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Increasingly there is an understanding of the complexities of heritage within UK research, practice and policy. This has contributed to a growing recognition of intangible heritage, however there remains low awareness, and lack of sustained support, for Intangible Cultural Heritage (ICH). This paper outlines a case study - 'The Man Engine Pilgrimage' a popular performative heritage event in 2016 that celebrated the ten-year anniversary of Cornwall as a WHS, designated 'Outstanding Universal Value'. Central to this heritage performance was a twelve metre tall mechanical puppet, replicating parts of the mining process, which made a pilgrimage across the Cornish landscape, visiting old mining sites as an act of community remembrance, spatial identity and celebration. These events called attention to ways that 'heritage' was used and celebrated through formal and informal processes and practices. The study in particular provided insight into structural changes in official heritage processes in Cornwall that facilitated bridging processes or entry points for 'from-below' voices and intangible heritage. The latter included performing Cornishness, which is explored as the living, sensorial embodied performance of heritage in public. This is a reflexive cultural process, where values and symbolic meanings are seen in action – a 'loose' space. Within this performativity meanings and values are created, negotiated, confirmed or refuted in this process of heritage making. [ABSTRACT FROM AUTHOR]

This paper challenges superficial views of ‘recyclia’ (or recycled art) so to consider more conceptual, holistic perspectives. In questioning how the ‘cultural and visual art world’ invests a new imagination and creativity onto abandoned possessions and derelict artefacts, the paper explores the recovery of social memory and the recycling of the past. With an emphasis on the conversion of Cornish shipping and fishing artefacts into recyclia and recycled narrative, the paper thus addresses the recycling of identities, histories and social relations. It does so from an interdisciplinary approach grounded in social anthropology, human geography and material culture studies. My main concern is to map out the journeys that certain tangible markers of prosperity and socio‐economic hardship take through official and low‐key recycling initiatives. Hence, the aim is to look at how Cornwall's historically significant nautical relics and waste are transformed into works of art and therefore into solid metaphors of cultural distinction. In this way, issues pertaining to cultural resurgence are knotted into the creative production for an ‘afterlife’ of things. [ABSTRACT FROM AUTHOR]