A good project related to heritage, from a museological and museographic, approach should enable rational springs from our minds: should get excited. Observation, and deduction, comparison, daydreaming, the time travel are essential in our contact with the heritage and, in addition, enhance our critical sense towards the reality that surrounds us. The promoters that unleashed this emotional interactivity in relation to heritage were, interestingly, scientists and museum curators from the field of natural sciences and physics, professional that are normally related to the Cartesian and with little emotion, surprise! They were the first that he pushed the concept of Museum and interactivity in general. We must recognize that merit that you have, and much. But what concerns us today is our minds in relation to beauty; Heritage in relation to our emotional mechanisms, about our feelings and anything we usually call irrational, right Stendhal?
Heritage, can be impressive, generating very strong emotions and feelings. Imagine a Catholic coming for the first time to see the Basilica of Saint Peter in the Vatican – contradictory feeling for an atheist admirer of art-, or a Muslim visiting Mecca for the first time, or for a fan of Miguel Ángel who sees for the first time David, La Piedad, the Sistine Chapel and we can say Leonardo, the Impressionists… The heart is accelerating and we even got to tears before such beauty and cultural mitomania, binge why not? There are property sets that impact on people’s emotional ability even today. What causes emotions, in short, is not both the physical fact but the immaterial, the sensations. In this sense include sensations before the heritage not so much by the admiration of beauty but quite the contrary, fear and horror to particular heritage: the visit to Mauthausen, to give an example, or a walk through Arlington in Washington D.C., while ponder the stupid, on many occasions, nature of man. If during the trip think that Angkor Wat and ruinous offal which can be seen on Omaha Beach in Normandy (even without Museum, not finished yet), are both of a rational being called man, we can exploit the head.
Changing the topic: emotions can also be caused artificially, especially with the use of new educational museography. We do not consider it handling, support for learning, a little push for those who have difficulty in shake his soul. We start from the basis that heritage should fascinate a spectrum of audience that is varied, which has different levels of emotional capacity. It must generate scenarios and contextualize the heritage in order to achieve universal feelings. It’s not manipulation didactics, we understand it as well. Today there is no excuse for not doing so, we have plenty of resources to cause positive emotions: audiovisual, effects of light, scenography, drama, special effects, play with the surprise, interactivity, involvement, action, etc. We can go to exotic places making imaginary trips, there is no need to travel to travel with the mind. But all this is possible if it is machined correctly and thinking of the public. If we do a mapping on the façade of Notre Dame, where project night the story of the construction of the Cathedral, accompanied by effects of light and sound, will become, if done professionally, in an unforgettable educational experience for all. that is the emotional enhancement of heritage that normally acts passive in the conscious and subconscious collective: “your (visitor) me (Cathedral) are observing but not I call you, you will have to work alone”. We believe that this way of “interaction” is not possible, we must go much further if we want to get all the juice educational heritage. If you are not excited, not taught.
We must bear in mind that if it is necessary the intervention is for the following reasons:
1. the heritage are excited by its size and grandeur. Always highlight what we “impressed”: the pyramids of Egypt or those of Tenochtitlan in Mexico, the great wall of China, Taj Mahal, or Hagia Sophia as a paradigm of the colossal.
2. by its wealth in material terms; Gold Buddhas and if giant as the Buddha Tian Tan of Hong Kong, thus better.
3. by their seniority, are interested in having many thousands of years, the older better: paintings of Altamira, now in the neocave, which even now is also spectacular by its Museum such a successful intervention. The deposits of Atapuerca is also a great example, or alignments of Carnac, or Stonehenge, etc.
4. by its meaning, by its ability to become a myth, such as the wall of Jerusalem, the castle of Tintagel (Arturo Pendragón) or the cave of Merlin.
5. by its exoticism, as unique in the world, out of context or simply draw attention, such as the giant drawings of Nazca, Machu Picchu, not to mention the natural heritage that could not be us here (luckily still).
If the nature of the heritage shown does not fit within these five parameters, the intervention will be required with the application of a good project museografico: context, content, didactic effects. So we will do a disservice to the heritage and, above all, will give a great gift to our ability to move us from the hand of the culture. Make an unforgettable experience of the heritage is not an option, it is an obligation by very radical to make it sound.
HERNÁNDEZ HERNÁNDEZ, F.
El Patrimonio cultural: la memoria recuperada
Editorial TREA, Gijón (2002).
Main image: Vignette of the Prince Valiant in Camelot of Harold Foster