A note of Italian Ministry of Foreign Affairs underlining the importance of respecting the identity of each community and the cultural and religious pluralism of the area of Nagorno-Karabakh
Can the need to preserve the rests of our history meet the needs of a community for its economic growth and development? The answer to this question seems almost obvious today, since numerous archaeological sites are extremely popular in tourist visits. However, tourism have also negative effects on cultural heritage and proper management cannot fail to question itself about these effects as well.
The webinar “Archaeological Heritage and Tourism”, organized by ICAHM / ICOMOS, to be held (information webinar), will address best strategies, local empowerment, community-based tourism, spirituality and the Covid-19 pandemic.
WEBINAR 2 – 15 November – Sustainable use and tourism
The sustainable use of archaeological places is a key issue. While the protection of archaeological places and their value is of great importance, there is also the need to cooperate with local actors in developing sustainable strategies for the use of archaeological resources as a means to local sustainable development.
Among the many possible uses of these places, tourism is one of the activities that can have a more drastic impact in the management of heritage places, both positively and negatively.
You are invited to a Zoom meeting.
When: Nov 15, 2020 12:00 PM Greenwich Mean Time
Register in advance for this meeting:
After registering, you will receive a confirmation email containing information about joining the meeting.
Europa Nostra has always insisted that defending cultural heritage is more than a cultural issue: it is also a peace and security issue. It is inseparable from the vital goal of defending our humanity and our planet as a whole. Cultural heritage does not belong to one nation, one country or one region alone: cultural heritage is part of our shared humanity and our shared history. Once lost, it is lost forever and for all. To preserve, share and transmit this heritage to the next generation is, therefore, a joint responsibility of us all: international organisations, governments, heritage professionals and civil society alike.
“Imagine a classroom where, by wearing special VR glasses, pupils appear in some historical period, see it in digital reconstruction all its glory, with fortresses and palaces, temples and cities…”, presents attracting aspects of his profession architect-3D reconstructor Ruben Sargsyan, believing that every child who studied in such conditions would go to school with utmost pleasure.
Ruben compares his profession with an intensive care unit of the hospital. “Of course, the reconstruction institute as such is just being formed in Armenia but in the 21st century complementing history with just a text is not enough. As people say, it is better to see something once, than to hear about it a thousand times”, he substantiates his point of view.
Ruben is a research fellow and a graduate student at the National University of Architecture and Construction of Armenia. He was born in the family of architects and has applied to the Faculty of Design since his parents insisted that it is a high demand and more suitable profession. Nonetheless, during his years of study his insatiable love and interest in architecture and history always stimulated him to study and learn about these fields on his own. Later, using an opportunity, he has passed examinations on his beloved subjects and has become a graduate student at the Chair of the Theory, Restoration and Reconstruction of Architecture — already implementing in practice all the knowledge and skills that he has obtained in the field.
“Unlike to a restorer, a reconstructor gets a final form of a given structure by 3D modelling. For example, there is a structure of which only foundations are remained, and you do not have enough material for its restoration but by a reconstruction, based on the facts you have, you can get almost its precise image”, explains Ruben, noting that one of his works has been printed in Artak Movsisyan’s book “Ararat-Urartu”. It is his first professional achievement.
Today Ruben also practices his profession at the “Erebuni” historical and archaeological museum-reserve. He tells that he has met the present director of the museum Mikael Badalyan by accident during the archaeological excavations at the Odzaberd fortress archaeological site and common interests have stimulated future collaboration. “Working at the “Erebuni” museum is one of my achievements. Although the field of academia is underpaid but it does not restrict you from loving your work. I come home every day with a smile because I made something good today, got one step closer to my final goal “, Ruben says excitedly.
Soon will be published a book of 3D modelled projects of the young scholar, as well as together with the museum’s administration they intend to make 3D modelled exhibit related to the Kingdom of Van. It is not important how much you are paid what is more important how much you believe in what you are doing – this idea drives the hero of our story. “One day it happened so that I wanted to guide pupils visiting the museum to the fortress although my work is not related to the guides’ department. I was wearing the Urartian period soldier’s outfit reconstructed by my friend. Together with children we went to ‘conquer’ Argishti’s fortress. Children’s excitement was so great that I was no less excited”, says joyfully Ruben ‘the soldier’. In his opinion, presentation of Armenia to tourists should start from the Erebuni. He proudly recalls that when he was in Italy as a tourist the guide referring to him affirmed that you cannot impress Armenians with ancient history.
Ruben’s research topic is the Kingdom of Van – providing clues for many issues related to that period by 3D modelling. His ancestors are from Van. They have settled in Yerevan in 1915 and from that time on they live in the city center at the Grigor Lusavorich avenue. Throughout the years the city has grown around their place, and today, using his professional skills, he is going to reconstruct ancient Van — his ancestors’ city. Our hero opens up about his deep-rooted love toward his profession: “As funny as it may seem the first seeds of my interest appeared after watching “The Mummy”, especially after that episode when the girl returns in her mind to the past and imagines the actual look of that place”.
Ruben also says that he has visited the “Erebuni” museum for the first time when he was 18 years old, on his birthday. “There was a book about the Erebuni at home, I went through its pages by chance and became curious instantly. After two months I was recruited to army and that time was enough for me to understand that architecture and history are those fields that I want to work in. And over the years, step by step I got to my place”, he says shifting from past to present.
Besides 3D modelling, Ruben has an amateur job, he reconstructs the garments of a king, a queen and a high priest dating to BCE 1st century. “My personal experience shows that when I do any work its application finds itself later. We have such a rich historical heritage that even if we have an army of reconstructors there would always be a work to be done and for good work investors are always found. It would be great if our motherland with its rich historical past had many architect-reconstructors”, concludes the young scholar.
Edited by Lala Badoyan
France Armenia Magazine, the precious link between all Armenians, is the result of the hard work of a small team of permanent staff, managers and many volunteer editors convinced by the task they have been carrying out for many years, to maintain the Armenian identity in the diaspora and in particular in France. The France Arménie Magazine is a monthly. Since September 2019, France Armenia is also available in digital format on smartphones, tablets or computers via an application.
The magazine has about 10,000 subscribers worldwide.
A correspondent of France Arménie Magazine Nairi Khchadourian visited the ROCHEMP center in the early February of 2020. She was inspired by the aim and activities of the ROCHEMP Center and offered an interview to the director of the Center Ani Avagyan, which was published in the April 2020 edition. We are happy for this opportunity of sharing the initiatives of the ROCHEMP Center with the Armenia diaspora, as in France so in other countries with this well recognized platform. Thanks for sharing! Looking forward to further cooperation.
Video-conference organised on the initiative of theCroatian Presidency of the EU and chaired by Nina Obuljen.All 27 EU Member States participated.
European Commission Representatives who joined the meeting were: Věra Jourová (European Commission Vice President for Values and Transparency), Mariya Gabriel ( European Commissioner for Innovation, Research, Culture, Education and Youth) and Thierry Breton(European Commissioner for the Internal Market).
Ministers and representatives of the European Commision exchanged views on the immediate/ initial measures implemented to mitigate impacts of the crisis and measures that should be taken at the European level.
The key points discussed were:
All EU Member States have undertaken necessary steps to help artists, cultural workers, cultural institutions and companies in the crisis.
Most Member States agreed that cultural and creative sectors are among the first (if not THE first) to be severely hit by the crisis and lockdown of public spaces.
Member States expressed their concerns as of how quickly some parts of the cultural sector will be able to recover once the immediate crisis is over.
The digital consumption of cultural content on various online platforms during the isolation was also addressed and praised.
Member States presented national measures, which are different and context-specific, but can be grouped as follows:
- Majority of Member States have implemented social measures to protect the most vulnerable workers: freelancers, independent, small enterprises.
- Operational measures:Extended deadlines and changed criteria of deadlines of national calls to adapt to the situation.
- Financial measures: a number of countries made available funds for cultural and creative sectors
The Media and the importance of the professional work of journalists to prevent fake news and disinformation was also addressed.
Commissioner Mariya Gabriel presented activities already launched by European Commission, both horizontal and sectorial.
3 horizontal measures that can and should be used for the cultural sector:
- Coronavirus response investment initiative (37 billion Euro from Structural Funds to alleviate the effects of the pandemic)
- New instrument for temporary support to mitigate unemployment risk in emergencies (100 billion Euro)
- Temporary framework for state aid (culture is specifically listed as one of the sectors that are most severely hit).
Sector-specific actions (under the Creative Europe framework programme of the EU):
- Maximum flexibility for ongoing and planned actions (including extension of Deadline for application to some calls published under the programme)
- Special measures to support cinema ( 5 million Euro as part of a supplementary fund)
- Redirecting the work of the cross-border dimension of performing arts towards virtual mobility and digital culture. In May, a Fund of 2 million Euro for this purpose will be announced.
- Commissioner Gabriel also proposed to launch 2 platforms: one for Member States to share good practices and another one for the sector itself (to exchange and find solutions to the challenges posed by the crisis)
People are turning to culture in these difficult times. Commissioner Gabriel addressed culture as ‘The Treasure of Europe’.
In general, Ministries appreciated the measures already taken by the European Commission as well as the ‘quick response’ to address the current crisis.
EU Ministers in charge of Culture will continue to be in close contact and cooperation in the coming weeks, as to prepare a Ministerial meeting on this topic in May 2020. In this Ministerial meeting, EU Ministers in charge of Culture should make a solid assessment of the crisis, propose Joint action for the post-crisis period as well as options for recovery of the cultural and creative sectors.