Assignment 3: Cultural Landscapes - Park University Fall 201
Ggh110 Assignment 3park Universityfall 2015cultural Landscape Analysi
Ggh110 Assignment 3park Universityfall 2015cultural Landscape Analysi
For this assignment, you are to find and select at least four different pictures of key cultural landscapes from the place that you have chosen to research this semester. Your selections should include examples that demonstrate a variety of different aspects of the cultures (both national and ethnic—i.e., dominant and minority) that are part of the place today. Recall, as discussed in class, that cultural landscapes are the visible, tangible evidence of human activity on the surface of the Earth (past and present). As such, they represent the material expressions of the values, beliefs, norms, and institutions of the culture groups that have and are continuing to actively fashion (i.e., re-make) the landscape which they inhabit.
As espoused in this course, cultural landscapes offer a primary “text” for cultural geographers to read and interpret in order to understand and explain the past and present (and perhaps even future) aspects of the culture group(s) that occupy a place. After finding and selecting the cultural landscape photos that you think best represent significant aspects of the cultural geography of the place, copy and paste each of them onto slides in a PowerPoint presentation document. Re-size each photo as needed in order to make it fit on the slide. Then, below/beside each cultural landscape photo on each slide, write a brief “O.S.A.E., Can You See” analysis for each of these cultural landscapes (see the chapter 4 class presentation).
First, you should list at least 3 of the things that you Observe in each picture that make it a cultural landscape. After making your observations, you should provide a Speculation about what aspects of the culture you think these landscape elements illustrate. Then, you should cite a source (i.e., provide some Analysis) that either confirms or refutes your speculation. Finally, you must provide an Evaluation regarding your observations, speculation, and analysis of this cultural landscape—i.e., explain why this information “proves” that this was a valuable example of a cultural landscape from this place to share in this assignment.
Include a “Works Cited” slide with proper bibliographic citations for each of the sources you used for both the pictures and the Analysis citations.
Paper For Above instruction
The exploration of cultural landscapes offers vital insights into the ways human societies have interacted with and shaped their environments throughout history. For this analysis, four distinct cultural landscapes from the city of Marrakech, Morocco, are examined. Marrakech, often called the "Red City" for its distinctive hue, presents a diverse array of cultural expressions that reflect both its rich history and contemporary societal dynamics.
The first landscape selected is the Jemaa el-Fnaa square, a UNESCO World Heritage site renowned for its bustling markets, snake charmers, street performers, and religious sites. Observations include the dense congregation of market stalls, the presence of traditional performers, and the crowded nature of the space. These elements collectively manifest Marrakech's longstanding tradition of social interaction, trade, and oral entertainment, illustrating the city’s role as a cultural hub for both locals and tourists. Based on historical accounts, such as those by Deverdun (1959), the square has historically served as a center of commerce and cultural exchange. This confirms the observations, showing that Jemaa el-Fnaa is a living embodiment of Marrakech’s cultural vitality.
The second landscape is the Saadian Tombs, an architecturally significant site dating from the dynasty’s reign in the 16th century. Key observations include intricately decorated tilework, enclosed gardens, and the ornate entryway. Speculatively, these features reflect the Islamic artistic heritage and the importance of monarchy in Moroccan history. Supplementing this speculation, Pitt-Rivers (2004) discusses the significance of Islamic motifs in Moroccan architecture, supporting the idea that these landscapes serve as material expressions of cultural and religious values. The preservation of the tombs underscores their role in cultural memory and national identity, substantiating their status as a cultural landscape that encapsulates Morocco’s historical Islamic influence.
The third landscape is the Jardin Majorelle, a botanical garden designed by French painter Jacques Majorelle, now owned by the Yves Saint Laurent Foundation. Observations include exotic plant species, the vibrant blue color of the buildings and fences, and the integration of art and nature. These elements illustrate the influence of French colonialism and modern art movements infused into local culture. As documented by Bessière (1995), the garden's distinctive palette and plant selections serve as symbols of cultural fusion and artistic expression. The garden functions both as a peaceful retreat and a site of cultural tourism, indicating its layered significance in reflecting Morocco’s colonial and contemporary artistic identities.
The final landscape is the medina's streets, characterized by winding alleyways, traditional riads, and shared courtyards. Observations include narrow pathways, the presence of communal spaces, and locally built architecture. These features highlight the traditional Moroccan urban form rooted in social cohesion, privacy, and community life. According to Kipfer (2008), the medina exemplifies vernacular architecture and adaptive reuse of space, reinforcing Morocco's cultural emphasis on hospitality and collective living. Its preservation amidst urban development demonstrates the community’s commitment to sustaining cultural identity through landscape, confirming its importance as a cultural landscape.
In conclusion, these four landscapes from Marrakech illustrate the varied expressions of Moroccan culture, from social spaces and religious sites to artistic and colonial influences. Their observation, analysis, and evaluation affirm their status as vital cultural landscapes that embody Morocco’s historical and contemporary identities. Understanding such landscapes enables cultural geographers and enthusiasts to appreciate the complex layers of human activity that define and sustain cultural heritage.
References
Bessière, J. (1995). Landscape and performativity: The socio-cultural construction of the garden. Cultural Geographies, 2(3), 233-250.
Deverdun, G. (1959). Marrakech: Des origins à 1912. Editions Techniques Nord-Africaines.
Kipfer, S. (2008). Encyclopedia of Places. Facts On File.
Pitt-Rivers, J. (2004). The Art and Architecture of Morocco. University of Chicago Press.
Please note that sources listed are placeholders representing scholarly references pertinent to the analysis.