Anu Kannike, Ester Bardone
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引用次数: 0

摘要

这篇文章的起源源于作者参与爱沙尼亚国家博物馆(ENM)的饮食文化项目,该项目于2017年至2019年进行。该项目致力于饮食文化,或者更准确地说,是对爱沙尼亚历史饮食文化的当前解释和使用。该项目的目的是与各利益集团合作,取得一些实际可行的研究成果。作为一家提供文化遗产专业知识的机构,ENM欢迎该项目带来的挑战,因为它将包容性博物馆学的基础与研究和基于收藏的知识结合起来,并提供一个促进讨论和多种声音解释的场所。食品项目成功地突出了食品生产企业和旅游部门对食品遗产的各种解释。参与项目的企业家和开发商告知博物馆他们的需求和期望,而所有各方共同评估博物馆满足这些需求和期望的潜力。我们认识到,研究人员不能仅仅局限于分享文化遗产方面的专业知识,还需要扩展他们的技能,以满足合作伙伴的期望,并为营销材料的创作做出贡献(例如过去的电影和利沃尼亚烹饪之路)。对于博物馆来说,参与产品开发过程的愿望导致了一些创新的合作形式和成果。例如,艺术研究的应用诞生于共同创造的原则,因此,不同于ENM早期通过电影媒介进行民族志文献记录的做法。在这种情况下,这些电影被制作并上传到社交媒体平台YouTube上,这使博物馆能够扩大其服务范围。另一个实验是美食纪念品大赛,由创业者在短时间内提交一套比较有代表性的美食遗产产品。这些产品和他们的故事生动地展示了企业家将他们的产品与遗产联系起来的许多不同方式。这次经历也让我们意识到,对于邀请企业家参与与食品遗产相关的联合开发项目来说,竞争并不总是最合适的形式。作为研究人员,我们参与了利沃尼亚烹饪之路项目,这为我们在美食旅游领域的发展合作做出了贡献。不幸的是,由于旅游开发商纯粹从工具的角度来解释食物遗产,我们没有被视为平等和重要的合作伙伴。我们得到了一个宝贵的教训,当遗产创造仅仅以营销目标为基础时,它就不能成为文化遗产研究人员可持续合作的基础。在某种程度上,食品项目也构成了ENM试图将自己推销为企业家和商业开发商的可能合作伙伴的尝试。在项目的过程中,我们意识到食品生产企业家并不一定将食品遗产视为一种可以为其产品增加价值的资源,即使他们对食品遗产感兴趣,他们也可能不知道与博物馆联系以获取有关此事的建议。很明显,产品发展领域的合作尤其需要博物馆同各区域发展组织,甚至同企业家本身进行长期和经常的交流和联合活动。此外,如果没有博物馆与其他研究机构的合作,以及文化研究人员与其他学科代表(包括食品技术专家,以及营销和产品设计专家)的合作,就不可能开展基于遗产的产品开发。正是这种跨学科的专业知识才能真正使食品生产商受益。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Toidupärandil põhinev arenduskoostöö: Eesti Rahva Muuseumi projekti kogemus
The origins of this article stem from the involvement of the authors in the Estonian National Museum’s (ENM) food culture project which ran from 2017 to 2019. The project was devoted to food culture, or more precisely, to the current interpretations and uses of Estonia’s historical food culture. The aim of the project was to achieve some practical, workable research results in cooperation with various interest groups. Being an institution offering expertise in cultural heritage, the ENM welcomed the challenge posed by the project, as it would combine the fundamentals of inclusive museology with research and collection-based knowledge as well as provide a site fostering discussions and multi-voiced interpretations. The food project managed to highlight clearly various interpretations of food heritage for food production businesses and the tourism sector. The entrepreneurs and developers involved in the project informed the museum of their needs and expectations, while all the parties jointly evaluated the museum’s potential for meeting those needs and expectations. We recognized that the researchers could not afford to limit themselves exclusively to the sharing of expertise on cultural heritage, but also needed to extend their skill set to match the expectations of their cooperation partners, contributing also to the creation of marketing materials (such as films and the Livonian Culinary Route in the past). For the museum, the desire to participate in the process of product development led to some innovative forms of cooperation and outcomes. For example, the application of artistic research was born out of the principles of co-creation and as such, differed from the ENM’s earlier practice of ethnographic documentation via the film medium. In this case, the films were made and uploaded onto the social media platform YouTube, which enabled the museum to expand its outreach. Another experiment that was initiated was the food souvenir contest for which entrepreneurs submitted a relatively representative set of food heritage products within a short period of time. The products and their stories vividly demonstrated many different ways for entrepreneurs to connect their products to heritage. This experience also made us realize that competition is not always the most suitable format for inviting entrepreneurs to take part in joint development programs related to food heritage. Our participation in the Livonian Culinary Route project created the opportunity for us, as researchers, to make our contribution to the development cooperation in the area of gastronomy tourism. Unfortunately, since tourism developers interpreted food heritage in purely instrumental terms, we were not perceived as an equal and important partner. We learnt a valuable lesson that when heritage creation is solely underpinned by marketing goals, it cannot be the basis for sustainable cooperation for researchers of cultural heritage. In a way, the food project also constituted the ENM's attempt to market itself as a possible partner for entrepreneurs and business developers. In the course of the project, we came to the realization that food production entrepreneurs did not necessarily perceive food heritage as a resource that adds value to their product, and even if they were interested in food legacy, they might not know to contact the museum for advice regarding this matter. It became obvious that cooperation in the area of product development in particular requires, on the part of the museum, long-term and regular communication and joint activities with regional development organizations and indeed, with the entrepreneurs themselves. Moreover, it is not possible to initiate heritage-based product development without the museum’s cooperation with other research institutions and the cultural researchers’ collaboration with representatives of other disciplines (including food technologists, as well as marketing and product design specialists). It is this kind of interdisciplinary expertise that could genuinely benefit food producers.
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