I recently had the privilege of visiting the Diamond Museum Bruges, founded in 1999 by Danish-born civil mining engineer John A. Rosenhoj and his wife, Türkan Rosenhoj. We spoke before the tour about their shared passion for diamonds, the many places they have lived around the world, and especially their project to have diamond cutting and polishing recognized as Flemish cultural heritage: “The Diamond Museum Brugge team has been working on preparing the project for the last 18 months. As the Belgian beer culture, “frietkot” culture and Bloemencorso, in addition to numerous religious and folkloric processions and celebrations are all registered as intangible cultural heritage, it appears obvious that ‘Diamond manufacturing’ is not less important, and merits to be recognized as Flemish / Belgian (C’est du Belge !).”
The Diamond Museum Brugge has a unique mission: to showcase diamonds in all their facets, from extraction to "consumption," with an emphasis on the historical role that Flanders has played in this process and continues to play today. A central project for the museum, and for Rosenhoj personally, is the effort to have diamond cutting and polishing recognized as intangible cultural heritage. "We live in a time where industrial heritage is increasingly appreciated, but the craft of diamond cutting is still insufficiently visible to the general public," he explains.
During our conversation, we browsed through numerous articles from both Danish and Flemish newspapers and magazines, and we took a look at the book ‘Bruges Diamond City’, which John co-authored with historian Ludo Vandamme. This 1993 publication describes the extensive history of diamonds in Bruges, both in the late Middle Ages and the 20th century, and forms the foundation upon which the museum was established. John then showed me around the museum, which proved to be a true treasure trove of objects and knowledge. "With over 4,000 items, of which 750 are on display, our museum offers an unprecedented insight into the world of diamonds, from geology to trade and the diamond cutting process itself," John explains.
“We warmly welcome tools or devices no longer in use, so we can preserve them for future generations and expand our collection.”
The museum is also focused on tracking down and collecting old and contemporary machines and tools related to diamond cutting and polishing. John extends a warm call to the members of the Syndicate of the Belgian Diamond Industry: "We warmly welcome tools or devices no longer in use, so we can preserve them for future generations and expand our collection."
With a strong educational mission, the museum offers daily demonstrations of the diamond manufacturing process. "Our visitors are often surprised by the complexity and finesse required to make a diamond shine in all its glory. It not only takes years of experience but also the right equipment and techniques, something that has been refined in Bruges and Flanders for hundreds of years," John says. During my visit, I joined a 'Diamond Polishing Show' with a group of American tourists, carefully performed by employee Clémentine, a young woman in her twenties who is clearly passionate about the diamond cutting and polishing process.
“Recognition brings visibility to the craft and is crucial for passing on the knowledge and expertise to future generations.”
John Rosenhoj tirelessly advocates for the recognition of diamond cutting and polishing as intangible heritage: "Recognition would not only be a tribute to the craftsmanship of the cutters but would also help encourage future generations to learn this craft, which has evolved into a highly technological profession. Without appreciation and visibility, interest fades, and that would be a shame for a craft so deeply rooted in our history." In Europe, there is only one secondary school where students can choose for diamond education: De Stemstroom in Antwerp. "Recognition brings visibility to the craft and is crucial for passing on the knowledge and expertise to future generations," he emphasizes.
Registration on the Erfgoed Inventaris is a condition to be recognized at a later stage as UNECO intangible cultural heritage, an ambition that John and Türkan are passionately pursuing. "The role of Bruges, Antwerp, the Kempen, and Flanders in the processing of diamonds on a global scale is indisputable," says John. "Its importance is recognized on a professional level, but this is not always the case with the general public. Hopefully, this will change through recognition as intangible heritage. Our staff has been in contact with all major organizations related to diamonds and diamond manufacturing in the country, and we have seen that there is a common consensus that 'diamond manufacturing' deserves acknowledgment, and that now is the right time to submit a request for recognition on the Erfgoed Inventaris, established by the Flemish government. We have submitted a draft project to all organizations and institutions within the diamond sector, and have encouraged everyone to review it and, if possible, submit additional ideas, enhancements, or corrections. This consultation process is very important to demonstrate that together we form a so-called 'heritage community' that can, in the future, collaborate on how the manufacturing tradition and the sector are kept thriving."
For John Rosenhoj, this recognition is more than just a tribute to the past. "The recognition of diamond cutting and polishing as cultural heritage would not only honor history but also be an investment in the future," he concludes.
