Qatar today focuses so much on reconstructing its cultural heritage. It is clear that the reconstruction of Qatariheritage has stemmed from a nostalgic mood. Thus, the government subsumed that heritage into certaininterpretations and readings. Therefore, as presented today, Qatari heritage is no longer a self-referential heritage ofan indigenous culture. Rather, it has become a principle to reflect the social and economic existence of the Qataricommunity along with other global communities. The mass use of heritage and the implementation of Westernmuseum culture, however, might be viewed by some as the importation of a culture rather than the preservation ofan existing one. To minimise such potential problem, the government opted to ignore any distinctions betweenrepresenting heritage, interpreting it, or imposing new ideas and thinking around it. Instead, it has focused onintroducing a heritage based on linking images of foreign elements that characterise Qatari heritage with new socialand economic experiences.
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