The importance of ethics in heritage practices is underscored by the recognition that any endeavor involving heritage must be sensitive
Ethical practices are entrenched in the exploration of people-centric narratives that echo sensitivity, sensibility
Heritage has a consistently growing and ever evolving presence in how we understand and communicate with our cities. We must authenticate, validate and acknowledge information provided by social media.
There’s a compelling need to create a safe haven for sharing and collaboration of ideas. However, there’s still apprehensions that lie on this path ahead.
For instance, the fear of plagiarism, lack of proper credits, various appropriation, and the blatant copying of ideas has created a reluctance among students and young professionals.
It is within this dynamic that collaborative and community-based practices that prioritise ethics in heritage discourse play a huge role.
Such ethical practices are entrenched in the exploration of people-centric narratives that echo sensitivity, sensibility, and find footings in meticulous groundwork.
Crediting every source and reference, steering clear of replicating someone’s hard work, and actively engaging the community are some of the keystones of an ethical initiative.
Through various initiatives, one can witness how an ethical heritage practice can enable a platform for different individuals to come together for common social causes. It extends further to help people in taking a step forward and act as a voice for the voiceless.
The importance of ethics in heritage practices is underscored by the recognition that any endeavor involving heritage or art must be sensitive to narratives, sensible in its storytelling, and committed to holistic, inclusive experiences.
The ethos of any heritage initiative lies in understanding that copying, miscrediting, or any forms of appropriation is antithetical to ethical heritage practices—a fundamental truth that remains unwavering over time.
Mahabalipuram (iStock)
There are also many instances when one might face conflict or be in a dilemma about use of information. For example, when collective experiences are documented and shared. In such situations the crux should be consent, appropriate and rightful use of data after we delve deeper and look into its potential usage, thereby avoiding misrepresentation.
A ‘yes’ from those involved is very important here.
In acknowledging the ethical imperative, we confront instances from the past where certain practices fell short of ethical standards.
Nam Veedu Nam Oor Nam Kadhai (started in 2013) is a community based out of Chennai. I have been a part of it as an artist and a curator. It is one such initiative in the city that emphasises the exploration of people-centric ethical narratives. Thirupurasundari Sevvel, the founder, says “We firmly believe that any heritage-based initiative should be based on sensitivity, sensibility, and grounding in meticulous groundwork. Crediting every source and reference, steering clear of replicating someone’s hard work, and actively engaging the community and creating a safe space is what we base our practice on. For us, heritage isn’t a static entity—it’s a living, breathing chronicle shaped by ethical considerations.”
Through various initiatives, the team has enabled a platform for different individuals to come together for a common cause .
For those eager to delve deeper into the nuances of ethics in heritage practices one of the workshops – The ethical heritage workshop — offers an practical approach to the various issues with experts adding their perspectives and sharing their experiences.
It serves as a practical guide, imparting valuable insights on navigating the complex terrain of heritage with a focus on ethics.
Over the last decade, the team has done various workshops with educational and other institutions on request, sometimes also collaborating with other ethical and inclusive practices. The recent workshop (8th in the series) in collaboration with DakshinaChitra museum had artist and curator Bhooma Padmanabhan, architect Prasanna, Dr Alamu, Dr Arthi, and artist Aafreen Farthima talking bout ethical practices related to their areas of expertise.
Addressing these lapses is integral to our commitment to shape a future where heritage practices are not just about preserving the past but doing so with integrity.
Brihadeewarar temple. (iStock)
Not just practices, but institutions such as heritage organisations or museums also have a significant impact on ethics in practice. Museums, as custodians of cultural heritage, bear a crucial responsibility in promoting ethical practices.
Beyond being repositories of history, they should serve as dynamic spaces fostering inclusivity, sensitivity, and transparent engagement. Narratives must be present. A museum’s role in ethical heritage extends to the careful selection and contextualisation of exhibits. This ensures acknowledgement and respect of diverse perspectives.
Moreover, proactive community involvement and collaboration are key components. Stories within the museum are not isolated. They are interconnected with the living narratives of the communities they represent.
As a follow-up in this realm, museums should establish a comprehensive ethical heritage management policy and a narrative policy. These documents will serve as guiding principles for everyone involved. They will outline clear standards for ethical conduct, proper attribution, and responsible storytelling.
There is a need to integrate regular training and updates based on evolving ethical considerations. This will ensure the policies remain relevant and effective in navigating the complexities of heritage preservation.
Sketch by Srishti Prabhakar, Thirupurasundari Sevvel. (Supplied)
Such proactive measures will contribute to fostering an environment where museums are not only repositories of the past but also champions of ethical heritage practices. .
Not to forget, it is crucial to share widespread awareness on legalities, IP rights, copyrights and trademarks of ideas. Workshops play a huge role in understanding where this may be possible and where this would not be possible.
(Srishti Prabakar is an artist and architect currently involved in urban research. She works with various media in sharing the lesser known stories of cities and people. She is particularity interested in working with various elements of cities and digging deeper to find local stories beyond their tangible heritage, creating personal narratives of how we can communicate with them.)
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