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It is a well-known fact that there has been extensive documentation of African traditional arts in post-colonial Africa, which has contributed to the growing accumulation of field recordings in Africa that could form the nucleus for archives in individual African countries. These include private collections as well as recordings at broadcasting and television stations; government ministries such as Tourism, Culture …

Polish audiovisual heritage is a very important part of the cultural legacy of the country. Unfortunately the use of and access to Polish audiovisual archives is still in its initial phases. The Polish Ministry of Culture and National Heritage has made great strides towards solving the problems of access and limitations of use. In 2009 the ministry established the National …

Public audiovisual archives like the Österreichische Mediathek (Austrian National Audiovisual Archive) have long been concerned with documenting the political as well as the cultural public sphere. National and international efforts have worked to collect and preserve historic film documents from the private sphere. An ongoing Österreichische Mediathek project addresses a source typically viewed as marginal: private video sources from the …

This is the foreword to the book ‘SOIMA: Unlocking Sound and Image Heritage‘. The book offers tips and advice from dedicated professionals from all corners of the world for the preservation and creative use of sound and image heritage. As a resource, it aims to interest collectors, users and educators alike, as it offers compelling examples and strategies founded in evidence-based research. …

Audiovisual archives are embracing the opportunities offered by digitization for managing their work processes and offering new services to a wide array of user groups. Organization strategy, working processes and software development need to be able to support a culture where innovation can flourish. Some institutions are beginning to adopt the concept of ‘two-speed IT’. The core strategy aims to …

Digital technologies enable us to visualize dance in new ways and to capture recordings of dance which may be preserved and handed down to future generations. In this way, dance starts to become part of our intangible cultural heritage. But capturing dance also raises questions of authorship and ownership of copyright in both the dance and the recording of the …