This chapter introduces the concept of heritage and examines its various uses in contemporary society. It then provides a background to the development of critical heritage studies as an area of academic interest, and in particular the way in which heritage studies has developed in response to various critiques of contemporary politics and culture in the context of deindustrialisation, globalisation and transnationalism. Drawing on a case study in the official documentation surrounding the Harry S. Truman Historic Site in Missouri, USA, it describes the concept of authorised heritage discourses (AHD) in so far as they are seen to operate in official, state-sanctioned heritage initiatives. Where the other chapters in the book contain substantial case studies as part of the discussion of the different aspects of the politics of heritage, this chapter focuses instead on key concepts, definitions and ideas central to understanding what heritage is, and on heritage studies as a field of inquiry. The chapter suggests that critical heritage studies should be concerned with these officially sanctioned heritage discourses and the relationships of power they facilitate on the one hand, and the ways in which heritage operates at the local level in community and identity building on the other. It provides a number of explicit ideas and reference points to which the authors of the other chapters will return through the course of the book.
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Academics did not create heritage, but they disciplined it, so to speak, in the late 20 th century. Heritage was already happening in the context of multiculturalism and globalization as " people all over the world … turned to ethnic and cultural identity as a means of mobilizing themselves for the defense of their social and political-economic interests " (Turner, 1993, p. 423). It was also happening via the mechanisms of UNESCO's World Heritage List, which were beginning to operate as early as 1978, and as mass tourism opened up new horizons for that industry. Indeed, cultural heritage was – and is – on the move: heritage is in action. One clear demonstration of this is the " overproduction " of heritage. Whether it is the expansion of the World Heritage List (1,031 inscriptions as of 2015 with no end in sight/sites, if we may be permitted the pun), the proliferation of museums, individual and community heritagizing actions, business sector appropriations of heritage discourse and imagery, the new European Heritage Label, or heritage-justified internal and international ethnic strife—it seems that everything and anything is being declared, contested and/or performed as heritage. Moreover, heritage now travels with a mobile population – temporary, permanent and along a scale between those extremes – and it (re)creates and reconfigures itself in its destinations. Heritage is produced and mobilized by individuals and communities in any number of actions, including remembering, forgetting, generating, adapting and performing. Heritage shapes and reshapes people's sense of place, sense of belonging and cultural identities locally and nationally. Clearly, then, heritage does " work " (Smith, 2006). And as work, cultural heritage is a tool that is deployed broadly in society today. It is at work in indigenous and vernacular communities, in urban development and regeneration schemes, in expressions of community, in acts of memorialization and counteracts of forgetting, in museums and other spaces of representation, in tourism, in the offices of those making public policy and, all too frequently, in conflicts over identity and the goals of those politics of identification. Thus, heritage is not simply an inert " something " to be looked at, passively experienced or a point of entertainment; rather, it is always bringing the past into the present through historical contingency and strategic appropriations, deployments, redeployments, and the creation of connections and reconnections. It implicates how memory is produced, framed, articulated and inscribed upon spaces in a locale, across regions, nationally and, ultimately, transnationally. It enables us to critically engage with contemporary social and political issues of grand import while also being a familiar prop drawn upon to make sense of more mundane processes of negotiating self, place, home and community.
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