The Routledge Handbook of Heritage and Gender

Jenna C. Ashton is a Senior Lecturer in Heritage Studies, University of Manchester. She is an arts practice researcher working on cultural analysis and theory at the nexus between community heritage, ecologies, place, and social and environmental justice. She has a background in artmaking, exhibition curation, creative producing, and arts-education. 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). Her monograph, Urban Communities and Climate Justice: Insights from Arts-Practice Research, is forthcoming.

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 Sari, 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 artists Edna Lumb and Angela Croome: Curating Aggregate; PART 3 Violence as Gender Heritage – 14. Sexual Violence in Premodern South Asian Literature: Unsavoury heritage; 15. Trauma, Memory, and Identity of Women in Cambodia Diaspora; 16. The Representation of Sexual Violence in the Arts and Memory Space Fragmentos, Colombia: Overwritten memories; 17. The Casa de la Memoria Kaji Tulam and the Reinterpretation of Guatemalan History: Women behind the door; 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 Suffragette 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. Deconstruction of Orientalism through Feminist Art in Turkey: Challenging legacy; 24. Doing difficult heritage, performing diasporic memory: Yoshiko Shimada and Haji Oh’s art of affective recall; PART5 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 and 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. Making Gendered Heritage Invisible in Modern Iran and the politics of erasure; PART 7 Gender in Heritage Leadership and Governance – 33. Gender and museum leadership: ‘Excuse Me, I’m Speaking!’; 34. Gender as frontstage issue and backstage problem in current museum practices and research; 35. A gendered transnational analysis of future heritage through national museums’ contemporary art collections: Mind the gender gap?; 36. Gender perspectives in the governance of cultural heritage institutions; PART 8 Futures of Feminist and Queer Heritage – 37. The Uses of Queer Heritage; 38. Critical contexts and proposals for a feminist heritage studies and feminist mnemopraxis; 39. A transnational feminist perspective on the representation of women in UNESCO’s World Heritage Convention and Convention for Safeguarding the Intangible Cultural Heritage: Only wives and mothers?; 40. Interpretation of Cultural Heritage from a Gender Perspective: The Women's Legacy White Paper experience; 41. Development of discourse on the intersection of heritage and gender within ICOMOS; Index.