GLOBAL SPORTS HERITAGE ASSOCIATION promotes sporting heritage in various fields, across generations, and around the globe.
GSHA’s VISION is to serve as the unifying global & cross-generational voice of sports heritage.
GSHA is committed to help promote sports heritage at all levels, from grassroots engagement to academic research.
GSHA’s MISSION is grounded in the belief that sports are of critical necessity to our emotional, spiritual, physical, communal, and societal well-being.
We believe that “Heritage is about the future (GSHA).”
Together, sports and heritage are instrumental in sustaining a healthy society, and in enhancing peace-building across cultures.
Stay tuned for the ‘inauguration’ of GSHA’s website on June 14, 2020.
The annual Global Sports Heritage Day #GSHD 02, 22, 2021 #GSHD2021 invites sporting communities & cultural organizations around the world to share and celebrate their heritage.
GSHA will organize the annual Future of Sports Heritage Forum FSHF(Late Autumn 2021). Please FOLLOW us for updates.
FOLLOW our heritage partner INTL Heritage and Museum Workers Day, founded in 2015, marked in 170 countries.
Especial thanks to IMWD2020 for dedicating their 6th annual event to #SPORTHERITAGE on Thursday, October 22. 2020, #SportsIMWD
Creatives have the power to influence humanity in way in which we don’t often think! Our Economy generates:
Nearly 30 million jobs worldwide Jobs for more people aged 15−29 than any other sector Annual revenues of US$2.25 Trillion Global exports of over US$250 Billion
Last year, IMWD2018 was marked in 21 languages, across 12 platforms, in 170+ countries. We dedicate IMWD2019 to the theme of “SUSTAINABLE HERITAGE” as we urgently embrace the warnings of scientists who tell us “Nature is declining globally at rates unprecedented in human history (IPBES).”
“Biodiversity & nature’s contributions to people are our common HERITAGE & humanity’s most important life-supporting ‘safety net’. But our safety net is stretched almost to breaking point,” Prof. Sandra Díaz, Co-Chair of Global Assessments study at the Intergovernmental Science-Policy Platform on Biodiversity and Ecosystem Services (IPBES) .
To all culture, heritage and museum colleagues who participated in the 4th Int’l Museum Workers Day #IMWD2018, there is still time to engage with IMWD Q&A, across various social media.
It is a great pleasure to have had colleagues from around the world contribute to the translation of these questions into 21 languages! Head over to IMWD’s Facebook to see all albums and images from this year’s great event.
#IMWD2018 un día sin museos by Delia Bolaños in Mexican Times
El pasado jueves 28 de junio pasó casi desapercibido para la mayor parte del público mexicano. Y no, sabrán que obviamente no me refiero a la última jornada de la fase de grupos del mundial de futbol. Este 2018, por cuarto año consecutivo y a iniciativa de Museum Views(organismo encargado de concientizar y educar al espectador sobre la relevancia e importancia de las diversas profesiones y disciplinas en el campo de los museos y el patrimonio) se celebró el Día Internacional de los Trabajadores de Museos (IMWD, por sus siglas en inglés: Internacional Museum Workers Day).
To mark the 4th Int’l Museum Workers Day #IMWD2018 scheduled to take place TOMORROW, JUNE 28, 2018, we have invited culture, heritage and museum workers to engage with our Q&A across various social media.
Colleagues from around the world have contributed to the translation of these questions into 21 languages! We will continue to share their contributions leading up to #IMWD2018, and look forward to your engagement.
To mark the 4th Int’l Museum Workers Day #IMWD2018 scheduled to take place on Thursday, JUNE 28, 2018, we have invited culture, heritage and museum workers to engage with our Q&A across various social media.
Colleagues from around the world have contributed to the translation of these questions into 11 languages! We will continue to share their contributions leading up to IMWD2018, and look forward to your engagement.
4th Int’l Museum Workers Day #IMWD2018 scheduled to take place on Thursday, JUNE 28, 2018, we are inviting culture, heritage and museum workers to engage with our Q&A across various social media.
We are also inviting colleagues around the world to translate these questions into their languages. We will continue to share their contributions leading up to IMWD2018.
#IMWD2018 Thurs, JUNE 28, 2018 FOR IMMEDIATE RELEASE
EVENT We invite you to join the 4th Int’l Museum Workers Day #IMWD2018 on Thursday, JUNE 28, 2018.
MISSION International Museum Workers Day IMWD’s mission is to educate the broader public about various professions in museum and heritage fields – including all professionals who have worked with museums and heritage at various capacities, e.g. artists, designers, archaeologists, publishers, etc.
LOCATION The global event will take place across various social media – Twitter, WeChat, Facebook, Instagram, Weibo, Tumblr, Pinterest, LinkedIn, VKontakte, YouTube, etc.
IMWD2017
Please visitIMWD2017(link) for a report on the success of last year’s event.
ACTIVITY Artists, Designers, Heritage and Museum Professionals are invited to introduce their professions by sharing photos of themselves (& colleague), or of their favorite object, in their work enviroment.
Artists, Designers, Art & Museum Lovers are encouraged to give a SHOUT OUT to their favorite museum & heritage workers – something as simple as sharing a ‘Thank You’ note on your social media with hashtag #IMWD2018.
Relevant images – tagged #IMWD2018 or – may be shared across various platforms on our social media feeds.
NOTE: We will do our best to continue to share all submissions throughout the year, across social media.
ORIGINS The project was initiated by American museologist and filmmaker Homa Taj in 2015. The event was initially called Hug A Museum Worker Day in the same spirit as “International Hug a Medievalist Day.”
PRESS (Logos & Images) Stay tuned for plenty of LOGOS, POSTERS, GIFS, VIDEOS & promotional material to help spice up your #IMWD2018. (Larger files may be found inDropBox as we continue to add to our repertory…).
CONTACT HOMA TAJ | Founder Frank J Cunningham | Executive Director INT’L MUSEUM WORKERS DAY (IMWD) ***@museumworkersday.org
Flags of (almost all) countries based out of which museum & heritage workers engaged with IMWD2017.
Last Thursday June 29th marked the 3rd International Museum Workers Day #IMWD2017, an advocacy project initiated by MUSEUMVIEWS.
To celebrate #IMWD2017, we invited museum and heritage workers from around the globe – including artists, scholars, art historians, scientists, archaeologists, anthropologists, curators, filmmakers, performance artists, designers & many other whose expertise, years of experiences and dedication help create, discover, preserve, and disseminate our tangible and non-tangible cultural heritage.
From among the 150+ countries that engaged with #IMWD2017, some of the inspiring participants were based out of:
Bhutan, Azerbaijan, Slovakia, Tajikistan, Moldova, Chad, Indonesia, Sri Lanka, Tonga, Mozambique, Ghana, Cameroon, Belaize, Oman, Madagascar, Jordan, Swaziland, Botswana, Congo, Jamaica, Nepal, Kazakhstan, Zimbabwi, Benin, Vietnam, Papa New Guinea, Suriname, Brunei, Haiti, Cote d’Ivoire, Malaysia, Burkina Faso, Togo, Dominican Republic, Mali, Rwanda, Chad, Senegal, South Africa, Yemen … & numerous others …
IMWD2017 were equally thrilled to have the participation of:
The Metropolitan Museum of Art Musee Louvre Galleria degli Uffizi LACMA El Museo Soumaya Deutsches Historisches Museum Berlin The Gardner Modern Art Museum, Rio de Janeiro International Center of Photography American Federation of Arts LA Opera Hispanic Society of America National Museum Philippines AAMers (& Future of Museums) Museum Directors ICOM ICOM USA ICOM Canada ICOM Italia & very many others… ...
UPDATE (July 2016) International Museum Workers Day #IMWD aims to educate the public about various professions in the museum world – including art and heritage.
The THIRD International Museum Workers Day will take place on June 29, 2017.
An advocacy project initiated by MUSEUMVIEWS, #IMWD was previously called International Hug A Museum Worker Day #HAMuseumW.
On Monday June 29th, 2015, thousands of museums, museums associations, and museum professionals in more than thirty countries celebrated The 1st International Hug A Museum Worker Day.
As of Tuesday June 30, 2015, #HAMuseumw (hashtag, alone!) had generated 4,9 million impressions on Twitter (via Hashtracking). This number excludes all other engagements across social media (Twitter, Faceboo, Tumblr and Instagram).
And, thanks to our British colleagues in Scotland, England, Wales and Northern Ireland, #HAMuseumW made it to Top 100 trends on Twitter (on June 29th).
In the meantime, here is a sampling museums, museums associations and museum professionals that celebrated The 1st International Hug A Museum Worker Day.:
International Council of Museums (ICOM-US)
Education and Cultural Action (ICOM-CECA)
Association of Art Museum Directors, USA
American Association of Museums (Media & Technology Committee), USA
United States Holocaust Memorial Museum, Washington DC
New York Foundation for the Arts (NYFA), New York
Nat Geo Museum, Washington DC
National Museum in Warsaw, Poland
Art Institute of Chicago, Illinois
Mauritshuis Museum, The Netherlands
National Gallery Singapore, Singapore
Nato Geo Live (National Georgraphic Explorers)
Association of Nova Scotia Museums
Western Museums Association, Washington
Museo Nazionale dell’Ebraismo Italiano e della Shoah, Italy
Nationalmuseet, Denmark
Association of Science-Technology Centers, Washington DC
Association of Manitoba Museums, Canada
Nobel Museum, Sweden
ICON The Institute of Conservation, England
The Jewish Museum London, Great Britain
Museo de la Alhambra, Spain
Emergin Museum Professionals BC, Canada
Royal Belgian Institute of Natural Sciences, Brussels
Musei Firenze (Palazzo Vecchio), Italy
Museum of Technology, University of Cambridge, England
National Museum in Krakow, Poland
Museum of Cambridge, England
Musée de la tapisserie d’Aubusson, France
Michigan Museums Association, Michigan
Museum Media , The Netherlands
Hammer Museum (UCLA), California
Musée des Ursulines de Québec, CANADA
Ministerio de Cultura de Colombia, Colombia
Blanton Museum, Texas
Consortium of European Taxonomic Facilities, Brussels
University of Cambridge Museum, England
Hawaii Museums Association, Hawaii
Museums and the Web, Australia
Canadian Centre for Architecture/ Centre Canadien d’Architecture, Quebec
Canada Aviation and Space Museum/ Le Musée de l’aviation et de l’espace du Canada, Canada
Canadian Association for Conservation/ Association canadienne pour la conservation et la restauration, Canada
Museum Education Roundtable, Washington DC
University of Michigan Museum of Art, Michigan
The Museum Computer Network, New York City
National Park Services (Cultural Resources), West Virginia
Danish Maritime Museum, Denmark
Associació de Museòlegs de Catalunya, Spain
Association of Manitoba Museums, Canada
Museo Nacional de Arte Romano, Spain
Museums Association of Saskatchewan, Canada
Tennessee Association of Museums, USA
Portland Museums Professionals, Oregan
Museo de Bellas Artes de Granada, Spain
Small Museums Association, USA
Museum of Antiquities (Uni Saskatchewan), Canada
Villa Médicis, Italy
Natural History Museum, England
Norsk Teknisk Museum, Norway
Michigan Science Center, Michigan
Museo de Arte de PR, Puerto Rico
University of Alberta Museums, Canada
Muzeum Historii Fotografii, Poland
Museum of Chinese in America, New York
The Institute For American Indian Studies, Washington DC
Museums Association Scotland, Scotland
National Museum of Wales, Wales
Science World, Canada
Ottowa Museum Network, Canada
Swedish Museum of Science and Technology, Sweden
Beamish Museum, Great Britain
Associazione Nazionale Piccoli Musei, Italy
Society for the Preservation of Natural History Collections, New York
North Carolina Museum of History, North Carolina
Montana Historical Society, Montana
Le Musée québécois de culture populaire, Quebec
Ludwig Múzeum, Hungary
The PA Historical & Museum Commission, Pennsylvania
Klassik Stiftung Wiemar (Museen, Schlösser und Parks, Archive und Bibliothek), Germany
Brightom Museums, England
State Ethnographic Museum in Warsaw/ Państwowe Muzeum Etnograficzne w Warszawie, Poland
Casa Battlo Gaudi, Spain
Society for Promotion of Museology in the Balctics, Latvia
HT – Speaking of cinema, I read in The Hollywood Reporter that you are now going back to making a sequel to Scarecrow (1973)?
JS – I went back thinking that I was going to make a sequel to Scarecrow but when I finished the script, I found out that Gene Hackman has retired. Then I told Al [Pacino] about it… And, then, I thought that a re-make shouldn’t be my return to filmmaking. If I can’t get Hackman, I’d have to eliminate that character.
In any case, the script stands on its own without being a sequel. There are certain things that I would tweak…but, ultimately, it does stand on its own.
Also, I am working on three different films, right now. We’re very close to getting one of them off the ground.
But, then, there is the archiving of my photos. If they are not put in properly you won’t be able to find them.
HT – Well, you are making it easier for art historians to descend on your archives to do research, in the very near future.
JS – I think my papers are going to Harvard. Haden Guest [Director of Harvard Film Archives] told me, “We don’t have a big archive but what we have, we take very seriously.”
HT – In the late 1990’s, I studied film with the former film programmer at the Harvard Film Archives. At the same time, I was working (part-time) at the HCL’s Fine Arts Library. So, I can personally attest that your archives will be in great hands!
JS – That’s great. Harvard will have all the letters and telegrams – there were telegrams before emails – and all the other documents. They already have some of my films. But I would love to have them both in the same place: archives for my films and archives for my photographs.
Actually, all the work that I am doing now, the book with Dylan, the show for the Cinémathèque, the documents… are preparing me for it. Everytime we go into the storage, we find something new.
When I went to the Cinémathèque, they were hanging a new show of Antonioni…
JS – Yes, it looked very interesting and gave me some ideas. The theme of my show is From Still to Cinema. A bit like the exhibition at Beaubourg. But, back then, they only had half of my films there, and a small part of my photographs.
Now, I am making a list of the people whom I have photographed and who are working in cinema, in some way.
I really like the space that they have.
HT – Meanwhile, back home, in America… I personally think that there is something fundamentally off about the state of contemporary art in America. And, films too…
JS – I think part of the problem is that people are trying too hard. I have to say, at the beginning, I had a hard time with Andy Warhol and his soup cans. But Warhol was a real artist. A real Pop artist. Out of that movement came Robert Rauschenberg, Jasper Johns and others.
I remember the first time that I met Rauschenberg at their loft (they had two), I asked him, “Tell me, are you trying to be humurous?” He said, “No. I am just trying to make people aware.” And, that made an impression on me. We had a long talk. And, we continued to meet several times over the years.
Some things he had done had influenced me. For example, I began to photograph stuff on the street – the garbarge that people throw away. I’d find a nice composition – I never move anything – and, I just photograph them. Rauschenberg would paint them, and I photograph them. I’ve taken a couple thousand of them – that I really like. And, I’d like to show them.
HT – Speaking of exhibiting never before seen photos, what experiences have you had of working with private dealers.
JS – Once, I had a show with a gallery. I didn’t care for the way he had hung my pictures so I told him that if you put this picture next to this one, you won’t see the third. But if you put this one in the middle, you’ll see all three. He didn’t like it at all. He was very upset!
HT – I laugh… because my film (The Dealer) is about an art dealer and, it references photography…
JS – Well, there was a time when ICP (International Centre for Photography) wouldn’t touch a fashion photographer’s work. And, now, fashion photography is considered art.
HT – Yes. It’s everywhere. Boston MFA did a show of Mario Testino in 2012, another one on Herb Ritts is on now until November 8. etc…
JS – I loved the Avedon’s show at the Met (2002), and the Irving Penn exhibition at MoMA (2009-10). I liked Penn’s catalogue. The way he puts a bowl of soup, a fashion image, and a portrait alongside each other.
You see, photogaphy is different from sculpture or paintings. It’s more a way of seeing.
HT – If you were to do photography now, would you use a digital camera?
JS – I like digital. I am not a technical snob. Mary Ellen Mark who recently passed away, she would never shoot digital. For me, it is the mind and the content that makes the photograh not the film or the technology. I want my films to be beautiful. If I take a photograph on the subway and it is blurred, if I like the content, I don’t care that it is blurred.
I mean, look at Blonde on Blonde (the cover of Bob Dylan’s 1966 album). It is moving. I only had three images like that. Everyone is trying to say that it was a trip, it was LSD. It wasn’t any of that. We started shooting in the studio. And, we thought, let’s go out. We’ll find more light outside, somewhere in the meatpacking district. People are always asking me where it was taken, and I have tried to find it. I think they’ve gentrified it.
HT – [Laughs] You think?
JS – Well, there are places that have remained the same, but I think that place is gone. I did take some very beautiful images that I really like and that I have shown in exhibitions. It was Dylan that chose that blurred photograph for the cover of his album. It was cold. We were shaking. So the photo came out blurry. People have always tried to theorize it. But that was it. I mean, the record company would have never allowed such an image on an album cover. But Dylan could do whatever he wanted.
HT – So, the quivering anxiety of a new generation wasn’t what you had in mind?
JS – We let people interpret their own thoughts. It’s just that no one wants to hear about the technical aspects, or that it was cold and we were both shivering [laughs].
HT – Speaking of technical aspects, does using digital also apply to filmmaking for you?
JS – I used a digital camera in my the last film. I liked it. It worked fast. I didn’t do a lot. But my next film will be digital. I have no problem with that. I haven’t jumped into pigment prints, yet. I still like silver gelatin and c prints. I like very much what they look like but they are not archival enough. Also, for the time being, collectors want silver or platinum prints, or what they already know about. But, I have nothing against digital prints. In fact, I have made some digital prints and I challenge anybody to tell me which is digital and which is silver.
Jerry Schatzberg is represented by Rukaj Gallery in Toronto, Canada
GLOBAL SPORTS HERITAGE ASSOCIATION promotes sporting heritage in various fields, across generations, and around the globe.
To mark the 4th Int’l Museum Workers Day #IMWD2018 scheduled to take place TOMORROW, JUNE 28, 2018, we have invited culture, heritage and museum workers to engage with our Q&A across various social media.
UPDATE (July 2016) 