). Develop digital learning to reduce training costs.

Digitization (technical and methodological skills) Digital management of archive (technical knowledge) as digitization doesn’t solve the problem of long term preservation  Media asset management systems  Data models  Rights management  Enhancement of collections on the Web: tools, user’s habits and needs, technical skills, specific writing skills…  Open data  Semantic web  New uses and how keeping the audience (online or on the premises), user experience … We shouldn’t forget “traditional” skills which are still relevant, even if they – sometimes – need adaptation: carriers preservation and restoration, data structuration, indexing, technology watch, needs analysis of users… And, last but not least, heritage professional should have and develop relevant “soft skills”, which will allow them to adapt to the ever faster changes we live (reflexivity is the main thing). As organizations and countries are not at the same level on the subject of their heritage management, mixing traditional and emerging skills is essential.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector?       

Fewer professionals qualified “on the job”, more graduate professionals (or recognition of “on the job” skills by certification). Creation of dedicated curricula for students (young, if possible with sandwich courses. Ina has its own school, where teachers are often professionals. In service training, leading to certification, is also relevant for field staffs. Recognition of professionals is really linked to heritage recognition. Ina offers training courses and certifications for professional practitioners and people wishing to move into these jobs. Shared skills maps or skills reference tables should be elaborated and serve as reference for training.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? See above 54

INTERNATIONAL COUNCIL OF MUSEUMS (ICOM) ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? In museums, the “traditional” professions relate to the traditional museum functions, which are conservation, research, exhibition and acquisition of collections. As such, conservators, researchers, documentarists, security personnel and directors constitute the “historical” professions that can be found in museums. In small museums, due to limited staff resources, the director and the conservator have a wider set of responsibilities and tasks to perform. Over the last years, new museum professions have emerged due to three major trends. The first one is, of course, the digital shift, which brought digital and IT experts into museum staff. They are the ones who enable museums to digitise their collections and documentation, and to develop their online services. The second major change which has affected museums is the dramatic expansion of services museums are expected to provide to their visitors and communities, who are now given as much importance as the collections. Consequently, museums now offer a much wider range of educational activities and programmes for all publics including those with special needs. Museums have also become more open to their surrounding communities and territories, and they are increasingly developing multidisciplinary partnerships. These new activities require experts in education but also community managers and development managers. Last, but not least, as museums are more and more expected to generate income and attract new publics, they now need to have highly-skilled managers, fundraisers, communication experts and marketers.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Museums safeguard and transmit traditional knowledge by featuring them in their exhibitions and cultural programming, not necessarily being aware that they are contributing to promoting good practice in protecting and promoting intangible cultural heritage. Even if these activities are mainly carried out in history museums and in museums primarily dealing with arts and crafts such as ecomuseums, the question of protecting and promoting intangible heritage has become increasingly addressed by all types of museums. Many of the good practices in regards to the 2003 UNESCO Convention intangible heritage are actually linked to museum practice, as museums now tend to work more closely with living practitioners and artists.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? Many skills have become needed in museums because of the digital shift: use of collection databases, digitization of collections, management of digital documentation, use of online communication tools, etc. Unfortunately this knowledge is still insufficiently taught in classic museums studies. As a consequence, museum staff often learn by doing. Business-oriented skills trainings are also still lacking in traditional museum studies: management, fundraising, development, marketing, etc. Museum staff aiming to fill those positions may either have a classic training that they completed with another more business-oriented Master's degree. Alternatively, museums hire experts from other sectors, who learn how to adapt their practises to the specificities of the museum field and learn about museums while in the job.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? In Europe, museum staff often has a very high level of education, and as such the museum sector is highly trained and professionalised, especially regarding traditional museum skills such as collections management and conservation. There is a large academic offer of quality initial studies for young students, however the situation is more complex regarding long-life learning for professionals. There are much fewer trainings designed for practicing museum staff. They are generally provided by national and international professional museums associations and, more recently and occasionally, by very large museums. Universities also can offer trainings for professionals, but they are not so common and generally demanding as far as investment of time, which can require the staff to temporarily leave their position for a long period of time. Sometimes that is a challenge in most understaffed museum institutions. More generally speaking, there is a global lack of specific professional trainings for technical skills (exhibition, conservation), digital skills, social communication and management adapted to museum professionals.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? First, museums and universities providing museum studies should discuss and cooperate more closely in order to better understand each other’s needs and possibilities. E-learning still need to be embraced by the museum sector: today, very few online courses are dedicated to museum skills. As museum staff is expected to perform ever more diverse tasks, they have less time to dedicate to learning and to receiving trainings. In order to adapt to this new situation, training providers should develop more flexible, customized short trainings. Non-formal learning could also be developed: paradoxically, museums “engage [visitors] in formal and non-formal education and lifelong learning” for the benefit of their audience (cf. Recommendation concerning the Protection and Promotion of Museums and Collections, their Diversity and their Role in Society, UNESCO, 2015) but museum staff doesn’t necessarily have access to this type of non-formal learning. 56

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. The information provided in this form are based on the publications of our museum network, and on the information collected in our everyday work that we carry out in collaboration with museums from all over Europe. Due to the short delay for responding to this survey, we were not able to formally consult our network more specifically, but if we are given more time we would be pleased to do so.

NEMO – THE NETWORK OF EUROPEAN MUSEUM ORGANISATIONS ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? There are professions which are more clearly embedded in the “tangible” (all the restoration and conservation professional profiles). For the others, the boundaries between “tangible” and “intangible” are more blurred. Heritage is increasingly considered not only for its material or cultural value, but also for its symbolic value or as a developable resource for the individual, for local economies and community empowerment. The intangible side of tangible heritage is embedded in the narrative which is developed both by cultural institutions and increasingly by visitors themselves. There is no doubt that storytelling and the development of good and engaging stories is a current trend. Heritage is also increasingly made available digitally and this creates a new - and to a certain extent a different - audience. The shift from visitors to users is clear and this also has repercussions on the professions.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? The transmission of knowledge is no longer only or exclusively the transmission of hard facts and figures. The involvement of the public is essential. There is an ongoing discussion on participatory approaches and many good practices are available, in museums for example, which give evidence of the co-creation of exhibitions, of multiple interpretations of objects, of the inclusion of new voices and multiple perspectives in a commendable effort to democratize cultural institutions and cede authority. A visitor centred approach leads inevitably to two consequences: a) Each person is different and the museum should try to address each one individually b) A person is an individual with a mind and a soul and therefore the emotional aspects should also be taken into account An example of a) is the use of Kolb’s learning theory (the 4 different types of learners) in Dutch museums for many years now (and also in other museums, see the British Galleries at the V&A, London), which has led to widening and diversifying the offer and in staging exhibitions which can meet the expectations and reflect the characteristics of different individuals. An example of b) is the 3 days training course called “Emotional museums” offered 3 times in Florence in the last 18 months, always sold out, which also showed how technologies can be used to support an emotional approach in the museum. Along the same lines, interesting the website on the empathetic museum http://empatheticmuseum.weebly.com which uses these words to describe a museum of the 21st century: Visitor-centered. Civic-minded. Diverse. Inclusive. Welcoming. Responsive. Participatory. 58

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? What the sector needs is a good mix of competences, ranging from specific disciplines (art history, archaeology, etc.) to digital communication, from online marketing to cultural management and information technology. Even more important for the professional is to be able to work “interdisciplinary”, i.e. mixing and collaborating with different professionals who mutually exchange their expertise. The profiles needed should be able to combine tradition and innovation, curatorial skills and new digital ones. The digital skills essential to address the current changes are related to communication, big data analysis, content production and user experience. Soft skills are also very important and needed to establish link with other sectors, develop partnerships, but also to facilitate participation and engage audiences. So, just to provide a list of skills needed: Leadership, Teamwork, Strategic planning and thinking, Change management, Communication skills (how simplify the language used to meet the audience), Storytelling , Audience Development, Users’ needs analysis, Data analytics, Copyright, How to manage and collect “digital born” materials, Info technology trends. The sector is addressing these needs via short courses, often developed as a result of EU funded projects (i.e. Audience development courses by Fitzcarraldo, Copyright and other digital courses by Michael Association, Digital Storytelling by Meltingpro, etc.). Free webinars have also been offered by NEMO in the last 2 years on the use of technology in museums, on the “emotional” design of exhibitions, etc.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? Professional practitioners in the heritage sector are traditionally educated at Universities or Higher Education Institutions and end their studies usually with a good theoretical background, but very little or no experience and no understanding of how a cultural organization works. The real profession is learned “on the job” and short training courses are offered at national level in a lifelong-learning perspective, for instance by the National Museum Associations, where they exist, or by private organisations. There is a need of a permanent and continuous offer of training via short courses, also online, MOOCs, webinars, etc. to keep up with changes and challenges in the profession. It would be good if these were publicly funded and available for free.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Networking is essential at European, but also at national and local level. Peer learning via study visits, placements and short exchanges is very important for the exchange of good practices, but also to learn from successes and failures of others. Soft skills are best acquired through job shadowing, coaching and mentoring. However, I would personally encourage the development of a good offer of short modules available also online and for free. 59

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. The information is gathered from professional experience and discussions with colleagues, in particular, as far as digital skills, with the partners of the EU funded project Mu.SA http://www.project-musa.eu/ which is undertaking a research on mapping the professional needs and training provisions aimed at identifying gaps in digital and transferable skills and competences in the museum sector in Italy, Portugal and Greece. The results will inform the building of training path (MOOC, e-learning and face to face) to overcome mismatching between the job market and professional needs. The emerging job profiles will be aligned according EQF and the e-Competence Framework. Although the results will be available by the end of May 2017 the preliminary research tells us that is very important to encourage a â&#x20AC;&#x153;Digital culture awarenessâ&#x20AC;? among museum professionals regardless the size, the resources, the dimension of the museum. The aim should be to understand what are the potentialities and possibility of the digital to reach and engage and better manage the relationship with audiences.

INTERPRET EUROPE ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? Interpret Europe’s mission is to serve all who use first-hand experiences to give heritage a deeper meaning. From IE’s standpoint, “traditional” professions would be those that present heritage mainly by using facts that support an expert point of view, whereas “emerging” professions are those that include the values of respect, empowerment, facilitation and participation, etc. as learning principles. Our overriding aim is to encourage citizens to interpret their heritage in this way, whether it tangible or intangible and regardless of face-to-face or media-based approaches (such as digital means) are used. Our trends analysis, published in 2016, and our training and certification plans relate to this.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? a. b. Policies are no longer limited to conserving heritage, but increasingly highlight its significance, or meaning (e.g. in terms of a shared European identity and memory) and recognise its function (e.g. in terms of tourism, town planning, and economic impact) c. Policies give greater recognition to the importance of people and heritage communities in creating heritage, calling for them to be actively involved, from identifying heritage, through designation to its day-to-day management. This is especially important in the context of increasing diversity and multicultural societies, though, for example, immigration. Examples of addressing these challenges:  

 

Heritage interpretation uses universal concepts to connect with all audiences, no matter where they come from or what their cultural background is. Heritage interpretation encourages citizens to give meaning to heritage. To do so, the interpreter needs to go beyond the traditional fact-based presentation towards something that reveals its instrumental and intangible values in a way that will resonate to the audience. Our training and certification plans include UNESCO principles highlighting learning for sustainability, such as experiential learning outside the classroom, values education, enquiry learning, storytelling, future problem solving, and community problem solving. Our course for interpretive hosts is designed specifically for people who live in communities with rich heritage and offers them the means of communicating their heritage to visitors, by using an interpretive approach.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? A heritage interpreter is a “facilitator” and not an “instructor”. Skills are related to “detecting” the audience’s interests and background, and changing the emphasis from a heritage-centred presentation towards communication that focuses more on the relationship between citizens and heritage. These are precisely the skills acquired in our courses, such as our course for interpretive guides (CIG).

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? 1. 2. Several universities in Europe provide degree courses in heritage interpretation. Interpret Europe has an own research team dedicated to this field. 3. Interpret Europe focuses on communicating heritage through first-hand experience. It is developing its own vocational training and certification programme to ensure that employees at heritage sites and facilities benefit from contemporary learning and teaching approaches. 4. Participants in public events are invited to discuss and to develop the elements of this programme. 5. Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? It would be helpful for them:    

To “step into the shoes” of their audience, and increase their empathy for their needs To prepare experiences that involve the hand, head and heart of the audience To be able to work with the local community and share their stories To consider, and be able to present, natural and cultural heritage as one (or at least, closely related to one another) in order to meet sustainable development requirements

We propose hands-on workshops for individuals from “traditional” professions to further develop their skills and abilities, whereby European heritage organisations should focus on fields in which they are best qualified and create synergies for the good of all.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. My answers were based on the research “European trends and developments affecting heritage interpretation”, a joint-research exercise conducted by Interpret Europe members, published in March 2016. Comments by IE’s Managing Director and members of IE’s Training Team were also taken into consideration when writing this final paper

KULTUR UND ARBEIT E.V. â&#x20AC;&#x201C; ASSOCIATION CULTURE & WORK ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? European heritage conservation bodies need well-qualified conservators, restorers, art historians, building historians and architects. They also need input and expertise e.g. from chemists, microbiologists, energy efficiency experts or material specialists. What they are going to need in the future are persons not necessarily trained in only one profession, but with cross sector and interdisciplinary expertise and with professional skills for bringing different domains of knowledge together in a respectful way.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? The most obvious challenge is that the transmission of traditional knowledge in conservation, restoration, art and building history for the heritage sector is not any more enough to cope with the challenges of the future â&#x20AC;&#x201C; complex interdisciplinary skill sets are needed for conservation activities. The second obvious challenge is the need for continuous interdisciplinary training. The third obvious challenge is the need for digital knowledge including access to data banks. This development is reflected for quite some time in the market needs e.g. jn profiles requested in job advertisements. Traditional knowledge in heritage preservation seems to get less important in job profiles as job advertisements include much more skills than what e.g. a conservator might have gained in her/his education. S/he is also requested to have digital knowledge, teaming skills, communication skills, networking skills, language skills and more. The requirements get more complex and traditional skills are only a part of an ambitious skills set.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? ACW has implemented some 20 national and European-oriented research and application projects since 2006. From this, a profile of skills derives, which does not necessarily corresponds to the skills of the majority of German culture managers. Additionally, ACW operates an employment platform for cultural workers on Facebook, which provides data on skills and job requirements in the sector. According to these experiences ACW identified seven essential skills which are the basics for emerging professions in heritage preservation: 64

1. Well-based methodological and applied knowledge in heritage conservation 2. Management skills for bringing very different expertise and mind-sets together at one table and balancing partly reluctant interests 3. Cross-sectoral knowledge on interfaces between sectors (e.g. on conservation & energy efficiency) 4. communication skills for working in interdisciplinary and multicultural teams (language knowledge, intercultural knowledge and sensitivity) and with citizens’ initiatives 5. knowledge in innovative information and communication technologies, which does not mean operating a personal computer, but how to use technologies e.g. on mobile devices 6. entrepreneurial and business economics (specifically for self-employed people) 7. media knowledge including efficient social media use. There are new professions rising from these requirements, e.g. successful preservation projects will need managers, which bring different skills and interests together at one table and organise that many different opinions are considered. According to our experiences, these needs have not sufficiently been faced by the cultural sector so far. We know quite clearly what kind of skills the heritage market will need in the future, but we had to recognize that graduates from heritage conservation degree programs do not offer these skills after their bachelor or master degrees sufficiently. We have to educate them intensively by “training on the job” in order to feed the market with the needed skills.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? Overall, our universities offer high-class education including practical experiences in the training of restorers and conservators. Internships and scholarships on national, European and International level are available. However, most of these training offers stick to curricula focused on subareas (stone conservation, restoration of canvas) rather than cross-sectoral training.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals?      

Awareness raising activities for the market needs as well as for the social values of heritage preservation in general Entrepreneurial skills Skills to balance the interests of monument conservation bodies and citizens Social skills to lead or contribute to interdisciplinary teams Training in innovative digital technologies beyond the heritage conservation disciplines Role models / participatory opportunities for young people including migrants and refugees

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. The information provided above was gained by the following sources: 



Association Culture & Work (ACW) operates a Facebook site where jobs and qualification opportunities are published online: https://www.facebook.com/Vertikult/ . Online job advertisements are a valuable source of information for gathering data and knowledge about the skills required in different jobs. The skills include types of knowledge, abilities, behaviours and work activities. The data is analyzed every six months. ACW implemented in 2016 a survey on training needs for cultural tourism in rural areas in the ERASMUS+ - project EUROPETOUR - Vocational Training in Cultural Tourism for European Heritage www.europetour.tips . Part of the survey included questions on skills needed for European Heritage preservation. The outcome gives valuable information on training needs also for the heritage sector. ACW is active in developing trainings schemes specifically for young people, migrants and refugees to raise their interest and inclusion in cultural heritage and its preservation. At the time being we support the state of Rhineland-Palatinate in the development of a so-called “Jugendbauhütte”, which is a work programme for young people aged 18 – 30. Young Europeans will be invited to work together in cultural heritage preservation projects. ACW members and our board include persons with relevant expertise. They were consulted for answering the questions.

POLITECNICO DI MILANO ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? It is very difficult to define the boundaries of "traditional" and "emerging" heritage professions, if we may say that they exist at all. Most of emerging heritage professions have evolved out from traditional ones and links among them are very strong. Nevertheless, there is a clear need to identify elements that are defining "emerging" heritage professions. There are two types of "emerging" heritage professions. One is associated to a new holistic approaches dealing with cultural heritage, it is a new mind-set that positions and integrates cultural heritage in the heart of other fields and consequently, the second type of "emerging" heritage professions arises from these integrations (into tourism, education, social field, economy and finance, local self-government etc). Fist type refers to cultural heritage planers (not cultural heritage managers!) dealing with a preventive and planned conservation of a built cultural heritage (“Conservazione Programmata”) - a strategy based on a long run vision and on a virtuous integration between conservation and valorization that includes development of skills, training and knowledge transfer within local communities and in general. The second type are "emerging" professions that are allowing this approach to make happen - professions in the area of cultural heritage business plan preparation, project management, fundraising (including EU programmes) and many others. The classification of "traditional" and "emerging" heritage professions requires deep analysis of both as well as their relations in order to define clear boundaries.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Not integrating cultural heritage into other fields and not applying participatory approach are currently two biggest challenges in the transmission of traditional knowledge. Shift in the mind-set from “how” (ie. which technologies and approaches we use in cultural heritage) to “why, for whom and to which purpose” (ie. who will be the users and what will be the purpose of cultural heritage) is also a challenge (value of cultural heritage is always present as one of the purposes). The “Distretti Culturali” (cultural districts) a wide-area project in the Lombardy Region (Italy, since 2006) cofinanced by Cariplo Foundation. The aim of the cultural districts is creating new attitudes towards culture as a factor for local development and moving beyond the common thought that the heritage sector should only deal with conservation skills and costs. In practice, a cultural district is a model of integrated local development in which culture plays a strategic and cross-cutting role. Culture, research, education as well as the social and economic sector are involved in its evolution and development (Della Torre, 2015) shifting "traditional" to "emerging" heritage professions. Furthermore, the work of Gustafsson (2004) introduces the “trading zone” concept to the cultural heritage filed. The underlying assumption is that financial investment schemes allocated to cultural heritage management should not only be limited those (narrowly) intended for spending and activities in the heritage field, e.g. public funding and restoration grant. These traditional schemes could be extended to resources from other sectors (e.g. social cohesion, labour market, regional 67

development, creative industries, etc.). Gustafsson and Rosvall (2008) draw this framework from the “Halland Model” experience in Sweden that was implemented. Within the social economy sector, unemployed construction workers and apprentices were trained in traditional building techniques, while heritage professionals have developed skills in creating new cultural heritage related jobs and how to deal with the concept of the “trading zone” – “Lively commercial, scholarly scientific and political marketplace where various traditions, methods and languages related to the involved stakeholders have to be understood and combined”.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? The skills and training needs related to the "emerging" cultural heritage professions are in the field preventive and planned conservation, economics in heritage, valorisation, financial assessment of projects/feasibility studies, fundraising (especially European funds), financial management, business models etc. Furthermore, it is also needed in the area of heritage and urban planning integration and environmental protection. Digital shift could be reached be involving youngsters and unemployed people in cultural heritage related activities (e.g. renovation projects, museums, community management) in order to develop their professional skills and enable them to return to the job market. Environment of young people can be stimulated to develop new ways in which their heritage can be made to work for them; ways of using new technology; ways of using heritage to achieve things differently; ways of creating new businesses based on heritage products and services; ways of stimulating "emerging" professions in traditional craft skills. Furthermore, the skills and training are needed on participatory and integrated approaches, development of a methodological toolkits related to the relevant topics, cultural heritage and innovation, evidence based approach (how to set explorative timeline for cultural heritage indicators’ values changes), cultural heritage smart specialisations, methodology “Education for heritage” and “education through heritage”, informal education, cultural heritage in the EU external relations, public-private partnerships etc.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? There is a gap between theory, practice and policymaking levels in the cultural heritage sector. The structures related to the existing "traditional" heritage professions are currently in place: conservators-restorers, archivist, librarian, museum keeper, documentalist, anthropologist, archaeologist, heritage architect etc. Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? First step toward enhancing/development capacity-building for cultural heritage and professionals is to identify which profiles and skills shall be mainstreamed and to implement capacity-building for understanding and recognising needs for new skills that would create a database of new job profiles in cultural heritage and related sectors corresponding to the job market needs. Nevertheless, that does not exclude also direct identification of capacity building needs, based on different case studies 68

or introduced holistic approaches. Use of institutions with big outreach to start promoting/raising awareness about new skills and approaches, is needed, also professionals themselves, but big multipliers too: universities (master and PhD programmes in particular), networks, cultural institutes and also UNESCO. Furthermore, collaboration with governmental sector at all levels is needed for outlining necessary profiles in the cultural heritage field.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. I have consulted my organisation, Politecnico di Milano, peers in charged for the implementation of the cultural districts “Dominus in the Mantua Po River Area", "The Gonzaga Palaces" (Distretto Culturale dell’Oltrepò Mantovano, Il Distretto “Le Regge dei Gonzaga”) and cultural districts of the Province Monza and Brianza. Furthermore, I have consulted my organization’s network, Uppsala University, peers in charged of the “Halland Model”.

POSTSCRIPTUM ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? Traditional heritage professions (e.g. curation, management, research, conservation of tangible heritage items) deal mostly with “backend” functions and are based mostly on peer-to peer interaction. Traditional heritage professions can hugely benefit from the employment of digital tools. Digital heritage professions in today’s world support both the traditional functions of the heritage factor as well as the dissemination and share of knowledge and financial/ touristic exploitation of cultural assets_ greatly contributing, thus, to what we call ‘the virtuous cultural data cycle’. Cultural policies, hence, tend to integrate the digital aspect into their core, both at a professional and at an institutional level.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Among the current challenges in the transmission of traditional knowledge faced by the heritage sector are a) a significant lack of capacities and equipment b) the limited opportunities they have to update their skills in order to respond to the ever growing demands of a digital world, as well as the need to foster working cultures which encourage openness, collaboration, innovation and allow for risk and failure. Small steps have been made towards the creation of national networks of museum and heritage professionals, in order to address current trends in the sector with the aim to share knowledge, exchange good practices and work as champions and advocates for the sector. However, these networks seem to have limited access to global networks of heritage professionals and fail to foster an overall vision or strengthen professional confidence.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? When we talk about professions related to the cultural ICT sector, several skills necessary to today’s heritage professionals have been identified (by different European working groups), relating to areas such as management, digital curation, digital interpretation, digital marketing, project management, , ‘business’ and audience development and so on. The aforementioned skills are most 70

commonly addressed by private initiatives in a limited and disperse manner that does not seem to have significant impact.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? Mainly university courses. The field is even today widely dominated by archaeologists (people who have at least at B.A. level a degree in archaeology) and secondly by conservators. In the last 20 years post-graduate courses in cultural management and museum studies have emerged (and one in cultural technology). These, as well as a growing recognition of the need to include people coming from other academic fields, such as history, ethnography, social anthropology, education, information science and others, in the heritage sector, have resulted in a more varied mix of cultural professionals. Still, for state â&#x20AC;&#x201C;run museums (archaeological for the vast majority), professional practitioners are mostly appointed by the Hellenic Ministry of Culture. The sector endures high levels of bureaucracy, making it very difficult to make significant changes. Private-run institutions are more flexible.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Offer of short-term, focused and specialized work-shops and courses (online and traditional). Organizing of peer-to-peer events for the exchange of experience. Strategic approaches by different educational initiatives that will meet all the aforementioned challenges and that will give professionals working in institutions and other organisations the opportunities to increase their technical knowledge and obtain new and more relevant skills.

RAYMOND LEMAIRE INTERNATIONAL CONSERVATION (KU LEUVEN)

CENTRE

FPR

ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? The main identified boundary of both traditional and emerging professions is the still ongoing need for more interdisciplinary training and practices. While this notion has been raised for the past decennia, in effect actual training and education programs or day-to-day management practices succeed to tackle this. Additional pressing issues are the blurring boundary between tangible, intangible and digital heritage, facing the problem of legislation, (conventions), education and professional fields that subdivide those “territories”. Finally, the sector in general is too much focused on re-active measures rather than working preventive, resulting in increasing deficits. Preventive conservation approaches The following boundaries can be identified for traditional professions: 

  

managers: working in a context without much organisational space due to heritage sector’s established service networks and institutes as well as the competition of actors with more experience with largescale operations and specialized routines (which gives them a strong market position). conservators / restorers: dealing with day-to-day constraints of top-down regulations and standards craftsmen: disappearing tacit knowledge and lack of training opportunities economists: working in a sector which has been mostly focused on the instrumentalisation of heritage, or finding benefits to receive funding

The following boundaries can be identified for emerging professions:    

marketing and fund-raising: the related professions are often restricted to traditional views on fund-raising and tourism digital data management: both in terms of content data management and the actual applicability of detailed data, the sector is constantly evolving and requires well-trained and constantly updated professionals new technology: architects, engineers, geographers, surveyors are expected to work with increasingly specialized technology such as laser scanning, drones and BIM communication: new skills are required to diffuse or translate heritage to the larger society and communities

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? In Western Europe a growing decline is observed in experienced trades- and craftspeople that have adequate knowledge, skills and competence. Among others due to the lack of training and increasing standardization. This has led to a lack of understanding that those traditional crafts, techniques are part of our stock of solutions to (daily) problems and needs: their preservation (in material and in immaterial sense) guarantees diversity in solutions and its importance is similar to the need for diversity in ecological systems. Example: Kuldīga old town near the River Alekšupīte is characterised by narrow streets with ca. 400 authentic 17th-19th c. wooden one-storey buildings with red roof tiles, which entail a high level of authentic craftsmanship in terms of construction and finishings. There have been citizens living in the old town for generations, but from the Soviet period a lack of private ownership had created an attitude of indifference towards the maintenance of the buildings. People readily understand that museums, churches and castles are heritage sites, but it is sometimes less obvious to them that old houses where they lived since birth may be the same, and equally in need of regular care and maintenance. Since 2008, Kuldiga Restoration Centre has implemented a programme of awareness- raising with regard to the preservation of Kuldiga’s old town. Three main activities have resulted: cultural heritage laboratories, action Art Spawn and action for the regular maintenance of windows. Targeted at citizens of the old town – owners of the buildings, craftspeople and architects – all these activities developed a better understanding of the cultural heritage as well as reinforcing local identity. the Kuldiga Restoration Centre,did not only involve local people, but also of academic researchers, architects and craftspeople, and even experts from abroad, all on very limited financial resources, constitutes a model for any European country possessing examples of built heritage in wood.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? The key for emerging professions is specialized and interdisciplinary training resulting in skills that are carried and mastered by local actors. There is a need for people educated in the potential of interaction between new technologies and crafts, not only in the immaterial digital sense but also in the use of advanced tools (robotics, …); those people should be able to understand and manage those techniques and approaches from a deep understanding of heritage values as this is core in the preservation field. Example: ARCHdoc, an international partnership in learning which takes place every year (est. 2000) at the Raymond Lemaire International Centre for Conservation (University of Leuven) as part of an academic training programme. The purpose of ARCHdoc is to teach the benefits, limitations and capabilities of 3D documentation resources and techniques for maintaining built heritage to international and interdisciplinary students. These techniques include scaledcorrected photography, REDM measurements and SFM photogrammetry. ARCHdoc consists of a 1 week work session, where smaller student groups (3-4) are formed, for which 2 specialised instructors are appointed from the external international ARCHdoc didactic team. The latter are connected to universities, the professional field, national agencies and international organizations. 

The international cooperation in permanent education ensures efficient time investment and the ability to use innovative technology and applications. 73

   

The application of 3D documentation technology under the supervision of experienced instructors allows to play on the acquired knowledge and student needs. In addition to oral feedback from the instructors, ARCHdoc also includes a peer review among students. ARCHdoc is specifically aimed at forming and orienting students with different profiles, disciplines, knowledge, skills and culture. ARCHdoc ensures that the students receive sufficient insight into each other's skills and (cultural) background and in the expectations of the training program within the shortest possible time span. The intensive guidance of small groups around advanced technology and working methods integrates the specific student profiles and allows students to develop their strengths and expectations.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? The overall heritage sector became professionalized from the 1980s, due to the internationalization of conservation practices which created a growing demand for correct approaches towards conservation and restoration, as well as the increasingly recognized political, social and economic impact of heritage. This resulted in numerous guidelines and standards. Today, these are disseminated from different perspectives and in a multitude of ways:    

education: adult education, technical education, academic education, professional education (e.g. specialization or updating courses) training: by international organizations (e.g. ICCROM, C2C), by local initiatives (e.g. CHwB), by professional organizations (e.g. EURCORA), government organizations (e.g. National Heritage Training Group), industry organizations (e.g. construction industry) platforms: on specific topics or themes online learning courses

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Specific needs:       

mapping and database of specialist competencies, needs, professions and accreditations link skills and training to the EU2020 strategy (smart growth) developing case-studies to support international comparative research in education link training and education to local development projects deal with tension between education, experience and the market create carrying capacity for training cultural heritage professionals make those professions attractive and more socially accepted (demonstrate societal importance, …) so youngsters can be supported by parents to proceed a career in that direction

General needs:      

Orientation: transparent education that succeeds in proving the problems of the field through direct contact and collaboration with other disciplines, inside and outside the heritage sector. Resilience: The confrontation with a hands-on experience in a professional context brings both experience and resilience to tackle issues and processes. Perspective: an international and interdisciplinary environment, which obliges professionals to reflect on subject-related problems from a variety of perspectives. Variety of work methods: demonstrations, hands-on experience, constant feedback and evaluation result in endless diversity of end products and a very personal learning process. More than just learning outcomes: The close and intensive collaboration in international context and with professionals within strict deadlines constitutes personality: to understand the input and the needs of colleagues, from clients and learn to deal with variety of visions. Formation of full-fledged professionals: the responsibility to complete assignments, establishing self-reliance between their own backgrounds, additional competencies and available technologies.

REGIONAL CENTRE FOR THE SAFEGUARDING OF INTANGIBLE CULTURAL HERITAGE IN SOUTH-EASTERN EUROPE UNDER THE AUSPICES OF UNESCO ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? The Regional Centre for the Safeguarding of Intangible Cultural Heritage in South-Eastern Europe under the auspices of UNESCO is devoted exclusively to intangible cultural heritage. All the answers below will provide information about its safeguarding. Intangible heritage professionals in the region tend to contribute mainly to the safeguarding at the national level. Most of them have solid background in the so called related disciplines: cultural anthropology, ethnology, folklore studies; legal studies; heritage management; archival studies; museology. Usually an additional specialization is also required. All these heritage professions have emerged in the last ten or fifteen years. Several of the specialization (the ones presupposing considerable previous training or experience in anthropology of the present, organizational anthropology, visual anthropology, heritage management, legal and political studies) have actually emerged quite recently. The interdisciplinary teams of specialists in safeguarding typically include an even wider variety of professionals such as educators, IT specialists, etc. In addition, particular degree of specialization is increasingly considered necessary for those engaged professionally in the safeguarding at the local level (workers at the local cultural centers, local NGO and museum employees, representatives of the local cultural administrations). Notes: 1. In the context of the Convention the tradition bearers and practitioners, as well as the communities and groups related, are supposed to have the primary role in safeguarding their own intangible cultural heritage. Thus the professionals are always expected to collaborate effectively with them. 2. Beyond the scope of the answers will remain certain cases of professionalization of the intangible heritage practitioners themselves â&#x20AC;&#x201C; mainly musicians and craftsmen (for example saddlers, carpenters, etc.).

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Intangible cultural heritage is dynamic in nature. It includes traditions or living expressions inherited from the ancestors and passed on to the next generation such as oral traditions and expressions, performing arts, social practices, rituals and festive events, knowledge and practices concerning nature and the universe, traditional craftsmanship. Transmission of knowledge and skills is crucial for its existence and viability. Unfortunately, there are serious threats to transmission â&#x20AC;&#x201C; for example: 76

1. 2. 3.

Social, cultural, economic and other changes could devalue traditional knowledge and skills. Naturally, it further affects the motives of the participants in the process of transmission. The changes could also cause depopulation which is yet another serious threat. Certain changes affecting inter-generational contacts have strongly negative impact as well.

Some of these threads (but not all of them and certainly not always) could be addressed and overcome by creating favorable conditions for transmission – often at the expense of facing serious challenges including for example: 1. 2. 3.

Strengthening of traditional transmission systems and (where appropriate) complementing them with formal or non-formal education programs. Strengthening without freezing – i.e. paying due attention to the dynamic nature of the particular element of intangible cultural heritage and allowing for its evolution. Encouragement of the processes of overcoming gender stereotypes within the community with a view of enhancing transmission.

A good example in this respect is the safeguarding of several different forms of lace-knitting in Croatia, Cyprus and Bulgaria – safeguarding which is accomplished without freezing and in the same time shows both successful practices of complementing traditional systems of transmission with predominantly non-formal education and (in some cases) overcoming of gender stereotypes that are directly connected to transmission.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? The “emerging” professions need knowledge about principles and practices of safeguarding within the context of the Convention, as well as other highly specialized training and skills – for example training in order to cooperate successfully with the communities, groups and individuals; specific skills to document various expressions of this type of heritage, as well as to manage the resultant archival storages; abilities to develop different types of safeguarding plans; knowledge and skills to use new technologies for the purpose of safeguarding; etc. These needs have been satisfied to a certain extent. Very important here has been the transfer of knowledge at (post)graduate level – directly during specialized conferences and meetings, in the process of realization of theoretical and applied scientific projects and goals, in the process of implementing safeguarding measures or policies of safeguarding, etc.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? The sector is to a great extent professionalized as far as it has achieved considerable amount of competence but still lacks integrity. There are several structures to deliver professional practitioners in the heritage sector: 77

1. The global UNESCO capacity-building strategy workshops in the region of Southeast Europe; 2. B.A., M.A. and Ph.D. courses and programs.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? 1. Increasing of the integrity within the sector. 2. Qualitative courses, programs, training workshops, etc. Development of new courses and actualization of existing courses as to include modules dedicated to intangible cultural heritage and sustainable development in particular. 3. Enhancement of lifelong learning. 4. Dissemination of project result and training materials. 5. Vocational training of professionals engaged in safeguarding â&#x20AC;&#x201C; workers from the local cultural centers, representatives of the local cultural administrations, local museum and NGO employees.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. The questions were circulated to the contact points in the 15 member states of the Regional Centre for the Safeguarding of Intangible Cultural Heritage in South-Eastern Europe and some of them provided answers or information. Some of the data was found in presentations delivered at different forums organized by the Centre. I was also able to rely on the experience and information shared by the staff of the Centre as well as on my personal experience.

RESOURCING SCOTLAND’S HERITAGE ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? Unanimous view that to see them as separate is not helpful - only promotes silo working/thinking. The boundaries are increasingly blurred. To work with heritage does not mean to only work in traditional ways; digital, for example, enables new forms of practice across all professions. Using contemporary, interdisciplinary ways of working to combat old and new ‘problems’ is the best way forward. Emerging is now just part of the ‘traditional’ museum - it’s a given! Boundaries are best left vague and all-encompassing in a time where staff have multiple roles and responsibilities.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? Challenges: short term contracts, poor progression prospects - lose people early in their careers. Knowledge goes with the individuals - poor succession planning. Reduced budgets and with that reduced capacity. New ways are accepted as needing to be embraced, but limited time for training, and efficient/strategic planning of implementation can be flawed. Ie ‘digitising’ an entire collection - potentially better to target collection areas and give as much weight to the engagement plan for these new resources. Concern that public expectations are being driven higher by new technology being available, but not affordable/or appropriate for all organisations. Traditional skills and knowledge need to be turned into viable options for making a living. Transferring these skills into a commercial process that involves learning, ICH and tourism has more long term social and economic impact. Ie Harris Tweed investment. Concern over capacity of sole traders with skills to train and pass on that knowledge - hope that apprenticeship schemes will help. Remember that you’re not just a heritage resource, you’re part of the tourism sector, the education sector - learn from how to market and ‘package’ your offer. Ie North Coast 500 project in Scotland. Examples of how addressed: Pacific Collections Review -National Museums Scotland & Partners. Specialist staff mentor those with items/collection but without specialist knowledge in their organisations. Knowledge seen as a universal commodity - not kept in an organisational vault. Scottish Maritime & Scottish Fisheries - use local colleges to teach traditional boat building skills. Grants/scholarships for specific types of heritage training - HLF programmes. Museums Association Monument Fellowships.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? Whilst sector slow to embrace the digital shift (not the only sector) - part of the problem is the limited capacity to explore/train in the number of options available. Digital needs to be embedded across all skill areas - do not keep it separate. Digital skills are needed such as: writing for the web, coding, web-design, social media trend analysis, digital interpretation, digital community building. Specifically need more digital archivists and better awareness of how to deal with digital archiving (conservation of time-based media, digital preservation, and data management) -we’re losing data from the last 20 years. Need to embrace technology to enable greater accessibility to collections, and to cultures, memories and places - these digital records can then be used to develop learning resources. Looking after core collections and undertaking work with ‘emergent’ professions can unearth additional layers of richness and enhance engagement - we need them to work together, not separately. Facing these areas has mostly been done on a project basis - and many organisations have projects such as Scotland’s Rural Past/Scotland’s Urban Pact, AHRC Connected Communities, Project ACCORD.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? Highly academically professionalised personally and institutionally - ie Museum Accreditation. Too many professional bodies to list in relation to all heritage skills from archives to archaeology! Range of professional bodies, many which work together well. However, the sector are amateurs dabbling in complex multidisciplinary activity relating to policy cross-cutting around health and inequalities impacts. These outcomes are filtering down to (non) governmental bodies and influencing what activities and organisations are being supported through grants. Concern around multitude of qualifications, some seen as weak - additionally, level of professionalisation means many ways of succeeding/entering the sector are beyond the reach of most in society. Need to form a comprehensive rubric to educate those recruiting about value of experience and qualifications in combination. Emphasis needs to grow in opening up entry route. HLF Skills for the Future grants have been a great benefit in this area. Apprenticeships in heritage skills are also growing in importance.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Mapped skills/knowledge gaps would help to apply resources correctly and plan sector-wide support. Increase potential/infrastructure to support skills/knowledge sharing across the sector.

Legacy of training resources that allow embedding CPD of existing professionals with integration of formal training up to university level. All could benefit from this training leading to greater empowerment and the ability for a wider range of professionals to have an equally respected voice. With this we need a culture shift to appreciate apprenticeships and in-work training. Heritage sector needs to work with the wider skills agenda. Think less about building own capacity and more about how heritage skills (of all kinds) can be transferrable and useful to both society and economic growth. Stronger employment prospects with a culture of mentoring, particularly to increase number of women in senior management and above. When hiring rely on passion, enthusiasm and embrace skills from other sectors and other specialisms. Enable an environment of managed risk - sector is hugely risk averse; learn to manage risk and therefore embrace those with different backgrounds, experiences and skills. Increase efficiency and realise that management skills are as necessary to a modern heritage organisation as curatorial skills - acknowledge those skills may not be found within one individual. Learn fundraising skills, techniques and strategy. Heritage organisations will suffer reductions in funding - work efficiently and strategically within to help make up the short-fall.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. Emailed around 20 heritage skills professionals from across my networks with the questions. Requested that those responding only answered the questions they felt strongly about - to better gauge the responses given. Additionally: had a telephone call with one respondent who preferred to chat through their thoughts. Met with 3 other respondents to get further thoughts and talk about the questions more generally. Those responded include: Museums Galleries Scotland - their collective responses were compiled as one document. Their Head of Research & Development (Alison Turnbull) as well as their Skills Manager (Catherine Cartmell) fed back. Diana Murray - previous joint Chief Executive, Historic Environment Scotland, now Chair of Arts & Business Scotland Nicole Meehan - previous National Galleries of Scotland, Skills for the Future project manager, now Teaching Fellow on Museums & Galleries Studies course at the University of St Andrews Fiona Sinclair - Director CFJ Associates, previously Leader of Museum Services, Leisure and Culture Dundee Fiona Hutchison - Senior Engagement Executive, Tourism - Interface, previously Statistician for Museums Galleries Scotland Mike Ward MBE - Director Grampian Transport Museum Robin Turner - Heritage Skills advisor, Historic Environment Scotland Jamie Kerslake Sim - Project Manager at The Heritage Alliance running Giving to Heritage - an HLF funded Catalyst skills and capacity building programme for fundraising skills. 81

SPANISH ASSOCIATION OF CULTURAL HERITAGE MANAGERS (AEGPC) ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? Some consider that traditional professions are more “art-oriented”, whereas emerging ones are more “market-oriented”. While all heritage professions deal with intangible values related to the cultural matter (so interpretation, story-telling and a deep knowledge of the inherent value of the elements of heritage are a must), traditional and emerging professions differ on skills. Traditional ones are more “knowledge” oriented (history of art…); emerging ones are more “skills” oriented. There is a clear second degree digital divide. Some of our members interpreted boundaries as “limits”, and considered that the lack of positions due to public shortage will endanger cultural heritage in the future (qualified professionals draining to other activities or countries, disparison of heritage firms, ageing of traditional craftsmen, ageing of public bodies and little investment in skill development due to little expectations).

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? 1. Adapt traditional knowledge to new materials /skills/technology with no trivialization of cultural content or “too heavy” intervention of material form. 2. Few employment opportunities in the public sector, associated with ageing public bodies and obsolete qualifications (curators are sometimes the only fixed term professionals at museums, with very precarious working conditions for managers, educators… often outsourced). 3. Big gap between training/education and professionalization (i.e. application of knowledge and skills to everyday practice. 4. Generational replacement of old craftsmen for highly specialized young professionals (architects, restorers, computer science professionals) that may find employment prospects in heritage very little attractive in terms of stability, wage conditions… 5. Transition from curatorial mindset (very much heritage-object-oriented) to one characterized by openness to cooperation with other professionals (traditionally separated in terms of knowledge, skills and field of intervention). Mind shift necessary (at increasing speed, by the way). 6. Weak public funding to support educational and life-long learning processes, combined with precarious labour conditions of workers (many of which are outsourced, and work for temporary job corporations and not for cultural institutions any more). 7. Need to assess value/s of original and replicas and compete with increasing flow of information to capture the attention of visitors… EXAMPLE: internships by the Instituto Andaluz de Patrimonio Histórico to enhance employability. 82

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? The digital shift causes that all heritage profession have an “emerging” component nowadays. 8. Digital skills – priority as to close gaps (better use of dissemination digital channels related to tourism and end users of heritage, to civic participation and to social innovation) 9. Openness to innovation and experimentation. 10. Learn to learn; probably better when supported by stronger analytical and quantitative skills 11. Societal impact of cultural investments as to assess accurate cost-benefit analysis (incorporating intangible values associated to heritage and its communities) 12. Entrepreneurship (project oriented skills) and negotiation skills (good command of formal and informal channels to combine multiple stakeholders’ interests and resources). EXAMPLES: Few private firms are competitive in digital/emerging heritage work, good practices are identified in Portugal in the collaboration with research teams at universities. The Instituto Andaluz de Patrimonio Histórico promotes and Heritage Open Lab, linked to Europeana’s Open Lab.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? Big supply of post-graduate level education. For the last 20 years, often seen as a niche of employability for graduates in Humanities (results disappointed), as there is the aforementioned gap to professionalization. Ageing public bodies are affected by digital divide coexisting with precarious new professionals (dual labour market in Spain). There is little compliance with good practices and codes of ethics for public appointments and entry gates to heritage professions are reserved to very traditional profiles (mismatch of knowledge, skills, access to public bodies examinations and everyday practices). WHAT IS NEEDED: platforms for cooperation (IT, research, museums, libraries, archives, public bodies, planners…), further need of common guidelines, codes… EXAMPLES: Codes of ethics. MODI-FY Erasmus Plus project, Professional Associations in Spain (AEGPC, ACRE), lifelong learning programs by Instituto Andaluz de Patrimonio Histórico, AEGPC.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Public investment should act as a leverage so skills are used, updated and experimented. If more public expenditure goes to material preservation, more private firms could survive and be created in different areas (education, interpretation, hospitality); and there would be more opportunities for participatory governance and civic engagmente. 83

As digital artefacts are “reusable”, there are lots of issues regarding copyright that shoud consider the implications of one regime or another on heritage professions. There are also technical concerns on the quality of digital heritage (a factor that influences its subsquent ·life-cycle). WHAT IS NEEDED: More platforms to exchange best practices (toolkits, mentoring opportunities, blended lifelong training). More civic awareness and recognition (not only for curators that preserve treasures, but for all those new heritage professions). More public investment to act as leverage and to unlock participatory opportunities. More specialized schools and research centers (examples: Instituto Andaluz de Patrimonio Histórico – ES-, Work Units of Junta de Extremadura – ES -, Kartause Mauerbach – DE – La Paix Dieu – BE).

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. We distributed the survey among participants at the areté Meeting Point 2017, a structured debate process that started in February 2017 with the support of the Spanish Ministry of Education, Culture and Sport. We further consulted members of the association, and members of some international projects and networks. We must recognize that the answer rate was rather small among our associates, probably due to the fact that most of the questions in the survey were not very familiar to professionals in Spain, except for those working in the academia or in life-long learning processes. Those were complemented with follow up questions to a subset of around 10 people (managers, trainers, architects, archaeologists, restorers…). We are particularly grateful to the Carlos Romero-Moragas (Instituto Andaluz de Patrimonio Histórico), Augusto Paramio Nieto (Creative Europe Desk, Spain), Reinhold Sahl, Pedro Vaz and Graham Bell (members of MODI-FY project funded by Erasmus Plus), Marge Sassi (HEISE project team funded by Erasmus Plus at the Estonian Business School), Mr Martin Sermat (Head of the Documentation and Digitization Department of Estonian Open Air Museum), Andrea Rurale (Bocconi University), Hamilton Faria (Instituto Pólis – Estudos, Formação e Assessoria em Politicas), the members of the AEGPC executive board that contributed to this debate, and Álvaro Rodríguez Morales (Art Historian, intern of AEGPC and student of the Máster en Habilidades para la Gestión Cultural).

STOWARZYSZENIE BADAWCZO-ANIMACYJNE FLANEUR ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? My professional activities are focused on Warsaw’s’ XXth century urban history. Traditional:  The inhabitants are often indifferent to public spaces and buildings from socialist realism period.  The architecture is neglected or devastated as a state property. Moreover municipality is more willing to sell the parcels to private investors than to revitalize existing facilities. The problem of privatization is an urging problem, when it comes to city politics and dealing with its history (article here).  The gentrification of urban spaces is also a common issue, when it comes to modern heritage in Warsaw.  We face boundaries when it comes to the participatory planning of urban spaces. The inhabitants refuse to be an active agent in the discussion. They do not feel responsible for the heritage or (even worse) they have their voice will be heard by the officers. Digital boundary may consist on poor communication between different agents (NGOs, informal groups, local centers, municipality), when it comes to informing about their cases and activities. It is problematic to broadcast the important issues, because very often they stay on a local level.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? The biggest challenge is education. Not informing, discussing and asking questions about pressing issues regarding the heritage can cause even more lack of basic knowledge. Personally I am impressed how much work museum as institutions are putting into change the way people are perceiving them. The idea of museum as a living community, which experience art in a vivid way is very close to my point of view. My first choice of great example would be POLIN - Museum of Polish Jews in Warsaw. The organization breaks many stereotypes, presents Jewish heritage in an interdisciplinary way, it runs not only exhibition, but the whole program for variety target groups. It is also an example of an institution, which tries to empower local community to build relations within the neighborhood.

I think the most trending are professions related to the marketing and Audience development methodology. I can observe that many of employees of cultural sector try to catch up with social media nuances and develop community focused around common values. Also finding link between culture and new technologies is nowadays an important issue to be developed.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? On the one hand I can see growing awareness among city inhabitants. People are more concern about their neighborhoods, create groups and grassroots initiatives, which with time become specialized in a certain area. On the other there is group of active professionally people, who gained experience in private companies (PR and event agencies), who are ready to work in the cultural sector and use their skills there. Finally I can recognize growing possibilities to be trained within the sector (MBA, many postgraduate courses, workshops and conferences).

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? Permanent growth and networking, running programs engaging community leaders and people living in a different neighborhoods, developing platforms and reach for a new methodologies, strengthen relations with media and influencers, don’t be afraid to ask different groups of people about their opinion (children, elder, LGBT, etc.)

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. I’m planning to consult IBPP (Institute For Public Spaces in Warsaw), Instytut Dzieidzctwa Narodowego (National Heritage Board of Poland), Faculty of Visual Culture at Academy of Fine Arts in Warsaw (Wydział Zarządzania Kulturą Wizualną ASP) and Museum of Modern Art in Warsaw (Muzeum Sztuki Nowoczesnej). I would also like to follow up with the literature on modern urban heritage, its history, design and architecture and methodology how to build communities, which are sustainable and involved into the common spaces in Central Europe.

THE FABRIC ASSOCIATION ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? There are no boundaries of “traditional” and “emerging” heritage professions. There are new ways of engaging with heritage, generated by digital world. It opens new horizons and opportunities for finding of yet unrealized opportunities for development. The latter will aid the integration of “tradition” into contemporary societal dynamics by taking specific measures in various related areas. The contemporary development of heritage professions presumes their new interpretation and adds specific value to them. The measures that should be taken in support of emerging professions require proper understanding and cooperation of a great number of state and municipal agencies, as well as that of organizations working on a local, regional, national and supranational level. Globalisation breaks down national boundaries and increases cross-border interactions and interconnectedness. In this context and the advent of ICT heritage sector (both traditional and emerging) has to operate with concepts like globalization, information society, digitization, information etc.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? The current challenges are related to globalisation, digitisation and new technologies which are changing the way cultural heritage is created, shared and cherished by people in modern society as cultural value. Cultural sector is responsible for heritage protection, managing cultural diversity and working with it as the greatest asset. At the same time the paradigm is shifting with the new opportunities and challenges created by new technologies and globalization and this affects the way traditional knowledge are transmitted and preserved. Example for addressing such challenge is a discussion between several European partners on: Strengthening the innovative climate of Europe, by adding new narratives to the –in its essence so rich– European tradition of heritage arts and crafts, with their rich and almost countless potentialities for sustainable value creation. By…  Capturing the motions and movements of craftsmen and – women using 3D Motion Capture techniques.  Preserving the almost intangible cultural heritage of motion.  Using storytelling to give more background on the particular craft.  Creating an online environment where people can study the movements of old crafts.  Inviting artists and designers to be catalytic in bringing a contemporary idiom. 87

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? In the new age heritage sector needs new skills and broad range of skills in order to be relevant to the digital environment. This includes improving on ICT literacy, innovation, creativity, entrepreneurship. Integration of digital technologies in education and training is recognized as important for all learning environments, and to all levels of education in heritage sector. Professionals with these competences are better positioned and more competitive. The digitization of heritage, its digital distribution and increased accessibility constitutes a key task for heritage professional. New realities require an ability to identify good sources of information and critically analyse evidence. Training is needed in order to learn how to select, organize, store, retrieve information, etc. Emerging professions have to be open to contemporary artistic expression and encourage the exchange of cultural knowledge and different artistic practices. In this respect innovative culture and skills to push the boundaries of creativity, innovativeness and generate new ideas are crucial for professionals in the sector. The synergy of educational forms have different dimensions not limited to (formal) vocational education as far as in modern societies there is a variety of sources and methods of gaining knowledge and skills presented as non-formal education/training. Skills and knowledge can never be developed without practice. Field training is very important, especially for young professionals. Strategic thinking, planning and fundraising skills development should be an integral part of training activities in the sector. In order to offer a quality service heritage professionals need the skills of volunteers and supplementary training in the field. Example: Trainings have been organized for museum professionals introducing the essence of cultural entrepreneurship and the value of entrepreneurial behaviour in the museums. A number of different initiatives have been implemented by heritage organization to improve the skills and competencies of their members required for digital preservation work.

THE HERITAGE CONSORTIUM ANSWERS Question One: What are the boundaries of "traditional" and "emerging" (tangible, intangible and digital) heritage professions? The boundaries between tangible, intangible and digital heritage are complex, interconnected and fluid. Our stakeholders remarked on marked changes in the boundaries over the last 15 years and noted a definite acceleration in research around the place of digital heritage. One respondent to our mail out (see methodology) remarked that ‘the need to engage people and raise awareness for heritage (to help fund it) has encouraged (forced in some cases?) traditional professionals to be more flexible and open in their work. New professionals coming into the field are already more open to the ideas of emerging professions and working with others (perhaps due to sector MA training now focusing on these aspects)’. It was noted by several of our stakeholders that digital and intangible heritage was not perceived seriously by some as ‘valid’ heritage. Some Heritage Consortium stakeholders noted that the emerging heritage and cultural professions are at constant risk of job insecurity – there is a perception that they are always the first professions to be hit by cuts. This was thought to be because the nature of work in the emerging professions is often characterised by temporary contracts which are project funded, whereas the traditional professions are seen as ‘core businesses. This can lead to instability and issues of constancy and sustainability and hierarchical tensions in the workplace.

Question Two: What are the current challenges in the transmission of traditional knowledge faced by the heritage sector? Could you provide examples of how these challenges have been addressed and overcome by the cultural sector? 'Cultural Gap': One respondent referring to the museum sector explained the cultural gap as being a competition between the traditional museum/heritage sector and new forms of media. With regard to the cultural gap related to new media and digital technologies, it was felt that further research on the ways in which users engage with heritage and traditional knowledge could help to inform new policies and engagement initiatives. For others the cultural gap was an issue of the transmission of knowledge relevant to diverse communities. There is a feeling that the heritage sector has room to grow in a tangible sense i.e., with new heritage sites, centres and museums in order to cater for and serve the diverse ethnic and racial communities in the UK. Strong desire for a more inclusive heritage sector. In light of the UK's industrial strategy, a co-creation approach to heritage could offer new opportunities For a good example of the possibilities of co-production see the ‘Imagine: connecting communities through research’ project. This project involved various community groups, academics and researchers. The power imbalances that are inherent in socially divided societies and which are exacerbated by economic crisis and austerity. These power imbalances relate to class, gender, sexuality and ethnicity, among others, all of which are made more difficult by structural discrimination in large cultural and heritage organisations and institutions. There are numerous reports that show continuing under-representation in decisionmaking roles in museums, galleries, universities and other cultural organisations etc. These structural inequalities are not fully addressed by methods of co-production of cultural and heritage 89

knowledge in partnership between these institutions and community-based organisations and individuals, but there is an element of capacity-building that occurs when co-production and collaborations take place. It can be considered that collaborative approaches have the effect of enabling leaders in cultural institutions to draw on alternative forms of knowledge and interpretation and also hopefully being unsettled by them to drive change. Ultimately, of course, restructuring of power is necessary and appropriate, but in the short-term and as a step towards restructuring, collaborative development of knowledge helps to mitigate some of these issues. The ability of heritage professionals to collaborate requires support and training to develop skills in community engagement and dialogue, as a core component of their skillset.

Question Three: What are the skills and training needs related to the "emerging" professions, including those concerning the digital shift? Could you provide examples of how these needs have been faced by the cultural sector? General consensus that the emerging professions are professional in attitude, but that they are not always seen as professions as such. Emerging professionals are more often than not younger, can come from many different backgrounds, are not necessarily classically trained in heritage. Because of this their training needs could be very wide and diverse which is an issue when developing training schemes. Digital shift: use of social media has grown massively. The heritage sector has lagged behind in the digital revolution but most organisations now embrace social media to some degree. Some of our stakeholders felt that there is room for further skills and training for established heritage professionals in digital culture. All agreed that the digital shift requires new forms of training. There is also a feeling that those working on the thresholds between digital platforms, research, and public facing roles should have the interdisciplinary nature of their work rewarded and acknowledged. It was noted by some respondents that many emerging profession jobs are temporary, so there are issues regarding whether or not people qualify for investment in their future training.

Question Four: In what way is the sector professionalised? What structures are currently in place to deliver professional practitioners in the heritage sector? A number of training programmes for professionals and non-professionals seeking to move into the heritage sector exist. Some offer practical skills in conservation, e.g., offered by the National Heritage Training Group, others, like the Heritage Consortium, offer courses that provide the next generation of Heritage Professionals with analytical and practical skills, as well as introducing students to elements of policy, planning and heritage working in practice. With regard to the skills training opportunities for those who wish to work in heritage conservation and traditional heritage, there is a growing skills gap in the UK. Furthermore, the aging demographic of those in the traditional heritage skills workforce places the industry under increasing strain. Emerging professions: many people working in education and outreach qualified teachers or youth workers, others have come from different routes â&#x20AC;&#x201C; the diversity of people working in the emerging professions make it vibrant. The growing influence of volunteers working alongside professionals is interesting. Some worry that if volunteers are not trained well then we might be in danger of deprofessionalising the heritage sector. The notion of formalised training for volunteers has taken 90

shape over the last 10 years and far more volunteers in the heritage sector are now offered formal training than there used to be.

Question Five: What is needed to enhance/develop capacity-building for cultural heritage and professionals? A need for more funding, ideally from more varied sources and improved resources â&#x20AC;&#x201C; numbers of staff and funds to have the time/money to take on training or new skills/methods. Time: many believe that there are too few staff, too many short term projects with not enough staff hours factored in and increasing levels of redundancy, which all equate to heritage staff being too time poor to enhance their own skills or capacity build with others. Some reported that engagement was an issue. It was suggested that more should be done to show just how integrated heritage is and can be.

METHODOLOGY (Optional) Please briefly state how you proceeded to gather this information or who you consulted during the process. 1. Emails were sent out inviting all Heritage Consortium members and allies (staff, students, non-HEIs and Strategic Partners) to contribute responses to the preparatory questions. 2. An open workshop has been planned for HC stakeholders to address the preparatory questions and other issues related to skills, training and knowledge transfer (26 May). Our members and partnersâ&#x20AC;&#x2122; commitments meant that we were unable to hold the meeting before 5 May. However, we hope that we will have more feedback by the 26 May to take to the Brussels meeting. 3. Feedback for the preparatory questions that was sent via email was collated and summarized.