Routledge Handbook of Heritage and Gender

Jenna C. Ashton is a Senior Lecturer in Heritage Studies, with a background in artmaking and writing, exhibition curation, creative producing, public engagement, and arts-education. Her multi-method and interdisciplinary research focuses on community-based practices, knowledges, economies, and critical literacies (also sometimes described as “living heritage” or “intangible cultural heritage”). Jenna’s work sits across feminist environmental humanities and critical heritage studies. Previous edited collections include Feminism and Museums Vol 1: Intervention, Disruption and Change (2017), Feminism and Museums Vol 2: Intervention, Disruption and Change (2018), and Anonymous Was a Woman: A Museums and Feminism Reader (2020). Jenna is also the founder and Creative Director of the arts and heritage organisation Digital Women’s Archive North (DWAN, 2015–), and creator of the 2017 manifesto, The Feminists Are Cackling in the Archive: A Manifesto for Feminist Archiving (or disruption).

• List of Figures; List of Contributors; Introduction; PART 1: Materiality and Performance of Gender – 1 Gendering Material Objects in Heritage Practice; 2 Bridal Ornaments and Heritage Performances in India: The Case of Kanchipuram Silk Saree and Temple Bridal Jewellery; 3 Queerly Intersectional at the Dawn of Heritage Preservation: Judah Touro; 4 Women’s Stories Unheard in the Military Border Zone: Kitchen Storytelling as Methodology; 5 Safeguarding Bulgarian Applied Folk Art : The Work of Helene Oucheff; 6 The (Miss) Representation of Women in European Prehistory Museum Displays: Breaking the Glass Display Case; PART 2: Gendered Heritage Landscapes – 7 The Representation of Rosa Parks on the American Civil Rights Memorial Landscape: ‘Trapped on the Bus’; 8 Gender and Heritage at Home at the Pankhurst Centre and Potter’s Hill Top; 9 A Queer Manipulation of the Sheats-Goldstein House: ‘Quite a pad you got here, man’; 10 Contested Transcultural Spaces: The Mother Goddess Religion’s Sacred Sites and Rituals in Huế City, Vietnam; 11 Heritage Interpretation and First-Person Narratives: Producing a Feminist Reading of Cultural Landscapes; 12 An Ethnoarchaeology of Precolonial Gold Mining and the Role of Women in Eastern Zimbabwe; 13 Industrial Archaeologies of Edna Lumb and Angela Croome: Curating Aggregate; PART 3: Violence as Gender Heritage -- 14 Sexual Violence in Premodern South Asian Literature: Unsavory Heritage; 15 Trauma, Memory, and Identity of Women in the Cambodia Diaspora; 16 Overwritten Memories: The Representation of Sexual Violence in the Arts and Memory Space Fragmentos; 17 The Women behind the Door: The Casa de la Memoria Kaji Tulam and the Reinterpretation of Guatemalan History; 18 Women’s Monumental Activism: Statues That Matter; PART 4: Arts-led Methodologies for Remembrance and Activation – 19 The Performative Legacies of the Women’s Peace Camp at Greenham Common: Beyond Monuments; 20 The Illustrator in the Archive of Katie Gliddon; 21 Recovering the Excluded Women in English Folk and Calendar Customs: Social Art as a Research Methodology; 22 Mithila Folk Art: A Feminist Perspective; 23 Resisting Orientalism Through Feminist Art in Turkey; 24 Doing Difficult Heritage, Performing Diasporic Memory: Yoshiko Shimada and Haji Oh’s Art of Affective Recall; PART 5: Digital and Media Interventions for Gender Advocacy – 25 Confronting Gender Biases in Heritage Catalogues: A Natural Language Processing Approach to Revisiting Descriptive Metadata; 26 Using Apps to Promote Women Artists and Intervene in Gender Politics; 27 Intangible Cultural Heritage, Gender, and Media: A Multimodal Content Analysis of the UNESCO Nomination Films; 28 Autonomous Archives: Reframing Feminist Heritage in the Context of COVID-19; PART 6: Nationhood, Politics, and Gender – 29 Nordic Gender Ideals and the Viking Age: An Unresolved Legacy; 30 Feminist and Democratic Heritage: Lessons from Spain; 31 Gendered Dimensions of Intangible Heritage in Europe: The Political Pasts and Presents in Italy and Poland; 32 The politics of erasure and making gendered heritage invisible in modern Iran; PART 7: Gender in Heritage Leadership and Governance – 33 Gender as Frontstage Issue and Backstage Problem in Current Museum Practices and Research; 34 A Gendered Transnational Analysis of Future Heritage through National Museums’ Contemporary Art Collections: Mind the Gender Gap?; 35 Gender Perspectives in the Governance of Cultural Heritage Institutions; PART 8: Futures of Feminist and Queer Heritage – 36 The Uses of Queer Heritage; 37 Critical Contexts and Proposals for a Feminist Heritage Studies and Feminist Mnemopraxis; 38 Only wives and mothers? A transnational feminist perspective on the representation of women in UNESCO’s World Heritage Convention and Convention for Safeguarding the Intangible Cultural Heritage; 39 Interpretation of Cultural Heritage from a Gender Perspective: The Women’s Legacy White Paper Experience; 40 Development of Discourse on the Intersection of Heritage and Gender within ICOMOS; Index.